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 Recently Seen 
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Leave me alone

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Mon Feb 08, 2016 2:16 am
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:oops:

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Recently Reviewed


Mon Feb 08, 2016 3:10 am
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it's great, hilarious, & those "ribbon scenes" are fucking stellar. i still prefer burn after reading.

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Tue Feb 09, 2016 10:47 am
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Wow, The Assassin is pretty close to the best thing ever! Definitely my favorite Hou, and up there with Turin Horse for best of decade.

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Wed Feb 10, 2016 3:18 am
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Deadpool


Wed Feb 10, 2016 9:20 pm
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Terminator: Genisys (2015). "You were raised by a machine."

Yeah. Evidently, the same machine that wrote this screenplay.

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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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!)


The Future Unreels


Sat Feb 13, 2016 8:59 am
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Fist wrote:
Hail, Caesar! was so wacky

Would that it were so simple.


Sat Feb 13, 2016 9:19 am
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Mr. Nobody (2009).

Way cool.

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I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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!)


The Future Unreels


Sat Feb 13, 2016 1:50 pm
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Shieldmaiden wrote:
Wow, The Assassin is pretty close to the best thing ever!


:heart:

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Sun Feb 14, 2016 9:45 am
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Deadpool is fun.

Zoolander 2 is not.


Tue Feb 16, 2016 12:22 pm
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Is Any Given Sunday good?

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Tue Feb 16, 2016 6:28 pm
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it's my mom's favorite film so probably not

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Wed Feb 17, 2016 12:30 am
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the pirate is still just about the greatest thing. with those impeccable legs in those tiny pirate shorts, i'd be gene's niña in an instant pls.

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Wed Feb 17, 2016 12:31 am
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never forget the bulge

Image

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Wed Feb 17, 2016 1:23 am
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Post Alien (Scott, '79)

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You still don't understand what you're dealing with, do you? A perfect organism. Its structural perfection is matched only by its hostility. A survivor... unclouded by conscience, remorse, or delusions of morality.

The above quote is spoken about the titular creature in Ridley Scott's Alien, but it can just as easily be applied to the film itself, which doesn't concern itself with unnecessary things like details about what the future of the movie is like, throwaway backstories, or needless romances developing between the characters. And, while all of that may make the film sound thin on paper, on celluloid, it results in a Horror offering that's unparalleled in its use of thick atmosphere, slow pacing, and, er, "alien" environments and concepts to instill a sense of dread within us, and ends up creating what is, at the risk of sounding hyperbolic, the best Horror film I've seen yet.

The world of Alien is a frighteningly cold and isolated one, consisting solely of the ship Nostromo, the planet LV-246, and the seven people and various incarnations of the Xenomorph that inhabit both. Earth, and other forms of civilization, are briefly mentioned, but for all the relevance they have to the plot, the Aliens & the Nostromo crew may as well be the last things in existence. This is essential to the film's sense of isolation, but its feeling of living in a hostile, alien universe comes from the general production design, which is really the 8th star of the movie. Even on the Nostromo, a ship supposedly designed for human beings, the environments feel very claustrophobic and "alien", with monitors, lights, and doors that turn on by themselves, cavernous industrial rooms with metal chains ominously dripping and hanging by overhead, and computer mainframes where the constant "whoosh" of the air-cooling fans make it sound like the room itself is breathing on you.

Then you have the derelict alien craft and its unsettlingly gooey, asymmetrical, "bio-mechanical" corridors and openings, as well as the various creatures contained within: the Space Jockey, the Facehugger, and of course, the Alien itself, with frighteningly sexual, malevolent undertones in their designs, courtesy of an Oscar-winning H.R. Giger. This, combined with the horrors of a crewmate bleeding and spewing out white "blood" as he tries to suffocate you, or an infant extraterrestrial bursting out of your chest, result in a universe where you can't trust other "people", or even your own body.

