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mandy if it's any consolation, i can watch almost any horror movie out there, and yawn thru it, but i can't bear watching godzilla vs. the smog monster i saw it as a kid and it horrified me, and i saw it about a year and a half ago and my heart started beating and i nearly peed myself. i had to turn it off. my friends tease me, but i really do freak out.

sy- yay! i usually post about some old or obscure movie or director, and nobodyelse seems to know what i'm talking about. it feels like i'm crazy sometimes...i was thinking about lola montez and how it's one of those movies that is kind of this brilliant technical catalogue-- it reminds me of bertolucci's the conformist or fassbinder's the bitter tears of petra von kant which, are just as much about film technique. in the case of the bitter tears is almost an excuse to explore the use of wipes, editing and fades in film. each is breathtakingly beautiful, but there is a wonderful love of cinema that is at it's heart.
In fairness GT I came across Letter... via a class on feminist theory and melodrama. I love Touch of Evil as well: the long opening pan with that fab music playing over it... must get it out again.

Mando, bunnyb summed up The Prestige but I will add: Bale is almost better than Jackman here and David Bowie even manages to show up and not look silly, as is often his wont in film.
there is so much to love about touch of evil. visually i think it's one of my favorite films. i've been trying to hunt down some mexican movies around that time that were directed by a student of greg toland (the cinematographer of many of wells' early movies). i saw some stills years ago at an art show, and they were amazing....but if you like wells you should check out one of his more obscure films, f is for fake the style is very different- it was made in the mid 70's-- but it's very smart. it's my favorite wells film.

as for finding a film in a class, that's cool, there are plenty of movies and directors i discovered in film classes (lord knows i've been thru enough of them). so it was a class in feminist theory and melodrama? did they show a bunch of douglas sirk movies? i'm curious.... oh, and you can get the soundtrack to touch of evil on cd. i'd recommend it. it's got a great loungey sound. it's so worth it.

god i should see if i can audit a film class at the university again. there was a great professor at the uw years ago. stephen shapiro-- who was a huge influence on how i see movies. he's just one of those people who can pull in all sorts of pop culture references when talking about film.
No, actually, Girltrouble, you should see about being a film critic--a real one, like Pauline Kael used to be before she became ill and lost her faculties. I think film's really been missing that kind of analysis since she stopped, and I think it's really, really necessary we find a way to bring that kind of voice back.

Otherwise we'll get a lot more formula film, cgi orgasmic blow up festivals, and "costume" vehicles like Norbett. I think I could make an argument that American film's really started to suck since Kael stopped writing, and it wouldn't take too much effort.

So, like, you know, we need you.

smile.gif thanks chacha. and, i actually was a film reviewer. thing is i didn't like writing...not formally, anyways. i had a good run, i wrote for 3 papers in this city before i stopped. from there i worked for film festivals and worked on films which was much more fun. i have to also say i made it hard for myself. most film reviewers do a synopsis to fill up column space, and one thing i loved about being a reviewer was plopping down and seeing a movie knowing nothing about it. so i swore i would never ever write that. and that was a bitch. to say the least.

many of the film reviewers i respected most have retired too. there was a great reviewer i got to meet-- georgia brown from the village voice. she was amazing and would pick up the smallest things in a film. another was jay carr from the boston globe. both of them were great people, but reviewed with such a was about sharing and teaching about film for them. and their knowledge of film was encyclopedic.

i'd have to agree with you. most reviewers don't know many classic films and haven't done the homework. including a friend of mine who i got started reviewing films. he did quite well and was regularlly on rotten tomatoes, before going on hiatus last year. and while i probably have a deeper knowledge of film, he likes writing waaaaaay more than i ever did.
Well, you don't write like someone who dislikes writing.

And I think writing formats have changed now--I'd love to see the kind of influence you've got brought to bear on film culture even if you reviewed by ONLY working on festivals and such, you know, just doing what you like the way you like it. I'm not kidding when I say the reason film's become so poor is because there's no one out there presenting and reviewing good film, or even bringing up the idea of film as a kind of art, with a kind of standard and history and richness, anymore. It's all about what could be a sure sell--which means "fuckable" actors, big budgets for explosions, and rehashed scripts (old TV series, film remakes including "misinterpreting re-interpreting" films from other countries, poorly). But there's no way anyone should be showing or teaching anyone about the vast majority of North American films made today in 20 years--except as examples of shlocky, fascist junk.

Well, I kinda take that back when I think about the South Park movie and Team America as rare exceptions. But that's where I draw the line.
I'm not kidding when I say the reason film's become so poor is because there's no one out there presenting and reviewing good film, or even bringing up the idea of film as a kind of art, with a kind of standard and history and richness, anymore.

