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just saw watchmen, and i agree with you rose, the fight scenes were a bit much. wasn't part of it that the only one who really had "powers" was jon/dr. manhattan? i also found the music over the top too, i don't care for wall-to-wall music movies, and at time it felt like that. i will say that i found the muzak version of "everybody wants to rule the world" hilarious, as were the dr. strangelove scenes.
GT, I noticed the Muzak Tears for Fears, too. That was great!

A friend of mine who is unfamiliar with the gn saw Watchmen this weekend and hated it. Granted, she was expecting a more conventional style of super hero film, but after listening to her I'm beginning to think that maybe they didn't include enough back story because my friend was really lost. She didn't know that Daniel's alter ego was named Night Owl. She didn't realize that the Kaene Act had been passed, making costumed super heroism illegal, etc. She certainly didn't notice the "Who Watches The Watchmen" graffiti which was such an iconic thing in the gn. Plus, the casting choices meant that some things were lost (She thought of Veidt as a skinny geek who was over-compensating because of poor self-esteem, rather than a brilliant, god-like man). I'm beginning to wonder how well the film holds up for people who are new to the story.

In other new, I finally got around to seeing Paris, Je t'aime. I really really enjoyed it. Each story felt like a little amuse bouche. I think I may watch it again today.

QUOTE(auralpoison @ Mar 8 2009, 04:51 PM) *
Repo! to me is not worth the effort of semiotics.

Some people are just brilliantly succinct.
i dunno, i saw it with someone who wasn't familiar with the watchmen either, and he followed just fine, although even being familiar with it, the whole oz/veigt person, his relative position in the watchmen, his power, seems to come from nowhere. he's never in much of the stuff we find out about in the past, he just seems to come in in the final act to wrap things up. he's bill gates with a god complex, but he seems terribly rooted in that he was working with the nightowl, silk, manhattan and the others.

if you were waiting for the masks to stop talking and start fighting, then you'd miss the keene act business, but it was discussed several times in the film. as for not realizing that daniel was the night owl, i don't see how she could have missed that. the old owl tells daniel he made a better owl in the first scene, and well, he has a huge basement with a aircraft in it with costumes. how could you miss it?

for a comic movie, watchmen is a bit more dense than most, since you can't really make a franchise from it, it's kind of a one shot deal, you have to cram it all in there. i do think somethings suffered for not being a little more heavy handed-- rosch being the guy caring the "the end is neigh" thru the film, in the comic he was practically the greek chorus. in the movie, i doubt that most viewers would have noticed him and his sign in the scenes that were in-- he fades to the woodwork in the movie. it's too bad, since it told you all you needed to know about rosch. like the magazine stand guy and the comic reading kid, their absence is missed. you need that distancing device.

i suspect it would depend on how you watched the movie. i read the book years ago, but the opening (arguably the most effective part of the movie), with it's tableau flashbacks and history insertions preped me for something different. i thought i'd be able to sail thru the movie, but after that i sat up and payed attention, lest i missed something.

GT, glad to hear your friend was able to keep up with it. That eases my mind.

I don't think I was clear about my friend's Night Owl confusion. She knew that Daniel was a super hero, she recognized him in and out of costume, etc etc. She just never caught that his alter ego was named Night Owl. She only knew him by his first name. Maybe she just wasn't paying close enough attention, I don't know, but it made me wonder how much of the story was left out or not emphasized ... how many things I took for granted because I already knew those characters. I suspect, though, that the real reason why she didn't like it is because she was expecting something different - something with an obvious hero & an obvious villain. Watchmen isn't like that. For most of us, that's what makes it so great, but for others I guess it's a difficult hurdle to get over. By the by, she asked me why Doctor Manhattan was nude for most of the film. I had to assure her that he was nude in the comic, too. Maybe I'm weird, but I didn't find that very distracting. Perhaps that's because I knew it was all computer animated? Frankly, I would've been pretty annoyed if they'd kept him covered up the whole time. There's so much female nudity in this world, so what's wrong with a little male nudity?
i agree, about the boy peeper thing. americans are so afraid of the peeper, which is ironic since we have phallic symbols all over the place, i don't have to mention the washington monument. and here in seattle there are a couple of big ol' dicks (not the mayor, although he is one, but that's another topic), disguised as architecture. so what is one on the big screen?

