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Wooley wrote:
More than ever, I feel like this can be said of every single film John Goodman is ever in.

I agree. He's really talented.

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Wed Feb 07, 2018 4:53 am
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Popcorn Reviews wrote:
I agree. He's really talented.



The man is a national treasure.

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Wed Feb 07, 2018 5:20 am
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Wed Feb 07, 2018 5:23 am
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Jinnistan wrote:
Image



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Wed Feb 07, 2018 6:11 am
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Captain Terror wrote:
It's why I liked the choice to make him so witty and charming. Makes the women (and male friends) seem less pathetic for putting up with him. That moment with the agent was heartbreaking (when the agent forgives him after the punch). I'm not really a Bogey guy but I really liked this a lot. Thought about it all day.


I think that the movie totally understands the real way that such dynamics work. A lot of abusive people aren't abusive jerks 24/7. They have talent or charm or even moments of genuine kindness that are just enough to make people think that the bad stuff is the exception and not the rule (or, worse, think that it is THEIR fault for pulling out that "side" of the abuser). Consider how many people will stand by celebrities they love just because they like their work. In my experience, people who are abusive in this way tend to know where the boundaries are and when a little sweet talk or a show of contrition can make thing blow over. I think that In a Lonely Place is very shrewd in its emotional honesty.

Death Proof wrote:
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"Little Princess?" wins the prize for funniest/scariest line in a thriller. (With bonus points for the actress's perfect reaction shot).


Wed Feb 07, 2018 9:14 am
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Rabid B-


Wed Feb 07, 2018 9:37 am
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City for Conquest wasn't at all what I expected as it came in a TCM Cagney gangster set. It's a gorgeously shot slice of life film that I suspect was an influence on Raging Bull visually. It's more or less a slice of life melodrama that follows a boxer, his dancer girlfriend and composer brother as success and failure enters their lives. There's a dash of gangsterism but it's mainly a sentimental love letter to New York and I'll be damned if I didn't get a tad emotional during it's climax. Very underseen and I highly recommend it.


Wed Feb 07, 2018 12:51 pm
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ThatDarnMKS wrote:
City for Conquest wasn't at all what I expected as it came in a TCM Cagney gangster set. It's a gorgeously shot slice of life film that I suspect was an influence on Raging Bull visually. It's more or less a slice of life melodrama that follows a boxer, his dancer girlfriend and composer brother as success and failure enters their lives. There's a dash of gangsterism but it's mainly a sentimental love letter to New York and I'll be damned if I didn't get a tad emotional during it's climax. Very underseen and I highly recommend it.
It's definitely one of the movies that Scorsese and the production team were looking to build and improve upon. Michael Chapman has been quoted comparing the central performances, along with that of Body and Soul: "Bobby De Niro is a better fighter than any of those [other actors]. He looks and moves like a fighter. He has the punches and convincingness of a fighter, much more so. With Cagney or Garfield, you always have a sense that they are actors portraying a fighter. But Bobby is a real fighter. He spent a year not doing anything, just working out every day, obsessively."

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Thu Feb 08, 2018 12:00 am
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BL wrote:
It's definitely one of the movies that Scorsese and the production team were looking to build and improve upon. Michael Chapman has been quoted comparing the central performances, along with that of Body and Soul: "Bobby De Niro is a better fighter than any of those [other actors]. He looks and moves like a fighter. He has the punches and convincingness of a fighter, much more so. With Cagney or Garfield, you always have a sense that they are actors portraying a fighter. But Bobby is a real fighter. He spent a year not doing anything, just working out every day, obsessively."


I'm not sure if he was actually a better fighter than Cagney, as he apparently had a lot of boxing experience and was a former lightweight runner up in his division, but DeNiro does move impressively and Scorsese certainly knows how to film visceral violence better than anyone, so his fights certainly feel more "real." I liked CoC considerably more than They Made Me a Criminal, if we're going to compare Cagney and Garfield, though the fights had a similar antiquated feel to them.


