Schoolio's Movie Corner

[schoolofruckus]

You don't care to see any other movies the rest of the year?

[Mr.Nipples]

well theres a couple...but "No country..." is the only film ive really been able to think about lately...

[wmgaretjax]

wong kar wai is over-rated as a story teller if you ask me. His stuff is always visually stunning (albeit a little redundant), but every film seems to encapsulate the same basic story (from his features, to his short in Eros)... Two ships pass in the night... barely touching, but unable to change course.

[schoolofruckus]

That's a good way of putting it, but still. It never gets old in my book.

[schoolofruckus]

Wow. WOW. I just finished "Werckmeister Harmoniak".....fucking unbelievable film. I'm a little overwhelmed, but words like "heartbreaking", "virtuosic", and "shatteringly beautiful" come readily to mind. This film (for everyone except Pot and garetjax) covers a little more than 24 hours in a small Hungarian town that is on the verge of being consumed by paranoia and fear. Chief among sources of agitation is the circus that has just arrived in town, boasting appearances by a gigantic stuffed whale and an ominous showman known as The Prince. The main character is a hard-working young man named Janos, who delivers papers by night and takes care of his uncles by day, all the while trying to soothe his despairing neighbors. He sees the whale as something to marvel at rather than to suspect....but tragedy sets in when his attempts to diffuse the tension are rebuffed. This film is a tour de force, visually - a series of breathtaking shots (a mere 39 total cuts over the course of a two and a half hour movie) that adhere to no boundaries - and atmospherically, as the characters' unrest is immediately contagious. And the musical piece that is used only a handful of times throughout the movie is drop-to-your-knees awesome. One of the most unique and haunting movies I've seen in quite some time.

[roberto73]

On the recommendations I found here, I caught Once at the Arclight this afternoon. Fantastic. Pitch-perfect, and not a bit schmaltzy. Add it to the list of great movies about music.

[wmgaretjax]

Wow. WOW. I just finished "Werckmeister Harmoniak".....fucking unbelievable film. I'm a little overwhelmed, but words like "heartbreaking", "virtuosic", and "shatteringly beautiful" come readily to mind. This film (for everyone except Pot and garetjax) covers a little more than 24 hours in a small Hungarian town that is on the verge of being consumed by paranoia and fear. Chief among sources of agitation is the circus that has just arrived in town, boasting appearances by a gigantic stuffed whale and an ominous showman known as The Prince. The main character is a hard-working young man named Janos, who delivers papers by night and takes care of his uncles by day, all the while trying to soothe his despairing neighbors. He sees the whale as something to marvel at rather than to suspect....but tragedy sets in when his attempts to diffuse the tension are rebuffed. This film is a tour de force, visually - a series of breathtaking shots (a mere 39 total cuts over the course of a two and a half hour movie) that adhere to no boundaries - and atmospherically, as the characters' unrest is immediately contagious. And the musical piece that is used only a handful of times throughout the movie is drop-to-your-knees awesome. One of the most unique and haunting movies I've seen in quite some time.

I'm really happy you enjoyed it Gabe. It's definitely the kind of film that deserves repeat viewing(s) as well. Nothing compares to that scene in the hospital/mental institution. Absolutely horrifying and extraordinarily beautiful at the same time. I was lucky enough to check it out on 35mm at a Tarr festival here late last year.

I saw Satantango there as well, which is also absolutely amazing, but also a serious test in endurance (particularly in a theater setting).

[schoolofruckus]

There's no way in hell I would last through "Satantango" in a theater unless it started at 1 pm on a Saturday afternoon, and I'm allowed to bring in my own Redbulls & cappuccinos. Probably not even then. When/if I pick up a DVD, I'd probably dedicate two or three consecutive nights to watching it in installments.

I just went back and added "Family Nest" to my Netflix queue.

[wmgaretjax]

Yeah it was tough. They did give us two intermissions, but still... Definitely worth seeing if you get the chance.

Damnation is also quite good. Very different from Werckmeister.

[tessalasset]

HEY ALL YOU PEOPLE IN THESE CITIES, LISTEN UP!!!

Once is showing in the following cities from the 25th of May, so look out for your local cinema listing!!!

Boston
Chicago
Dallas/Ft. Worth
Detroit
Memphis
Philadelphia
Phoenix
San Diego
San Francisco
St. Louis
Toronto
Washington, DC


ANDALE ANDALE

[schoolofruckus]

I have a couple of brief reviews:

Sybil - Jennie and I watched this epic 1977 TV movie the other night off Netflix. I was extremely impressed with it. Sally Field plays a schizophrenic teacher in New York who's having an increasingly difficult time living her life without lapsing into one of her self-destructive alter egos; she forces herself to start visiting a therapist, who finds some very real and very disturbing causes for her development of multiple personalities. Man, it feels weird to be praising a TV movie, but the truth is that it's really fucking good, and if you watched the DVD, you would only know it's a TV movie by the occasional fade outs where the commercials would have been. This is a harsh, realistic look at mental trauma, with an extraordinary performance by Sally Field.....and (yes Ronnie, I'm gonna go here) I couldn't help but marvel at how much better this movie was than "A Beautiful Mind". Where that film couldn't help but cloy you at every turn and manipulate facts and emotions at will, this one's got far more grace and integrity.

This one's strongly written, extremely well-photographed, and emotionally satisfying on its own terms. I recommend that everyone who watched "A Beautiful Mind" and thought, "that would have been really great if not for the usual Ron Howard/Akiva Goldsman bullshit", go check this one out immediately.

28 Weeks Later - I just caught this one last night....holy SHIT. I was blown away by how much I enjoyed this. The entire second half of the film, I felt like my heart was going to fucking explode. This is an extremely wrenching continuation of what happened in the first film, but it's also a different beast because everything in this film is just BIGGER. The action is bigger. The horror quotient is bigger. The scale of the story is bigger. This might turn off a lot of fans of "28 Days Later..." - as the character work was part of what made it so great - but for me....this was one of the best action films I've ever seen, period. I love that "Terminator 2" feeling where it seems like the world is just coming to a fucking end, like, right now, and you've got a handful of people who are trying to outrun it. And this film does that as well as any film since....well, probably since "Terminator 2".

As all of London is intensely quarantined - complete with the assistance of the US military - we're introduced to a father (Robert Carlyle) who's being reunited with his children, as well as a military doctor who (rightfully) worries about the presence of children in such a volatile area, and a rooftop sniper who keeps a watchful, cross-haired eye on the streets below. It's obvious that these characters will be brought together when the shit goes down (and oh, does it ever go down), and.....well......let's just say that the fact that it's the AMERICAN military helping out a foreign country in ruins is no accident. Some of these story choices are a little unbelievable (certainly a lot more suspension is required than with the first movie), which I can understand will turn off some people. And the political aspect is pretty obvious....but it's fucking EFFECTIVE. It doesn't make me think about Iraq or Nam or any of that shit, but god damn straight it works in THIS context. Anyway....everything, of course, explodes into chaos, and what follows is an insanely intense chase through a city on its last legs. I could go on all day about the stylistic choices (this dude Juan Carlos Fresnadillo, taking over for Danny Boyle, really taps into some Michael Mann-esque atmospheric devices, and he's got a killer ear for music here) and the staging of these scenes (this movie does an unbelievable job of making London look completely decimated). I had so much fun with it (gut-wrenching, face-punching fun) that I can't help but give it a rave recommendation. But if any of you don't like it, I wouldn't be entirely surprised.

One more thing - this movie has already run away with the 2007 award for "best and most ass-kickingest destruction of England". I think I'm going to rename it "The Ricochet".

[J~$$$]

"I could go on all day about the stylistic choices (this dude Juan Carlos Fresnadillo, taking over for Danny Boyle, really taps into some Michael Mann-esque atmospheric devices, and he's got a killer ear for music here) and the staging of these scenes (this movie does an unbelievable job of making London look completely decimated)."

I agree with this part.

Edit: I agree with all of it but like you said part one vs two......ONE wins but thats because im big on suspense more than the horror and gore.

[thelastgreatman]

Really, no shit? When I heard they were doing the sequel and there would be no Danny Boyle I figured we were in for a week of yellow shitstorms, and even Robert Carlyle being attached just made me go, "Oh, Begbie, why must you make these choices..." But it's good? That's fucking fantastic news.

[algunz]

Don't mean to stray from the reviews, but did anybody watch "On the Lot" last night? What did you think? Or is there already a thread dedicated to this, and I just missed it.

[wmgaretjax]

hmmm. I'll have to check 28 Weeks Later out. And yeah, Sybil is a great one.

I saw "The Bothersome Man," a bizarre icelandic film that was really atmospheric and creepy. Definitely worth checking out.

Also watched Piano Tuner of Earthquakes (which got a region 1 release) for the second time. Check that movie out if you haven't. It is extraordinary and definitely holds up to repeat viewings.

[schoolofruckus]

I agree with this part.

Edit: I agree with all of it but like you said part one vs two......ONE wins but thats because im big on suspense more than the horror and gore.

I agree. "Days" > "Weeks", but not by a lot. They're both home runs in their own respective approaches; the first film wins simply because the approach is a little more substantial. The only thing I wasn't crazy about with "Weeks" is that it does go a little overboard with the gore and the jerky handheld photography in one or two instances. But most of the scenes are so well conceived that it was easy for me to not get hunt up on those points.

Don't mean to stray from the reviews, but did anybody watch "On the Lot" last night? What did you think? Or is there already a thread dedicated to this, and I just missed it.

We actually were going to tape this last night, but we forgot to set the DVR before we went to the movie. I don't have high expectations for this show - I certainly don't expect that a "great" director will come out of it - but I'm definitely interested to see how they're going to set up the contest.

And garetjax, the synposes for both of those films sound awesome. I'll have to put them in the queue. I have "Vengeance is Mine" coming to my house today, which is the most recent Criterion release. It's a Japanese film from the 70's about a dude who goes on a killing spree....the cover art looked awesome, so I figured it was worth a shot. Have you seen this one?

