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The Other Side (2015, Minervini) 9/10
Seed (1931, Stahl) 8/10
Eden (2014, Hansen-Løve) 5/10
Le Silence de la Mer (1949, Melville) 8/10
Nella città l'inferno aka ...And the Wild, Wild Women (1959, Castellani) 7/10
*Empire of the Sun (1987, Spielberg) 10/10
*Valley of the Dolls (1967, Robson) 3/10
*The Act of Killing (2012, Oppenheimer) 8/10
Private Lives (1931, Franklin) 7/10
*Rachel, Rachel (1968, Newman) 6/10

we can be heroes just for about 3.6 seconds (Dr Morbius), Friday, 27 May 2016 15:09 (seven years ago) link

Public Enemies* - 6/10 - just as bad as i remember
Chronicle Of A Summer - 9/10
Hitchcock/Truffaut - 4/10 - wasted opportunity. Where was Truffaut? Watching Fincher (jeeeez) and James Gray speak has had an adverse effect as well.

Acid Hose (Capitaine Jay Vee), Friday, 27 May 2016 15:29 (seven years ago) link

Land of Silence and Darkness (1971) 8/10
Handicapped Future (1971) 7/10
Far from Vietnam (1967) 7.5/10

StillAdvance, Friday, 27 May 2016 15:37 (seven years ago) link

the gift (edgerton, 2015) 6/10
the phantom of liberty (bunuel, 1974) 6/10
wild bill (fletcher, 2012) 7/10
*excalibur (boorman, 1981) 9/10
10 cloverfield lane (trachtenberg, 2016) 7/10
beasts of no nation (fukunaga, 2015) 5/10

Neptune Bingo (Michael B), Saturday, 28 May 2016 11:17 (seven years ago) link

The Decline of Western Civilization Part III (1998) Part I was a (near-?) contemporary report on early West Coast punk etc bands, Part III moves among "gutter punks," homeless teens, squatting and partying and panhandling ("Spare change sir? C'mon, save an old lady from gettin' mugged, spare change, spare change? Fuckit then." Theft is mentioned, but not shown; ass-peddling is neither. Lots of brief interviews, checking back in with several, in various settings (not too various, but some kids are more candid alone with Spheeris and her camera in a quiet side room, others as couples or in groups, relaxing in the latest living room or fave patch of sidewalk/alley.
They make it into some shows, incl. a band proudly claiming to be homeless too, which may (been a while) be the same one with a practice space in the random living room of a member's mom, a hoarder. Another band, Naked Getail, I think, is proudly Musical as hell, yet raw enough in sound design to get unreserved gutter punk response.
Fatalism for the most part, surprising optimism from a few ("I'll try to---I *will* get a job," though camera pulls back to show his friend rolling on the pavement with laffter). Death by misadventure, discussed at end, then credits and a final note that one of the kids is now in jail for fatally stabbing boyfriend (a fairly mellow couple onscreen). Currently on YouTube, though I saw it On Demand in weathered Suburbia: not so much a home invasion as a wall suddenly decaying again.

dow, Saturday, 28 May 2016 15:33 (seven years ago) link

The Danish Girl: should have been plural, because Alicia Vikander's character and portrayal are upfront, nuanced and crucial: she has to adapt to Einar-->Lilly's journey from the past to previously unknown possibilties, the edge of the future--sorry to get b-movie Science Fiction about it, but that's right, as shown in a gradually emerging, quietly eerie way: two painters in familiarly cinematic-painterly settings, having to push beyond. So even Redmayne's big-toothed smile/grimace, which for a while seems too relied on, comes to seem like his character's reflexive defense, a mask, but also armor, pushing, willing, through the bounds, from waaay in the isolation of past boondocks Denmark, present cosmopolitan Paris, and everywhere, really, despite loyalty of wife, childhood friend, and doctor.