Thu Feb 08, 2018 1:40 pm
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Death Proof wrote:


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Rain King is a good fuckin' song.
Mama, mama, mama, why am I so alone? I can't go outside, I'm scared I might not make it home, DP.


Thu Feb 08, 2018 3:02 pm
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Wooley wrote:

Rain King is a good fuckin' song.
Mama, mama, mama, why am I so alone? I can't go outside, I'm scared I might not make it home, DP.



But I'm alive, but I'm sinking in. If there's anyone home at your place why don't you invite me in?
Don't try to bleed me 'cause I've been there before and I deserve a little more


I wrote a screenplay inspired by the song, which itself is inspired by a novel called Henderson the Rain King.

I also have Rain King in Chinese on one arm. It has several meanings to me.

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Thu Feb 08, 2018 3:59 pm
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I was impressed by how much DePalma's Scarface follows the original after finally seeing the Hawks film. It's very much like the case of Jackson's King Kong remake where he basically made a gargantuan expansion of the original, but faithfully follows the character dynamics and plot outline. The only real difference is the setting and race to match the time. For that reason, I preferred the original as it's lean and mean, with none of the bloat that makes DePalma's a harder watch.


Fri Feb 09, 2018 7:09 am
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ThatDarnMKS wrote:
I was impressed by how much DePalma's Scarface follows the original after finally seeing the Hawks film. It's very much like the case of Jackson's King Kong remake where he basically made a gargantuan expansion of the original, but faithfully follows the character dynamics and plot outline. The only real difference is the setting and race to match the time. For that reason, I preferred the original as it's lean and mean, with none of the bloat that makes DePalma's a harder watch.
Also hugely influential on gangster films beyond its direct remake. The whole "X" motif shows up in The Departed, and is arguably the direct inspiration for the meaning of the oranges in The Godfather.

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Fri Feb 09, 2018 7:15 am
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BL wrote:
Also hugely influential on gangster films beyond its direct remake. The whole "X" motif shows up in The Departed, and is arguably the direct inspiration for the meaning of the oranges in The Godfather.


I wasn't aware of the x motif being in the Departed and I've seen it numerous times, though not in years. I may rewatch it now.


Fri Feb 09, 2018 9:18 am
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Death Proof wrote:
The Cloverfield Paradox (2018) directed by Julius Onah

6/10 - not a bad watch but I'm glad I didn't pay to see it in theaters... although some of the space scenes probably will look impressive on the big screen.

I agree for the most part. I found out it was available and logged into Netflix to watch it immediately. It was unable to keep me awake the whole time, although I don't think I totally dozed off during any critical scene. :)

Yeah, it looked good, all right. But Cloverfield was more coherent, I thought. Also, I haven't see 10 Cloverfield Lane, although I want to. Many write about it as if it's the best of the three.

I thought the acting was better than the script in Paradox, which is a pretty common impression now that a few people have posted about the film. I wonder how it's doing almost a week out.

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Fri Feb 09, 2018 9:24 am
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The Shape of Water - 8/10

Three Billboards outside Ebbing, Missouri - 9/10

I found TBB more enjoyable although it felt a little too out there towards the end. SOW is what it is, enjoyable. Wouldn't be disappointed with either winning best pic but SOW seems more like a better fit.

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Fri Feb 09, 2018 11:21 am
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ThatDarnMKS wrote:

I wasn't aware of the x motif being in the Departed and I've seen it numerous times, though not in years. I may rewatch it now.
I haven't seen it in years, either, but I'm actually kind of keen to revisit now that I've brought it up because I have a theory: My recollection is that the X's are so pervasive in The Departed that rather than
giving you clues as to who's going to die as in Scarface, you actually need to look out for the lack of X's to figure out who's going to survive. Like, I don't know that Mark Wahlberg's character ever shows up next to an X, which would be pretty deliberate since I know DiCaprio, Damon, Sheen and Nicholson (hell, I'm pretty sure his very first appearance counts) all appear with prominent X's on screen multiple times throughout the movie.