[Hannahrain]

From Marvel.com:

Silver Surfer Quarters Give Movie Fans a Chance to Win Big

20TH CENTURY FOX CHALLENGES AMERICA TO SEARCH 4 $ILVER!

Limited Edition "Silver Surfer" Coin Is This Summer's Silver Ticket

This summer, silver is the new gold standard – for movies, with the June 15 release of Fantastic Four: Rise of the Silver Surfer, and for movie promotions, as Twentieth Century Fox and the Franklin Mint join forces to create an original limited collector's edition "Silver Surfer" U.S. quarter that will challenge movie goers to Search 4 $ilver.

The collector's "Silver Surfer" U.S. quarter will be emblazoned with the image of the legendary Marvel Comics character who takes a leading role in the movie. This legal tender coin is a 2005 California statehood commemorative quarter minted by the United States Mint and specially color-enhanced by The Franklin Mint for Twentieth Century Fox.

Fox will launch the Search 4 $ilver in grand style by sending a specially-outfitted fleet of silver armored trucks out to deliver 40,000 coins to cities all across America, in time for Memorial Day weekend.

Then begins the Search. Those who find the special coins will be directed to the film's official website, where they can register for a chance to win a 4 day/3 night trip for 4 to the June 12th world premiere of Fantastic Four: Rise of the Silver Surfer in London, England. The winner will be announced on or about June 4. Also, the first 400 people to register will be entered for a chance to receive one private screening of the film for their friends and family the night before the film surfs into theaters everywhere. In addition to the above prize opportunities, every fan is invited to visit the film's website (www.riseofthesilversurfer.com) everyday until June 12th to flip a "virtual coin" for a chance to win instant prizes.

The Fantastic Four meet their greatest challenge yet in Fantastic Four: Rise of the Silver Surfer, as the enigmatic, intergalactic herald, the Silver Surfer, comes to Earth to prepare it for destruction. As he races around the globe wreaking havoc, Reed, Sue, Johnny and Ben must unravel the mystery before all hope is lost. Fantastic Four: Rise of the Silver Surfer, opening everywhere June 15, is the second installment of the live-action film series based on what fans around the globe know as "The World's Greatest Comic Magazine. "Fantastic Four" directed by Tim Story and released in the summer of 2005, had a worldwide theatrical gross of $330 million and became one of Twentieth Century Fox's most successful DVD titles ever.


Here's a picture of the quarter:
http://www.marvel.com/i/content/st/1070new_storyimage9782073_full.jpg

[PotVsKtl]

That's one of the most depressing things I've seen this week. And I saw a hobo kill a baby for its gutpudding Monday night.

[Hannahrain]

I bet the movie will be worse than the gimmick.

[full on idle]

Sybil gave me nightmares for years.

I watched it when I was home sick from school in like 3rd grade.

[schoolofruckus]

Seriously, if I found one of those things I would take the trip to London and then just not go to the premiere, even if it meant I get sent home immediately. You couldn't get me to sit through that piece of dogshit if I got to sit on Vincent Gallo's lap, with Scarlett Johansson sitting on my lap. I think I groaned out loud when I saw the trailer last night.

[algunz]

Sybil gave me nightmares for years.

I watched it when I was home sick from school in like 3rd grade.

Yea, it was one of the first "adult" movies my parents took me to. Terrified me, couldn't relate or understand why this woman was so troubled.

The first "adult" movie my parents took me to was Jaws.

Sometimes I wonder.

[KooKoo Banana Funtime]

Sybil gave me nightmares for years.


hit 2 close 2 home, huh


FTW !

[Courtney]

This past weekend I saw Party Monster with Macaulay Culkin and Seth Green. It was so amazingly horrendous on so many levels. Perfect 3am entertainment. I think perhaps this should go in the confessions thread instead of Schoolio's Movie Corner.

[schoolofruckus]

Is that to say it was no good, then? I heard that Macauley's performance in it was decent.

His little brothers (Kieran in "Dangerous Lives of Altar Boys" and "Igby Goes Down" and the little dude in "Signs") still kick his ass, though.

[thelastgreatman]

The younger Culkins are definitely superior, but no, Mac's performance isn't really as good as people seemed to think. It was all kinda half-assed gay affectations, never really made me forget that it was him on the screen. Very "Look Ma, I'm acting! Like a homo! Watch me lisp, sorta!" Seth Green was way better.

In general though it's pretty shitty flick that still sorta holds your attention because it's about some seriously wild parties. I remember reading about what's-his-name (Mac's character) back in the day before I'd gotten into the debauched NY club life, but you could definitely see the imprint of his hedonism on the whole scene long after he was already in jail. Until the 2000 DEA crackdowns, that shit was fucking insane, and I guess homie is somewhat responsible for it.

[breakjaw]

Sybil.
Yeah,I just watched this too,except it was named the "Ask me about kroqken" thread.

[breakjaw]

There's no way in hell I would last through "Satantango" in a theater unless it started at 1 pm on a Saturday afternoon, and I'm allowed to bring in my own Redbulls & cappuccinos. Probably not even then. When/if I pick up a DVD, I'd probably dedicate two or three consecutive nights to watching it in installments.


Based on recommendations from here,I started watching this on DVD,and so far it's taken me two sittings to get halfway through.It is a fairly incredible work,though.The scenes with the doctor are my favorite so far.

[Courtney]

Is that to say it was no good, then? I heard that Macauley's performance in it was decent.

His little brothers (Kieran in "Dangerous Lives of Altar Boys" and "Igby Goes Down" and the little dude in "Signs") still kick his ass, though.

I totally loved it. Which would be the confession part. But I suspect that the circumstances of its viewing (time of day, intoxication level, etc) may have contributed to the enjoyment factor.

The acting is probably the best part. Macaulay is amusing enough as the flighty, theatrical, fragile club promoter Michael Alig. Seth Green isn't half bad either as the totally out-there James St. James. There are also a lot of fun smaller parts like Chloë Sevigny and Natasha Lyonne as the naive suburban transplants, Marilyn Manson as gender-bending party diva, Wilmer Valderrama as eyecandy DJ boyfriend to Macaulay's character, and Mia Kirshner as the villainous wife to club owner Dylan McDermott.

But the style of the film is inconsistent and the pacing is off too. It alternates between faux-documentary style direct address of the camera and intentionally disorienting ecstatic party shots with superfluously quick cutting. The whole thing seems to be done with a nod and a wink to the audience, but it gets tiresome. And once you get past all the glitzy costumes and amusingly vapid repartee, the story isn't really very compelling either.

Nevertheless, fun viewing. Junk food for your soul.

[schoolofruckus]

Yeah,I just watched this too,except it was named the "Ask me about kroqken" thread.

Ha ha ha ha ha ha

[schoolofruckus]

But the style of the film is inconsistent and the pacing is off too. It alternates between faux-documentary style direct address of the camera and intentionally disorienting ecstatic party shots with superfluously quick cutting. The whole thing seems to be done with a nod and a wink to the audience, but it gets tiresome. And once you get past all the glitzy costumes and amusingly vapid repartee, the story isn't really very compelling either.


Yeah, see, that sounds like it would piss me off.

Did any of you guys (besides Hannah, who didn't like it) end up seeing "Factory Girl"? It sounds like it was a better take on a similar subject. Although the version that got released is supposedly way inferior to the one that was making the rounds with critics in late summer of last year.

[Courtney]

Did any of you guys (besides Hannah, who didn't like it) end up seeing "Factory Girl"?

I think I went to the Grove with the intent of seeing it, and then the screening I was going to go to was sold out so we just ended up having dinner instead, and I sort of lost momentum after that. But it's coming out on DVD in July, so maybe I'll see it then.

[algunz]

I saw Factory Girl. It was pretty good. I enjoyed it. Of course, I am biased because I have a bit of an obsession with that scene. I thought the casting was good. I was pleasently surprised by Hayden C. as Bob Dylan ( didn't have very high expectations) and Guy Pearce did a pretty good Andy Warhol. Also, Jimmy Fallon was unexpected. The story held true and the writing was reasonable. I'd recommend it for a random Sunday afternoon when you're recovering from the rest of your weekend.

[wmgaretjax]

"Factory Girl" was flat and completely uninteresting. Guy Pearce should be banned for the performance (alas, no one will ever top Bowie as Warhol).

I have seen "Vengeance is Mine," an excellent thrill ride. As for Criterion... Man they have some cool ones coming up; "If...," "Ivan's Childhood," "Les Enfants Teribles," "La Jetee," "Sans Soleil," and "The Milky Way."

It's gonna be a good couple of months... Out of curiosity Gabe, did you ever see "The Double Life of Veronique" on Criterion? By far their best job yet on a film.

[Hannahrain]

Bowie was terrible as Warhol. Jared Harris is the best Warhol I've ever seen, in "I shot Andy Warhol". But yeah. Can. Of. Worms. So nevermind.

[amyzzz]

Remind me what movie Bowie was Warhol in? Thx.

[Hannahrain]

Basquiat.

[amyzzz]

Ok. Haven't seen that.

[Hannahrain]

It's very good. Jeffrey Wright was excellent.

[schoolofruckus]

"Factory Girl" was flat and completely uninteresting. Guy Pearce should be banned for the performance (alas, no one will ever top Bowie as Warhol).

I have seen "Vengeance is Mine," an excellent thrill ride. As for Criterion... Man they have some cool ones coming up; "If...," "Ivan's Childhood," "Les Enfants Teribles," "La Jetee," "Sans Soleil," and "The Milky Way."

It's gonna be a good couple of months... Out of curiosity Gabe, did you ever see "The Double Life of Veronique" on Criterion? By far their best job yet on a film.

You thought so? I thought he, Sienna, and even fucking Hayden Christensen did some pretty fine work. And anyway, Pearce has done some other good work ("L.A. Confidential" and "Memento" come to mind). I'd be bummed as hell if he were banned from movies.