dow, Saturday, 28 May 2016 15:48 (seven years ago) link

Carol: by far the most sustained Haynes film I've seen, though Carter Burwell's treacly scoring is really hard to take on headphones. Title character seems too growly a cougar at first, but then a great scene where she's nervous on the way to an obligatory social disfunction with hoity-toity people she's too familiar with, yet seeming like the self-conscious teen outsider, though she'll put up a polished front. Must read the book, for contrast of tone, (gotta be since, it's Highsmith),

dow, Saturday, 28 May 2016 15:57 (seven years ago) link

This whole idea that Vejle is isolated 'past boondocks' is so ridiculous. It's a prosperous little harbor town, pretty much dang in the center of Denmark. Many famous and important people come from Vejle, including should've-been-a-nobel-laureate poet Inger Christensen, current prime minister Lars Løkke Rasmussen, and my grandparents. There's also no mountains around Vejle, nor in Denmark at all. The whole thing is a farce of misrepresentation, and that's even without looking at the iffy way it deals with gender and sex.

Grumble grumble.

Frederik B, Saturday, 28 May 2016 16:04 (seven years ago) link

But Einar/Lilly *felt* isolated, in the family as well as town, describing being caught by father kissing his childhood friend, for instance. As for sex/gender, Redmayne said his transgender friends related very much to some passages in the memoir (from diaries), other parts not at all. Results may vary.

dow, Saturday, 28 May 2016 16:22 (seven years ago) link

*Meet the Feebles (Jackson, 1989)
Belladonna of Sadness (Yamamoto, 1973)
The Girl on a Motorcycle (Cardiff, 1968)
Purple Rain (Magnoli, 1984)
Hi, Mom! (De Palma, 1970)
Begotten (Merhige, 1991)
Aguirre: The Wrath of God (Herzog, 1972)

You guys are caterpillar (Telephone thing), Saturday, 28 May 2016 21:52 (seven years ago) link

How did you like Belladonna of Sadness?

Robert Adam Gilmour, Saturday, 28 May 2016 23:29 (seven years ago) link

Mothlight (Brakhage, 1962)
Europa 51 (Rossellini, 1951)
Horrifying_death_Baby_dies_after_children_left_home_alone_place_her_in_oven (Tomo News, 2015)

Ndalni Luigj Xhaka (nakhchivan), Sunday, 29 May 2016 20:00 (seven years ago) link

You see one dead bairn you've really seen em all, wouldn't say the say the same of Rossellini movies though!

calzino, Sunday, 29 May 2016 20:55 (seven years ago) link

The Damned: Don't You Wish That We Were Dead (6.0)
Palo Alto (7.0)
Truth (6.0)
Nobody Walks (6.5)
The Wrong Man (7.0)
The Nice Guys (5.5)
Passengers (5.0)
Midnight Special (6.5)
Reality Bites (6.0)
Lovelace (6.5)

clemenza, Monday, 30 May 2016 01:33 (seven years ago) link

How did you like Belladonna of Sadness?

Absolutely loved it. It gets a lot of mileage about the combination of limited animation (mostly still frames, really), with a lot of weird pattern/decorative stuff that plays with the 2D film frame in a way that reminds me of Klimt and Schiele. Sounds pretentious as shit, I know, but I think there's something there.

Just be aware that if you see it, the devil is shaped like an evil penis and people will giggle.

You guys are caterpillar (Telephone thing), Monday, 30 May 2016 03:47 (seven years ago) link

january 1st thru may 29th this year, only movies i saw theatrically

The Danish Girl
Concussion
The Revenant
Anomalisa
13 Hours: The Secret Soldiers of Benghazi
Dirty Grandpa
45 Years
Hail, Caesar!
The Lady in the Van
Zoolander 2
How to Be Single
The Witch
Deadpool
Son of Saul
Whiskey Tango Foxtrot
Zootopia
10 Cloverfield Lane
The Brothers Grimsby
Knight of Cups
Hello, My Name is Doris
My Big Fat Greek Wedding 2
Eye in the Sky
Harold and Maude*
I Saw the Light
My Golden Days
Everybody Wants Some!!
The Jungle Book
Demolition
Miles Ahead
Elvis & Nixon
Purple Rain*
Louder Than Bombs
Sing Street
Keanu
The Family Fang
The Meddler
The Man Who Knew Infinity
The Angry Birds Movie
The Lobster
X-Men: Apocalypse

favorites so far:

