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billyweeds |
Posted: Wed Jan 01, 2014 8:36 pm |
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Joined: 20 May 2004
Posts: 20618
Location: New York City
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Love Say Anything..., which is still John Cusack's finest hour. |
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Syd |
Posted: Wed Jan 01, 2014 9:29 pm |
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Joined: 21 May 2004
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Location: Norman, Oklahoma
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I'm watching Scorsese's Bob Dylan documentary No Direction Home. I've liked all of Scorsese's documentaries I've seen except for Shine a Light, and I like this one a lot. Still only an hour into part one, which deals how a not-particularly-outstanding teen musician for Minnesota found good influences in New York, absorbed them like a sponge, and became an original BOB DYLAN. I'm learning a lot about the musical scene of the late 50s and early sixties.
It was courageous for the film to start off with one of the worst renditions of "Like a Rolling Stone" I've heard, but the rest of Dylan's singing is fine. I always liked him on intimate ballads, where his not-pretty voice works for him.
Edit: Finished part 1, which takes us almost to "Bringing It All Back Home," which began the peak of his career, to be followed by "Highway 61 Revisited" and "Blonde on Blonde," two of the best albums ever.The video selections are not necessarily chronological. He's already done "Like a Rolling Stone," "Ballad of a Thin Man" and "Mr. Tambourine Man." Excellent documentary. I look forward to Part II. |
_________________ I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament |
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Joe Vitus |
Posted: Fri Jan 03, 2014 4:48 am |
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Joined: 20 May 2004
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Location: Houston
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billyweeds wrote: Love Say Anything..., which is still John Cusack's finest hour.
It's nice, but his finest hour is definitely Grosse Pointe Blank. |
_________________ You've got a great brain. You should keep it in your head.
-Topher |
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marantzo |
Posted: Fri Jan 03, 2014 9:35 am |
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Joe Vitus wrote: billyweeds wrote: Love Say Anything..., which is still John Cusack's finest hour.
It's nice, but his finest hour is definitely Grosse Pointe Blank.
I think it is too. I haven't seen all of his films though. |
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Joe Vitus |
Posted: Fri Jan 03, 2014 9:40 am |
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Joined: 20 May 2004
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Location: Houston
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Nor me, to be honest. |
_________________ You've got a great brain. You should keep it in your head.
-Topher |
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gromit |
Posted: Fri Jan 03, 2014 10:21 am |
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Joined: 31 Aug 2004
Posts: 9010
Location: Shanghai
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I thought Cusack had it going on all cylinders in High Fidelity.
Also think he's pretty great in Being John Malkovich.
I've never seen Grosse Point Blank.
Looks likes he's been in a lot of crappy films for the past decade.
One of the few I've seen War, Inc. (2008) I picked up because of Cusack and I was wondering how he would do in action role. Seemed inspired by Nic Cage's transition. War Inc. was a horrible film. Just real bad scriptwriting, editing, acting -- barely watchable noisy frenetic dreck.
Oddly, Cusack and Gong Li starred in a 2010 film entitled Shanghai which was never released in the US. Must be real good ... |
_________________ Killing your enemies, if it's done badly, increases their number. |
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whiskeypriest |
Posted: Fri Jan 03, 2014 10:51 am |
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Joined: 20 May 2004
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Location: "It's a Dry Heat."
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I was about to mention Election when I realized I was once agaon confusing Cusack with Matthew Broderick. Why do I do that? Which one was in The Sure Thing? Damn it all to Hell. |
_________________ I ask you, Velvel, as a rational man, which of us is possessed? |
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bartist |
Posted: Fri Jan 03, 2014 12:10 pm |
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Joined: 27 Apr 2010
Posts: 6958
Location: Black Hills
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Cusack was in The Sure Thing. I'm sure. BJM and GPB are Cusack favorites of mine, as well as High Fidelity, Identity, and Runaway Jury. And a good digression into the horror genre in "1408."
Amanda Peet (also in Identity) in my favorite actress for Spoonerism. |
_________________ He was wise beyond his years, but only by a few days. |
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Syd |
Posted: Sat Jan 04, 2014 10:40 am |
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Joined: 21 May 2004
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Location: Norman, Oklahoma
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In The Story of Qiu Ju, village elder Wang kicks Qiu Ju's (Gong Li's) husband Qinglai in the testicles during an argument over whether Qinglai can build a shed to process his chilis. (The chilis are currently adorning the outside of his house.) Wang is actually correct about the shed, by the way: Qinglai has been allocated land for growing crops and can't build a structure on it. However, in the heat of the argument, Qinglai remarks that Wang grows only hens. Apparently Wang grows chickens, but he interprets this remark to mean he can only father daughters, of which he has four (despite China's one-child policy), hence the ball-busting assault.
Qinglai recuperates without incident, but the pregnant Qiu Ju is outraged by the assault on the family jewels, since, if she loses this baby, she could have lost the chance to try again. So she tries getting justice from local officials, who keep awarding her husband medical expenses and lost wages and maybe a little for the insult. However, what she really wants is an apology, which she isn't going to get because Wang doesn't want to lose face. He also insults her the first time he gives her the money, so she doesn't want to lose face either.
Thus she goes to official after official, and encounters the Chinese legal system as well, to the point where it seems to me she's pursuing her case more out of pride than seeking justice. After the third award, from the district director, with an extra 50 yuan, Wang just hands Qinglai the money without insult, Qinglai is willing to let things go, and that in my opinion should be it, but Qiu Ju disagrees, continues to pursue her case, and I'm losing sympathy with her.