I can't wait to see "Vengeance...". I also have been salivating over "If....". Criterion is definitely on a tear lately. You forgot to mention "House of Games", which should be out in August. I haven't seen it yet but I'm a huge Mamet fan.

I haven't seen "Double Life of Veronique" yet....I'll have to get on that.

[schoolofruckus]

It's very good. Jeffrey Wright was excellent.

I saw "Downtown '81" or whatever that fucking movie was. It was decent; a little too sloppy to be that great, but interesting nonetheless. I really want to catch "Basquiat" itself. I hear Vincent Gallo (who was friends/bandmates with Basquiat before he got famous) is involved in it somehow.

[Hannahrain]

He's got a cameo in it, I think in a party scene. There is someone else playing a character "Vincent", though, and "Benny" is supposed to be loosely based on Gallo.

[thelastgreatman]

I'm assuming that Benny must have been a really annoying hack of a director then, right?

Love ya, Gabe. =)

[schoolofruckus]

H8888888888888888888888888888


Pot (or anyone else) - Remind me, should I see "What Is It?" if I get a chance? I ask because I will get a chance in June. Crispin's bringing it to the Egyptian theater in Hollywood on June 8th & 9th.

[wmgaretjax]

NO. Do not see "What is it?" I saw it here with Glover's banal slideshow and masturbatory bullshit.

Fucking awful film.

EDIT: OK. So the film is interesting. But I couldn't help but feel that Glover is a completely broken record (from his books to his performance, to this film) and has nothing really interesting to say. The acting is VERY interesting, but ultimately I would rather watch "Freaks" if I wanted to indulge in the grotesque turned beautiful.

[TomAz]

speaking of Glover does anyone know anything about Beowulf coming out this fall? I mean, have they treated it seriously or have they 'Lord of the Rings'-ed it up?

[lindseyb]

i love the use of "lord-of-the-rings" as a verb.

[PotVsKtl]

Like I said I haven't seen all of What Is It? but I wouldn't pass on the opportunity personally. You know it will at least be a unique experience.

Fur is kind of a dumb movie.

[schoolofruckus]

Like I said I haven't seen all of What Is It? but I wouldn't pass on the opportunity personally. You know it will at least be a unique experience.

That's the direction I'm leaning. I had a friend tell me the movie was brilliant, but I think he was just trying too hard to be hip. However, I can't imagine that it will be less than interesting.

speaking of Glover does anyone know anything about Beowulf coming out this fall? I mean, have they treated it seriously or have they 'Lord of the Rings'-ed it up?

It's not so much that they 'Lord of the Rings'-ed it up as that they 'Polar Express'-ed it up. It's a motion-capture animation movie. It should be out in....I think November.

[PotVsKtl]

It's not so much that they 'Lord of the Rings'-ed it up as that they 'Polar Express'-ed it up. It's a motion-capture animation movie. It should be out in....I think November.

The fact that it's mocap doesn't necessarily mean anything. Apparently it's in talks to premier at the Venice Film Festival:

http://www.chud.com/index.php?type=news&id=10381

[schoolofruckus]

Don't get me wrong, I have very high hopes. Between Roger Avary writing and Crispin Glover lending his voice - plus I actually like some of Zemeckis' shit a lot - this movie has a ton of potential. I never saw "Polar Express" and didn't really pay attention to the press when it came out, so any inference that "Beowulf" will be garbage was unintentional.

[wmgaretjax]

hmmmm, I was excited to see "Fur," lame.

I guess it is an interesting experience, but it's an experience you can get from any number of better films (without the bad performance art schtick).

[SojuGorae]

Saw V for Vendetta on HBO a couple days ago. Pretty damn entertaining.

Although, if I was still a teenager, I think it would have been 'like the greatest movie EVER'

[schoolofruckus]

I love that movie. I even had it on my top 10 list from last year.

[mob roulette]

no country for old men getting mad love at cannes, gabe. possibly even the palme d'or. we will see.

[mob roulette]

also in keeping with the previous discussion, vincent and jean-michel are both in blondie's video for "rapture". i think. if memory serves. i don't bother to fact check anymore. this is the internets after all.

[schoolofruckus]

That wouldn't surprise me.

And yeah, "No Country For Old Men" is the talk of the croissette. I can't imagine it doesn't rock, based on what I've heard so far.

[algunz]

I was watching The Wall the other night on VH1, and the cable company had categorized it as a documentary on their info guide. Can anybody explain that?

[corbo]

pirates of the caribbean 3 WHAT A FUCKING BORE!

[breakjaw]

I was watching The Wall the other night on VH1, and the cable company had categorized it as a documentary on their info guide. Can anybody explain that?
It's a documentary about how if hammers could walk,they'd probably be fascists.

[KungFuJoe]

Paris, Je T'aime is finally playing in L.A.

That's tops on my list to go see this week. Has anyone peeped it yet?? Thoughts??

I finally got around to watching Tideland this week. I love Gilliam & thought the film was good, but damn if this wasn't by far his creepiest film in a long time. I mean, he just went too overboard at times. Better than "Brothers Grimm" though.

Also, I rented Luc Besson's kid flick "Arthur & the Minimoys". I must say I really enjoyed this film. It's not perfect by any means, but it is a very entertaining kids movie. Much better than those "Spy Kids" movies. I love Besson's style & there were moments that had me laughing pretty hard. He plans on making 2 more and I have to say I'm very interested to see where he goes with the films. All I know is, Besson has proven that no matter what kind of film he's making, there will always be a sexy female lead. Even if she's animated.

[atom heart]

Beowulf? I'm more of a Grendel person myself... the book not the movie.

[bartelby]

Ok, finally saw The Fountain and loved it...Some of the best cinematography I've seen in a long while...

I could have used some more detail/depth on the actual search/discovery of the tree of life (the historical/mysticism geek in me) but overall I really liked this film...Hit a lot of buttons...

[Mr.Nipples]

i watched TOYS for the first time...what the fuck?...

[wmgaretjax]

anyone surprised by the Cannes awards? You can never predict the winners for this thing...

school is killing me and I haven't been out to see a single SIFF film (although I'm seeing the John Cage film tonight).

[schoolofruckus]

Yeah, I was pretty surprised that neither "No Country for Old Men" nor "The Diving Bell and the Butterfly" took one of the top two awards. But the Romanian film that won - "4 Months, 3 Weeks and 2 Days" - sounds like it should be pretty great. If it's anywhere near as good as "The Death of Mr. Lazarescu", then we're all in for a treat.

Other than those three competitors, I can't wait to see "Paranoid Park" and "Control", which won a 60th Anniversary prize and the Camera d'Or Special Mention, respectively. Throw in "The Man From London", "The Orphanage", "A Mighty Heart", "Sicko" (assuming that Moore's jettisoned the undisciplined approach that fucked up "Fahrenheit 9/11"), and "Chacun Con Cinema" - not to mention the films that have already opened here like "Zodiac" and "Once" - and this adds up to a pretty great Cannes.

[schoolofruckus]

Yesterday Jennie and I watched "The Full Monty" and "Vengeance Is Mine". Both were good; neither set me on fire. "The Full Monty" was fun and entertaining, but it wasn't quite as funny as I was hoping. "Vengeance Is Mine" was visually outstanding, and fairly strong from an emotional standpoint, but it was a little too slow and ordinary, story-wise. I liked it and I admired it, but it wasn't a masterpiece; I had been hoping for something a little more lively.

[Hannahrain]

Schoolio, are you familiar with either version of "The Thief and the Cobbler"? Preferably the original "recobbled" version, since the video release is pretty much garbage. I'm just curious, I don't really have anything to say about it, but nobody ever knows what I'm talking about when I mention it, and the Escher scenes are really worth a view.

[schoolofruckus]

I have never heard of it....do explain.

[Hannahrain]

If I had to describe it visually, I would say it is like The Yellow Submarine mixed with Aladdin, although the production for it actually started in 1964, before either of those movies were out.

Richard Williams had signed a deal to have it released in 1990, but he didn't finish it on time, and so it was sort of stolen and finished by the studio. There are two versions circulating now, the common one that the studio finished, which was also released as "Arabian Knight", and the "Recobbled" one that was put back together with all the cut scenes and a bunch of unfinished animation.

The voice work is pretty interesting. The studio re-did almost all of the voices with famous actors. In the original version, both the thief and the cobbler were not intended to speak (or at least, very little), but in the Miramax version, both talk. The only major voice that remained the same is Vincent Price (playing the role of "ZigZag the grand vizier", just one of the many antagonists), who began recording in the 60s for the film, but died before it was ever released.


Both versions are visually appealing, but the studio release has been made into an insipid kid's movie musical. It's available at most video stores. The restored version can be harder to find, but it's available here (http://video.google.com/videoplay?docid=-2263043366719734101&q=the+thief+and+the+cobbler) on google video. I'd recommend downloading it if you choose to watch it, because there's a lot of amazing detail in the animation.

One of my favorite parts of the movie is what's known as the "Escher Chase Scene", although I don't think it uses anything directly from Escher:

http://farm1.static.flickr.com/228/520090680_7eb458040b.jpg
http://farm1.static.flickr.com/209/520090684_b780468d7f.jpg

There's also a decent wikipedia entry (wikipedia.org/wiki/The_Thief_and_The_Cobbler) on the movie that tells a little more about the history and the different versions.

[wmgaretjax]

thanks for the tip. I saw the studio version a while back, this should be interesting to check out.

[mob roulette]

i will totally try to see "once" this weekend. "knocked up" is calling pretty hard though. it's got an allure that's hard to beat. love apatow, rogen, rudd, etc.

[wmgaretjax]

i will totally try to see "once" this weekend. "knocked up" is calling pretty hard though. it's got an allure that's hard to beat. love apatow, rogen, rudd, etc.

yeah, that and "Paris, Je T'aime" opened up here today. fuck... and it's finals weekend.

[J~$$$]

Im going to see knocked up tomorrow.

[algunz]

I love Judd Apatow and that whole crew. Freaks and Geeks is easily one of my favorite TV shows.

[PotVsKtl]

I'm seeing that shit tonight. I'm going to get plowed and walk to the movie theater.