I would disagree with that -- there are some great reviewers, you just have to know where to look for them; they aren't in major newspapers for the most part (or even smaller papers; I wouldn't be surprised if the Voice kicks out J. Hoberman sometime soon, since they're not interested in good writing any more). I'd start with AO Scott in the New York Times, who I think does exactly what you said. Jonathan Rosenbaum of the Chicago Reader is a huge crank and sees everything through a political lens, but he's a great writer with very interesting ideas (his no. 2, JR Jones, is pretty good, too, and a lot less cranky).

Finally, this identifies me some, but my husband is a full-time critic; he's the editor of the AV Club, which is the entertainment section of The Onion, and what you described there, chacha, is exactly what they do; I think you'd like Scott Tobias' writing in particular (I'll link to his review of the new DVD of a The Bicycle Thief.)
lol... hi sofie!!!!!!!! *waves furiously!*

it never occured to me to look in the onion for movie reviews...hmmmm. i'll have to check that out smile.gif

i don't mind the village voice for reviews, just because they don't mind obscure. i like obscure. most newspapers major or otherwise don't really do that because they want the big new movie review that their readers won't have to work to find. i occasionally like the reviews in the new yorker as well.

from your post, sidecar, i think the emphasis for you is good writing. for me it's about understanding film as a semiotic art form. it's a matter of what each of us likes. while i think there are some good reviewers out there for you, i don't think there are a lot of them out there for me. or not what i love in a film reviewer. not like there were in the 70's and 80's. and even if there were some idiots (rex reed, thy name is ass.), there were quite a few great film reviewers making the case that film matters.

now good movies come out and everyone says it's good and leaves it at that. there is no effort to take on, for the most part the difficult movie, and explain it. the slow movie, or the less accessable foreign film and talk about something other than simply budget, plot and acting. i think film-- and film reviewing-- has suffered. i want a reviewer who talks about open vs. closed films, about all the filmic techniques of conveying deeper meaning in film. what does it mean that a film ends with a freeze frame? if someone can talk about all the usual things about movies, and make it beautiful to read, more power to 'em. that's how my friend writes reviews. he's a writer first, film lover second. but i want to come away from a film review understanding film better as a medium. that to me is the measure of a good film reviewer. but maybe i'm alone in that.

talk to most people and they don't really care about film semiotics. they don't know and don't want to know how to read a film. they want to know if it's worth $10 a ticket. yes, editing and cinematography styles-- thanks to mtv are extremely identifable, but most people can't say what all those flashy cuts and edits mean when put together. chacha was right to my mind, when she said that there is a sense of filmic history missing too. largely, the film reviewer as translator/teacher has gone the way of the dinosaurs in favor of box office tallys and celeb gossip.

that said, if it were really deep film reviews i go to cinaste or film comment. downside is they review a movie at least a month after it's been out. which is a good and bad thing. good because you have a chance to see the movie before you read their take on it, bad because the movie isn't as fresh in your mind.

but enough of that! i am so excited cos the host is opening this movie, and well, joon-ho bong has been my favorite director since his first film, barking dogs never bite. since his movies seem to come out every three years, to see a new one, well, let's just say, i could just pee myself.
add to that since i'm unemployed i'm going to sneak into about 5 movies tomorrow! yay!
gt, that avatar is rad!

i finally saw fast food nation last night. i'm sooooo disappointed in richard linklater. i love the book, but the movie left a lot to be desired. i don't know if it's even possible to pull it off, though. there's too much info that one needs to actually read that can't be translated to film. like the smell/taste lab thing.
GT, have you ever checked out's Screengab blog?

It's a mix of everything - what's in the pipes, interviews with directors, reviews and links to places like Film Comment and Cahiers du Cinema (go to page two or three - I remember seeing something a day or two ago). There's more criticism than theory, for sure, but they don't completely ignore the latter either.

The Namesake - the new Mira Nair flick - is getting mixed but mostly decent reviews but I thought the pacing was awful, the dialogue (often) cringeworthy, the message on the nose, and - it pains me to say this because I love him so - the much ballyhooed dramatic turn from Kal Penn is really disappointing - he lacks range in a serious way. There were some great moments and some great performances (the parents were wonderful), but it just didn't hang well together.

no i haven't snaf. but i will. sounds great.

hi farie, and thanks. i'm glad you're back. i misssed your leapin' toast avitar somethin' awful. it really is hynotic.

super excited. i'm gonna go on a movie bender in about an hour. i know a multiplex that is showing 5 movies i wanna see, and it's supereasy to sneak in. got my bag packed and i'm ready to go. and to think i spent all those years bad mouthing multiplexes. *smacks herself in the head*

i'm gonna go on a movie bender in about an hour. i know a multiplex that is showing 5 movies i wanna see, and it's supereasy to sneak in. got my bag packed and i'm ready to go.