But of course, all of these elements would be for naught without Ridley Scott's methodically cunning, atmospheric direction taking full advantage of them; because of him, this is a highly reassured, confident film, never rushing its storytelling nor delaying it unnecessarily, over-indulging in needless gore, or bringing in unnecessary story entanglements to give off an illusion of being "busy" (although Dan O'Bannon's screenplay must also be given credit for that). Instead, he recognizes the film's various strengths and focuses on them, keeping things slow so we can soak in Alien's highly pure, one-of-a-kind atmosphere and terror, resulting in a cinematic universe where truly, honestly, no one can hear you scream.
Final Score: 10

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Wed Feb 17, 2016 9:42 pm
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Green Room


Thu Feb 18, 2016 3:11 am
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Stuwie wrote:
... to instill an overwhelming sense of claustrophobia and dread within us, and ends up creating what is, as far as I'm concerned, the best Horror film ever.

When the film first came out, I saw it in a theater in Memphis, one that still had a HUGE screen. The Paramount Theater (where I had seen 2001 a decade earlier).

While watching Scott's seemingly completely new idea of horror, I got the distinct impression that I was once again in the presence of greatness.

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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

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!)


The Future Unreels


Thu Feb 18, 2016 8:01 am
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Deadpool was lit. It was such a joy to watch a movie with a sense of humor and more personal. You know instead of the whole world being at stake.


Fri Feb 19, 2016 3:44 pm
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yes, very personal.


Sat Feb 20, 2016 2:27 am
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Not sure if I like the ending, but The Witch is a good piece of horror filmmaking.

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Tue Feb 23, 2016 9:37 am
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The ending is phenomenal

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I Watch Films, But...
In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Tue Feb 23, 2016 10:33 am
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Anyone seen Dragojevic's Pretty Village, Pretty Flame? Took me very much by surprise, as I knew almost nothing about it going in. Maybe the most darkly comic war film I've seen. It has some of the zaniness of a Kusturica, but it meets that with some brutal pessimism. The flashback structure works well and lends itself to some great editing. The camerawork is intermittently striking, too: in particular, a vertiginous sequence near the beginning of wounded soldiers being unloaded from a helicopter.

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Tue Feb 23, 2016 6:24 pm
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ledfloyd wrote:
Would that it were so simple.

It's... complicated.

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Wed Feb 24, 2016 7:17 am
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If there is a more 80s movie than Night of the Comet, I would like for Ribbon to tell me what it is.


Thu Feb 25, 2016 4:31 am
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Macrology wrote:
Anyone seen Dragojevic's Pretty Village, Pretty Flame? Took me very much by surprise, as I knew almost nothing about it going in. Maybe the most darkly comic war film I've seen. It has some of the zaniness of a Kusturica, but it meets that with some brutal pessimism. The flashback structure works well and lends itself to some great editing. The camerawork is intermittently striking, too: in particular, a vertiginous sequence near the beginning of wounded soldiers being unloaded from a helicopter.
I seen it! I can't remember details, but I remember it being strikingly funny and violent, in stark contrast to a film I saw at around the same time that was about some standoff in a similar Eastern European battle. That one just seemed so painfully tame and lacking any of the evil of the war. Pretty Village felt more emotionally authentic, which is to say feverish and ambivalent, or even compounding oh distraught and dismayed. As for the elements that conveyed that feeling... I don't remember those too strongly. Definitely felt like the right tone to describe a war and look back in disgust, though.

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Fri Feb 26, 2016 4:17 am
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m (joseph losey, 1951) was one of the best films ever i've ever seen

no home movie (chantal akerman, 2015) was very sweet. the ending where chantal is sitting on the edge of the bed with her suitcase and then goes to say goodbye to her mother was only made more devastating when i recalled her suicide. does anyone have any idea why footage from her installation on the middle east was included? i could never come to a reasonable explanation

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Fri Feb 26, 2016 6:40 am
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Love & Friendship (Whit Stillman)
Sing Street (John Carney)


Sat Feb 27, 2016 9:29 am
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Mean Old Bastard Ed wrote:
If there is a more 80s movie than Night of the Comet, I would like for Ribbon to tell me what it is.

You got me.

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Sun Feb 28, 2016 5:02 am
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Carol took my breath away

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Mon Feb 29, 2016 9:50 pm
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Carol was better than all the BP nominees, obviously. Only Room is nearly as good.

I liked Spotlight, but it was obviously a safe choice to avoid having to pick the controversial (in terms of critical response, which in some quarters has been livid) Revenant.