[algunz]

I rented Withnail and I as a result of an allusion by LGM. Good flick, I'm glad I was reminded of it.

Richard Grant is great.

[schoolofruckus]

Last night, Jennie and I saw "Knocked Up". It was fucking GREAT. I can now declare, after this triumphant follow-up to the beloved "40 Year Old Virgin", that I must be some huge fan of Judd Apatow's brand of character-driven comedy. This movie isn't quite as hilarious as "40YOV" - there's fewer big laughs along the way - but it's consistently funny in much the same fashion, with most of the comedy deriving from character interactions that feel completely authentic. That's not to say the entire movie is believable and life-like - it's absolutely not, seeing as how it's built on a credibility-straining plot line - but it all feels organic and natural, if that makes any sense. I could go on all day about what I enjoyed here: the stoner/slacker crowd being played for both laughs and sympathy; the multiple digs at Hollywood, in all its shallow and stupefying glory; the brilliant comic prowess of Paul Rudd. But I have a feeling I don't have to sell this one to any of you.


I better see "Paris Je'Taime" soon if I'm going to catch it in the theater. Next weekend has a Fellini doubleheader of "La Strada" and "Amarcord" at the New Beverly that Joe and I are going to see on either Friday or Saturday. Plus next weekend is when "Brand Upon the Brain" is having the live shows at the Egyptian.

[CuervoPH]

Next weekend has a Fellini doubleheader of "La Strada" and "Amarcord" at the New Beverly that Joe and I are going to see on either Friday or Saturday.

Sweet! I need to see at least one Fellini film on the big screen before I die. I wonder if I can convince the Regal 14 in Harrisburg to bump one showing of "Shrek 3" for "8 1/2"...

[mob roulette]

i love la strada more than life itself. will be interested to hear your opinions on it.

[JelloPuddingChat]

I also saw Knocked Up last night and was totally shocked by how good it was. I was looking forward to it anyway loving Undeclared and 40YOV, but it exceeded everything I could of hoped for. Gabe hit it on the head with authentic. The dialogue is too good for anyone and I can't believe I enjoyed Ryan Seacrest do something!

[CuervoPH]

I will be checking out Knocked Up on Monday evening. Tomorrow will be spent catching up on my Netflix stash: "Volver", "The Painted Veil", and "L'America"...

Also, my sister got me "Babel" on DVD for my birthday...haven't seen it since it was out at the theater. Definitely time for a rewatch.

[KungFuJoe]

Most underrated movie ever?

ADkcAGhJD6I

[schoolofruckus]

Even though I'm scared of James Cameron as a screenwriter.....that looks fucking cool. I may have to check it out.

[PotVsKtl]

Strange Days is a great movie. Be aware that trailer does a remarkable job of making it look like an action film - something it is decidedly not.

[KungFuJoe]

Strange Days is a great movie. Be aware that trailer does a remarkable job of making it look like an action film - something it is decidedly not.


It's hard to say exactly what it is, imo. I think it is a large part horror & sci-fi. I think there is some great action in there too. Much like Blade Runner.

[KungFuJoe]

Even though I'm scared of James Cameron as a screenwriter.....that looks fucking cool. I may have to check it out.


Don't be scared. It's a brilliant screenplay.

[noisemachine]

I just watched the film "Farewell My Concubine" which I need to write a term paper on this week. Its a really great film and a must for anyone interested in Chinese music, culture and/or political history in the 20th century.

[schoolofruckus]

Don't be scared. It's a brilliant screenplay.

I will put my memory of "look at his stunning use of color" out of mind and add this one to my queue.

I just got done watching "Drugstore Cowboy". I liked it, but it wasn't amazing. One of the less remarkable Van Sant movies I've seen, although it was worlds better than the shitty Hollywood movies he's made ("Finding Forrester" and "Psycho").

[HowToDisappear]

Strange Days is a great movie. Be aware that trailer does a remarkable job of making it look like an action film - something it is decidedly not.

Absolutely love Strange Days. It died a quick, unfortunate death in the theatres - due in large part to the trailer which didn't convey the tenor of the movie at all. My favorite Ralph Fiennes role - definitely not his usual effete snob here - and Angela Bassett - wow, a goddess.

[wmgaretjax]

Absolutely love Strange Days. It died a quick, unfortunate death in the theatres - due in large part to the trailer which didn't convey the tenor of the movie at all. My favorite Ralph Fiennes role - definitely not his usual effete snob here - and Angela Bassett - wow, a goddess.

my favorite ralph fiennes role is in "Spider."

[tessalasset]

I saw Knocked Up and Once today. I didn't like it as much as Gabe or my boss did, but it definitely didn't disappoint. I laughed out loud quite a few times. And getting to watch Seth Rogen for 132 minutes - can't complain! :)

Once was just as good my third time around. I cannot help getting chills watching Glen sing these songs. Marketa too, now. They're so powerful it's insane. And this Frames/Swell Season tour this fall is probably going to kill me. I can't wait.

Once is playing in all these cities now:

WEDNESDAY, MAY 16
New York,Los Angeles

FRIDAY, MAY 25
Boston,Dallas/Ft. Worth, Memphis, Phoenix, San Francisco, Toronto, Chicago, Detroit, San Diego, St. Louis, Washington D.C.

FRIDAY, JUNE 1
Austin, Denver, Hartford/N. Haven, Minneapolis, Montreal, Philadelphia, Portland, Sacramento, Seattle, Vancouver

FRIDAY, JUNE 8
Ann Arbor, Albany, Atlanta, Baltimore, Calgary, Charlotte, Edmonton, Houston, Indianapolis, Milwaukee, Ottawa, Providence, Richmond, Rochester

Friday, 15 June 2007:
Boca/W. Palm Beach, Cleveland, Columbus, Honolulu, Kansas City, Las Vegas, Miami/Ft. Lauderdale

Friday, 22 June 2007:
Albuquerque, Cincinnati, Madison, New Orleans, Norfolk/Newport News, Pittsburgh, Salt Lake City, Tampa

Friday, 29 June 2007:
Anchorage, Asheville, Birmingham, Boise, Buffalo, Charlottesville, Colorado Springs, Dayton, Des Moines, Ft. Myers, Gainesville, Grand Rapids, Halifax, Ithaca, Jacksonville, Knoxville, Lansing, Lexington, Louisville, Nashville, Northampton, Oklahoma City, Omaha, Orlando, Raleigh/Durham, San Antonio, Santa Fe Sarasota, St. John, Syracuse, Tallahassee, Tucson, Tulsa, Victoria, Winnipeg

[J~$$$]

Do you want to be in Indiana Jones 4? yup.

http://www.spielbergfilms.com/indy4/1418

[full on idle]

YES YUP
do they need a me?

[J~$$$]

Yo hired!

[J~$$$]

http://www.variety.com/article/VR1117966195.html?categoryid=13&cs=1&query=g%2Ei%2E+joe

PORK CHOP SAMMICHES!!!!!

[devachan]

HI MOVIE THREAD.

[Jenniehoo]

My In-Depth Review of Drugstore Cowboy:

Yesssss Gabe didn't talk a bunch about this, so I get to:

So - the movie was pretty good. I was entertained but didn't feel a lot of compassion for the characters. I don't know if this is because I purposely don't side with the addicts in drug movies (it just always goes bad and I end up sad) or because the characters weren't believable. It might be the latter - but that's not the actors' faults. They were all great. I think this movie was more about a wild story than character development - and that's why it bothered me that there were so many random "Big Lebowski"esque brain moments with Matt Dillon's character. It's like - seriously? We're trying to be artsy now? The film cuts and the dialogue are somewhat realistic - but now there are flying hats and horses and bubbles? Just - disjointed to me.

I know dick about movies. I need to say that again before I offend anyone. I did like this movie - it was just kind of unremarkable. I find most movies about "junkies" or addictions interesting because I feel like I can identify with that mentality - and the boredom that comes with being sober. Still, I didn't quite get the point at the end of it. Junkies are always junkies? You can't escape from that life? What?

Heather Graham is beautiful but a shit actress once again. If nothing else, she's brilliant because she consistently shows up in roles where she can act dingy and vacant and pull it off - but have little dynamic appeal as an emotional or rounded character. I can't help but like her - but her standout roles have been Rollergirl, the chick in Austen Powers, and that one time she cameo'd on Sex in the City (playing herself - she's surprisingly likeable).

Matt Dillon was very good - I always forget how much I like him. He does a pretty good job playing comic villain - but he usually comes across as being sold as sexier than he actually is. Still, it's pretty much bone bone bone.

Yeah, that's about it.

[CuervoPH]

I was working in a video store when it was initially released on VHS. We got a promo copy in about a month before we were able to rent it to the public. I remember feeling the same way as you. I liked the movie but didn't really feel sympathetic to the characters.

I remember it being a movie I'd like to rewatch at some point, but haven't gotten around to it.

[Jenniehoo]

I definitely didn't hate it - but I feel like I might forget I ever saw it within the next month or so.


What's your avatar, Trey?

[J~$$$]

I is excited for 1408.

[Jenniehoo]

YOU AND ME BOTH, BABAY!!! WOOOOOO

[CuervoPH]

It's the "Y" from that "Charlie the Unicorn" video. I had never seen it before, and then Justin, I believe it was, posted that "Charlie The Unicorn Drinking Game" youtube video. That was hilarious, so I found the actual "Charlie the Unicorn" video and watched it...and then did a screen cap and made the singing "Y" my avatar.

[Jenniehoo]

I love that our theme around here is unicorns. It creates an environment of whimsy. Which is a lie.

[Mr.Nipples]

i watched 'little children' while staying over at a friends this week, it was pretty good...and i watched short cuts 2 times in a row to kill time, it was a long day...heres the trailer for i am legend, it looks good so far...
http://www.apple.com/trailers/wb/iamlegend/large.html

[tessalasset]

Jennie have I seriously not showed you Charlie the Unicorn?! That is probably Alex, Joe and my favorite thing on youtube.