LOL, wow. You and I think (and plan) alike! That's what I did a couple of weeks ago to catch the remaining Oscar movies before the big day.
One of my friends writes for Screengrab!

That's disappointing to hear about The Namesake. Martini is reading it right now, and we're seeing it on Monday. I've always found Mira Nair slightly disappointing, though, so my expectations aren't super-high (although the trailer looks good).

Last night I watched Robocop for the first time. Oh man. That movie is fucking awesome. Paul Verhoeven is a genius.
too bad you don't live in the wetlands. i could use a movie buddy. although my schedule got thrown off and i only saw 2 movies.
hmph! *pouts*

it was a day of numbers. i saw 300 and the number 23.

300 was good. i liked the graphic novel and this stays very close to it, visually most of all. the most interesting thing was this three camera sequence durring two of the fight scenes. it's not that it's completely new, it's mostly the editing that makes it seem fresh. it was fun, but hard not to see it thru a prism of the iraq war. that said, i'm not sure where the director stood on it, but he constantly trumpeted flag waving buzz-words like, "free, freedom, honor and justice."

the number 23, on the other hand was bad. cheesy narration, dumb who done it story with a predictable ending. i was hoping it was going to be more like rosemary's baby and really turn up the paranoia, but the poorly executed noirish elements worked against that. pretty impressive since noir relies on paranoid fatalism. and finding all the 23's in the background and hidden in the frame would have been fun-- if they didn't need to show a close up of each one. argh! give me a little credit, please. although it did make me want to see pete greenaway's drowning by numbers again....

Sounds like Greenaway's just the right kind of brainbleach you need after the 23 movie.

I've not heard anything good about that movie, but it has brought out some hilarious stories, though. I heard one on a radio show while driving around the other day--the host is usually bubbly and really engaging, and she had on a guest who talked about the seeming prevalence of the number "56" in his life. He said it's been happening for years, that the number was everywhere even when he didn't immediately notice it, and then when he started to notice it's occurences and began pointing them out to his partner, they were both surprised at how oddly persistent it was. Often he'd try to "test" the reality of the number's occurences--once he got a bill at an Indian restaurant he and his partner went to while they were in Italy; and the total of the dinner came to 56 Euros. They laughed, of course, but then realised they didn't order all of the food on the bill--and sure enough, it turned out that the bill actually belonged to the table beside them, and had been delivered to them by accident. Also, on leaving, the realised that the sign on outside of the building housing the restaurant was just the street number sign, which was, naturally, 56. Of course, part of the story was about poking fun at the idea of number coincidences and how they can be found everywhere and easily connected (and there is, supposedly, a factual science to measuring those coincidences)--but the story just pointed out how these kinds of things can and do happen often, might mean nothing at all, or nothing more than your ability to note them whenever they arise.

The funniest part of the story was after the "56" guest went off the air: no one realised until after he'd gone that the show's actual time on air (and thus the interview segment) was 56 minutes.

Long winded and kinda off topic, but I thought it was funny.
OMGOMGOMG-- sidecar-- robocop is the bomb!!!!!!!!
i think it's always underated because it's pulpyscifipop, but it is one of the sharpest social satire of that time. and while i thought verhoven was fantastic with films like the kick ass the fourth man, he seemed to fall down after that, teaming up with "th' gubinator" for total recall and worse yet, sleezeball extrordinare, joe esterhaus for the terrifically bad showgirls. you can kind of see starship troopers as a kind of spiritual cousin to robocop although at the time it's take on the futility and mindlessness of war seemed a bit fuzzy. now however, in the middle of a senseless war, those points are a lot sharper. his best work-- save robocop, his first american movie-- are the films he made before he came to the us.

well, chacha, since you brought up the (off) topic...
most of my close friends tease me because to this day i swear i was followed around for years by two people: dudley moore and sammy davis jr. the sammy davis thing was rather minor only lasting about a year, what i like to call the "dudley moore situation" was much more serious and lasted for five.

it didn't matter where i was or what i was doing, some how dm would pop up. i would find his book lying on the street in my path, would wake up unable to sleep at 3 in the morning, turn on the tv and sure enough a promotion for a tv series starring dudley moore (that would never air, btw) would play as if cued up. tiny things like this would happen, and even my friends would notice.