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Fri Feb 09, 2018 11:39 am
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The "X" in The Departed

But seriously, in a film like this, Scorsese might've just put "X" on every frame because

everybody dies!

Seriously, if I remember correctly, the only characters of importance that live are Mark Wahlberg, Vera Farmiga, and who else? Alec Baldwin?

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Fri Feb 09, 2018 12:38 pm
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Thief wrote:
The "X" in The Departed

But seriously, in a film like this, Scorsese might've just put "X" on every frame because

everybody dies!

Seriously, if I remember correctly, the only characters of importance that live are Mark Wahlberg, Vera Farmiga, and who else? Alec Baldwin?
But that's what I'm saying. Show me a scene WITHOUT an X,
and I bet it features one of those characters who survive.
I think that's the point. Scorsese is playing visual jokes throughout the whole damn movie, culminating with
the rat that symbolizes obviousness.

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Fri Feb 09, 2018 12:46 pm
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BL wrote:
But that's what I'm saying. Show me a scene WITHOUT an X,
and I bet it features one of those characters who survive.
I think that's the point. Scorsese is playing visual jokes throughout the whole damn movie, culminating with
the rat that symbolizes obviousness.


Yeah, you're right. I'll pay more attention when I rewatch the film.

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Fri Feb 09, 2018 12:47 pm
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The Departed is awesome. One of my favorite Scorsese films.

To Be or Not to Be (1942) - 10/10

I found this film compelling due to its satiric depiction of the Nazi's. During the scene where Joseph was impersonating Col. Ehrhardt, it felt like he was exaggerating his behavior only to reveal that the real Col. Ehrhardt acts more ridiculous. Displaying them as incompetent made for a powerful attack on the Nazi's. Also, many of the humorous lines and scenes from the film were quite memorable and they lingered with me for a while due to the film's interpretive aspect.

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Fri Feb 09, 2018 1:06 pm
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Popcorn Reviews wrote:
The Departed is awesome. One of my favorite Scorsese films.

To Be or Not to Be (1942) - 10/10

I found this film compelling due to its satiric depiction of the Nazi's. During the scene where Joseph was impersonating Col. Ehrhardt, it felt like he was exaggerating his behavior only to reveal that the real Col. Ehrhardt acts more ridiculous. Displaying them as incompetent made for a powerful attack on the Nazi's. Also, many of the humorous lines and scenes from the film were quite memorable and they lingered with me for a while due to the film's interpretive aspect.


It's a masterpiece and belongs alongside the Great Dictator as one of the great contemporary satires of Nazis and fascism. However... I'd be lying if I didn't say that I considered the Mel Brooks version to be funnier. Perhaps not as great, due to it's remake status, but damn if that one doesn't slay me.

I just finished watching "Illegal." It's works as a proto-Better Call Saul where Edward G. Robinson plays a disgraced prosecutor turned scoundrel lawyer that will win his defense trials by any means necessary. It's a tad over the top at times but really groovy overall. I do think it's perhaps Robinson's best performance, though Little Caesar is so dang over the top it may claim that title. It's like comparing Nicholas Cage in Adaptation to Nicholas Cage in Face/Off except not-so-obviously Cage in Face/Off as the superior performance.


Fri Feb 09, 2018 1:23 pm
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Man, I just couldn't get into The Departed.
I mean, I watched the whole thing and all, but by the end it just seemed rote as hell, like it was a sort of collage so many modern gangster/cop movies I'd seen before, and I just didn't care what happened to any of the characters, not a one. When things did happen to them, I was unmoved and, honestly, uninterested. It was a bit of a struggle to finish and I've always thought it was a shame that THAT is what they got to give Scorsese his Lifetime Achievement Oscar for, considering he's made so many better movies, but looking at the competition, I can see how it was a ripe year for it.


Fri Feb 09, 2018 9:01 pm
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ThatDarnMKS wrote:

It's a masterpiece and belongs alongside the Great Dictator as one of the great contemporary satires of Nazis and fascism. However... I'd be lying if I didn't say that I considered the Mel Brooks version to be funnier. Perhaps not as great, due to it's remake status, but damn if that one doesn't slay me.