THE LOBSTER
ZOOTOPIA
EYE IN THE SKY
THE ANGRY BIRDS MOVIE
DIRTY GRANDPA

flappy bird, Monday, 30 May 2016 04:09 (seven years ago) link

Absolutely loved it. It gets a lot of mileage about the combination of limited animation (mostly still frames, really), with a lot of weird pattern/decorative stuff that plays with the 2D film frame in a way that reminds me of Klimt and Schiele. Sounds pretentious as shit, I know, but I think there's something there.

Just be aware that if you see it, the devil is shaped like an evil penis and people will giggle.

― You guys are caterpillar (Telephone thing), Monday, 30 May 2016 04:47

I seen a few years ago on youtube. You're right about the Klimt and Schiele thing, I don't think that observation will be even in the top million pretentious things said about films this year.

Robert Adam Gilmour, Monday, 30 May 2016 09:43 (seven years ago) link

so we saw andrei rublev this evening on the big screen

would give it a solid 8/10. like hoisting a bell out of a pit for three hours, in all the best ways

Dante's Inferno (Russell, 1967) 7/10
Sicilia! (Straub-Huillet, 1999) 8/10
Green Room (Saulnier, 2015) 6/10
Everybody Wants Some!! (Linklater, 2016) 5/10
The Hateful Eight (Tarantino, 2015) 8/10
Penda's Fen (Clarke, 1974) 7/10
Johnny Guitar (Ray, 1954) 8/10

Chicamaw (Ward Fowler), Wednesday, 1 June 2016 09:04 (seven years ago) link

Tomorrowland (Bird, 2015) 6/10
*Death Becomes Her (Zemeckis, 1992) 7/10
She's Beautiful When She's Angry (Dore, 2014) 6/10
*Purple Rain (Magnoli, 1984) 3/10
The Forbidden Room (Maddin and Johnson) 7/10
Spotlight (McCarthy, 2015) 7/10
*Roxanne (Schepisi, 1987) 5/10
The Hateful Eight (Tarantino, 2015) 7/10
Creed (Coogler, 2015) 6/10

and not a movie but my most enjoyable (and bittersweet) (re)viewing of the year...

*The Larry Sanders Show (1992-1998) 10/10

rhymes with "blondie blast" (cryptosicko), Wednesday, 1 June 2016 14:09 (seven years ago) link

Room (Abrahamson, 2015): living in and to different degrees as a series of rooms, eerie adjustments of the continuum, o shit, easy now, oops, oops, oops, o shit, therrre (courtroom and other still ahead). Clueless-at-best, insensitive questions of TV interviewer, though certainly to be found in Comments sections, seemed a bit like too-easy demonization of The Media in trad form, but, since I was already wondering about how this situation might be handled in the near future, if Trumps gets in and lets the Values voters go hither and yon, in a collateral way, incl. bleeding through the median or normal view, such questions might well be expected in prime time. Anyway, great job by all. (I'm not claustrophobic at all, but had to had to had to get out of there immediately)

dow, Wednesday, 1 June 2016 18:36 (seven years ago) link

would give it a solid 8/10.

really, you think 20% of films are better than Andrei Rublev?

we can be heroes just for about 3.6 seconds (Dr Morbius), Wednesday, 1 June 2016 18:39 (seven years ago) link

Maybe if the screen was bigger that would come down to 17.5%

xyzzzz__, Wednesday, 1 June 2016 19:10 (seven years ago) link

you guys :D

fine, 9. great but obviously an early-career effort. stalker might be the best film ever.