one week my mom bought me a plane ticket to come home to colorado-- a rare occurance-- since i was too broke. things were rocky at home, so a friend, john, came to pick me up. i was going to stay at his place for a couple of days. on the way to his place he switched the radio from his usual alt rock station to a classical station. it's in the middle of rhapsody in blue-- i off handedly say to my friend, "you know who does a pretty amazing version of this song? dudley moore." john laughed. he knew about the dm situation, or what he called my obsession. he didn't even know dm played the piano, nor did i before this 'haunting,' but since it started i learned more about dm than i ever wanted. the song ends, and the announcer says that that was infact dm doing the song, and that he was in town, playing a concert that night. john's jaw was on the floor. he wanted to find some way of ambushing dm, but i didn't want to. we told his gf, jill, and we all thought it was a great laugh.

the next day we were trying to figure out what to do. the three of us settled on going to see the new woody allen movie that had opened the day before. hung over, we missed the show we had planned on seeing then we decided to go to a huge theatre in the suburbs instead of a closer shoebox theatre. john teased me as we left the parking lot for the theatre. i retorted that he was the one who turned the radio to it. after the movie it was still the topic of discussion. john said he was going to the bathroom, but gave the keys to jill so we could wait in the car. on the way to the car i noticed a couple-- one short guy and a tall blonde. dm was infamous for dating tall blondes and i made some toss off comment to jill, who laughed, wouldn't that be funny if that was him? as we walked i noticed he had a slight limp-- as a child my grandma would buy the nat'l enquirer. in one issue they talked about how dm was born with a birth defect that left him with a limp. something i would later discover was true. i quickly explained this to jill. we coughed loudly hoping he might turn around. it couldn't possibly be dm, could it? even stranger was that this couple seemed to be making a b-line to our car. as they reached their destination, the tiny man and his leggy girlfriend got into his car--- it was dudley moore-- parked right next to us.

when john got to the car we explained everything that happened. since then he's gone from being a sceptic to a believer. sadly for whatever reason, that last sighting was the also the end of the "situation." dudley more never haunted me again.

sorry, even more longwinded. wink.gif
oh, girltrouble.... my mom absolutely loves dudley moorem gave me his cd's as I love music. of course, I just brushed if off - yeah, right... then I listened to him. amazing. love the live performances. wish I had known earlier of how absolutely talented he was.
I loved reading of your encounter. and as for your 'haunting'... maybe he'll visit in a dream.

oh, girltrouble.... my mom absolutely loves dudley moore and gave me his cd's as I love music. of course, I just brushed if off - yeah, right... then I listened to him. amazing. love the live performances. wish I had known earlier of how absolutely talented he was.
I loved reading of your encounter. and as for your 'haunting'... maybe he'll visit in a dream.
anna k
Robocop was so much better than I thought it would be. It's intelligent with deep characters and a lot of sadness and ambiguity in it.

I heard Paul's new movie is good. I'd like to check it out, and see his old Dutch films.
Last night we went to see Ghost Rider and The Illusionist; the former was cack - graphic novel adaptations have so much potential and this failed drastically to meet it. The Illusionist, however, was intelligent, enchanting and aesthetically perfect. I predicted the outcome although it was a little more convoluted than I expected. I find the comparisons to The Prestige reductive: yes, they are both about magic, are period dramas of intrigue and suspense and both contain (possible spoiler in white:) a huge twist but both are unique and offer different levels of entertainment (The Prestige is more thriller and blockbuster-ish IMO and The Illusionist is an independent, low-budget suspense drama).
bunnyb... I felt the same as you! I really did NOT like Ghostrider, even though the 15 year old son did. (poor thing) Nick Cage is way too old for the part, sorry. distracting. I truly enjoyed Illusionist. knew the ending before it happened, but really loved how they did it. love Ed Norton anyway. Have not seen Prestige yet. next in que for Netflix.
any other reccomendations? ...btw.. I liked 'Devil Wears Prada' more than I thought I would. have no idea why.
I know this has already been said but I figured since I just watched it I'd say it again. The Wicker Man sucked ass. Terrible acting and story line. Ending blew. I guess the women on the island were supposed to be Wican and if they were then that is insulting to all Wicans. Ok, I got that out of my system.