Tue Mar 01, 2016 2:32 am
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LadyStranger wrote:
Jealous of his beauty, you are.

eh, by that standard i would dislike a lot of hollywood actors, and he's not even that hot by the industry's standards. fassbender and gosling are both amazing actors and greek gods in one.

anyhow...

the revenant (inarritu, 2015) cinema 6
absolutely beautifully done, but a real slog and the script is paper-thin. the acting is a bit overrated as well, it's more of an endurance test for leo than a necessity to express any real human emotions or subtle characterisations. actually preferred gleeson in this, i think. and i still can't warm to tom hardy even though he's a pretty effective bastard in this

zoolander 2 (stiller, 2016) cinema 5
huge downgrade from the original, but it still has a lot of funny moments, and doesn't overstay its welcome

the hateful eight (tarantino, 2015) cinema 7
that morricone score! the cinematography! the bitterness and tension and violence of spag westerns ramped up to 11, with a pretty slow first hour and no redemption for any of the characters, but still pretty damn satisfying

deadpool (miller, 2016) cinema 5
decently enjoyable but too self-satisfied - references to limp bizkit and rosie o'donnell and pegging aren't actually that edgy in the end, and both the villain and the love interest are bland as fuck (even though baccarin is mega-hot and valiantly tries to give a bit more to the role). better than the avengers and shit, but still, no desire to ever see this again

x-men: days of future past (singer, 2014) 7
fun concept, well executed, with a talented ensemble cast and good show-stopping action, especially that scene in the pentagon. dinklage is a great antagonist in particular, but also lawrence gives a lot more to this role than her weightier parts in russell movies, in my opinion.

trumbo (roach, 2015) cinema 4
ooh, isn't being a screenwriter so damn hard. this is the exact opposite of the big short, in that it tries to be funny and a serious depiction of the blacklist at the same time, and is directed by someone more known for broad comedies, and fails at either. trumbo's hardships in prison are expressed by a scene where he gets strip-searched and then a menacing black guy talks tough to him. fanning and lane are wasted in extremely derivative persona. cranston is good, though, and louis ck is amusing even though (probably especially because) he seems to forget he's in a period film and just plays himself. stuhlbarg as eddie g, though? don't buy that for a second.

spotlight (mccarthy, 2015) cinema 8
quiet, unassuming, with almost no 'oh shit' moments, just a wire season 5 kind of feel to it, except better. enjoyed keaton in particular, and mcadams (<3), of course

a bigger splash (guadagnino, 2015) cinema 7
haven't seen la piscine but this is decent at retaining that late 60s/early 70s european arthouse style langour and updating it for the modern age. fiennes is the most entertaining character, the stuff without him in it feels a bit limp by comparison, even though johnson's performance actually impressed me the most. nice use of 'jump into the fire' though that will always remain a goodfellas song for obvious reasons. guadagnino is a good stylist but hasn't really blown me away so far, he's decent at imitating sirkian melodrama but lacks the heart of that genre for me.

snatch. (ritchie, 2000) 7
i couldn't understand a single word brad pitt said, but this is pretty much a quasi-remake of lock, stock with bigger production values, right? enjoyable but almost moreso conceptually than in the actual experience of watching it, the plot twists and turns and twists and turns and twists and turns and people get killed violently, and...what?

waiting... (mckittrick, 2005) 7
see, now that's what deadpool was missing, the climactic speech by john francis daley about how ryan reynolds' character is actually lame as fuck, or 'the smartest guy with down's syndrome'. fun cast, good mix of gross-out humour and just lighthearted bantery character interplay. kinda like a slightly better empire records set in a restaurant.

all about my mother (almodovar, 1999) 8
i'm sure this will become better and better on re-watches, for now it falls slightly short of women on a verge of a nervous breakdown but it's so tender and funny and tragic and heartfelt and in love with cinema and theatre and food and life and love and, and, and... remember when i used to be able to actually write reviews capturing why i connected with a film? no, me neither.


Tue Mar 01, 2016 2:47 am
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From 2015 I've only seen:
Carol
Room
Spotlight
Brooklyn
45 Years
Tangerine
I Smile Back
Sicario
Trainwreck

Carol, Tangerine and Sicario are the only ones I'm truly enthusiastic about, though Trainwreck and Room are special and smart films and I Smile Back is interesting. Brooklyn I liked the least but it's fine.