And the cry rang out all o'er the town / Good Heavens! Tay is down (imago), Wednesday, 1 June 2016 20:45 (seven years ago) link

i think u mean The Mirror

we can be heroes just for about 3.6 seconds (Dr Morbius), Wednesday, 1 June 2016 20:49 (seven years ago) link

yeah

The burrito of ennui (Alfred, Lord Sotosyn), Wednesday, 1 June 2016 20:55 (seven years ago) link

when in doubt about decimal points start scrubbing the living room floor at the 2.5 hour point.

The burrito of ennui (Alfred, Lord Sotosyn), Wednesday, 1 June 2016 20:56 (seven years ago) link

4Real!

Lost Lost Lost (Jonas Mekas, 1976) - I like how he becomes this professional avant-garde film dude after years of amateurishly pointing his camera at Lithuanian girls and at protests.
The Band Wagon (Vincent Minelli, 1953) - really liked this but walked out 10 mins before the ending (the Tripltes number was genuinely hilarious)
Love and Friendship (Whit Stillman, 2016)

xyzzzz__, Wednesday, 1 June 2016 21:13 (seven years ago) link

Triplets

xyzzzz__, Wednesday, 1 June 2016 21:20 (seven years ago) link

would give it a solid 8/10.

really, you think 20% of films are better than Andrei Rublev?

Morbs, I don't understand this question at all. If I were to give a film points on a scale of 10 (which I rarely do), I wouldn't be ranking films against each other, it would be a ranking against a hypothetical perfect film. Your number for a film is its rank against other films? Have you ever seen a long run of good films that caused some other film's number to drop?

pleas to Nietzsche (WilliamC), Wednesday, 1 June 2016 21:27 (seven years ago) link

Anyone seen Rhymes For Young Ghouls? Not a horror film. Looks interesting.

Robert Adam Gilmour, Thursday, 2 June 2016 18:17 (seven years ago) link

just playfully suggesting AR is not merely an 8, Wm

we can be heroes just for about 3.6 seconds (Dr Morbius), Thursday, 2 June 2016 18:27 (seven years ago) link

jungle fever (91 lee) 6/10
bully* (01 larry clark) 10/10
the lobster (16 lanthimos) 5/10
paper towns (15 jake schreier) 4/10
butterfly (82 matt comber) 4/10
an oversimplification of her beauty (12 Terence nance) 5/10
everybody wants some!! (16 linklater) 6/10
digging for fire (15 swanberg) 7/10
a bigger splash (16 guadagnino) 8/10
the riot club (14 lone scherfig) 3/10
the carter (09 adam bhala lough) 8/10

johnny crunch, Wednesday, 8 June 2016 12:04 (seven years ago) link

why so down on an oversimplification of her beauty?

Chevalier (2015, Tsangari) 6/10
The President (2014, Makhmalbaf) 5/10
Girl with a Suitcase (1961, Zurlini) 6/10
Impulse (1990, Locke) 7/10
Salomé (1923, Bryant) 5/10
*Tale of Cinema (2005, Hong) 7/10
Lost in the Mountains (2009, Hong) (31m) 8/10
Virgin Stripped Bare by Her Bachelors (2000, Hong) 8/10
The Power of Kangwon Province (1998, Hong) 7/10
The Day a Pig Fell into the Well (1996, Hong) 5/10
Sunset Song (2015, Davies) 9/10
Back Street (1932, Stahl) 8/10
The Lobster (2015, Lanthimos) 8/10
Buck and the Preacher (1972, Poitier) 6/10
Love & Friendship (2016, Stillman) 7/10
l'Amore (1948, Rossellini) 8/10
Afraid to Talk (1932, Cahn) 6/10
Laughter in Hell (1932, Cahn) 7/10

we can be heroes just for about 3.6 seconds (Dr Morbius), Friday, 10 June 2016 15:48 (seven years ago) link

The Nice Guys (2016, Black) 8/10 - started off really strong, I saw it bc of a recommendation from a friend who said it was like The Long Goodbye/Chinatown/Inherent Vice for the multiplex... sorta lost me 3/4 thru but still great. loved the art direction and wardrobe. Gosling frequently hilarious, & loved the very mean sense of humor.