Good day to you all!

ummmm...before i say anything else....

i just got back from seeing the host




of course i'm biased. i adore korean movies for starters. the last decade south korea has produced more amazing, creative directors than anywhere else. Joon-ho Bong, being the top of the list. some of his contemporaries are working on their 11th movie, or 6th. this is only his 3rd. but those three films have been some of the most muscular, brilliant films. it wasn't because the host was the most successful korean movie ever that ART FORUM devoted a cover and huge article about Bong's 3 films. it's because no matter the genre, Joon-ho Bong is the real deal. go see this movie before your friends tell you how good it is. you'll want to discover it for yourself. and when the ads tell you it's the best monster movie ever. it really isn't a strech. this is the first time in years i've felt like the movie was worth my $10. BRILLIANT. if you liked the satire in robocop, this isn't as broad, but it is in there.

puggsy~ i assume you mean the ass sucking new version. i want to blame nick cage, but that movie would have sucked no matter who was in it. the director, neil labute, is an excommunicated mormon because of his plays and movies, so there was also a lot of anti mormonism in there (bees/hives are mormon symbols). but the symbolism did'nt keep it from 'the suck.' which it did a mightily. the old wicker man, however, that movie is a ball.

bunny, jami, i think it's unanimous. ghost rider sucked. i blame nick cage. the carpenter's thing is fine-- i love them but you don't need to remark about it. and wtf with the jellybeans?! argh!!!!

ETA: just saw the ebert/roeper review of the host. two thumbs up, but god i hate roeper. when the guest reviewer was talking about the deeper levels in the movie, he just dismissed it as 'just a monster movie.' ugh. that's a bad reviewer to me. joon-ho bong is the epitomy of an auteur, someone who makes genre movies but ads his own obsessions. his movies are all deep, all political, but all he can see is a monster. fucking idiot.

See I really like Nicolas Cage

He was good in

World Trade Center (*****)
Gone in Sixty Seconds (*****)
8mm (*****)
Moonstruck (*****)
City of Angels (****)
Face Off (****)
Con Air (****)
The Rock (****) thanks bunny
Lord of War (***)
National Treasure (***)
Peggy Sue Got Married (**)

I can't blame the actor when I've seen them in other great movies. I just have to blame the director. I do wonder if the actor(s) actually reads the script before agreeing to do the movie because sometimes I think the story line just sucks ass.
lmp, don't forget The Rock! I love The Rock, it's one of my guilty pleasure dvds and I watched it last week.
I dunno; I personally think Nic Cage has jumped the shark. I liked him in Moonstruck, Peggy Sue and even Wild At Heart (although I came thisclose to tiring of his elvis-esque schtick in that) and I especially liked him in forgotten pre-John Hughes 'classic', erm, Valley Girl. For me, once he grew biceps and hair for Con Air I was done.

Did you notice his freakishly white and even teeth in The Wicker Man btw? And what was (the otherwise awesome) Ellen Burstyn doing there? That film should never, ever have been made. I mainly blame Neil LaBute, although he has previously been interesting if controversial. This was clearly an ill-advised vanity project.

I agree with girltrouble; the original Wickerman is great, especially its eerie soundtrack.
I don't know who to START blaming for films like Ghostrider and Wicker Man, but you can bet Roeper and his "it's just a monster movie" anti-intellectualism/jingoistic censored-and-loving-it-ass is on the top of my freaking hate list. And Neil LaBute is one of the biggest, loudest, smelliest misogynists ever given film access (and there is no shortage of those types making film)--which is why he felt it OK to remake an initially satirical and goofy film into a "scary" film about what happens to the world when women have power....

And that is why a film reviewer who has some idea of semiotics and isn't afraid to talk about it is so vital. Roeper, absolute cretin that he is paid to be, shuts down the discourse of a film like the Host so it never, ever takes place as part of the collective film experience. We are all collectively more stupid as a result of his efforts, and Neil LaBute just keeps getting more and more money to make the tripe he's always made, and that's what we're then offered en masse. I'm surprised Roeper didn't silence his guest with an announcement about the decomposition rate of Anna Nicole Smith's body.

But, that being said, I think you have to hold Nic Cage responsible for some things, too.
I loved him in when he was a kid, showing up in movies like Valley Girl, Fast Times at Ridgemont High, Rumblefish, and Moonstruck. He hasn't done many good films for a while, but you can still see he's so talented in films like the Weatherman (I thought his take on the tormented father of the chubby daughter was just so compelling). But I can't understand what would make a man like him think the title role in Ghostrider would be great for his acting career. Even if your obsession in this life is leather jackets and motorcycles, if you're nearing 50 and your hair is already gone, do not entertain the idea of taking this role--it can only make you look like your mid-life crisis is not yet over. Our sympathies have limits.