i can see how she didn't know his "mask" name. the emphasis in the comic was more on the people behind the masks as you well know, but i didn't think it was all of that important. i can see how watchmen would be bad for someone who wanted something more clear cut like iron man or the xmen. i still find rosch troubling as a hero, since he's essentially a cross between taxi driver's travis bickle and an amalgam of dirty harry eastwoods-- particularly in the film. the comedian and rosch are fascists and psychotics respectively, with little reservations, and that is the point. the only "good" people are lori and daniel, and they enable the bad ones. but i know you know all of that. so i'm preaching to the choir.
I saw Watchmen on Friday. and i liked it in some ways but thought that they could have done the movie in 2 parts rather then all crammed into one movie. I think if they put all the back story into one movie and then had a part 2 with the end of the watchman that it would have done the novel more justices. In some parts i was lost. but i got the whole thing with out ever reading the book. The only questions i have is how did Rosch's mask change all the time to emphasize his mood; and did they have more detail about the old watchman in the book or was it correctly portrayed in the movie?

As for the look of the film it was great cinematography.

they go into rosch's mask in the book, but it's nothing to right home about. the old watchmen had a little more story in the book, but they did a good job of covering it and the dynamics, the jist of which had to do with the comedian and his actions, which they got. the stuff with the silloette (the lesbian watchmen) was pretty much the same-- she like most of the women-- were used to show the character of rosch and the comedian in the main.

i don't know if they could have made it in two parts. the director i don't think had that kind of pull, and he's not that kind of wunderkind that they would have let him get away with it. he's no tarentino, who has a sweet heart deal with miramax, which is why i think you saw the pumping up/slowing of the fight scenes instead of things that were more about tone, like the newsstand characters and the sub comic that one of them reads, which are woven thru the book, but barely eluded to in the film. i'm sure the dvd version will have it and a 'director's cut' version.
Ok so I finally saw Repo! It was on pay per view and decided to record it just in case it was good and I'm glad I did. I must say that I enjoyed it, I thought it was quite hilarious. Yes that little girl who played Shiloh was freaking ANNOYING, her voice has some kind of irritation to it that makes you want to pull out your hair. Like a whining. But I really thought it was hilarious all in all. Like the ripping out of people's body parts for the reposession and then every characters own little story about who they are and how they became that way. Paris I felt played a really good character, a junkie who is addicted to plastic surgery and in the end what should happen... her face falls off!

This is definitely categorized in with Rocky Horror or Shock Treatment... a friend and I were chatting about it and she won't watch it just because it is a singing movie but if we ever had like a group of friends over this is the kind of movie to turn on and turn the volume down on and just have in the background. Quirky but funny!

QUOTE(roseviolet @ Mar 9 2009, 09:46 AM) *
GT, I noticed the Muzak Tears for Fears, too. That was great!

A friend of mine who is unfamiliar with the gn saw Watchmen this weekend and hated it. Granted, she was expecting a more conventional style of super hero film, but after listening to her I'm beginning to think that maybe they didn't include enough back story because my friend was really lost. She didn't know that Daniel's alter ego was named Night Owl. She didn't realize that the Kaene Act had been passed, making costumed super heroism illegal, etc. She certainly didn't notice the "Who Watches The Watchmen" graffiti which was such an iconic thing in the gn. Plus, the casting choices meant that some things were lost (She thought of Veidt as a skinny geek who was over-compensating because of poor self-esteem, rather than a brilliant, god-like man). I'm beginning to wonder how well the film holds up for people who are new to the story.

RV, I saw it on Saturday and I loved it. I've never read the book (because I prefer to read the books after the movie - I just wanted to enjoy it without thinking about if it lived up to the graphic novel). I had no trouble following it but I like movies with complicated story lines and little hidden tidbits throughout. I noticed the "who watches the watchmen" at various times of the movie and I found the story pretty easy to follow so long as I paid attention. Some people said it was too long but I found myself engaged the whole time.
anna k
This is my review of Read My Lips that I was working on last night. I attended a writer's workshop, and they gave us a half hour of free writing, so I wrote about the film, remembering notes that I took while watching the film. It's a first draft, but I tried to make it good.

