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bartist
Posted: Wed Dec 04, 2013 9:23 am Reply with quote
Joined: 27 Apr 2010 Posts: 6961 Location: Black Hills
whiskeypriest wrote:
Befade wrote:
Bart........that little Pompous Pius......

Sorry to hear that Whiskey. How many times did you take the Safe Driving class?

(AZ fundraising never makes it to the schools. We've got next to lowest of all states spent on education.)
Just once.

The ticket I got for speeding in El Mirage, they returned the money. The citation disappeared like it was... I dunno, some visual affect you think you see but that disappears when you get close.


effect

Unless the visual was putting on airs or displaying emotion.

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billyweeds
Posted: Wed Dec 04, 2013 9:48 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
gromit wrote:
...they said they were going for a classic Woody Allen film of NY updated for the millennial generation.


Definitely saw the Woody Allen comparison as well as the Truffaut, but it much more reminded me of Jules and Jim, Stolen Kisses, and even The 400 Blows than Annie Hall. And that, may I emphatically say, is a compliment. Because as good as Woody Allen can be, he is no Francois Truffaut.
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gromit
Posted: Wed Dec 04, 2013 11:05 am Reply with quote
Joined: 31 Aug 2004 Posts: 9015 Location: Shanghai
Well, Annie Hall in terms of relationships, but more Manhattan in terms of style/content. The music cues/editing were pure Woody.
And of course Woody was frequently cribbing from Fellini and the French NW.
But even the brief part in Paris didn't put me in mind of Truffaut at all.

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billyweeds
Posted: Wed Dec 04, 2013 11:49 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
gromit wrote:
Well, Annie Hall in terms of relationships, but more Manhattan in terms of style/content. The music cues/editing were pure Woody.
And of course Woody was frequently cribbing from Fellini and the French NW.
But even the brief part in Paris didn't put me in mind of Truffaut at all.


I had thought of Truffaut long, long before the French interlude, but the trip to Paris told me the filmmakers were not unaware of it.
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bartist
Posted: Wed Dec 04, 2013 12:18 pm Reply with quote
Joined: 27 Apr 2010 Posts: 6961 Location: Black Hills
Noticed Gerwig and about a dozen other screenwriters briefly interviewed in this week's NYT Sunday mag - incl. Lake Bell and Nicole Holofcener. I liked Gerwig's take on how to get ideas. Also pleased to note that Lake Bell mentioned "Citizen Ruth" as one of the screenplays that inspired her to get into writing.

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knox
Posted: Wed Dec 04, 2013 1:00 pm Reply with quote
Joined: 18 Mar 2010 Posts: 1246 Location: St. Louis
Alex Payne has now worked with the entire Dern family (or former family) - Bruce, Diane Ladd, and Laura.

I was afraid of the mumblecore factor, so am encouraged to hear that Frances Ha is better than that. Renting soon.
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Ghulam
Posted: Mon Dec 09, 2013 2:07 am Reply with quote
Joined: 20 May 2004 Posts: 4742 Location: Upstate NY
.
'Wadjda is the first Saudi Arabian movie I have ever seen. It is a charming story of a 10 year old gutsy school girl whose burning ambition is to ride a bicycle and to beat a boy in a race. Girls are generally not allowed to ride bicycles in Saudi Arabia. In order to supplement her funds for buying a bicycle she enters a Girls' Quran Recitation Contest. While all this is going on Wadjda's father decides to take a second wife because he wants a male child and Wadjda's mother cannot have any more children. The beautiful denouement is a mixture of heartbreak and triumph with even a bit of O.Henry twist. Written and Directed by a Saudi woman director Haifaa al-Mansour.
.
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gromit
Posted: Mon Dec 09, 2013 4:00 am Reply with quote
Joined: 31 Aug 2004 Posts: 9015 Location: Shanghai
Room 237 is a film in which a bunch of obsessives rattle off various theories about the sub-textual meanings in The Shining. These range from the genocide of the Indians, to hints about Kubrick faking the moon landings, Nazis! and more. When one enthusiast starts weaving a theory about Indian genocide based largely around the Calumet baking soda cans in the storage room, I was cynically wondering why the large cans of Tang didn't have equal hidden meanings. And then later another nutter launches into how Kubrick helped fake the moon landing footage and is hinting at that throughout the film, as the presence of large jars of Tang makes abundantly clear. Conspiracy theories are always amusing/interesting but a lot of the ideas here have an I Buried Paul quality to them.