[tessalasset]

shuuuuuuuuuuuuuuuuuuuuuunnnnnnnnnnnnnnnnnn-nuh!

[tessalasset]

oh my god, awesome.

DJYahflz8Jk

[amyzzz]

I is excited for 1408.
ME TOO. I saw the commercial for it after SYTYCD (god, now I'm using acronyms), and my husband and I just looked at each other in disbelief "Is that a movie about that AWESOME Stephen King ghost story???" "YES!" "WE HAVE TO SEE THAT!" Too bad we have to wait a couple weeks before it comes out.

We saw 28 Weeks Later last night which was OK, but characters kept doing stupid, stupid things, and you KNOW when they do stupid things, they're gonna get it later. I hate that kind of predictability. But it was still entertaining.

[schoolofruckus]

"1408" looks pretty awesome.

I agree with what Jennie said about "Drugstore Cowboy".

Sean Connery retired from acting. I'm not that sad; I've always felt he was extremely overrated. I liked him in "The Man Who Would Be King" and "The Untouchables", but come on - he's most famous for being James Bond. He's a pretty shabby actor overall.

Hi Movie Corner.

[J~$$$]

What do you think about Robert Downey JR playing the roll of Iron Man?

[Mr.Nipples]

i think its a good choice...same with the casting of gwyneth, the dude, and terrance howard. jon favreu directing is the only one making me unsure about this...was zathura even good? never saw it...

[J~$$$]

I dont know if I want to see it....The only reason would be for the acting. There has not been a single superhero comic book movie that I have enjoyed.

[schoolofruckus]

I don't know anything about "Iron Man", but Downey is good in every movie he's in, so I can't help but support the choice. Nipples is right about Favreau, though - I don't know if he's quite in this league. It's like when Kevin Smith was in the mix to direct a new installment of Superman or Green Lantern. Favreau's great when it comes to comedy, but I don't know what his visual chops are made of.

[J~$$$]

They gave him $165 mil. to work with.

[theburiedlife]

Is anyone as amazed by "Dead Man's Shoes" as i am? i just saw it yesterday.

[algunz]

Very anxious for "1408"

"Drugstore Cowboy" will always be the reason why I can NEVER put a hat on a bed.

[schoolofruckus]

I made it to the Federico Fellini doubleheader tonight.....but I was too tired to watch them both. I only caught "La Strada"; "Amarcord" will have to wait for DVD, but I have a feeling the Criterion transfer will be better than the print that I saw.

But "La Strada", holy fuck....amazing fucking film. It's about a young girl named Gelsomina (Giulietta Masina, the real-life Ms. Fellini) who is sold into marriage by her mother to a traveling strongman named Zampano (Anthony Quinn). Zampano is bad news....a brutish womanizer who treats Gelsomina in a manner more befitting a slave than a partner; let alone a wife. He gives her the menial tasks in their act, he whips her with a switch (Joe Jackson-style) when she makes a mistake, and he chases after every willing woman in the country while leaving her to fend for herself in the meantime. When Gelsomina gets up the courage (if only temporary) to leave him, she meets another entertainer called the Fool, who treats her with respect and compassion, and who implores her not to accept a life of captive misery. But Zambrano's re-emergence - and subsequent jealousy - can only lead to unhappiness for all...

This film is BRILLIANTLY acted. Giulietta, in particular, has one of the most amazing faces I've ever seen on film. The storyline between Gelsomina and the Fool is simple and beautiful, which makes the film's tragic ending that much more powerful. Anthony Quinn has a great turn as the bully here, letting his machismo run amok until it takes him to where all cases of machismo-run-amok lead - alone and haunted by a lifetime of bad deeds against happier people. That epic final shot on the beach is one of the more memorable closers I've ever seen.

Long story short - I need some more Fellini.

[thefunkylama]

Hi. I have a question. Forgive me for being simple, and also if this has been gone over already, but what exactly is different about the Criterion collection versus regular dvd?

[bassmintpdx]

Long story short - I need some more Fellini.

Yeah Fellini is sick. I think he's arguably the greatest director, along with Bergman. Their foresight, grasp of the medium, and influence is incredible.

Roma is one of my favorites by Fellini. It's this cool movie about the history of Rome told in a vignette type style and has amazing cinematography.

And yeah La Strada is *very* enjoyable.

[bassmintpdx]

Hi. I have a question. Forgive me for being simple, and also if this has been gone over already, but what exactly is different about the Criterion collection versus regular dvd?

They're probably the best DVD making company. Their transfers from film to DVD format are noted as being very good, their taste is awesome and focuses mainly on foreign and art films, and they usually have a ton of special features with usually 1 or more DVDs of extras in addition to the DVD of the actual movie.

[thefunkylama]

Aha. My online movie rental place of choice sent me The Life Aquatic that was the Criterion edition, which I didn't realize until after I watched it. The special features were neat, but I wasn't sure what else was different, or if it was just the quality (which, unfortunately, doesn't always translate on our tv anyway).

[wmgaretjax]

Gabe, have you seen Juliet of the Spirits? If not, perhaps I might suggest that be your next Fellini film?

I'm seeing a Haneke double header this Sunday (Funny Games and 71 Fragments of a Chronology of chance) here at the Grand Illusion in Seattle, I'm also seeing 30th Century Man and Tekkonkinkreet. Both of which I'm excited for.

Now that school is done, I'm gonna get my SIFF fix.

[schoolofruckus]

Nope, this was my first one. I was going to have "Amarcord" come next (because I missed it last night), but I see no reason not to take "Juliet" first.

I have "La Haine" at home right now. Anybody seen it?

[roberto73]

I love La Haine. I saw it at the Palm Springs Film Festival the year it was released and just bought the Criterion DVD. Powerful stuff. It's held up very well.

[noisemachine]

They're probably the best DVD making company. Their transfers from film to DVD format are noted as being very good, their taste is awesome and focuses mainly on foreign and art films, and they usually have a ton of special features with usually 1 or more DVDs of extras in addition to the DVD of the actual movie.

Only problem is the Criterion DVDs are horribly overpriced. While most DVDs sell for under $20 these days (including 2-disc editions), theirs usually range from $30-40 retail.

[bmack86]

Nope, this was my first one. I was going to have "Amarcord" come next (because I missed it last night), but I see no reason not to take "Juliet" first.

I have "La Haine" at home right now. Anybody seen it?

I can tell you from my viewing of Amacord that, at first, it's a little hard to take in. The first half hour seems fairly unconnected, but once you get to know all the characters then it becomes really entertaining and charming. i loved the end of the film, and want to watch it again. And, the Criterion transfer is fantastic.

[CuervoPH]

I reallly need to get caught up on my Fellini movies. My favorite so far has been "8 1/2". The first one I saw, though, was "La Dolce Vita". That one took repeated watches for me to understand what I was seeing, but I love the way he stages his shots. The opening segment in that one was beautiful.

[wmgaretjax]

Only problem is the Criterion DVDs are horribly overpriced. While most DVDs sell for under $20 these days (including 2-disc editions), theirs usually range from $30-40 retail.

Most criterions are 20-30 nowadays actually. and it's well worth the price for transfer quality alone if you care about the film.

I've seen la haine and it's quite good. definitely worth checking out.

[schoolofruckus]

Speaking of Criterions (which are not over-priced, because they put together the best DVD's around and they go out of their way to bring previously unavailable films to the market)....

I just finished watching "La Haine". It was really fucking good - something of a French version of "Do the Right Thing" with a slight hint of "Kids". It was directed by Mathieu Kassovitz, who played the main love interest in "Amelie" and one of the main characters in "Munich"....but don't hold that one against him. Okay, he also directed "Gothika", so maybe his track record leaves something to be desired. But this film is stellar. It follows three young friends of different ethnicities - Vinz (Vincent Cassell, the "French Tom Cruise" in the words of his "Irreversible" director, Gaspar Noe), Said (Said Taghmaoui, the "What is the problem with Michael Jackson?" Iraqi soldier from "Three Kings"), and Hubert (some guy named Hubert Kounde) - during a 24 hour period in the middle of a race riot in inner-city Paris. Their friend Abdel lies in the hospital, beaten down the night before by a gang of police officers, and the three protagonists try to make sense of it as they proceed through the day. Adding another level of tension to the matter is the fact that Vinz found a gun that was lost by a policeman in the melee; he defiantly vows to anyone who will hear him that if Abdel dies, he plans to take a cop's life in return. This movie is intense, strongly acted, and excitingly shot in black and white. Any fan of "Do the Right Thing" should check this out as a companion piece.

[mob roulette]

But "La Strada", holy fuck....amazing fucking film. It's about a young girl named Gelsomina (Giulietta Masina, the real-life Ms. Fellini) who is sold into marriage by her mother to a traveling strongman named Zampano (Anthony Quinn). Zampano is bad news....a brutish womanizer who treats Gelsomina in a manner more befitting a slave than a partner; let alone a wife. He gives her the menial tasks in their act, he whips her with a switch (Joe Jackson-style) when she makes a mistake, and he chases after every willing woman in the country while leaving her to fend for herself in the meantime. When Gelsomina gets up the courage (if only temporary) to leave him, she meets another entertainer called the Fool, who treats her with respect and compassion, and who implores her not to accept a life of captive misery. But Zambrano's re-emergence - and subsequent jealousy - can only lead to unhappiness for all...

This film is BRILLIANTLY acted. Giulietta, in particular, has one of the most amazing faces I've ever seen on film. The storyline between Gelsomina and the Fool is simple and beautiful, which makes the film's tragic ending that much more powerful. Anthony Quinn has a great turn as the bully here, letting his machismo run amok until it takes him to where all cases of machismo-run-amok lead - alone and haunted by a lifetime of bad deeds against happier people. That epic final shot on the beach is one of the more memorable closers I've ever seen.

Long story short - I need some more Fellini.