This is a highly regarded film which received many award nominations, but I found pretty dull, and not funny like a lot of critics do. Gong Li is made to look dowdy, which is a major achievement. I was more interested in her long-suffering sister-in-law Meizi (Liuchun Yang), who quietly accompanies Qiu Ju on her journeys. What does Meizi think of all this? We never find out. Meizi keeps her own counsel.
Director is Zhang Yimou. This is the film between Raise the Red Lantern, which I still haven't seen, and To Live, which I like a lot more. |
_________________ I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament |
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gromit |
Posted: Sat Jan 04, 2014 11:33 am |
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Location: Shanghai
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QiuJu was pretty remarkable for taking a look at government malfeasance, the frustrations of dealing with bureaucracy, and the workings of China's fledgling legal system. Even the notion that rural peasants have rights they can enforce against leaders. Part of the point of the film is that even as QiuJu pursues her case through the modern legal system, she is still looking for honor and apology, traditional redress, not the kind of impersonal money the modern system offers as recompense. She is frustrating because she seeks a traditional remedy via a modern system. In some ways the modern legal framework doesn't satisfy anyone involved, but it still seems to creakily work. There's a new paradigm in which village leaders can't just abuse their charges, and apologies aren't forthcoming. It all comes down to money ...
Another aspect of the film, as you mention, is that glamorous Gong Li is made up as a heavily pregnant peasant wife who trudges through the film. Very clever counter-casting. Zhang YiMou was criticized for continuing to show less savory aspects of China, and wallowing in backwardness and poverty when China wanted to show off its nascent boom. Soon enough this would result in Zhang getting banned from filmmaking briefly and moving towards more anodyne features that the censors would allow (which is why we get junk such as Shanghai Triad). |
_________________ Killing your enemies, if it's done badly, increases their number. |
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billyweeds |
Posted: Sat Jan 04, 2014 4:31 pm |
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Joined: 20 May 2004
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Location: New York City
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Netflix Streaming scores again! Drinking Buddies, a spontaneous-seeming sorta-rom-com with lovely performances by Olivia Wilde, Anna Kendrick, Ron Livingston, and Jake Johnson, traces the relationships of two couples in very unpredictable ways. It's funny, rueful, and beautifully directed by Joe Swanberg. Really worth it. |
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bartist |
Posted: Sat Jan 04, 2014 5:16 pm |
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Joined: 27 Apr 2010
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Location: Black Hills
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Do these titles just go direct to streaming and/or dvd? Haven't seen this in theaters, mainstream or the two indie houses in the area.
Finally caught Elysium. Not bad as an actioner, or if you just like watching Matt Damon - it's from the Afrikaaner guy who did District 9, and has some of that same gritty shantytown aesthetic. As science fiction, it fell short for me, having just too many implausibles and unnecessary feats of CGI gore. The main thing to watch out for, however, is Jody Foster's performance as the security chief of the paradisical space colony: just dreadful. And with a French accent. Here's a thought, Mr. Blomkamp: there are many talented French or Belgian actresses who come already equipped with credible accents and the dramatic range to be Evil Space Bitches. |
_________________ He was wise beyond his years, but only by a few days. |
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marantzo |
Posted: Sat Jan 04, 2014 10:10 pm |
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Jody Foster can't act worth a shit! |
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billyweeds |
Posted: Sat Jan 04, 2014 11:00 pm |
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Joined: 20 May 2004
Posts: 20618
Location: New York City
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bartist wrote: Do these titles just go direct to streaming and/or dvd? Haven't seen this in theaters, mainstream or the two indie houses in the area.
Drinking Buddies opened under the radar in NYC and got a rave from A.O. Scott of the NYTimes and several other raves as well. It practically went unnoticed by me last August when it opened. I don't know how these little gems escape me, but they do. There's another on Netflix I'm planning to watch called Prince Avalanche, starring Paul Rudd and Emile Hirsch, which likewise got raves from top critics and likewise was invisible on release. Huh? |
Last edited by billyweeds on Sun Jan 05, 2014 7:04 am; edited 1 time in total |
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Syd |
Posted: Sat Jan 04, 2014 11:50 pm |
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Joined: 21 May 2004
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gromit wrote: QiuJu was pretty remarkable for taking a look at government malfeasance, the frustrations of dealing with bureaucracy, and the workings of China's fledgling legal system. Even the notion that rural peasants have rights they can enforce against leaders. Part of the point of the film is that even as QiuJu pursues her case through the modern legal system, she is still looking for honor and apology, traditional redress, not the kind of impersonal money the modern system offers as recompense. She is frustrating because she seeks a traditional remedy via a modern system. In some ways the modern legal framework doesn't satisfy anyone involved, but it still seems to creakily work. There's a new paradigm in which village leaders can't just abuse their charges, and apologies aren't forthcoming. It all comes down to money ...
Another aspect of the film, as you mention, is that glamorous Gong Li is made up as a heavily pregnant peasant wife who trudges through the film. Very clever counter-casting. Zhang YiMou was criticized for continuing to show less savory aspects of China, and wallowing in backwardness and poverty when China wanted to show off its nascent boom. Soon enough this would result in Zhang getting banned from filmmaking briefly and moving towards more anodyne features that the censors would allow (which is why we get junk such as Shanghai Triad).
Though it was his next film, To Live that got him and Gong Li banned for a while, and I can understand why that film got them banned in China. Qiu Ju's satirical elements are really not all that damaging in comparison. |
_________________ I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament |
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