I love the Mel Brooks version. Absolutely love it.


Sat Feb 10, 2018 12:54 am
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I've actually been dreading revisiting The Departed. I liked it a lot when I saw it in my teen years and I think it was my first Scorsese, but I rarely hear it mentioned all that favourably anymore so I'm not sure how well it'll hold up. Only one way to find out, I guess...

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Sat Feb 10, 2018 2:37 pm
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Rock wrote:
I've actually been dreading revisiting The Departed. I liked it a lot when I saw it in my teen years and I think it was my first Scorsese, but I rarely hear it mentioned all that favourably anymore so I'm not sure how well it'll hold up. Only one way to find out, I guess...


I saw it in a theater with some friends and even then I was kind of like "meh". I had been excited about it because I really enjoyed Infernal Affairs, the film it is a remake of, and I like a lot of the actors who are in it.

But the film just felt . . . clumsy to me. Like, get it?, a RAT! None of the characters ever felt like real people. It was one of those movie experiences where it seems like you're watching actors act (Now Matt Damon is talking. Now DiCaprio is talking.) For me it fell flat.

My internet and phone were out from Wednesday morning until yesterday afternoon, which meant time to raid the DVD shelf.

Fantastic Mr. Fox is still incredibly charming. Every time I rewatch Dredd I regret more and more that I missed it in theaters and I have more and more respect for the way that character beats are built into what on paper could have just been a "climb the tower, beat the boss monster" structure. Lastly, Predators continues to be my favorite go-to action movie for a late night.


Sat Feb 10, 2018 10:25 pm
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I'm disappointed by the lack of appreciation for The Departed in here. I still think it holds up just fine.

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Sun Feb 11, 2018 1:11 am
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I still consider The Departed to be my #2 or #3 Scorsese, but then again, I'm not a huge fan of Scorsese to begin with.

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Sun Feb 11, 2018 1:14 am
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I rewatched the Departed a few years ago and it still held up. The performances and energy keep it involving even when it should devolve into a series of gangster cliches and macho posturing. Scorsese's direction is in that Casino, Gangs of New York and Wolf of Wall Street mode where it's firing on all cylinders so even when it gets messy, it feels like a tangible part of the film and not unintentional. I prefer it to Infernal Affairs (though Infernal Affairs 2 gives it a run for it's money).

On a separate note, I watched 2 Argento flicks: Four Flies on Grey Velvet and Opera. Four Flies was a solid, if less engaging giallo experience with a few stand out scenes, but the mystery, kills and lead were underwhelming. Opera was a masterpiece visually but it's plot, performances and musical cues were beyond nonsensical. Hair metal should never be played in a scene designed to build tension.

I did dig both though and would put them middle of the pack for Argento.


Sun Feb 11, 2018 1:16 am
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Four Flies is a huge step up visually from The Cat o'Nine Tails, which is a step down from The Bird With the Crystal Plumage, so net it's a moderate step up?

I like it, but the protagonist is too passive for it to have the momentum of his other work.

Opera I think I share your feelings on (the metal works a lot better in the Argento-produced Demons), but I remember finding a few of the killings a little hard to watch, even by Argento's standards. Did you watch the new Blu-ray release?

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Sun Feb 11, 2018 1:47 am
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Rock wrote:
Four Flies is a huge step up visually from The Cat o'Nine Tails, which is a step down from The Bird With the Crystal Plumage, so net it's a moderate step up?

I like it, but the protagonist is too passive for it to have the momentum of his other work.

Opera I think I share your feelings on (the metal works a lot better in the Argento-produced Demons), but I remember finding a few of the killings a little hard to watch, even by Argento's standards. Did you watch the new Blu-ray release?


I found myself more engaged by Cat due to the blind protagonist. Aside from the early drumming scene, I felt nothing approaching interest in the characters of Flies. He made accidental murder boring.