Some of the observations, and especially the minor details taken up, are interesting. However, a number of them just seemed like parodies of over-analyzing a text and finding whatever meanings you are looking for. The Nazi/Holocaust theories fell into the later category: #42 on the kid's sweater + a German brand typewriter = 1942 and Nazi genocide. Uh, sure. Seemed just as easy to say 42 was Jackie Robinson's number plus Scatman Crothers taking an axe to the midsection referred to segregation or black oppression or wherever you wanted to go with such loose theorizing.

I was also less impressed with those who thought Kubrick was a super-genius who tossed in symbols and allusions to all of human culture in his horror movie. But I guess that would account for the draggy pace. Not necessary, but probably a good idea to re-watch The Shining before and/or possibly after viewing the Room 237 documentary. Room 237 is probably a good thing to catch some fragments of on cable -- but overall just adds up to a misuse of interpretation and obsession.

This is good:
Owen Gleiberman of Entertainment Weekly:
"Room 237 makes perfect sense of The Shining because, even more than The Shining itself, it places you right inside the logic of how an insane person thinks."
A lot of the problem is that these folks are sure they've decoded some important hidden meaning intrinsic to the film, whereas if they just took a more low key approach their ideas and connections would be more interesting and believable. That the silhouette of the skier in a poster on the wall happens to (sort of) look like a minotaur is interesting, but doesn't mean that it was intended to convey that meaning, deftly hinting at the labyrinth, etc


Last edited by gromit on Mon Dec 09, 2013 6:52 am; edited 1 time in total

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billyweeds
Posted: Mon Dec 09, 2013 5:31 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
Wadjda sounds like a must-see. Room 237 sounds like a must to avoid. (Especially since I can't stand Kubrick's ruination of The Shining.)
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billyweeds
Posted: Mon Dec 09, 2013 5:35 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
Philomena is the true account of a woman's quest to find the son who was ripped from her early in life by a convent selling Irish babies to Americans. Judi Dench is superb in the title role and Steve Coogan matches her as the British journalist who facilitates her search. It's funny and moving and provides excellent entertainment. Dench should be nominated for the Oscar (and may be, though who knows?).
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bartist
Posted: Mon Dec 09, 2013 9:41 am Reply with quote
Joined: 27 Apr 2010 Posts: 6961 Location: Black Hills
Ghulam wrote:
.
'Wadjda is the first Saudi Arabian movie I have ever seen. It is a charming story of a 10 year old gutsy school girl whose burning ambition is to ride a bicycle and to beat a boy in a race. Girls are generally not allowed to ride bicycles in Saudi Arabia. In order to supplement her funds for buying a bicycle she enters a Girls' Quran Recitation Contest. While all this is going on Wadjda's father decides to take a second wife because he wants a male child and Wadjda's mother cannot have any more children. The beautiful denouement is a mixture of heartbreak and triumph with even a bit of O.Henry twist. Written and Directed by a Saudi woman director Haifaa al-Mansour.
.


As I commented here a few weeks ago, it is also the first Saudi Arabian movie ever made. A decades-long ban was finally lifted so the film could be shot in Riyadh. As you said, it's charming. And the ensemble is great, considering that most are amateur actors, SA not having many opportunities to go pro in the world's second oldest profession.

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marantzo
Posted: Mon Dec 09, 2013 10:55 am Reply with quote
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billyweeds wrote:
Philomena is the true account of a woman's quest to find the son who was ripped from her early in life by a convent selling Irish babies to Americans. Judi Dench is superb in the title role and Steve Coogan matches her as the British journalist who facilitates her search. It's funny and moving and provides excellent entertainment. Dench should be nominated for the Oscar (and may be, though who knows?).


Have you and anyone else watched the BBC series, As Time Goes By? It's very very good and funny. Many interesting characters. Judi Dench and Geoffrey Palmer are the main actors as husband and wife. Dench and Palmer are a treat to watch. Their characterizations are excellent. Dench certainly has a wide range of acting ability.