As for being lured by a director: your uncle and your cousin are both good choices, but neither would make a Ghostrider movie (and there's a warning sign right there); and the only directors in LA who'd probably make such a role and film relevant are long dead--so cut your time loss considerably, and just say no.

And that's all I'd want to say to Nic Cage.

As for Dudley Moore and his "haunting"--I can imagine he was drawing some kind of energy from you, GirlT, and obviously needed to find his moorings in your sphere of influence, wherever it happened to be at the time. He's like your Spirit Guide, if you will: seemingly stunted, by his physical limitations, even from the start. And yet he was immensely gifted with intensely sharp wit, musical agility, charm, great intellect, and obvious sexual prowess, and he made his presence known everywhere. And he followed you around for 5 years.
The Protector staring Tony Jaa was great. He kicks ass in this movie. I mean I liked Hero, Crouching Tiger Hidden Dragon, House of Flying Daggers, Fearless and so on. The martial arts in those movies are great but Tony Jaa just kicks ass more and kicks more asses. He does all his own stunts and doesn't use any cable or wiring. He's balls to the wall nuts. If you like that kind of thing I'd totally recommend this movie.

Also, Stranger Than Fiction was great too. So funny, romantic, sensitive and cute. I really liked it.
I never ever even entertained the thought of going to see Ghostrider. Ever. The thought of an aging man and (I'm sorry, but) bad actor in that role makes my skin crawl.

I can't stand Nic Cage. Which is not to say I haven't loved a few of his movies. But I still think he's a bad actor who's lucked out with the acting thing a few times (like Moonstruck). Like Gone in 60 Seconds? Love it, but he still does that dumb Nic Cage face throughout the movie! blink.gif

I saw Zodiac last night and I loved it. (Then again *ahem* Jake is my future husband...)
I thought it was a little long, but it was really well made.
the only movie i can tolerate nicholas cage in is raising arizona. i can't even stand him in moonstruck. i think the only "actor" i loathe more is tom cruise. second would be jim carrey. and third is nicholas cage. blech. blecher. blechest.

gt, the dudley moore coincidences are weirding me out. *shiver*

for your consideration was ok. not half as much fun as best in show and waiting for guffman. i was disappointed.
Oh I forgot Raising Arizona!

I didn't mind For Your Consideration. I think it's a bit sharper in its observations than most of his other films, or simply puts them across more baldly; however maybe it only seems that way because the subject matter itself (the film industry) is closer to home?

has anybody noticed the netflix-ization of imdb? i have to say i love it. i quit netflix atleast once every year or so, and i'd rather have a movie database of movies that is a little more all encompassing. they've really done a great job of getting all the foreign movies that slipped thru the cracks when they began.

i forgot to mention, there was a fantastic looking preview for an anime movie called paprika which is directed by the kick ass anime master, satoshi kon who also directed the fantastic tokyo godfathers and the great, surreal, anime series paranoia agent both are available at netflix, and worth checking out. paranoia agent is by far my favorite anime series, they only thing that comes close is ghost in the shell: standalone complex or possibly FLCL's hallucinatory goofyness.

before i say anything, chacha, i pissed myself laughing reading your post. it's a good thing that i have been doing astronaut training and was wearing my diaper.
roeper's review of the host was exactly what i hate about most film reviewers. he kept saying "it's so unlike anything i've seen." but he didn't seem capable of saying why. DOOD! IT'S YOUR FUCKING JOB! FREAKING FIGURE IT OUT! but then he would just say, "it's so slimey!" and when the guest reviewer pointed out how there was a lot of layers to the film, he just COMPLETELY DISMISSED IT. ARGH! even after 911 he seems so scared of talking about anything intellectual, anything political. here was an opportunity to talk about so many things, and he ran scared.

i am so with you on the nick cage thingy. your list of movies he's tolerable in would be exactly the same, adding only raising arizona, which is pro'lly my fave coen bros. movie. sad thing is i like the concepts of movies (that whole indy/art house thing) and as a result i end up seeing all of his movies (still haven't seen the weather man or wtc, but will sooner or later).

i sooo understand why people hate neil labute, but i have to admit a weird kind of apreciation for his films. unlike most movies, at the very least they are challenging. i have an affection for sculpted language and his films usually have that.

i think i'm also adopting your theory of why dudley moore haunted me. although, writing the story i got to the part about reading about him as a child and i wonder if he was haunting me for decades before i noticed it. ooooooh! he is a tricky lil' fucker!

i know i am so in the minority, but i can't stand all of those for your/show/for guffman movies. i can see why people like them, they just aren't what i like in a film.