I just finished watching "La Haine". It was really fucking good - something of a French version of "Do the Right Thing" with a slight hint of "Kids". It was directed by Mathieu Kassovitz, who played the main love interest in "Amelie" and one of the main characters in "Munich"....but don't hold that one against him. Okay, he also directed "Gothika", so maybe his track record leaves something to be desired. But this film is stellar. It follows three young friends of different ethnicities - Vinz (Vincent Cassell, the "French Tom Cruise" in the words of his "Irreversible" director, Gaspar Noe), Said (Said Taghmaoui, the "What is the problem with Michael Jackson?" Iraqi soldier from "Three Kings"), and Hubert (some guy named Hubert Kounde) - during a 24 hour period in the middle of a race riot in inner-city Paris. Their friend Abdel lies in the hospital, beaten down the night before by a gang of police officers, and the three protagonists try to make sense of it as they proceed through the day. Adding another level of tension to the matter is the fact that Vinz found a gun that was lost by a policeman in the melee; he defiantly vows to anyone who will hear him that if Abdel dies, he plans to take a cop's life in return. This movie is intense, strongly acted, and excitingly shot in black and white. Any fan of "Do the Right Thing" should check this out as a companion piece.

Awesome. Color me impressed. Sometimes it blows my mind just a little about some of the things you haven't seen yet, but then I remember that I likely have about a decade or so on you. And then when you DO finally get around to seeing them, you totally nail it. Well done, brother.

Will never forgive you for "The Fountain" though. Seriously? Aronofsky's all image, man, NO CONTENT. Ask around. "Requiem" is based on a stellar novel, "PI" is a one trick pony, and "The Fountain" is an unholy mess. There's a reason Brad Pitt got too "busy", bro. Again, ask around. Just saying.

And "The Sopranos" taken as a whole is the greatest American film of the last ten years and should be treated as such. There will be entire undergraduate classes devoted to the subject. As well they should. It's truly a definitive piece of work.

Appreciatively.

M

[PotVsKtl]

Again, ask around. Just saying.

Ask around where? To who? Where do we find these individuals that have the final say on what is a successful film? I don't have much to say about Pi, but whether or not Requiem is based on a stellar novel is immaterial. There are a lot of terrible films based on stellar novels. If you think a good script/good subject matter is all it takes to make an incredible movie you are woefully mistaken. Aronofsky fucking nailed Requiem.

[schoolofruckus]

Mob, I can see why you might not like "The Fountain" - or "Pi", or even "Requiem" - but to dismiss it/them as being superficial and all about the image is extremely inappropriate. Some people watch "The Fountain" and think there's no character development, or that the love story isn't sold well enough, or whatever. Those of us who happen to love it - and the number's only going to grow over the next 30 years, so get used to it - feel like the characters, and the emotions between them, make all the sense in the world. It's executed in a way that's maybe different than how many other films do it, but it works according to its own rules and within the rules that the film establishes for its own universe. I don't keep going back to watch this movie to look at the pretty pictures; I return because I love these characters and I love their story and I love the ideas being presented about love and death.

In regards to "Pi" - it's a fascinating film that creates an overwhelming atmosphere of dread and paranoia. Sure, it's basically like a Jewish version of "The Da Vinci Code", only about a million times smarter; it's extremely entertaining and involving. What were you looking for?

And as far as "Requiem" is concerned - if you deny that film's brilliance, you are insane. It's to Aronofsky's credit - not detriment - that he took an outstanding book and turned it into maybe the best movie of this decade. Plus, Pot's right - there have been dozens of great source novels that have been emasculated on their way to the screen.

Like, for instance, The Fountainhead.

E

Oh wait....

Like, for instance, The Fountainhead.

G

[roberto73]

Mob, I can see why you might not like "The Fountain" - or "Pi", or even "Requiem" - but to dismiss it/them as being superficial and all about the image is extremely inappropriate. Some people watch "The Fountain" and think there's no character development, or that the love story isn't sold well enough, or whatever. Those of us who happen to love it - and the number's only going to grow over the next 30 years, so get used to it - feel like the characters, and the emotions between them, make all the sense in the world. It's executed in a way that's maybe different than how many other films do it, but it works according to its own rules and within the rules that the film establishes for its own universe. I don't keep going back to watch this movie to look at the pretty pictures; I return because I love these characters and I love their story and I love the ideas being presented about love and death.
G

Not that you need my support, but I have to agree with you about The Fountain. I watched it last weekend and immediately felt like I needed to watch it again to make sure I understood it. That's not a criticism of the film; some films (and books, obviously) demand repeat exposure because their ideas are so challenging. It could turn out that The Fountain is one big cream puff of a movie – I'll watch it a second time and realize there's nothing sustaining there. But my gut tells me the key to the movie is in there; it just takes some work to put it all together. A comparison that might be giving The Fountain more credit than it's due is 2001, but I felt the same way watching Aronofsky's film for the first time as I did Kubrick's.

And I'm glad to hear you liked La Haine. I keep hoping for Kassovitz to do something of similar quality, but it's been a long wait.

[dorkfish]

speaking of Criterions...

dvdplanet is having a 20% off sale with coupon code 20OFFSALE and all of their Criterions are already 35% lower than MSRP. That's a 48% savings from MSRP... i.e. $39.99 becomes $20.79

deepdiscount is also having a 20% off sale with various coupon codes (XM, SUMMERSALE)...so you can competitively shop for them if you want.

[Yablonowitz]

And "The Sopranos" taken as a whole is the greatest American film of the last ten years and should be treated as such. There will be entire undergraduate classes devoted to the subject. As well they should. It's truly a definitive piece of work.


Arrrgh. Not to sound like a fucking dead horse beating dork, but The Sopranos (I show I LOVE) is nowhere near as solid as a piece of TV serial drama as Deadwood and The Wire...particularly Deadwood which is a singular accomplishment that can not be overstated. Except for the fact that HBO fucked David Milch over by not letting him do a whole fourth season. Instead, they hire him to make a mystical, bizarre, metaphysical surfing show that is apparently so abstract as to probably draw an even smaller audience than Deadwood (not that I'm complaining, I'm anxious to catch "John From Cincinnati".)

You'll have to forgive me. I just can't understand why people spooge all over The Sopranos when there are two even more tightly wound dramatic series with characters as epic as Tony Soprano. I think it's the Italian mob genre phenomenon handed down from Coppola and Scorsese.

[thelastgreatman]

I gotta side with Mob at least in part on this issue. First some disclaimers: I have not read Requiem the novel; I have not seen The Fountain. I also find it really hard to believe that The Fountain would leave me overjoyed though, but I'll check it out when it comes up in my roommate's Netflix queue.

Mob's point about Aronofsky being almost strictly a visual director with very little attention paid to proper story/character development, though, has been one of my gripes about Requiem from day one when all the other druggies were busting a nut about its "brilliance."

Pi's good shit, particularly for a first film on such a small budget, though if one wants to be critical it's not hard to find areas in the realms of conflict and character that leave the audience unfulfilled. But it pretty much entirely makes up for those failings through its unique subject material, and more importantly Darren's incredible ability for creating and sustaining mood and theme with his images.

Unfortunately Requiem is a much more hollow story (if he did indeed do a faithful adaptation of the novel). I have numerous beefs with it, although it is admittedly a beautifully shot picture, right up there with the prettiest works by any of his competition (e.g. Tarantino, Fincher, O'Russell, Soderbergh, etc.). But there's some serious fucking problems that those visuals are covering up.

Minor complaint I'd like to get out of the way first--what fucking drug is it that they're supposed to be doing? Cause they act like it's heroin, but Darren's infamous pupil shot shows the pupil dilating, which is the exact opposite of the ocular response to opiates. In theory I suppose it could be meth, except that they certainly don't act like tweakers, and even then I'm not so sure about it causing such a dilation. Sorry, just drug nerd nitpicking I had to get out of the way.

There are no proper arcs in Requiem. It starts off at a status quo, and achieves a very small and very short-lived peak of positive development for the characters quite early, but then the whole rest of the picture is a continuous and draining slide further and further and further into the "watch how fucked up these people are" school of film making.

I fucking hate it when movies do that. You can only bang that same gong for so many minutes on end, alright? I forget the exact number, but I believe that the peak of the arcs hit around minute 30 at the latest, leaving us with an hour straight of plummeting deeper into well-worn territory. It ain't exactly difficult, original, or particularly interesting to show drug addicts with fucked up lives. That's what the audience is expecting, and a good storyteller knows enough to insert something for that desperation and misery to be juxtaposed against (e.g. Trainspotting's use of friendship played against the unavoidably solitary nature of heroin addiction).

Finally--I'll wrap up just to fake brevity--the thing most annoying about the picture in retrospect is that there are seemingly no characteristics of Jared, Marlon, and Jennifer aside from the fact that they're junkies. At least the mother has a nicely bittersweet motivation for the bait-and-switch of addiction she gets sucked into, and her relationship to her son hits some nice notes. But the other three barely have anything to them (even Jared's dealing with his mother is only about drugs, nothing else) besides being junkies. Conflict: They're junkies. Goal: Get more junk. Problem: Can't find any junk. Resolution: fuck a double dildo; have arm cut off.

Without character there is no story, doesn't matter how pretty the film is. And we don't even know how much credit the DP and cinematographer (and quality of film stock) deserve for that.

[schoolofruckus]

Randy, I swear to Christ, if I have to hear you rattle on about how all these movies with all these interesting, engaging, human characters have no "arcs" even one more fucking time, I'm going to ritually burn that deplorable screenwriting book you gave me.

[thelastgreatman]

Go right ahead, just read it first so you can realize you're making a terrible, terrible mistake before doing so, and then apologize for having failed to recognize how utterly correct I've been this whole time. =)

Sorry dude, I love ya, but character = story, story = development, development = arc.

[schoolofruckus]

And movies = don't have to be constructed in just one easily digestible fashion. If you want all your movies to follow the established rules of screenwriting, then that's your prerogative. But you will miss out on the joys to be had from films that do thins differently, and you will lose tons of credibility with people who are are able to look outside of what's easy and simplified.

