guy maddin films, la haine, and down by law come to mind. that is to say, the stark black and white images were breathtaking…not sure what exactly it means to “benefit” from being in black and white.
On the subjective side, I couldn’t disagree more (I think this is a beautiful film and preferred it to Wendy and Lucy, although that was a wonderful movie, as well). That aside, I just had to point out that this thread has a very humorous premise.
Let me elaborate:
“This film isn’t worth discussing, but…”
Essentially, what is being said is that “I feel motivated to discuss something that isn’t worth discussing because it doesn’t convey a couple of pull-quotes listed on the box.” Thus, the filmmaker (and I quote from above) “failed to say whatever it was she was trying to say.”
I did see the part about how there are other reasons for a 0/10 rating, but it’s interesting that those reasons are unnamed.
As far as ambiguous characters, I’m not entirely sure what that means. I definitely didn’t get a “phony” vibe; to me, the film was quite personal, although there may have been little “character development” in the traditional sense of the phrase. But, to each his own.
yes. this was the most overhyped film i’ve ever seen, and as a fan of suspense, i was incredibly disappointed. it would take more than an alternate ending to change much.
@Kyle: i knew the theatrical version was lacking. enter e.t., indiana, and a t-rex and perhaps we’d have something to talk about. maybe even close with a pan to the the calm, blue ocean, symbolizing the impending doom of yet another crappy movie waiting to draw us in to shark-infested waters.
i had three beers while watching this movie. a fourth may have made it worth while. maybe.
Having read about Demonlover and viewed other films by Assayas, I’m really looking forward to this movie. That said, I don’t really want to spend $25 to buy it from Amazon before I’ve even viewed it. The obvious solution is Netflix, but they only offer an R-rated version, which I’m assuming is edited for content. Can anyone compare the versions and let me know how dramatic of a difference there is? I don’t want to waste my time with the film if it’s totally different. Thanks.
(I know someone submitted this a while back, but they didn’t include all of the info—likely the reason it hasn’t been added?)
Mildred Pierce
Year: 1945
Dir: Michael Curtiz
DP: Ernest Haller
Cast: Joan Crawford, Jack Carson, Eve Arden, Ann Blyth
Screenplay: Ranald MacDougall
Composer: Max Steiner
When reading the topic of this thread, one name jumped to mind: Pasolini. I’m glad you included him. For me, he’s not only an interesting case study due to the quality of his films—ok, so that’s just my opinion—but because his work, regardless of medium, seems to bleed together seamlessly. Granted, I’ve only dabbled in his poetry and fiction, I feel as though he’s one of few so prolific across mediums.
Another interesting topic to explore would be filmmakers who work directly with the creators of the text they are adapting. I know a lot of authors receive co-writer credits for screenplays, but I’m thinking more about those who actually get their feet wet. For instance, Hubert Selby Jr./Aronofsky on Requiem For A Dream. Just a thought.
Rosemary’s Baby, The Tenant, and Repulsion are three of the finest additions to the horror/suspense genre, in my opinion. To the many quality films listed above, I would recommend Nicolas Roeg’s “Don’t Look Now” as a must-see. Maybe also The Bad Seed, Kuroneko, The Changeling, and The Legend of Hell House. And while some of Dario Argento’s films could be considered a bit more extreme/graphic than the suggestions above, I don’t think the psychological aspects of many of his films—especially Suspiria—can be overlooked. Here’s a list I made of horror movies, some of which might not fit into the psychological category, but most do, and it might give you a few more ideas: http://mubi.com/lists/spooky-stuff
THE AUTEURS BEST OF THE DECADE: IMAGES over 2 years ago
Kinda defeats the purpose when they’re low quality and incorrect aspect ratios, but I’m not too tech savvy…gives you an idea at least.
Also, kudos on the Cache image and anything from Songs from the Second Floor. Beautiful films.
Manderlay
Old Joy
The Piano Teacher
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Films that benefit from being in black and white over 2 years ago
guy maddin films, la haine, and down by law come to mind. that is to say, the stark black and white images were breathtaking…not sure what exactly it means to “benefit” from being in black and white.
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No faux love for over 2 years ago
On the subjective side, I couldn’t disagree more (I think this is a beautiful film and preferred it to Wendy and Lucy, although that was a wonderful movie, as well). That aside, I just had to point out that this thread has a very humorous premise.
Let me elaborate:
“This film isn’t worth discussing, but…”
Essentially, what is being said is that “I feel motivated to discuss something that isn’t worth discussing because it doesn’t convey a couple of pull-quotes listed on the box.” Thus, the filmmaker (and I quote from above) “failed to say whatever it was she was trying to say.”