Eight years ago, a modern French noir film premiered, holding audiences with its mesmerizing atmosphere and classic 1940s intrigue, but with characters of a contemporary liking. Jacques Audiard's Sur Mes Levres, or Read My Lips, gave an insight into the world of a deaf woman with hidden confidence and a street-smart ex-convict with a shy awkwardness. It stands as one of the most memorable noirs of recent years.

Carla (Emmanuelle Devos), who was born deaf but now uses hearing aids, slaves away as an underappreciated secretary at an architecture firm. She keeps a mousy exterior to avoid being noticed, and lives vicariously through her best friend's affair, fantasizing about herself being the seductress. Her world is even made more remote whenever she publically removes her hearing aids, and the film finds a parallel between limited sight (film flickering in and out) and her inability to hear (only audible sounds being her breathing and heartbeat).

To ease her anxiety at work, she is encouraged to hire an office page. Unknowingly, she hires Paul (Vincent Cassel), an ex-con on a work-release program. The combination of his rough looks and his dependence on her gives her more of an authoritorial feel, liking the responsibility of "taking care" of him and having control over someone. Paul, being simple-minded and used to clear-cut deals, misunderstands Carla's attention to him and attempts to have sex with her, using, what Carla states, "the only thing he thinks he's got."

Through the film's intimate cinematographic uses of tight close-up shots and deep characterizations, Carla and Paul quickly develop a strange, symbiotic relationship, using each other's strengths (Paul's street knowledge, Carla's deafness and sense of anonymity) to aid in personal revenge schemes. Carla, while aiding Paul in his scheme by reading lips through binoculars, subtly transforms herself from the insecure secretary ready to wallow in loneliness to a confident noir heroine in heels, makeup, and wavy hair, her eyes sharp and determined, her walk straightforward and ready. There's no big transformation scene, and her change isn't noticeable until you see the tweaks in her hair and clothing, and understand Paul's criminal influence on her.

Similarily, Paul is affected by Carla's brains and intuition, and uses more common sense and straight thinking, rather than being the thug for hire that he was, an expendable lackey for a sophisicated crime boss.

That's what I have now. I'm going to finish watching the film tonight and add more.
ok, now i really want to see read my lips. vincent cassel's films are always interesting if nothing else.

seen recently:
tale of two sisters (still holds up. i saw it so i could compare it to the recent remake, the uninvited, it was so good i lost all interest in seeing the remake.)
ping pong (still one of my favorite hidden gems. inspiring, funny, sad, but a beautiful movie that's about friendship and inspiring each other to be better than we are. if watchmen is about how we don't need heroes, ping pong is about how we need them, are them and why. i love ping pong. it always makes me cry.)
there will be blood,(less self-indulgent than i expected. i gave up on pt anderson after the magnolia debacle, but this was surprisingly, darkly delicious. i liked it a lot.)
rosemary's baby (ah polanski. i miss good old tightly woven polanski. i wish they'd let him come back to the states so he could kick my ass film-wise like he used to. his exile stuff has been uninteresting.)
hamlet2 (wait, i didn't know this was going to be a parody of all of those 'inspiring teacher' movies...fucking funny. tounge-firmly-in-cheek silliness.)

coming up:
the lives of others

and has anyone seen:
black book (paul vanderhoven pic, which looks good like his early films when he wasn't making american schlock)
offside (movie about iranian women sneaking into a forbidden soccer game)
ugetsu (classic japanese b/w)
Has anybody seen or heard about (mainly looking at GT) Hansel and Gretel? The synopsis and trailer excite me.
haven't seen it, but it does look veeeeery interesting and i've heard it's pretty amazing. the director of H&G co-wrote of a film i haven't seen with -- antarctic journal. the other writer was joon bong-ho (the host, memories of murder, barking dogs never bite). i know you know how much i love korean film, bunny, and well, bong-ho is easily in the top 3 best living film directors in my book (the other two would probably be korean too), he's brilliant. i've heard that AJ was promising, but could have been better, so i'm crossing my fingers that that H&G is half as good as a bong-ho film. bong-ho tends to be pretty formal genre-ist, and not very interested in pursuing horror in ways that westerners like. yim pil-sung on the other hand, obviously loves horror, (AJ was horror), and he is looking at doing flower of evil next.
Thanks, gt! I knew you were the woman to ask with your love of Korean film; I'm going to try and see it soon.
Ooooh ... Bunny, that looks really really good!