Weiner (2016, Kriegman & Steinberg) 7/10 - had high hopes, heard lots of great things from Sundance, but it felt a little flat, and yeah, it's pretty excruciating spending an hour and a half with this guy. Easy to imagine the panoply of medications Huma Abedin has to take to deal with being around him. Best moment is at the end when the cameraman asks Weiner "why are you letting me film this?"

Dial M for Murder (1954, Hitchcock) 9/10 - gripping, saw it in 3D, was a bit nervous at first but it looked fine. Ray Milland is a centipede. I was locked in.

flappy bird, Friday, 10 June 2016 18:48 (seven years ago) link

'bully' a masterpiece?

blazed carrot (rip van wanko), Friday, 10 June 2016 18:58 (seven years ago) link

Sweet Bean (Kawase, 2016) 6/10
The Lobster (Lanthimos, 2016) 7/10
Sunset Song (Davies, 2016) 7/10
Love & Friendship (Stillman, 2016) 9/10
Weiner (Steinberg-Kriegman, 2016) 5/10
Neon Bull (Mascara, 2016) 7/10
Arabian Nights, Pt. 1 (Gomes, 2015) 6/10
* Jackie Brown (Tarantino, 1997) 8/10
* A Tale of Winter (Rohmer, 1992) 8/10
A Brighter Summer Day (Yang, 1991) 9/10
* The Freshman (Bergman, 1990) 8/10
Noon Wine (Peckinpah, 1966) 7/10
The Young Girls of Rochefort (Demy, 1966) 7/10
* Charade (Donen, 1963) 7/10
Victim (Deardon, 1961) 7/10
Love and Breakfast (Lang, 1936) 7/10
Liliom (Borzage, 1930) 6/10

The burrito of ennui (Alfred, Lord Sotosyn), Friday, 10 June 2016 19:21 (seven years ago) link

why so down on an oversimplification of her beauty?

idk it's a lot millennial/bloggy?

'bully' a masterpiece?

100%

johnny crunch, Friday, 10 June 2016 19:25 (seven years ago) link

The Nice Guys (Black, 2016) 6/10
Love & Friendship (Stillman, 2016) 7/10
Symptoms (Laraz, 1974) 7/10
Macbeth (Polanski, 1971) 9/10
I Know Where I'm Going! (Powell & Pressburger, 1945) 7/10
Master of the House (Dryer, 1925) 6/10
The Man From U.N.C.L.E. (Ritchie, 2015) 4/10
Here We Go Round the Mulberry Bush (Donner, 1968) 7/10
The Yellow Balloon (Thompson, 1953) 7/10
Sparrows Can't Sing (Littlewood, 1963) 8/10

painfully alive in a drugged and dying culture (DavidM), Friday, 10 June 2016 22:00 (seven years ago) link

Over the last month or so:
Portrait of a Young Girl at the End of the 1960s in Brussels (Akerman, 1994) 8/10
When a Woman Ascends the Stairs (Naruse, 1960) 9/10
The Castle of Cagliostro (Miyazaki, 1979) 6/10
Grave of the Fireflies (Takahata, 1988) 9/10
Porco Rosso (Miyazaki, 1992) 7/10
The Lobster (Lanthimos, 2016) 8/10
Out 1: Noli Me Tangere (Rivette, 1971) 8/10 (but this feels hard to evaluate so soon after a first watching; 10/10 for concept)