I had the exact same thought about the Demons comparison (the energy matches the metal) and the killings. I felt like Argento put in that music to sabotage the tension and make it watchable due to how grisly it was. I did watch the new Blu. It's gorgeous.


Sun Feb 11, 2018 2:44 am
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Rock wrote:
I've actually been dreading revisiting The Departed. I liked it a lot when I saw it in my teen years and I think it was my first Scorsese, but I rarely hear it mentioned all that favourably anymore so I'm not sure how well it'll hold up. Only one way to find out, I guess...
I dread going back to it too; now, I remember liking it a lot in the theater way back in '06 (which is still the only time I've watched it), but the more time that passes since then, the less I remember its overall vivid sense of style and energy, and the more I remember its flaws; its overall sloppy structure, which plays less like a coherent narrative and more like a shapeless, random collection of gangster & undercover cop cliches (including a character essentially repeating the same "made men vs. non-made men" spiel Henry Hill gave us a decade-and-a-half beforehand), or the overall obnoxious tone, as if Scorsese was trying to cram as much unnecessary sex/violence into the film as if to prove his edgelordness, which would be problematic coming from a younger, less skilled director, much less coming from someone with as much skill, experience, and the kind of pedigree that he has when it comes to presenting lurid material in a fairly classy, respectful manner. It was just so... off-putting that way. Anyway, I suppose I'll probably watch it again someday, but it's really not anywhere high on my priorities list, currently.

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Sun Feb 11, 2018 2:49 am
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Takoma1 wrote:
Every time I rewatch Dredd I regret more and more that I missed it in theaters and I have more and more respect for the way that character beats are built into what on paper could have just been a "climb the tower, beat the boss monster" structure.
I was kind of mixed on Dredd; on one hand, much of its vision of the future was overly familiar and uninspiring, both visually and conceptually (hey, another run-down, over-crowded, crime-ridden crapsack future? terrific...), with too many phonily greenscreened environments, and, except for the part where the entire floor got mowed down, most of the action scenes were disappointingly straightforward and stiff (it's obvious that Karl Urban or his stuntmen could barely see or move around in that visor/outfit). On the other hand, there was the occasionally interesting detail in it, like everything to do with Anderson's psychic abilities, and I liked how it wasn't afraid to have a realistic amount of civilian casualties in it, while still having an "anti-hero" like Dredd still care a lot about them, and get pissed as a result, which is refreshing in this day and age, compared the toothlessness of something like The Avengers when it comes to that subject, or the utter abandon something like Man Of Steel treated it. So yeah, still kind of a mixed bag, but it had some good aspects to it.

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Sun Feb 11, 2018 3:00 am
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Takoma1 wrote:

But the film just felt . . . clumsy to me. Like, get it?, a RAT! None of the characters ever felt like real people. It was one of those movie experiences where it seems like you're watching actors act (Now Matt Damon is talking. Now DiCaprio is talking.) For me it fell flat.

Every time I rewatch Dredd I regret more and more that I missed it in theaters and I have more and more respect for the way that character beats are built into what on paper could have just been a "climb the tower, beat the boss monster" structure.

Probably exactly or very close to how I felt about The Departed. No real characters, actors acting, didn't give a shit about any of them. And Leo is such a drag to me.
I also am always surprised at how they made such an enjoyable movie from such a simple idea (as you put it, "climb the tower, beat the boss") with Dredd.


Sun Feb 11, 2018 4:45 am
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I watched Detroit last night. I'm curious as to why this was ignored for the Oscars. I have suspicions but I found Bigelow's cinema verité direction to be impressive at capturing the insanity of the moment and every performance, in particular Boyega and Poulter, the be exactly what was needed. It just seems strange that this made an ripple, rather than a splash in a year so heavily invested in celebrating women directors.

I also watched a Slight Case of Murder. It was a charming enough satire of the gangster genre and Edward G. Robinson was keen to ham it up and lampoon himself. I love nothing in the film as much as the title but the jokes about body disposal throughout the film were more than enough to make it worth a watch.