I realized that I mentioned Sita Sings the Blues in a couple threads, but never in here. Have any of you seen it? I watched it about a week ago & really really loved it! The animation is great, & the method of storytelling - the narrators & the music - are really effective. I watched a free stream of it & now it's available to download for free, too: How to watch Sita Sings the Blues.

I found out today that Let The Right One In is available on my on-demand service, so I plan on watching it in the next day or so.

I saw Ugetsu... last Sept. It is as good as they say.
Wonderful camera work.

x, D.

ps I'll go look into Ping Pong now. Thanks...
I have the French film I've Loved You so Long on rental... can't wait to see it. It stars Kristin Scott-Thomas, who I love...
hey dolesome one!

i'm sold. your post was the tipping point. i watched the preview, and was like, oh kay... i don't really get it. why is this so spectacular? you hear all these filmic heavyweights talking about how brilliant it is, but the preview made it look......dull.

i'll be honest, for all my love of asian film my education on the early or black and white asian films is sorely lacking. some films it takes a team of wild horses to drag me to see. japanese b/w, or historical... they are on the bottom of my list.

to my shame, i've never seen a kurosawa film (specifically, an akira kurosawa film, i've seen almost everything by the other kurosawa, kiyoshi (cure,seance,pulse), he's what got me into asian extreme/horror films). part of it is because i have respect for them, and i don't want to come in in the middle, or see it when i'm not in a proper mood, or i want to save some territory to explore later, but it's also laziness. so after reading your post i decided to watch a 14 minute thing on the dvd about ugetsu. i can't wait. i'm really excited to see it now. they showed that long continuous shot towards the end where the camera follows a man walking into his house, now a burnt out shell, then walks out, then around it, and as if he went back in time, or some sort of magic, his wife is there, tending a fire, cooking his dinner. no cuts, no editing, just fucking great filmaking!


i really can't wait to see it! it's the thing that is slowly pulling me towards old asian films. i was up late a few months ago, at four am, and i was fortunate enough to see Kaneto Shindo's 1968 horror fable the black cat from the grove, on ifc (they show classic asian movies saturday mornings), and was instantly in love. i love the old special effects that still work today. it reminded me of cocteau's 1950's masterpiece, orpheus, which i ADORE. it's one of the films that made me fall in love with film. i saw it in a film class in high school , and was OBSESSED. when i was working at a rep movie house i would take the day off, come to work and watch both showings of it, dragging my friends or a date to. it's one of those movies i've seen countless times but it all ways knocks me on my ass. how can you not be wowed by its conjuring of fantasy grounded in a real, world war 2 (?) setting. -- the sequences in hell shot backward to make them so strange, surreal, and otherworldly, or the rear projection scenes that would later make me a fan of lars van trier because of his use of them in zentropa. it's also what i loved about modern asian horror. seance, the ring, et al, didn't need cgi. they used oldschool, low budget, low-fi camera, lighting and sound tricks to make something more horrible. it's that sort of inventiveness that makes me love film.

...and its what makes me excited to see ugetsu! thanks for convincing me, dolor!

so there is a new thread in town!

a new movie thread, and i'll be honest, i was a bit hurt by it. i put my heart and soul into this thread. i think it's obvious i love movies, i love talking about them, writing about them, reading and sharing them, arguing about them.... it's not as if i-- or anyone else-- insists on only art house fare in this thread, but well, i know as much as i love popcorn movies, especially the ones with the big purty essplosions, (trust me, my friends and can and will talk for hours about the virtues of the original diehard or robocop).

.....but did you ever do something and then afterwords a friend says something, and you realize you came off like a jerk? that's kind of what i feel like right now. it does feel like a slap in the face, in a lot of ways, and while i get it, i can't help but think this thread would have been a much better, much more inclusive place without my posts. perhaps this is the wrong venue for this sort of thing, and what might be better is to find someplace better suited for it. i can't help but think it's for the best. that there will be fresh blood here, and that is a good thing. perhaps it's time for me to move on, do a bit of growing up outside of the lounge. dunno. i don't think i will be posting in the media threads, or anywhere else much anymore. we will see, but with this, the lounge just doesn't feel like home for me much anymore. i miss all the heavyweight serious discussions that used to be had here. but i've always known the lounge is an organic being, and when it changes it's because of the new people coming in and the old timers who decide to leave. thank you to the people who were kind enough to talk with me about film, politics or anything else... and to feed my little addiction. it meant the world to me.

my apologies to anyone who felt intimidated, or they had nothing to add. that was not my intent.