one way street, Friday, 10 June 2016 22:04 (seven years ago) link

Brooklyn (Crowley, 2016): on What Are You Reading?, Alfred answered my query about original novel, "well-executed minor work," which is what I thought of this (he added that Tobin is "one of my favorite writers"). Hope the original will also have the flick's unpretentious detail and momentum, expertly distracting me from immediate notice of (or at least from letting sink in) the use of conventional elements like coincidence (which is applied sparingly---I think!).
Ronan didn't make less a bore, but embodied the plot's required character development with a minimum of fuss. Cohen's Eyetalian prole was a little too young Revolta Franco vocally and facially, with some young Mickey Rourke (glossing young Brando in The Diner), and Norman Rockwell time when he's with his family etc., though I believed it when his kid brother has the book brains among them all.
Wondered what novelistic nuance might be filtered out, via Nick Hornby's screenplay, but pretty no-BS for him (low bar, but still). Also wonder if it might have been more intriguing ending if she'd chosen the guy she didn't end up choosing---but figure she'll be asking herself that from time to time (one cul-de-sac vs. another, perhaps)

dow, Friday, 10 June 2016 22:42 (seven years ago) link

In the Realm of the Senses (Oshima, 1976) - on a 2nd viewing on the big screen (ten years after the first on DVD) and full of admiration for the achievement here. The script is pretty much astonishing, full of nuance that needs revisiting - the play of knives is there form the off: Abe and Kichi's first meeting has Kichi witness to Abe threatening a Geisha with a knife. That is steadily revisited as we progress from their relationship, which is also gradually run through from the first encounters to play (with food, with others) to experimentation (and that bit is also gradual too - when is the line to be crossed? what is that line? Where is the point of no return at? and none of this is verbalised, its to be felt and played with). There is plenty of pillow talk, full of intimacy and feeling and touches of light humour as they go places and the obsession becomes all-consuming.

In the cinema though its a threesome - they are constantly watched. In three dimensions we are watching but in two its the Geishas. There is some staggering actual surrealism at play as that Shamisen is strummed several times to intercourse - culminating in Abe 'offering' Kichi to the older Geisha - the talk before and after is perfectly scripted (the only time you feel they are on a 'date' = they talk about their mothers! Something approaching normal everyday conversation is happening). The outside is constantly there - on a first viewing it was all chamber, now you see how that isn't true. They need to live so jobs need to be performed (Abe has an 'arrangement' to see a 'respectable' man). Kichi is married (and is married to Abe in a ceremony that er moves to an orgy with some Butoh (?) dancer). The music is almost always traditional, which dates the film pre-20th century, but the phone rings once and there are trains and a beginning of a rusty industrial landscape - which is pre-20th but more 1870s, an approaching blasted modernity. As the film ends Kichi is walking back to his place - seemingly oblivious to the military parade, rifles on show - Japan's men are ready for war. Post that the couple do not leave the room anymore and start experimenting with strangulation. This is so carefully plotted - all of the symbolism there. It would be too on the nose but its also tightly done - elements that turn the 'real' into a fiction.

There are some beautiful compositions throughout. On the outside there is a landscape - which as I said is sorta half-industrial, on the flip-side one of a depleted nature. The camera follows diligently as they walk (and fuck) around the village and scandalise everyone (well sort of - the granny doesn't mind watching, nor does the shop owner mind Abe's offer to fuck for a drink in front of Kichi ("only good for peeing"), its only later the couple hear from a servant they are thought of as perverts - and while there are some looks/remarks they all take place inside the house/room...working this one through as I type). The penultimate encounter is incredible as photography: the couple are in the middle. Kimono's are mostly reds and blacks. Big kitchen knife placed just off to the right-side. The light is a sort of fake sunset. The performances are something too - Abe has to be near the edge and madness constantly but also vulnerable enough so she can transmit her complete happiness. Kichi is the more restrained when they are together but just as violent and moody when they are not - most demonstrably when he rapes a woman who questions the turn their relationship is taking when she is away. Its important to say that while the moments they are not together are few they are always made to count.