I did see the part about how there are other reasons for a 0/10 rating, but it’s interesting that those reasons are unnamed.
As far as ambiguous characters, I’m not entirely sure what that means. I definitely didn’t get a “phony” vibe; to me, the film was quite personal, although there may have been little “character development” in the traditional sense of the phrase. But, to each his own.
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I saw the alternate ending not shown in theatres... over 2 years ago
yes. this was the most overhyped film i’ve ever seen, and as a fan of suspense, i was incredibly disappointed. it would take more than an alternate ending to change much.
@Kyle: i knew the theatrical version was lacking. enter e.t., indiana, and a t-rex and perhaps we’d have something to talk about. maybe even close with a pan to the the calm, blue ocean, symbolizing the impending doom of yet another crappy movie waiting to draw us in to shark-infested waters.
i had three beers while watching this movie. a fourth may have made it worth while. maybe.
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Unrated vs. R-rated over 2 years ago
Having read about Demonlover and viewed other films by Assayas, I’m really looking forward to this movie. That said, I don’t really want to spend $25 to buy it from Amazon before I’ve even viewed it. The obvious solution is Netflix, but they only offer an R-rated version, which I’m assuming is edited for content. Can anyone compare the versions and let me know how dramatic of a difference there is? I don’t want to waste my time with the film if it’s totally different. Thanks.
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Help with forum codes - how do we italicize words, etc.? over 2 years ago
(test)
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Help with forum codes - how do we italicize words, etc.? over 2 years ago
to make a link type " then the url then " and then : and put whatever words you want to use as a link next. no spaces between.
http://www.imdb.com/title/tt0037913/plotsummary
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(Temporary) Film database submission mechanism over 2 years ago
(I know someone submitted this a while back, but they didn’t include all of the info—likely the reason it hasn’t been added?)
Mildred Pierce
Year: 1945
Dir: Michael Curtiz
DP: Ernest Haller
Cast: Joan Crawford, Jack Carson, Eve Arden, Ann Blyth
Screenplay: Ranald MacDougall
Composer: Max Steiner
http://www.imdb.com/title/tt0037913/plotsummary
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(Temporary) Film database submission mechanism over 2 years ago
Clockers
Year: 1995
Dir: Spike Lee
DP: Malik Hassan Sayeed
Cast: Harvey Keitel, John Turturro, Delroy Lindo, Mekhi Phifer
Screenplay: Richard Price, Spike Lee
Composer: Terence Blanchard
http://www.imdb.com/title/tt0112688/plotsummary
(Again, this was mentioned on the forum, but I didn’t see one with the full description.)
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(Temporary) Film database submission mechanism over 2 years ago
World’s Greatest Dad
Year: 2009
Dir: Bobcat Goldthwait
DP: Horacio Marquinez
Cast: Robin Williams, Daryl Sabara, Morgan Murphy
Screenplay: Bobcat Goldthwait
Composer: Gerald Brunskill
http://www.imdb.com/title/tt1262981/plotsummary
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Artists moving to film from another medium over 2 years ago
When reading the topic of this thread, one name jumped to mind: Pasolini. I’m glad you included him. For me, he’s not only an interesting case study due to the quality of his films—ok, so that’s just my opinion—but because his work, regardless of medium, seems to bleed together seamlessly. Granted, I’ve only dabbled in his poetry and fiction, I feel as though he’s one of few so prolific across mediums.
Another interesting topic to explore would be filmmakers who work directly with the creators of the text they are adapting. I know a lot of authors receive co-writer credits for screenplays, but I’m thinking more about those who actually get their feet wet. For instance, Hubert Selby Jr./Aronofsky on Requiem For A Dream. Just a thought.
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I lost it: over the top movie scenes 4 months ago
Tell me you’re going to get a manual…
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Psychological horror films 4 months ago
Rosemary’s Baby, The Tenant, and Repulsion are three of the finest additions to the horror/suspense genre, in my opinion. To the many quality films listed above, I would recommend Nicolas Roeg’s “Don’t Look Now” as a must-see. Maybe also The Bad Seed, Kuroneko, The Changeling, and The Legend of Hell House. And while some of Dario Argento’s films could be considered a bit more extreme/graphic than the suggestions above, I don’t think the psychological aspects of many of his films—especially Suspiria—can be overlooked. Here’s a list I made of horror movies, some of which might not fit into the psychological category, but most do, and it might give you a few more ideas: http://mubi.com/lists/spooky-stuff
Cool topic. Thanks for starting the discussion.
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