GT, just so you know, I've never felt too intimidated to talk in here about any ol' movie. Sure, we can dissect the art house fare here, but if I want to ramble about, say, my love of Can't Hardly Wait, I've always felt welcome to do that here, too. Then again, I find that I'm pretty laid back here on Bust & I'm not too intimidated to post in ANY thread. If I feel like joining a conversation, I just join it. Why shouldn't I?

The tone of the thread changes with the subject matter, but I've found that to be true of virtually every thread on Bust. Sometimes we talk about heavier stuff, sometimes it's lighter. It's just the normal ebb and flow of conversation.
GT - I am sorry that your feelings were hurt by the new thread. I don't think it was intended as a slap to anyone. I don't post here much for the same reason I don't post in the book thread much. I don't enjoy the same level of analysis that many Busties do. Often my level of thought on things I enjoy goes to the "Fire bad, tree pretty" level. I have to think too deep at work. I like all levels of movies but I often don't care to discuss them much after I've seen them.
So I figure in the new thread I can just type a lot of OMG!!!111!! type comments w/o feeling like I am bringing down the collective IQ of the room. I am ont made to feel that way b/c of anyone participating in this conversation. It is just me and how much I am willing to commit to a conversation.
GT, please don't stop posting here (or anywhere). I always felt your posts were erudite but inclusive, always allowing for other people's tastes and often even anticipating they might be different from your own. I personally have learned a lot from your posts on film and I say that as someone who wrote her Master's thesis on film and has lectured in film theory. You know your shit and are happy to share, and I was always happy to see a new post from you here.

I did support a new thread over in community forum because I just think there can't be too many threads about film, to be honest. Even amongst my students there has been a wide, wide range of viewing habits and practices. I like that this thread has combined analysis with opinions, whether fly-by or more involved; this thread bridges the high/low culture gap which is always a good thing IMO. Film is a popular art form, but it (as you've so beautifully written) can sometimes be simply art.

All of which is to say: please stick around. I plan to.

ETA: I have seen PV's Black Book, it was a while ago though. I think I liked it, very different in tone from his Hollywood stuff, very plot driven and involving. I would recommend.
anna k
I finished watching Read My Lips, and had forgotten how much deeper the film gets into noir/thriller territory in the second half, and Carla becomes more and more the dark, seductive heroine, loosening her hair into waves and wearing more revealing dresses, yet she doesn't seem to think about it much, completely changing from her secretary buttoned-up garb into being a mysterious woman of the night. It's a gradual change, starting with the hair, but it can seem sudden with little transition to how sexy she looks.

One part that was very French but seemed cheesy to me was Carla reading Paul's lips through binoculars as he mouths out instructions to her. She kept whispering, "Yes, yes, slow down, yes . . ." and it was just too blatant sexually for me, kind of corny.

Carla and Paul worked best as a silent team, especially out in the club or driving around, whenever they communicated silently, that was more telling about their relationship and intuition about each other.

GT, I really like reading your posts here. You've got such a wide knowledge, and I've learned a lot from you in analyzing films more deeply and finding foreign films that I had never heard of before.
anna, syb, rosey, kitten,
thank you so very much for the sentiment and kind words. as i said, i get why there should be a popcorn thread (and i think there should be many movie threads too), and that's only a small part of this. things could change, but honestly, right now, it just feels like it's time to move on.
okay, i owe two people apologies. i already made mine to aural in the take it outside thread, but gt, i owe you one too. the whole thing leading up to the new movie thread was my fault, and the snarky comment on always overanalyzing artsy-fartsy films was undeserved and uncalled for. i do feel unduly intimidated by this thread, and the conversations that sometimes make me feel left out, but that's my shortcoming, not yours, and not your thread's. aural's right, i should have just manned up and started my own thread if i felt that strongly about it. but i didn't, and now your feelings are hurt. it was never my intention to get everyone all riled up about it, but it seems i did, and i'm truly sorry for that. i love the lounge, and i love the people, even the ones that intimidate the hell out of me, and i don't like being at odds with anyone. and i love this thread, and the discussions that go on here. i don't always have something to contribute, but i get a lot out of it. you know, when i'm not stamping my foot whining "i want to to sit at the grown-up table!" i am truly, sincerely sorry for any hurt my childish actions have caused you.
Potential movie viewing this weekend: Vicky Cristina Barcelona, Spirited Away, RocknRolla or Twilight. Fairly diverse but they're the movies I am in the mood to watch. I am expecting Twilight to be really poor but I may take that discussion to the mainstream thread wink.gif.
*the spirit of girltrouble sneaks in and whispers in bunny's ear*
see spirited away.... it's sooooo goood....
It's the one that I'm most looking forward to eventually seeing so I probably will. Thanks! I have no experience of anime but I suspect that it's something that I'll enjoy.
I really like Spirited Away. It has a lot in common with Coraline - young girl in strange, scary situation has to tap her inner strength in order to save herself. Pretty kick ass & beautiful, to boot.
I'm still annoyed about having to wait for Coraline; you would think that since Neil Gaiman is British that the British release would coincide with the American one. Hmph.