[thelastgreatman]

My dear boy, if you think there's anything "easy" or "simple" about constructing a proper plot you're sorely mistake. What's easy is just showing a bunch of junkies being junkies for an hour and a half and never delving any deeper.

[Yablonowitz]

My dear boy, if you think there's anything "easy" or "simple" about constructing a proper plot you're sorely mistake. What's easy is just showing a bunch of junkies being junkies for an hour and a half and never delving any deeper.

My dear boy?

Randy = self-absorbed cunt.

[thelastgreatman]

My dear boy?

Randy = self-absorbed cunt.

Aw, you're just pissed that I'm a better interviewer than you.

[schoolofruckus]

My dear boy, if you think there's anything "easy" or "simple" about constructing a proper plot you're sorely mistake. What's easy is just showing a bunch of junkies being junkies for an hour and a half and never delving any deeper.

It's not easy to construct; it's easy to get into as an audience member. You're so concerned with the nuances of "proper" screenwriting that you lack the ability to see other methods of telling a story. What you need to realize is that there are some people who like movies to exist as art, and art can be composed in a variety of ways. Some of those ways may very well be over your head, even if they don't hit all the bullet points that you look for in your evaluation. You have said to me that you're "not an arthouse guy", you don't seem to appreciate independent films that aren't very neatly assembled and palatable for mainstream consumption, so you're just going to have to accept the fact that there are certain movies that are just out of your tree.

[Yablonowitz]

Aw, you're just pissed that I'm a better interviewer than you.

I'm sure in your mind, that is what I think.

I've already acknowledged that my interviewing skills were lacking. But I'd be careful to give yourself yet another blowjob since interviewing a drunk caco sells itself. And, wow, you asked him sex questions. Hard to imagine you'd get good shit from that scenario.

FOI is better than both of us.

[full on idle]

TLGM is a biter.

[Yablonowitz]

TLGM is a biter.

And a spitter.

[amyzzz]

I watched The Fountain again this weekend with my husband and my mother-in-law. I don't know if my mother-in-law "got" it, but I find new interpretations and clues for those interpretations every time I view it.

And LGM, I think people have said in the past that the drug in Requiem is meth.

[thelastgreatman]

Gabe man, I'm telling you, you're looking at this all the wrong way. I know because I used to say the EXACT SAME SHIT you're convinced of right now. I didn't become unconvinced because I went and studied screenwriting--I became unconvinced because after several years of writing under that belief I was still very unhappy with what I'd produced, and I knew the things that were wrong with it but didn't understand how one went about dissecting and fixing them.

These are not "rules," and they are not just for screenplays. They are principles of storytelling in all media, handed down and evolved through the ages. Christ, we're not even talking about minute elements of structure here--these are the main tentpoles of what makes for a story. I never claimed to be an arthouse guy, by the way, but if you think that these principles are only employed by blockbuster studio features, you're wrong. They're in everything that Kubrick, Coppola, Tarantino, Scorcese (to a lesser degree, which is why his flicks aren't as good in general, but Raging Bull is his best largely because it does a better job of being a "story" in this sense), the Coens, and Welles (I could go on, but that should be enough) ever did. And their ability to bend those guidelines and reinvent how the rules can be applied is what makes them great filmmakers.

Yablo--I'm sorry things didn't work out for you on the Ruckus network, but there's always Telemundo.

[schoolofruckus]

Randy, I'm not hating on the principles themselves. I'll freely admit I enjoy tons - tons - of movies that are written by the book. What I'm saying is - your claim that any movie that doesn't adhere to them is less interesting because "the character arcs aren't complete" is fucking bullshit. You're using the crutch of "this has been handed down through history!" *table pound* to compensate for the fact that there are some widely (or even narrowly-but-fanatically) beloved movies you just don't get, or don't enjoy. Other people do love them, and feel completely connected to them, because there's more than one way to skin a cat.

[wmgaretjax]

I'm a little skeptical of the term "proper" arc or plot.


"The Fountain" was a mediocre film. It was beautiful, but tainted by Aronofsky's personal connection to the project. It ended up a sentimental mess.

"Pi" is an extraordinary first film. "Requiem" was a really well done, albeit rehashed, junkie film. It was a pretty good recreation of the book (of about 75% of the book, a lot of the downward spiral is missing). It is undoubtedly heroin though.

Ultimately, Aronofsky needs to distance himself a little from his projects in the future, there is a shit ton of potential there, but if the sentimentality keeps up, i won't bother with his films any more.

[mob roulette]

And LGM, I think people have said in the past that the drug in Requiem is meth.

No it's junk. In novel and film. Otherwise it doesn't make any sense.

Also, Requiem's a good movie. Just not as great as everyone makes it out to be. Stunning to look at, of course, but slightly incomplete in my eyes. Trainspotting is probably better, or even Last Exit to Brooklyn, another Selby adaptation. Ellen Burstyn is the most solidly drawn character here. You don't need an entirely fleshed out backstory or a complete knowledge of character motivation to enjoy a fim, but it sure does help sometimes. For what it's worth, I thought the novel did a much better job of making you care about the other principles here. Pick it up, it's worth the read.

[thelastgreatman]

Gabe, you're applying a reversal of the truth to my reaction. I didn't like these movies/stories before I studied this craft, but that study gave me insight into what was bugging me. I had vague notions of why I didn't like them (see my beefs with Catcher In The Rye--initially formed at the age of 13 long before I'd wised up enough with my screenwriting to do any research--but still completely consistent with my feelings upon re-reading it many years later except then I knew how to express my criticism better).

I may criticize the movies you like but I never question your motivation in liking them, and frankly I think that for you to call me "close-minded" on the subject matter is a bit hypocritical--I have devoted more than half my young life to the goal of being a storyteller, specifically through film. In order to help me acheive that goal I seeked out as much supposed wisdom on the matter as I could find. The book I gave you is not the only one I've read--it is one of eight or nine, and I gave it to you because I found it to be the most accurate in relation to my own instinctual feelings about this difficult and complicated process that is writing for film. I won't bother going into discussion of classes I took because I found them much less helpful.

The advantage of reading several legendary "authorities" on the subject matter is that it made close-mindedness rather impossible, to the extent that you could imagine me being led blindly by some dogma whatsoever. Shit dude, you should know that I am not only ready, willing, and able but also EAGER to dismiss the "conventional wisdom" on any subject matter as nothing more than conventional dumbfuckery. In every instance I took in what these highly acclaimed, thoroughly accredited, revered gentlemen had put into words, digested it, and dismissed at least 50 percent.

The idea is not to conform to how they say it should be done, but to try to get as much information from as many different viewpoints as possible and then choose what feels right for you. Our tastes in film differ, this is not news. But I would never (or at least hope I haven't already) deride your opinion as being invalid. Some people also like Animal Collective, apparently--I can't understand why. You like Vincent Gallo--I can't understand why. But if you want to make movies like Gallo there's still no reason NOT to do research, study, and THEN decide what lessons are useful for the movies you want to make.

Rejecting the idea of studying what the entire history of humanity's fascination with telling stories has given us is close-minded, sir. Story structure is not. My script you read violates a number of conventions--it's a five-act plot in which I decided to rearrange the classic five-act structure that was first developed by the Greeks and stayed practically unchanged all the way through Shakespeare's numerous famous works (he worked mostly in five-act with a few exceptions). My studying of that structure in no way closed my mind--it gave me ideas on how to improve upon it.

Yeah, that's right, I said Shakespeare was fucking up and made my own way. Not everyone will agree I'm right, of course, but that's fine because all either of us care about is making the best movie we can. I urge you to study so you can learn which rules you want to break the most just as much as which you want to follow.

Sorry for the long post, but I'm getting heartfelt over here, Gabey. Hope you're hearing me. And have you even started reading it yet? =)

EDIT--just one more note: the reason I frequently bitch about character development and arcs is that they are what I have always valued in art, both as a spectator and as a creator. I'm interested in people, the human condition, and I like them to undergo a meaningful change (whether for better or worse) before the story is out. Otherwise, I feel gypped, again both in others' work and in my own. Isn't that painfully obvious in my script, homie?

[thelastgreatman]

And LGM, I think people have said in the past that the drug in Requiem is meth.

I guess it has to be, but if that's the case then I'd like to know what kind of fucking tweakers Darren's known in his life, 'cause they didn't act like any I've ever met/been. And there's other stupid shit too--they talk about buying a "pound of pure." What powder drug is weighed in pounds?

EDIT: Mob and Garet already had the answer. Thus, I reissue my complaint that Darren somehow managed to get one of the single most noticeable physical traits of heroin use completely ass-backwards. A pupil shrinking down to nothing would have been just as cool, if not possibly cooler, and wouldn't be so irritating for us real junkies who feel there's much more interesting shit to depict than just the struggle to find more H.

[amyzzz]

Well, here I thought it was heroin, and someone else here said it was meth. Oh well. That is a terrifying movie.

[mob roulette]

Well, Randy is a better writer, which makes his argument convincing, but he's also a horribly shitty role model for the kids. Plus he doesn't like Vincent Gallo, which I will never fathom. You'd think that would be a given. Gabe is smart, funny, and kind. But he also bought into "The Fountain" hook, line, and sinker, so I'm totally conflicted here. I need a clear victor. Let's give them another topic to fight about so that I can make up my mind.

Let's see...

"Breaking The Waves", genius character study with a wonderful magic realism ending that doesn't cheapen the film at all OR overhyped, pretentious piece of crap?

Please discuss.

[wmgaretjax]

"Breaking The Waves", genius character study with a wonderful magic realism ending that doesn't cheapen the film at all OR overhyped, pretentious piece of crap?

Please discuss.

no... that doesn't work. it's too easy, and anyone that tries to put down "Breaking the Waves" will be revealed as a fool instantly. I don't think Randy or Gabe are that foolish.

[amyzzz]

I liked Breaking the Waves and The Fountain.

[wmgaretjax]

I saw a couple films this weekend.