Mon Feb 12, 2018 2:34 am
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ThatDarnMKS wrote:
I watched Detroit last night. I'm curious as to why this was ignored for the Oscars. I have suspicions but I found Bigelow's cinema verité direction to be impressive at capturing the insanity of the moment and every performance, in particular Boyega and Poulter, the be exactly what was needed. It just seems strange that this made an ripple, rather than a splash in a year so heavily invested in celebrating women directors.

I also watched a Slight Case of Murder. It was a charming enough satire of the gangster genre and Edward G. Robinson was keen to ham it up and lampoon himself. I love nothing in the film as much as the title but the jokes about body disposal throughout the film were more than enough to make it worth a watch.

I would like to hear your suspicions because I heard it was a fucking great film and after seeing Zero Dark Thirty I think Bigelow is a master.


Mon Feb 12, 2018 4:53 am
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Wooley wrote:
I would like to hear your suspicions because I heard it was a fucking great film and after seeing Zero Dark Thirty I think Bigelow is a master.


I think there's a lot of cynicism in the current push for equality in directing roles that only goes so far as the demographic directing movies about "their own." For instance, I don't think it's a coincidence that the two most praised and popular women directed films gave Lady and Woman in the title and there isn't talk about getting Coogler to work on the next Spiderman but rather Black Panther.

It isn't inherently problematic for directors to make movies that connect with their gender and race, but it seems that the social media and climate only react with raves if that is what we're given.

Detroit is a movie about white cops and black men directed by a white woman. It doesn't fit the current narrative as neatly as Lady Bird or Wonder Woman. The optics aren't as clean.

It also flopped, which I would attribute to the less than vocal support for the film despite good reviews. Compared to the hyperbole levelled at WW and LD it's... Interesting. I didn't hear of any lobbying for Bigelow the way it was for Jenkins or Gerwig, despite her level of sophistication in direction dwarfing theirs.

Perhaps it's just because they don't want to seem like she's the Academy's token woman director or I'm talking out my ass and haven't thought enough. Just feels peculiar to me, which is why my instinct was to ask.


Mon Feb 12, 2018 5:34 am
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ThatDarnMKS wrote:
It also flopped, which I would attribute to the less than vocal support for the film despite good reviews. Compared to the hyperbole leveled at WW and LD it's... Interesting.

I think you're on to something here.

There are a number of films that I've watched and never suspected that the director was female until I IMDb'd the name after watching. Most notable is Ravenous.

Wonder Woman was a hit, and I got the feeling that much of the reaction of teh netz was the equivalent of "God! A woman directed a smash hit super hero film! Who'd'a thought it was possible!?"

The older I get the more vehemently I hate gender stereotyping.

I think there was a thread 8 or 10 years ago at RT where the goal was to find out if there was something essential about a film that having a female director would impart. As I recall, we determined that there is not, in general.

Overall I get the idea that we males are irreconcilably jealous of the fact that women can bear children and we can't. That's probably the one thing that males can't do (transmen aside for the moment). So we want to make something artificially sequestered that females cannot touch. And in trying to find that one thing, our culture has set aside dozens of things that women shall not do.

Bullshit!

People should be allowed to try, and to succeed at anything they find interesting enough to put effort into, and they should be judged on the merits of the results, rather than being negatively-handicapped in scoring because they don't dangle between their legs, or have pendulous organs above the waist. (Hmm, that second category doesn't leave out all men, does it?)

Ignore me. I'm still chafing because as a boy I learned that certain very interesting topics were topics that I should not show any interest in because to do so was to announce that I was less than a real boy. I didn't understand that then, and I understand it even less, now. I tried to steer my sons through growing up without having too many collisions with that, and still let them be interested in whatever they were naturally interested in. Sadly, I had no daughters. I don't have any experience watching a girl and then young woman navigate the gender stereotypes that seek to encumber her.

But I believe that factor in American culture (and other cultures, too) has a strong bearing on why Bigelow didn't get recognized for the film you are discussing.

As I said, I think you have a point.