:contacts the spirit world and seeks an Amazonian like woman with wicked brows and a penchant for film:

hey gt! how are you on Almodovar? (I think it was faerietails who was the huge fan; I miss faerietails).
Has anybody seen a lot of his movies (I think chacha...)? I've only seen Volver but I picked up this boxset in the January sales for £10 ($13) and am dying to get stuck in but not sure where to start... I also have Woman on the Verge of a Nervous Breakdown and The Flower of my Secret (as well as Volver).
*shakes her fist at the bunny then gives her a big hug while cursing her lovingly under her breath*

i adore almovadar, although i prefer his films before woman on the verge-- his early stuff (what have i done...., matador, law of desire, and the seldom talked about savage catholic satire, dark habits.), that's mostly forgotten now. don't get me wrong, i love his new work, particularly all about my mother, which was complex, nuanced, moving, funny and smart. he's a lovely mix of douglas sirk's melodrama (but way more over the top), and if there was a women's director in the mold of george cuckor, he is it, without a doubt. my advise is to see some of the early stuff. i just saw volver about a month ago, and loved it. it was much better than his more recent films, like bad education. he is one of those rare directors whose films are much better when centered on women, no matter how pretty the boys he casts in the lead

i used to have a huge crush on carmen maura-- i tend to get crushes on his women, although the odd ones, (the uber pretty ones are fine, but they don't make me get all dreamy), i think i've posted several times on my enormous crush on the odd looking, but dazzlingly beautiful in person (she outshone victoria abril when she came to town for kika), rossy de palma.
start with woman on the verge. it's his first international hit, and where most people (myself included), started to love him. good call to explore his films. almovadar is wonderful.

now, stop making me post, you goddamn temptress!
bunny... trust me, take Twilight discussion anywhere else... like the trashbin maybe? wink.gif

that film is most definitely on my top 10 worst films I've ever seen. probably in the top 5. it's just so.... awful. it's beyond description.
now i wanna see it. it couldn't possibly be as bad as my bloody valentine. even the editing is bad, and very few movies have editing that looks like it was done with scotch tape and scissors.

now stop making me post, you tarts!
Who are you calling a tart, tart?

Valentine (2001) with David Boreanaz was pretty awful too.

For all its cult status My Own Private Idaho was dreadful and gave me a case of narcolepsy along with River.

I preferred Princess Mononoke to Spirited Away-- and need to see both again, to confirm that.

Most prefer SA, I believe. (It certainly speaks to the Japanese fascination with dirt, etc., cleanliness, etc. and bathing. Speaking of, I do want to visit some of those rustic rural hot spring baths in Japan, in this lifetime preferably. The ones you can hike to.)

I also liked Kiki's Delivery Service and My Pal Totorro, tho not as much as Princess M.

Oh, Bunny, you're in for a treat! Those are my favourite Almodovar films--be sure to watch the Flower before Volver. Or not--I did it the other way and they still clicked for me. So don't pay any attention to me (but I love Carmen Maura, too).

(And Rossy de Palma)

chacha, I've already seen Volver (although time for a re-watch) but looking forward to Flower of my Secret; I remember you writing way back that the former is a reworking of the story of Flower.
I am definitely planning an imminent Almodovar marathon; I'll post back once I do.
ok, I will give you one line of script from Twilight: (I don't think this counts as a spoiler, because it's out of context)

guy to girl: "you're like my own personal brand of heroin"

...oh god. the editing is ok, hell, the cinematography is not bad - but the acting, and screenplay, and effects, and... oh god, I wanted to pull my fingernails out.

