, you guys. Just go see . Best feature of the year and unlikely to be topped.
That was the culmination of a Todd Haynes kick I've kind of been on lately, and the dude's now cemented as one of my favorite current filmmakers.
Also because I'm weak and helpless in the face of Blu-ray sales I picked up a few Criterions from B&N:
The Battle of Algiers
Don't Look Back
At 11/25/15 04:47 PM, TheMaster wrote:
Going to try to catch The Lady in the Van on Friday too, but will depend on what train I end up catching back home from work.
But what did you think of ?
The shakycam in Tangerine was so bad I had to walk out after half an hour because I felt like I was going to vomit.
Well it was literally shot on an iPhone, so.
I have a pretty low tolerance for shakycam myself, though after making it through Captain Phillips at Alamo Drafthouse with a full meal in front of me at the theater I feel like I can handle anything.
At 11/27/15 04:17 PM, Jackho wrote:
Did anyone else get an invite to test out the letterboxd app?
No but damn, that is long overdue.
At 11/20/15 06:32 PM, Natick wrote:
been trying to see up to at least 8 films per week now
Well shit. I should watch more movies. I did finally watch Lawrence of Arabia today and that's like 2.5 movies.
the grandmaster: i'm in love with the sensibilities of wong kar-wai after seeing chungking express and this is only the second film i've seen of his so far.
In the Mood for Love is the best movie of the 21st century so far and one of the most beautiful movies ever made. I'm sure you'll get around to it sooner or later, but you won't regret making it sooner. I've only seen that and Chungking Express (which I also loved) so I need to get some more Wong in my life too.
mulholland drive: sorry. david lynch just isn't for me, i guess. i enjoy bunuel much more because i feel like his surrealism always had a clear ground to stand on, whether it was his leftist sensibilities, his outrage towards the church and the bourgeoisie, or laughing in the face of death.
I saw this for the first time recently too and loved it. I wasn't too bothered by the lack of anything solid to stand on because I felt that was exactly what Lynch was going for and I think he accomplished it beautifully. Lots of films are pretentiously described as "dreamlike," but Lynch is one of the few filmmakers who actually successfully evokes the feeling of dreaming in his work. It's necessarily going to run at least somewhat counter to the conventional ways we've been trained to engage with movies, but I think it's totally thrilling because of that.
Yes, Bunuel does tend to be more grounded, but I think his goals are often totally different from Lynch's. And Lynch's work is somehow weirdly more accessible. In fact when you think about it Lynch is probably among the most accessible art/experimental filmmakers in history. Even the most casual film fan knows what "Lynchian" means, and the guy created a wildly successful network television show. I think Lynch's grasp of the nuts and bolts of conventional narrative filmmaking is just as strong as, say, Spielberg's, he just refuses to arrange or present them in predictable or even explicable ways.
But I'm also not totally sure I would hem in Bunuel like that. Large chunks of his earlier surrealist stuff defy easy symbolic analysis of any kind and are better off for it. I think like a lot of his modernist contemporaries he was often just trying to make pure abstract representations of the subconscious.
i want to be wrong on this but it really just feels like lynch just grabs whatever comes into his head regardless of it having any shred of coherency.
Maybe, but who cares when what he's serving up is so compelling on its own. How coherent are your nightmares?
Have you watched Twin Peaks? That was my intro to Lynch and I think it was a good one, since it's got all his formal quirks but they're tied to a solid, conventional narrative.
the battle of algiers
Fuck Woodrow Wilson, this is writing history with lightning. An incredibly intense and terrifyingly relevant movie.
jafar panahi's taxi: wonderful. my film of the year so far.
Gah I just missed my chance to see this in theaters.
i know that kiarostami's ten is being shown in the history class at the end of the semester and i'm certainly going to make time to
I still need to see that. Have you seen his Close-Up? On the right day I might call it my favorite movie. Both an extremely moving and mind-bendingly meta mix of fact and fiction.
also, i sort of want to encourage watching it (or anything else out of iranian new wave) in the wake of the attacks on paris. these films are also important because they show us that these people are just like us and not all of them are our enemies.
Yes. I feel kinda guilty that it took a bunch of movies to nudge my empathy along like this, but I've definitely had this reaction to the Iranian films I've seen too.
inside out: i liked it more when it was called osmosis jones.
Lol. I too wasn't as high on this one as everyone else seems to be. For one thing it's just not that visually imaginative or impressive, which Pixar can usually manage even in their weaker efforts (like Brave, or apparently The Good Dinosaur if the reviews I've read are accurate). I can only think of three visual moments in the film that really stood out to me, and two of them are more or less homages to other films (the "Duck Amuck"-esque "abstract thought" sequence and the My Neighbor Totoro thing with the clown). The rest looks an awful lot like any other bland, candy-colored kids' movie.
And while I was very impressed with how clearly and economically the movie sets up and executes its central metaphors (to the point where the biggest narrative payoff in the movie is the mere sight of a multicolored ball), it all adds up to an excellent illustrative tool for families with young children but a pretty middling movie for everyone else. Sadness is an amazing, fully realized character, but the rest of the cast is pretty broadly sketched and forgettable (including Bing Bong, who I felt no emotional attachment to whatsoever and everyone else in the audience is nuts). This is especially a problem with Riley Everytween, because it's hard to get invested in all the craziness going on in her head when we can't get invested in her.
Pixar basically created out of whole cloth a rudimentary language for kids to articulate their feelings, and used it to make a passionate and mature argument for the value and necessity of sadness in a marketplace that usually inundates us with promises of instant gratification and happily ever after. This is no small task, but I guess I ultimately respected this movie more than I liked it.
pather panchali and aparajito: i enjoyed them for the most part but i'm not crazy for them and that's probably because i don't know very much about bengali culture.
....huh. I don't know jack about Bengali culture and I was blown away by Pather Panchali. I actually found the whole trilogy to be weirdly universal in its specificity.
aparajito struck me at the end and made me want to go back home and check if my mother was still there.
I actually watched this with my mom, which was quite the experience. She initially only came to the theater to see Pather Panchali but ended up marathoning the whole restored trilogy with me. Which must be some kind of testament to the power of these movies because she's not a cinephile at all.
we also saw that on a copy with really shitty audio and visual quality since this was before criterion released the remastered trilogy.
It's one of the of the most dramatic restoration jobs I've ever seen, they're like completely different movies. You owe it to yourself to check 'em out.