pugsy~ if you like tony jaa, you might want to check out district b13 it's a light weight action film, in the mold of the transporter (which i love--btw), with minimal wire work, but lots of creativity. speaking of action movies-- today i get to see ong bak which is supposed to be fun in that same way.

if you get a chance, check out beautiful boxer-- which is a biopic about a famous transexual thai boxer. who won the title. it's quite good. and i've seen interviews with the woman it was based on. she's pretty amazing.

faerie--- i have been dying to see zodiac. i'm sick to death of serial killer movies, the genre died in the late 80's if you ask me, and needs to stay dead, till there's something new to say. the director's (david fitcher) last sk movie, pushed that genre to it's logical end, and i don't think there has been a better sk movie since. besides, zodiac looks more like a police procedural, which is a lot more interesting....

GT, don't tell me: you're in "astronaut training" because you're already working on the screenplay about that love triangle at NASA. I'm hoping your version of the story wil be like this century's Zabriskie Point. No wonder Dudley was hovering around you all your life--tricky little fucker, indeedy.

How could I forget Raising Arizona? The world's most quotable film: "Mind his little...fontanelle".

Or Vampire's Kiss. Love, love, love that scene where Nic devours a pigeon and then roams around Manhattan with his blood goatee.
I think In the Company of Men was interesting, but I find LaBute just gets more and more misogynistic as he goes along. The Wicker Man is hilariously bad, but the depth of hatred LaBute has for women was never more apparent.

Of course, if he hadn't been allowed to make this, I wouldn't be able to yell, "You bitches! Killing me won't bring back your goddamned honey!" at my friends. So I guess I'll take the good with the bad.
Anybody else check out the 300? I saw it Friday, parts of it were really cool, but there were a couple of parts I wasn't crazy about story wise. All in all I really liked it.
i saw 300 on fri, ginger. my post is back a page. it's good but seemed a bit too war crazy.

yeah, i can definately see lebute's hatred of women, but he doesn't seem to have much love for men either. he certainly doesn't idolize them they're all monsters-- with the exception of the shape of things, and paul rudd is just a cypher, all and all i think he's a misanthrope. but yeah, i definately know what you mean. but in his favor, i probably would have never known the brilliance that is catherine keener were it not for him. she was good in out of sight, living in oblivion and walking and talking but it's hard to notice anyone if you don't really have much of a part, or the movie is shakey at best. and out of sight was the only real gem of the three.

Robo Cop comes into my bar all the time, it's almost boring to see him, although apparantly he's onto something big in Syracuse?

I liked the Illusionist.
Nick Cage was dope in Moonstruck, Peggy Sue and Raising Arizona...utter cack in conair and the like. Also, his first directorial debut was schwill as well (Sonny?).

How does one get to see The Host?
I will not watch a transexual kick-boxer film, whether she wins or loses.

What are the thoughts of Volver, Last King of Scotland and Piccinni for beginners?
Thanks, friends.

Yeah, Robocop is a total renassaince man: he's a professor at Syracuse (his degrees are in renaissance literature, I think), he was nominated for an Oscar for best short film, he's in a jazz duo with Jeff Goldblum, and he looks like a member of Kraftwerk. I'm pretty sure there isn't anything he can't do.
Re: 300: I don't know anything else, but Gerard Butler totally bulked up for the role - I saw a snippet of a "making of" bit on some show, and GOOD GAWD ALMIGHTY that man got muscle-y. *pant pant pant* Actually bigger than I usually like, but he's always been so freaking hot I can't help but get light-headed.

i think robocop thinks he's really buckaroo banzai.

doxy~the host opened nationally this last weekend. you can check or
your local art house theatre,, or

i'm curious, doxy, why wouldn't you see a movie about a transexual kickboxer?

i saw billy wilder's the apartment again last night. i love that film. jack lemon is such a great everyman, and shirley mclaine is so freaking cute in it. came so close to crying at the end.

I'm looking forward to The 300 but not seeing it until the end of March and possibly TMNT (oh yeah!).

Has anyone seen A Guide to Recognising your Saints?

doxy, Volver was in my top five films of last year and The Last King of Scotland in my top five this year. I've shared my opinions of both further back in thread (apologies but I've undoubtedly put it more eloquently then than I could muster just now).
I saw Black Snake Moan the other night. Terrible. On so many levels. My friend had passes or else I never would have gone to see it. *Shudder*

Here's a fun site that quizzes you on how well you know certain movies- it's hard! I only got 13 out of 20 right on Pulp Fiction and that was my highest score. You do have to register to do it, but it's only minimal information and they don't seem to send you any junk mail. It is a British site, so it's a little anglo-centric.
Why can I never find the movie The Apartment? Is it foreign, is it new...or is it old and for all three reasons is it why I can't find it? Am I mistaking it with le apartment?