True, MBV had pretty shit editing. At least Fire popped out of the screen at you.

QUOTE(girltrouble @ Mar 13 2009, 01:54 PM) *
now i wanna see it. it couldn't possibly be as bad as my bloody valentine. even the editing is bad, and very few movies have editing that looks like it was done with scotch tape and scissors.

now stop making me post, you tarts!

yes, zoya, but at least it's a faithful adaptation of the book wink.gif. You cannot blame the film makers for the initial shitty dialogue ... Perhaps I should devise a drinking game for it: one drink for every time I think "oh my God, this is chronically bad."
You know what is truly irritating about Twilight, all the freaking hype! My friend at work saw the movie and has read all the books in the series, then she got 2 other women I work with to read them and now they are hounding me to read the books. I keep telling them NO, I don't like shit like that. Seriously, did Oprah endorse this film and book?
I saw Let The Right One In on Friday. I highly recommend it. A Swedish film about a lonely little boy that gets bullied at school and makes friends with a little girl who has her own set of problems .
amc showed mildred pierce on friday, and i'm bummed i missed it.

if you haven't seen mildred pierce, you really should. as an amc host described it, "it will make you never want to have children. ever." but one of the reasons i love it (among the hundreds)-- it's got some of the best slapping in film. you know how in those old 40's films someone always got slapped? and they are so fun. the sound, the action. there's something just wonderful in them, and the ones in mildred pierce are just lovely. a famous single slap, and if memory serves, a very tasty double slap. i know it sounds silly to recommend a film based on it's slap, but when that famous single slap arrives (or, more accurately, lands, forcefully) it's shocking. it's almost as if you, the viewer were slapped. from the very start the film grabs you by nose hooks and drags you to it's finish. even if you don't like old black and white films i can guarantee you will love it. it's that good. no, it's better. this is the sort of old noir that ignites the viewer to seek out other noir films, to fervent devotion to joan crawford. i think it's completely impossible not to cheer for mildred, and even more impossible not to get into the film. it's the sort of emotional roller coaster film that even if you've seen it a kazillion times, you find youself wanting to see it again. beautifully shot, brilliantly acted and directed with a simmering story that keeps boiling over. this is one of those few movies that you can see why it got oscars-- infact it's difficult to imagine any other movie competing with it.


lunia, quite a few of us have seen right one in, and loved it. anna said it was in her top 10 best of the year, and i agree. good, smart, sweet vampire film.

i really love how they explain why vampires have to be invited in. creepy, scary and a great metaphor for the theme of friendship in the film.


i'm interested in the new haunting in conneticut horror film. mostly because of a sound clip where the mother blames the kid, "what have you done to yourself?!" i like the idea of a family horror movie where the parents are in denial about the kids. i doubt that's what the film will be about, but that idea seems like an interesting one.

My latest obsession (or should I say re-obsession) is with "His Girl Friday" (1940) which you can legally download from the Internet Archive's Moving Image Archive section because it is free from copyright.

I can't remember what brought it up over the past week but something made me watch it again and It was like I'd never scene it (which is how I always feel when I re-watch Hitchcock films)

I keep forcing my friends to watch it so that they can experience the brilliance that is Rosalind Russell.

The dialog is like Mamet on speed. Every word is significant and uttered at a break-neck pace and the banter (loaded with overt and subtle political/social commentary) is matched only by the increasing fabulousness of Rosalind's outfits.

There is so much about it that could would be difficult to film in the same spirit if it were shot today because the setting is so specific to the time during which the film was released. Also it takes a heavy yet farcical hand to the issues of unionization, police corruption and corporal punishment .

But with all the financial and media scandals of the day and given the current economic climate, it could maybe be reworked such that the central "issues" at hand were different but the tone and texture and velocity of the film were kept intact.

If someone could manage an adaptation set in New York that could "break it down" about the relationship between the press, the judicial system and the government with equal grace and venom in a 2009 setting, I would so be there.