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Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
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Tue Mar 01, 2016 4:24 am
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trainwreck is pretty bad, it apatows all of the humour out of amy schumer. lebron is the only redeeming factor of that film. well, him and the recent oscar winner named after a delicious cheese.


Tue Mar 01, 2016 7:19 am
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surprised to find you guys liked Room. not that I saw it, but I can't bring myself to

MMFR 10
Bridge of Spies 8
The Martian 7
Spotlight 6
Brooklyn 6

I'll see Revenant eventually

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Tue Mar 01, 2016 9:59 am
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My favorites so far from 2015:

The Assassin
Slow West
Mad Max Fury Road
Results
Love


The only best picture noms I've seen are Brooklyn and The Martian. :P

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Tue Mar 01, 2016 10:15 am
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Room is kinda dogshit.

Bridge of Spies is the film.

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Tue Mar 01, 2016 10:34 am
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this is great http://letterboxd.com/melvillmatic/film/spotlight/

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Tue Mar 01, 2016 2:16 pm
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Trip wrote:
surprised to find you guys liked Room. not that I saw it, but I can't bring myself to

MMFR 10
Bridge of Spies 8
The Martian 7
Spotlight 6
Brooklyn 6

I'll see Revenant eventually


I mean its nothing groundbreaking but directed well and nicely written with more verisimilitude in some places than youd expect awards bodies would be comfortable with. The kid's performance is worth it just in itself

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Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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Wed Mar 02, 2016 4:56 am
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well basically the breastfeeding reference which i was surprised they put in there but it was an interesting touch

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Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


TWEET1 | TWEET2 | FACE | BOXD | TUMBL1 | TUMBL2


Wed Mar 02, 2016 4:57 am
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Room is good. It was the most subtle and evocatively-directed of all the best picture nominees this side of Mad Max. It dives into a subject ripe for sensationalism but instead focuses on character psychology and perception. It's not Carol but it was stand-out cinema in a category filled with more traditional prestige movies.


Wed Mar 02, 2016 5:13 am
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Louder Than Bombs


Thu Mar 03, 2016 8:52 am
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The Duke of Burgundy

Das hits the nail on the head in his capsule review of the film. In this film, Strickland harnesses the stylistic extravagance of Berberian Sound Studio (which I found muddled and aimless) and crafts a story that is impressionistic and aesthetically rich, but does so with an emotional acuity and thematic clarity that his former film lacked. And yes, it is at times overproduced and it stalls for a while in the third act and Strickland indulges his penchant for certain shots too often, but its aesthetic density, its uncanny atmosphere (unique in spite of clear antecedents), and its sly sense of humor all easily outweigh whatever flaws it might possess.

Strickland lists some influences here, and their DNA is evident in The Duke of Burgundy (although I'm curious about Mano Destra, which I've never come across), but a few other films came to mind while I was watching, in particular Huszárik's Szindbád. They share a similar period and a preoccupation with visual texture, but the radical editing and pronounced sound mix were what really stood out. It seems likely that Strickland has seen the film, given that he shot this in Hungary with a largely Hungarian crew.

Speaking of which, the film's humor made its way into the credits as well, which are among the most interesting I've ever seen. The opening includes a "Perfume by" credit, and the end credits are riddled with fascinating surprises.

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Thu Mar 03, 2016 4:36 pm
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wrote about perverted nuns in Visions of Ecstasy

http://vaguevisages.com/2016/03/03/of-l ... ed-desire/

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Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it's all evaporating. I continuously feel that I was someone else, that I felt something else, that I thought something else. What I'm attending here is a show with another set. And the show I'm attending is myself. Fernando Pessoa

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Fri Mar 04, 2016 10:02 am
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I Killed My Mother is a really strong debut feature. No surprise from the boy wonder, of course. I ran through the emotional gamut. Might have something to do with being a mom... or the child of a mom, ha. Good stuff anyway!

Dolan ranked:

Laurence Anyways
I Killed My Mother
Mommy
Tom at the Farm
Heartbeats

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The Ballad of Buster Scruggs ▪ No Country for Old Men ▪ Sorry to Bother You ▪ The Hudsucker Proxy ▪ The Boy Friend ▪ The Fearless Vampire Killers ▪ Mahler ▪ Zama ▪ Delores Claiborne ▪ The Ladykillers

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Sat Mar 05, 2016 4:50 am
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Post The Bourne Supremacy (Greengrass, '04)

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-He's making his first mistake.
-It's not a mistake; they don't make mistakes, they don't do "random". There's always an objective, always a target.
-The targets always came from us, who's giving them to him now?
-The scary version? He is.