I was trying to be cheeky in regards to the transexual kickboxer comment. Firstly, I get a little queezy around such violence; secondly, I'm not sure I could get into it enough to grasp the protagonist in the film. Was just joking, in other words.
Not from nothing, I've heard it's common to find transexuals in thai kickboxing circuits. That there's enough money involved so that if someone were to win them they'd have the money for sex changes?

Well, I procrastinated and didn't go to see Volver or Last King of Scotland.
ps. thanks for the help, bunnyb;)
Off to my book then.

I'm not sure I could get into it enough to grasp the protagonist in the film. Was just joking, in other words.

as for the kickboxing circuits, never heard anything about that. the story is about a very famous woman in thailand. she's something of a national heroine/treasure over there. so interesting to see how their culture views transexuality. she married some rich guy and there wasn't any sort of flap about it. she's very pretty. you'd think she'd have a broken nose etc. but no, you'd never know she was a thai boxer. she's not buff or anything.

the apartment isn't that hard to find. it's usually in the classics. it's a 1960's billy wilder film.

polly-- i took the quiz for diehard and aliens, and it is hard.... you really have to be obsessed with a movie to get a perfect score. i love both of diehard and aliens, and i still had a hard time. oof.

Peter Weller (Robocop) hosted a great series called "Engineering an Empire." I think his degree's in Renaissance Architecture (TICBW).

I am Jack's Cold Sweat: my top score on the quizzes was 11/20 for Fight Club.

Check that: I am Big Kahuna: 16/20 for Pulp Fiction.

If they put The Big Chill or Pin Panther up, I'm going 20/20!
15/20 for Gone With the Wind

14/20 for Back to the Future (surprising as I've watched it about a hundred times, same as Indiana Jones and the Last Crusade and I scored terribly on that).

can i say i love tcm? it really is the best movie channel. they show movies i've never heard of, and ones i've always wanted to. as well as promos and trailers you just can't find anywhere else.

i just saw for the love of ivy, on tcm, which i've been looking for for years-- it stars sydney poitier and jazz singer, abbey lincoln. a girl friend years ago turned me on (in hipster lingo), to abbey, and well, you really can't go wrong with a poitier urban comedy/drama. as usual he's got some illegal thing on the side-- in this case a secret gambling speakeasy. it also has a young beau bridges and carol o'connor, and it's interesting to see them so long ago. there is a certain wildness in lincoln's restrained performance that you rarely see on film. she's fun, but ironically, for a singer, her voice is sometimes grating. poitier's usual smart guy thrown off balance by lincoln is charming and sweet. i should also note that it was directed by anthony mann, who directed movies like willard, BUtterfield 8, and our man flint.

they are also showing the night of the hunter. i've seen this movie 6 or 7 times, but i can't help but watch it again, it's so visually interesting. if you like orson welles' touch of evil, and i know there are people on here that do, you should check out the night of the hunter, it's a different kind of movie, but it shares that eye popping german expressionist chiaroscuro that early welles films. it was directed by charles laughton. laughton better known for being being married to elsa lancaster-- the bride of frankenstein-- or as the hunchback of nortre dame, in one of the movies with that name. his performance as the hunchback always reduces me to tears. but that's another subject. NOTH stars lillian gish, shelly winters and robert mitchum. i should also say that laughton only directed one movie. but if you are going to only going to direct one, you would be lucky if it was even 1/100th as interesting as NOTH. oh, and i final note: if you were wondering where spike lee got the idea to have radio raheem's "K.O.'d by love" speech, with his huge love and hate four fingered rings in do the right thing, well it was pretty much lifted from this.

*delurking* just to say I love that movie, gt! I swear I've got a copy around here somewhere....I think Poitier wrote the script, and I've always liked Carroll O'Connor, esp. in the 60's.

The Mr. dragged me to see Ghost Rider, which I unexectedly like, quite a lot. I never read the comic so I wasn't familar with the story, but I thought Cage did a good job. His character was very quirky but not cheesy. And I adore Sam Elliot, so anything with him playing an old cowboy is alright by me. He is much older than men I usually find attractive, but he is just sexy as hell, to me.

Other that, rented some anime, Flags of our Fathers and Garden State. But haven't gotten around to watching the latter even though I have be meaning to see it for awhile now.
I love. Sam. Elliott. His voice alone sends me, as the kids used to say...
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