It's like a fantasy casting dream.
i ADORE his girl friday. along with DOA, it's probably the movie i've seen most, because of the copywrite thing you noted. it's one of the classic screwball comedies, like bringing up baby or the thin man, (which you should see, lady, you'd love them.) rosalind russell is brilliant, as is cary grant. their chemistry is great to watch and i agree, the rapid fire velocity of the dialog is deliriously entertaining too.

it is certainly one of my favorites. i don't know if you know, lady, it is actually a remake of a movie taken from a play called the front page, which is probably the most remade movie ever. there was even an (horrible) 80's remake with his girl friday's casting, but with burt reynolds ( the crime against celuloid, switching channels, and there is a casting director that needs to be shot), and set in a tv station, natch. one suspects even broadcast news was in part inspired by friday. the front page (s) are good, but the combo of russell and grant takes it to another level.

good choice lady! awesome movie!
"I keep forcing my friends to watch it so that they can experience the brilliance that is Rosalind Russell.

The dialog is like Mamet on speed. Every word is significant and uttered at a break-neck pace and the banter (loaded with overt and subtle political/social commentary) is matched only by the increasing fabulousness of Rosalind's outfits."

They don't make them like that any more do they? I'm talking about this package of woman who is super verbal, forceful, professionally competent, and all dressed up.

Can we think of a movie made in our era wherein the woman is intelligent, sexy, dynamic, self-confident, super articulate and clever, with a real physical presence, not intimidated by Cary Grant (or anyone else), and wearing increasingly fabulous outfits?

And one with no drippy melting let down at the end, when it turns out that all she *really* wants is a man to fuss over, and tell her what to do.

Not to mention not being murdered, or killing herself.

We could use some, n'est-ce pas?!

Well, I could.
It's been years since I've seen My Girl Friday but I'm a big fan of that and also Bell, Book and Candle, which I noticed was mentioned in another thread.

I like the description of the dialogue as Mamet on speed, I love Mamet.

So last night and tonight I watched:

Vicky Cristina Barcelona: beautifully shot, visually sumptuous, Penelope Cruz was incredibly funny. It was and wasn't what I expected; a little bit crazier than I envisaged. Definitely fun.

Wanted: weird and reminds me of another film but I can't remember what, which is exceptionally frustrating!

Rocknrolla: loved it. Brilliantly pithy and typicially Ritchie dialogue and crazy coincidences.

The boy is off to another city on business for a couple of days this week so I am going to use that time for some Almodovar and hopefully some Audrey Hepburn films as I am in the need of an Audrey Hepburn movie or two (they are soothing and restorative like bubble baths).
was the movie wanted reminded you of by any chance, shoot 'em up? wild guess, but thought i'd throw it out there.

saw ugitsu. it was good, i liked it. the parts that were amazing were, well, amazing. the very cool thing was how the shots were looking at a japanese art scrolls. charsciaro (i really need to memorize how to spell that damn word) trees framing the main action. there are a couple of really cool scenes that could only be done with japanese style houses, using them as a theatre within the screen. it really was brilliant, it's hard to explain, but imagine the side of a japanese house, with it's square panels, the main one is open so you can see all of the action. in the background is a wall with a huge painting of nature ( a mountain, trees, flowers, clouds ...japanese style of course) it is shot at an angle so in the foreground you can see the courtyard with rocks and a fountain. the effect is the same as the one that welles used in citizen cane-- deep focus, it ads depth to the two dimensional space of the screen, but the cool thing about this shot is, that you find out later, it's all a dream sequence, the framing emphasizes the theatricality of what's going on, visually, it's a story with in a story...

then i watched snake woman curse, an 1968 japanese horror movie, which i really liked. it wasn't as acid trippy as i had hoped, but it was really solidly made with great framing in the shots.
Possibly ... something surreal and impossible anyway. I enjoyed Shoot 'Em Up though.
lola rojo
QUOTE(lunia666 @ Mar 14 2009, 09:06 PM) *
I saw Let The Right One In on Friday. I highly recommend it. A Swedish film about a lonely little boy that gets bullied at school and makes friends with a little girl who has her own set of problems .

Let the Right One In is creepy and desolate. I think having Sweden for a backdrop with all the fresh fallen white snow made it particularly disturbing when blood was spilled. I felt like throughout the whole movie I could smell fresh blood. The relationship between the young boy and girl was really nuanced too, it's like the boy wanted to do bad things...and the girl wished she could stop doing bad things. Loved it.

Oh, I also saw Gomorrah last weekend. It's really great. Like The Wire, set in Naples, Italy.
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