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Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)
Images will disappear about 13 Feb 2018 forever. (Except they didn't)
I had fun. Thanks for reading!

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Mon Feb 12, 2018 8:38 am
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ThatDarnMKS wrote:
Detroit is a movie about white cops and black men directed by a white woman. It doesn't fit the current narrative as neatly as Lady Bird or Wonder Woman. The optics aren't as clean.

It also flopped, which I would attribute to the less than vocal support for the film despite good reviews.


I haven't seen it, but I probably agree with these two main "reasons", most notably the first, whereas the second served to cement the other. Plus, the bulk of the Academy might've felt they had already recognized Bigelow "recently", so maybe they felt it wasn't her "turn in the cycle" again. It's sad, but I think that's the way the machine moves.

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Mon Feb 12, 2018 9:02 am
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Gort wrote:
I think you're on to something here.

There are a number of films that I've watched and never suspected that the director was female until I IMDb'd the name after watching. Most notable is Ravenous.

Wonder Woman was a hit, and I got the feeling that much of the reaction of teh netz was the equivalent of "God! A woman directed a smash hit super hero film! Who'd'a thought it was possible!?"

The older I get the more vehemently I hate gender stereotyping.

I think there was a thread 8 or 10 years ago at RT where the goal was to find out if there was something essential about a film that having a female director would impart. As I recall, we determined that there is not, in general.


There are two sides to this. On the one hand, I think that from a technical point of view you can get capable/talented people from any background.

But on the other hand, there is power in directing a movie and choosing how to portray different moments and dynamics. I think that there is value in having people of different backgrounds being those storytellers.

There are definitely times that I watch movies (especially movies about women) where I can tell immediately that a woman had no part in the writing or direction. This is definitely not to say that men can't do a good job telling stories about women (both Ginger Snaps and Lilya-4-Ever spring instantly to mind). But I think that people bring different life experiences and perspectives to their work, and that reflects in their work. It isn't essential that women be the only storytellers about other women, but I do think that there is worth in allowing women that role.

It's a slippery slope saying "Women are no different as directors!". Because, if that's the case, then why not have all directors be men? Why make an effort to put more women behind the camera? If they bring nothing special, what's the point?

The question of who gets to tell which stories is a complex one, and rightfully so. Especially when those stories involve groups (women, racial minorities, etc) who have in the past suffered crude, simplified, dehumanizing, or villainizing portrayals at the hands of others. I had a chance to attend a panel discussion with, and briefly talk to, Tarell McCraney who wrote Moonlight. He had some very insightful things to say about what it means for a black author to write about black subjects.


Mon Feb 12, 2018 9:32 am
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Letterboxd for some reason has Missing in Action 1 & 2 but not Braddock: Missing in Action III. Now a bunch of strangers on the Internet will think I haven't seen the entire series.

Anyway, Missing in Action III...kinda lame, especially because Chuck Norris has an old ass reverend and a bunch of annoying kids tag along while he's blasting Vietnamese soldiers left and right. It has better production values than the first two and acts like it's a real movie in the beginning when Keith David shows up briefly to trick you into thinking the movie might be any good, but turns to shit pretty fast. We do however get a touching father-son moment when Norris' son helps him fire an AK.

Directed by Aaron Norris. Not starring Joe Estevez, and music not by Frank Stallone.

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Mon Feb 12, 2018 10:05 am
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Woody Woodpecker

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Mon Feb 12, 2018 11:16 am
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ThatDarnMKS wrote:

I think there's a lot of cynicism in the current push for equality in directing roles that only goes so far as the demographic directing movies about "their own." For instance, I don't think it's a coincidence that the two most praised and popular women directed films gave Lady and Woman in the title and there isn't talk about getting Coogler to work on the next Spiderman but rather Black Panther.

It isn't inherently problematic for directors to make movies that connect with their gender and race, but it seems that the social media and climate only react with raves if that is what we're given.

Detroit is a movie about white cops and black men directed by a white woman. It doesn't fit the current narrative as neatly as Lady Bird or Wonder Woman. The optics aren't as clean.