It ran from the 90's till 2002.
Ghulam
Posted: Mon Dec 09, 2013 1:48 pm Reply with quote
Joined: 20 May 2004 Posts: 4742 Location: Upstate NY
billyweeds wrote:
Philomena is the true account of a woman's quest to find the son who was ripped from her early in life by a convent selling Irish babies to Americans. Judi Dench is superb in the title role and Steve Coogan matches her as the British journalist who facilitates her search. It's funny and moving and provides excellent entertainment. Dench should be nominated for the Oscar (and may be, though who knows?).


Yes, it is funny and moving, some improbable storyline liberties notwithstanding.

.
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bartist
Posted: Mon Dec 09, 2013 4:38 pm Reply with quote
Joined: 27 Apr 2010 Posts: 6961 Location: Black Hills
billyweeds wrote:
Mud was something of a disappointment to me, inasmuch as I am a pretty big Matthew McCan'tspellit fan and the director Jeff Nichols was responsible for Take Shelter, one of the most underrated and superb films of the last few years. Mud has some wonderful moments and, yes, a lovely performance by Matt M. But it wanders around a bit too much and has a few too many characters, so the overall effect is not as profound or moving as it ought to and obviously means to be.

Two teen boys discover a homeless man living in a boat in a tree. His name is "Mud," and they bond. Things transpire and there is a shootout that comes almost out of nowhere. Sarah Paulson, Ray McKinnon, and Sam Shepard contribute nice performances on the sidelines. The two kids are more than okay. Reese Witherspoon plays a small role as Mud's elusive lower-class girlfriend. Witherspoon is miscast and somewhat out of place though pretty good, but you wonder what she's doing playing this role.

It's a rather disjointed movie, and I did not love it, but many people do, so take a chance. It's worth the time, but don't expect greatness, and don't say you weren't warned.


Just saw this. Yeah, what WAS the Spoon doing in this movie? But she did a fine job, as did the others you mention. Good moments, several nods to Huck Finn and Twain's whole river oeuvre (I'm not sure the word "oeuvre" really belongs in a sentence about Mark Twain's tales of the Mississippi, but what the hell), and a tasty snack if you like McConaughey and just need to see him doing his good-hearted yokel thing. I enjoyed it, but it did seem to have trouble trying to decide what it was about, which makes it hard for me to say that the ending followed naturally from everything else and was emotionally satisfying.

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gromit
Posted: Tue Dec 10, 2013 2:15 am Reply with quote
Joined: 31 Aug 2004 Posts: 9015 Location: Shanghai
Somehow I managed to follow-up the odd Room 237 with a fairly similar film -- The Pervert's Guide To Ideology. Slavoj Žižek is an idea factory and has a good time analyzing a variety of films to make his point about how ideology functions and antitheticals operating in tandem. This is a good deal less focused than his earlier The Pervert's Guide to Cinema (2006) which applies a psychoanalytic reading of many well-known films. The stuff on Psycho is great.

In Ideology, Zizek jumps around from one idea to another and some of his theories aren't fleshed out that well. It is amusing that after a film clip Zizek frequently appears in a recreation of an iconic set from the film being discussed. Though his assorted tics and constant nose-rubbing was distracting.

I liked when he made some quick Marxist observations:
Antagonisms, class struggles and other dangers are inherent to capitalism.
Modernization and industrialization means disintegration of old stable relations. It means social conflicts. Instability is the way capitalism functions.

He's most provocative when he refers to Taxi Driver as an unacknowledged remake of The Searchers. A man on a quest to redeem a woman in a bad situation, who doesn't particularly want this help. Which Zizek then compares to American military interventions ...

I was watching this late at night and dozed off halfway through. Dense arguments and jumping around from one idea and one film to another doesn't really make for the best late night viewing. In a way it's just good to see an intellectual leading a discussion and making arguments on film. A pretty rare occurrence outside maybe one or two Noam Chomsky documentaries. I mean, why isn't there a Paul Krugman film on Depression economics to take a fairly obvious starting point? Not sure why film has been co-opted almost entirely as an entertainment medium. Though the documentary breakthroughs of th past decade plus is somewhat encouraging.

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