The final scene is one of exhaustion - I thought Kichi's death was going to happen one scene earlier than it did - so it wasn't just them. The script searches for a final full-stop, a narrator talks about the aftermath with a factual "This happened in 1936". We need to end somewhere.

xyzzzz__, Saturday, 11 June 2016 10:16 (seven years ago) link

During the culture shift of pitch, pre-War, eh? And the Depression might be in there somewhere too. Will have to see that, duh.

Heart of a Dog (Anderson, 2015) - A film by someone who has lived a long time. Laurie chews over lots of Western and Eastern modes of philosophy, music, art and encounters. This is a mix of film, biography, documentary, animation, with her dog in the middle (although idk how much that also stands for Lou Reed). A lot of it is clumsily done, she hasn't got many filmmaking chops (the snow falling on trees just didn't have kick at all), but there are moments here and there, but a lot of it is undermined.

― xyzzzz

heart of a dog is so audio/voiceover-intensive, i think would work better as a radio documentary. some touching shots (and interesting/moving thoughts on death) of the dog, but otherwise, no, shes no filmmaker, not on this evidence anyway.

― StillAdvance
The audio-only version is an amazing, immersive (over-used term maybe, but) experience, well-described by xgau (who ends doubts about movie):

The soundtrack to a film I missed is also Anderson's simplest and finest album, accruing power and complexity as you relisten and relisten again: 75 minutes of sparsely but gorgeously and aptly orchestrated tales about a) her beloved rat terrier Lolabelle and b) the experience of death. There are few detours--even her old fascination with the surveillance state packs conceptual weight. Often she's wry, but never is she satiric; occasionally she varies spoken word with singsong, but never is her voice distorted. She's just telling us stories about life and death and what comes in the middle when you do them right, which is love. There's a lot of Buddhism, a lot of mom, a whole lot of Lolabelle, and no Lou Reed at all beyond a few casual "we"s. Only he's there in all this love and death talk--you can feel him. And then suddenly the finale is all Lou, singing a rough, wise, abstruse song about the meaning of love that first appeared on his last great album, Ecstasy--a song that was dubious there yet is perfect here. One side of the CD insert is portraits of Lolabelle. But on the other side there's a note: "dedicated to the magnificent spirit/of my husband, Lou Reed/1942-2013." I know I should see the movie. But I bet it'd be an anticlimax. A PLUS

dow, Saturday, 11 June 2016 13:44 (seven years ago) link

Hmm I loved it but yeah it's def album with accompanying images, sometimes the images add to the experience & sometimes not but I never really felt they detracted from it; loved seeing the dog & Anderson's video diaries are obv gonna be of interest aside from any formal qualities. Xga otm that the song is somehow much better in this context

Xp that is a great post on itrots

mario vargis loosa (wins), Saturday, 11 June 2016 14:22 (seven years ago) link

never abbreviating that film's title again

mario vargis loosa (wins), Saturday, 11 June 2016 14:30 (seven years ago) link

Maggie's Plan (Miller, 2016) 5/10 - Rich New York academics complaining in brownstones. I like Greta Gerwig but she's not showing very much range.

flappy bird, Saturday, 11 June 2016 21:08 (seven years ago) link

I like Gerwig as much as any comic actress of her (our) generation, but this really looked cringe-inducing from the trailer.

one way street, Saturday, 11 June 2016 22:28 (seven years ago) link

I agree, she's frequently great, but she's gotta get out of New York.

flappy bird, Saturday, 11 June 2016 22:54 (seven years ago) link

The plot of Maggie's Plan is pretty much what happened between her and Noah Baumbach.

flappy bird, Saturday, 11 June 2016 22:55 (seven years ago) link

1001 nights (amano yoshitaka) - animated short by the artist for the final fantasy series, really stunning animation but the score seemed to ape "daphnis et chloe" a bit too closely

clouds, Saturday, 11 June 2016 23:06 (seven years ago) link


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