It also flopped, which I would attribute to the less than vocal support for the film despite good reviews. Compared to the hyperbole levelled at WW and LD it's... Interesting. I didn't hear of any lobbying for Bigelow the way it was for Jenkins or Gerwig, despite her level of sophistication in direction dwarfing theirs.

Perhaps it's just because they don't want to seem like she's the Academy's token woman director or I'm talking out my ass and haven't thought enough. Just feels peculiar to me, which is why my instinct was to ask.

A lot of that makes a lot of sense I think. I think it would be unfortunate, if true, but it makes sense. On the other hand, she did already win an Oscar for a movie that was not "her own" and was nominated for Best Picture again for another movie not "her own" (unless having a female lead makes it so). But, yeah, if men can direct so many movies about women over the years, women sure as hell oughta be directing movies about men, women, or whatever the hell they want. But I think you're right, the push right now for films about women to be directed by women and perhaps to have films about African-Americans or African-descendents could have an unfortunate underbelly.
Although I have to say Coogler is directing Black Panther because it was extremely important that Black Panther be directed by an African-American. It would have been a colossal fail to do otherwise. I see no reason why he can't also direct a Spider-Man, and he might have or maybe he will (if BP is as good as people are saying, maybe he's the next Russo Bros.), but it was critical that he or an African-American director of his talent do the first tent-pole movie about an African hero starring a mostly African-descended cast set in Africa.


Mon Feb 12, 2018 12:27 pm
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Lady Bird was a great film. In my top 10 of 2017. Also I think it was important to get a green woman to direct Black Panther. Otherwise it's gonna suck. And I'm sick and tired of people calling black people African American. Like all of the black people on the planet once lived in Africa. Stupid. It's just politically correct white person nonsense. White guilt. Just because Africa is the motherland doesn't mean they all come from there. My friend was born in California. He ain't African American. He's never even been to Africa.


Mon Feb 12, 2018 1:07 pm
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Cabin Fever (2016)

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Mon Feb 12, 2018 1:15 pm
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Coogler!!!


Mon Feb 12, 2018 1:31 pm
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ThatDarnMKS wrote:
I watched Detroit last night. I'm curious as to why this was ignored for the Oscars. I have suspicions but I found Bigelow's cinema verité direction to be impressive at capturing the insanity of the moment and every performance, in particular Boyega and Poulter, the be exactly what was needed. It just seems strange that this made an ripple, rather than a splash in a year so heavily invested in celebrating women directors.
Glad to see you liked it too; while I thought the first act of Detroit was slightly underwhelming, and the third one lost a bit of momentum, the middle portion at the hotel was some intense shit, and more than made the film worthwhile on the whole. It's not quite as good as Bigelow's previous two efforts (especially not ZDT), but still a solid addition to her body of work nonetheless.

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Mon Feb 12, 2018 2:37 pm
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Rock wrote:
Letterboxd for some reason has Missing in Action 1 & 2 but not Braddock: Missing in Action III. Now a bunch of strangers on the Internet will think I haven't seen the entire series.
You... you use Letterboxd too, Rock?

:shifty:
Donner wrote:
Donner, posting outside of Baker's Dozen? :!: :!: :!:

Funny review, by the way; keep 'em coming.

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Mon Feb 12, 2018 2:43 pm
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Stu wrote:
Donner, posting outside of Baker's Dozen? :!: :!: :!:



Don't frighten me away, man!

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Mon Feb 12, 2018 11:42 pm
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ski petrol wrote:
Lady Bird was a great film. In my top 10 of 2017. Also I think it was important to get a green woman to direct Black Panther. Otherwise it's gonna suck. And I'm sick and tired of people calling black people African American. Like all of the black people on the planet once lived in Africa. Stupid. It's just politically correct white person nonsense. White guilt. Just because Africa is the motherland doesn't mean they all come from there. My friend was born in California. He ain't African American. He's never even been to Africa.

Every time I start to think you're not a total douche...


Tue Feb 13, 2018 3:07 am
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