"Tekkonkinkreet" was an anime film I saw at SIFF. I hate anime, and while the plot was silly at point and it went on too long, this film was insanely beautiful. Definitely worth checking out on video.

I also saw "30th Century Man," a documentary on Scott Walker. While a lot of the material is predictable, there is some great studio footage of him working on Drift. See this movie if you have the chance (whether you are into scott walker or not).

Finally, I watched "Time" but Kim Ki-Duk. A incredibly heavy handed, yet beautiful, film by the South Korean master. Forgettable, but interesting within the context of his career.

[roberto73]

no... that doesn't work. it's too easy, and anyone that tries to put down "Breaking the Waves" will be revealed as a fool instantly. I don't think Randy or Gabe are that foolish.

Would it work to choose a different Von Trier film? Dogville, perhaps?

[wmgaretjax]

A comparison that might be giving The Fountain more credit than it's due is 2001, but I felt the same way watching Aronofsky's film for the first time as I did Kubrick's.

Dogville will work... Your above statement however, will be hailed by future generations as the greatest tragedy of our time.

[mob roulette]

no... that doesn't work. it's too easy, and anyone that tries to put down "Breaking the Waves" will be revealed as a fool instantly. I don't think Randy or Gabe are that foolish.

Suggestions then? I bet they disagree on "Lost In Translation". Or "Full Metal Jacket". Or something.

I also saw "30th Century Man," a documentary on Scott Walker. While a lot of the material is predictable, there is some great studio footage of him working on Drift. See this movie if you have the chance (whether you are into scott walker or not).

I haven't seen that yet but I heard it was pretty good. Caught "The Devil and Daniel Johnston" on Friday. Enjoyed.

[Yablonowitz]

I'm interested in people, the human condition, and I like them to undergo a meaningful change

Yeah, you're a great student of humanity. You really are one empathetic son of a bitch.

[Yablonowitz]

I liked Breaking the Waves and The Fountain.

Amy,

This thread is for men to measure their penises together. Be quiet. Mine's too small to fit in.

[Hannahrain]

Read between the lines, people. Yablo is worried about being outwanged by Amy.

[thelastgreatman]

::shrug:: Sorry, not familiar with it. IMDB's summary sounds pretty solid with a novel twist from a plot standpoint, but that's based on one paragraph of description of the movie, not the movie itself. Wanna try another? Might want to shoot for something a bit more widely seen--like I said, I'm not much into hitting arthouse flicks. To tell the truth, I only go to the theatre when I'm pretty positive I'm going to like the movie nowadays.

[thelastgreatman]

Suggestions then? I bet they disagree on "Lost In Translation". Or "Full Metal Jacket". Or something.

Either one of those works for me.


I haven't seen that yet but I heard it was pretty good. Caught "The Devil and Daniel Johnston" on Friday. Enjoyed.

I kinda really want to see that myself, the clips a friend showed me were pretty interesting. And the fact that he's a really great songwriter but an absolutely horrible performer of those songs is a perfect juxtaposition already--not easy to get in documentaries.

[roberto73]

Dogville will work... Your above statement however, will be hailed by future generations as the greatest tragedy of our time.

Ha. Yeah, I should've clarified that I wasn't attributing the same level of quality to The Fountain as 2001, only the fact that I knew I was going to have to watch it more than once to figure out what was going on.

[Yablonowitz]

Read between the lines, people. Yablo is worried about being outwanged by Amy.

Impossible, amy doesn't have any reproductive organs or body parts at all. She's smooth like a Barbie doll.

[denies the day]

I'm a little skeptical of the term "proper" arc or plot.

"The Fountain" was a mediocre film. It was beautiful, but tainted by Aronofsky's personal connection to the project. It ended up a sentimental mess.

Proper character arcs are way more important in mainstream films, perhaps because the majority of filmgoers need them as closure. Personally, I don't mind whether the characters have a life-altering experience or not. The story as a whole interests me much more. And yeah, The Fountain was not as good as his first two films. But it was very beautiful visually.

No it's junk. In novel and film. Otherwise it doesn't make any sense.

There were other things that didn't quite fit but Aronofsky played them for a modern audience. Example: the book was set in the seventies back when they were still doing electroshock therapy for drug addicts but the film appeared to portray the setting as current (DJ setups in the background, etc).

EDIT--just one more note: the reason I frequently bitch about character development and arcs is that they are what I have always valued in art, both as a spectator and as a creator. I'm interested in people, the human condition, and I like them to undergo a meaningful change (whether for better or worse) before the story is out. Otherwise, I feel gypped, again both in others' work and in my own.

I love stories that leave characters hanging, where you have no idea what their outcome will be (ala Todd Solondz). Sometimes, they have more of a truth to them and it makes it easier for me to relate to them.

[mob roulette]

I kinda really want to see that myself, the clips a friend showed me were pretty interesting. And the fact that he's a really great songwriter but an absolutely horrible performer of those songs is a perfect juxtaposition already--not easy to get in documentaries.

He's an amazing performer of those songs. You just have to speak the language.

--like I said, I'm not much into hitting arthouse flicks. To tell the truth, I only go to the theatre when I'm pretty positive I'm going to like the movie nowadays.

Do Punch Drunk Love. It's perfect. Did you hate it or what?

[KungFuJoe]

Hey Gabe. Did you go see "Brand Upon The Brain" yet?
A few buddies & myself are going to the 730 screening tonight.

[thelastgreatman]

Proper character arcs are way more important in mainstream films, perhaps because the majority of filmgoers need them as closure. Personally, I don't mind whether the characters have a life-altering experience or not. The story as a whole interests me much more. And yeah, The Fountain was not as good as his first two films. But it was very beautiful visually..

Le motherfucking sigh... how are you folks defining "mainstream" exactly? Are the Coen Brothers mainstream, for example? I think you're throwing that around like these things are only employed by the guys who write blockbusters and formulaic romantic comedies, but guess what? You can apply them to Charlie Kaufman too. Adaptation follows them, even while it mocks them. If you want to lump his stories in as "mainstream" as well, well fuck. Then we're basically just defining "mainstream" as anything that DOESN'T adhere to the conventional concepts of story and plot, in which case the discussion is concluded already.

The characters do not need to have a "life-altering experience" in the sense I believe you to be using it. They don't need all their problems to be solved, they don't need to achieve their goal, they don't need to win their conflict. But there should be some kind of progressive change in the character over the course of the film as he struggles to overcome whatever he's trying to overcome, whether it's foiling a terrorist plot, winning a woman's love, fulfilling his potential as an artist, fighting suicide, committing mass murder, whatever. He can even end up RIGHT BACK where he started in the beginning as long as it makes sense that the arc led him there and he underwent changes along the way before settling back where he began.


I love stories that leave characters hanging, where you have no idea what their outcome will be (ala Todd Solondz). Sometimes, they have more of a truth to them and it makes it easier for me to relate to them.

Welcome To The Dollhouse? Seriously? Ugh, this conversation is already fucked.

Why doesn't someone just start invoking Harmony Korine or Gregg Araki as long as we're at it?

[denies the day]

Christ, that was a long post.

Kim Ki-Duk's Spring, Summer, Fall, Winter... and Spring is the only film I've seen from him. Looking forwards to checking out his other films.

[mob roulette]

Welcome To The Dollhouse? Seriously? Ugh, this conversation is already fucked.

Why doesn't someone just start invoking Harmony Korine or Gregg Araki as long as we're at it?

Invoked. I like Korine. Solondz too. Araki I can take or leave.

[denies the day]

In the cultural vacuum I live in, if it plays at the local 30-plex, it's a "mainstream" film. Although the Coens and Charlie Kaufman write very smart pieces, their films are still "mainstream".

I was thinking more along the lines of Storytelling and Palindromes than WTTD in my response. And there's nothing wrong with Harmony Korine or Gregg Araki. There are many worse filmmakers out there.

[amyzzz]

Impossible, amy doesn't have any reproductive organs or body parts at all. She's smooth like a Barbie doll.
I wish.

On another note, all this negative discussion about The Fountain infuriates me because both my husband and I connected so closely with it. To each her own.

[thelastgreatman]

Do Punch Drunk Love. It's perfect. Did you hate it or what?

Ooo, alright, good one. I generally have quite a few beefs with PTA but of all his movies this is by far the one that succeeds in not aggravating me in particular, perhaps because it's not nearly as long as Boogie Nights or Magnolia and focuses on fewer characters, which gives him the opportunity to portray them fuller.

As a whole I definitely dug it--the romance was clever and just awkward enough to be realistic and truthful without becoming one of those "the two most romantically inept people on Earth fall in love and stumble over each other for the entire movie" deals. There were quite a few good comedic beats, everyone did a fine job with their roles, it was shot very well, but most importantly... PTA finally gave his characters a fulfilling journey.

Sandler has to learn to overcome his own personal flaws as well as external forces in order to be worth of the love of this woman. It's a well-told story of how a lonely man glimpses the possibility of finally having someone, and afterwards is so driven by the desire to no longer live as a leper just because he has some mental/emotional flaws that he stops at nothing to have her.

What makes it great is that the real struggle isn't anything in the rest of the world. I forget what the fuck it is exactly that Hoffman is holding over the chick's head that prevents them from being together but whatever it is that's not what he has to overcome. Punch Drunk Love is pretty much entirely about Sandler fighting himself, as all the best stories really are. THIS is a character arc. He starts as a man besieged by loneliness because he's fucking nuts, and by learning to control himself he EARNS this companionship.

The ending is a perfect conclusion of this arc because it's actually the flaws that were initially his problem that enable him to win the final, external battle--he unleashes his crazy violent shit on Hoffman, turning his flaw (flaws are another one of the key elements of a character arc) into the weapon with which he kills the loneliness which drove him insane to begin with.

In many ways, you can think of a perfect "arc" as really being a circle--ideally, all the conflicts should come together in the end. Even if he didn't get the girl the movie could still work I believe, but if Sandler didn't develop the ability to assert himself, if he just stayed the same introverted lonely nutjob from beginning to end, then it wouldn't be a story. Or at least not one I'd care about.