The Bourne Supremacy has always been my favorite out of the original trilogy of films, and a much stronger effort than the rather tepid original, as a result of series-newcomer Paul Greengrass finding a near-perfect balance for his distinctively visceral storytelling, while Tony Gilroy's screenplay brings in an unexpected, understated focus on character and pathos, resulting in what I can only describe as one of the best action movies of the new millennium.

Ironically, compared to other action movies, Supremacy really doesn't have all that much er, ACTION in it; there's one brutally drawn out fight-to-the-death about halfway through, and one of the best car chases in recent memory during the climax, but besides those, there really isn't any other major action in the movie. This may concern you initially, but Greengrass doesn't need any mindless violence to keep our interest, rather, utilizing raw storytelling energy in order to keep the tension piano wire-tight. He's always keeping the plot moving along in a concise, ruthless fashion, never pausing for breath unless it suits the scene, almost always having something of relevance happening or developing.

He doesn't bother holding our hands or trying to force us a step ahead of events, rather, letting us discover new information ONLY as the characters themselves do, always having us see things from their perspective exclusively, which combines with the film's atmosphere of paranoia, intrigue, and conspiracy to make us feel like we ourselves are constantly being hunted. This movie's like a tiger shark in this, in that it never, ever stops moving, and I couldn't be more thankful for that.

But, another major factor that distingushes TBS is how unexpectedly personal it feels; unlike the first film, where Bourne was just a lost, confused amnesiac, he has a much more immediate motivater this time around, after the murder of his girlfriend, Marie. This is what brings him out of hiding, but her death doesn't just serve as some generic story catalyst like it would in other movies, as her memory lingers within him, with him remembering the way she wanted him to move on from his old life of death.

This is why Bourne only seeks justice for her murder, rather than revenge, and the various ways Bourne struggles to honor Marie's wishes throughout the film adds a lot, whether it be his refusal to kill the men responsible for her death, even in self-defense (although he still brings them to justice in other ways), or finding the time while on the run to track down the orphan of his first victims, so he can tell her he's sorry, and that he now understand what it it feels like to lose someone.

However, if that sounds overly sentimental in theory, it doesn't in practice, as Greengrass tackles it with the same level of craft he does everything else, keeping it in balance with all the other elements that he so expertly juggles here. As I said before, The Bourne Supremacy is overall an unusually intelligent, efficient, and focused spy thriller, and, as far as I'm concerned, is one of the best action films of its decade. "Bourne again"!
Final Score: 9

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Sat Mar 05, 2016 10:45 am
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My only letdown with Hail, Caesar! is that Dolph Lundgren ended up being an uncredited silhouette with no lines.

Best Supporting Actor: Alden Ehrenreich


Mon Mar 07, 2016 7:37 am
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"and that's why i never order meatball pasta" or something along those lines, what a fantastic gag that was


Mon Mar 07, 2016 7:43 am
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Captain Oats wrote:
My only letdown with Hail, Caesar! is that Dolph Lundgren ended up being an uncredited silhouette with no lines.

Seriously? Had no idea.

I really loved the communist writers boasting about inserting hidden leftist messages into their novels, vainly thinking they were somehow enlightening the populace under the noses of the authorities. When, you know, in reality no one ever even noticed, because how could you. Great example of the Coens' writing being elitist and populistic at the same time, which is why it works so good, I think.


Tue Mar 08, 2016 11:47 pm
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sur le web wrote:
Seriously? Had no idea.

I really loved the communist writers boasting about inserting hidden leftist messages into their novels, vainly thinking they were somehow enlightening the populace under the noses of the authorities. When, you know, in reality no one ever even noticed, because how could you. Great example of the Coens' writing being elitist and populistic at the same time, which is why it works so good, I think.

Also, that was exactly what the blacklisted writers were accused of when in reality they hardly did such a thing.

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Wed Mar 09, 2016 5:42 am
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First time I'd watched Ichi the Killer in a while. Damn that's a lot of spraying neck blood and cum. A bit more than my usual Saturday night anyways...


Thu Mar 10, 2016 11:38 am
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