I fell asleep seeing “Armageddon.” I awoke just as Ben Afleck broke into a rendition of “Leaving on a Jet Plane,” and I just walked out. Looking back, I feel like that movie signaled the coming of the Bush era. Awful!
I love “Drugstore Cowboy.” In fact, it’s one of my favorite films. But, aside from “My Own Private Idaho,” I don’t think he’s made anything else that I found even remotely interesting or enjoyable. This is just my opinion, and I’m not trying to offer any sort of analysis of the man as a filmmaker, but I think it’s remarkable that the same man who brought us those two gems also made “To Die For” and “Psyho.”
Insofar as any director/filmmaker can be considered a genius, Bergman definitely deserves that level of regard. However, I don’t believe all of his works necessarily speak for themselves. I think it’s at least helpful to go into some of his more esoteric films (e.g. Persona, Fanny and Alexander, Cries and Whispers) with some knowledge of the artist’s thematic and stylistic preoccupations as well some biographic information. What’s more, Bergman’s films take on greater significance after you’ve seen several of them. It’s like watching Wong Kar-Wai’s “2046” without ever having seen “In the Mood for Love” and then rendering an opinion. (Actually, that analogy doesn’t REALLY hold, but I’m keeping it anyway)
But, then, there are those (I presume) who have been exposed to Bergman’s oeuvre and still dismiss his works as boring and even trite. To them I merely proclaim, in all caps, “NO FRIGGIN WAY, MAN! BERGMAN RULEZ!!”
Nah, JK, it’s subjective, I suppose, but dismissing Bergman’s films as merely boring doesn’t sit well with me. It just… bugs me.
1. The Adversary
2. Ali: Fear Eats the Soul
3. All About My Mother
4. All or Nothing
5. Badlands
6. Band of Outsiders
7. Barton Fink
8. The Big Lebowski
9. Breaking the Waves
10. The Butcher Boy
11. The Celebration
12. Central Station
13. City of God
14. Cold Fever
15. Contempt
16. Crumb
17. Days of Being Wild
18. Days of Heaven
19. Dead Man
20. The Devil and Daniel Johnston
21. Donnie Darko
22. Drugstore Cowboy
23. Ed Wood
24. 8 1/2
25. Fanny and Alexander
26. Fay Grim
27. Fireworks
28. Fitzcarraldo
29. The 400 Blows
30. Fresh
31. Full Metal Jacket
32. Goodfellas
33. Hannah and Her Sisters
34. Happy Together
35. Heavenly Creatures
36. Henry Fool
37. Hold Me While I’m Naked
38. Holy Smoke
39. Hud
40. The Idiots
41. In the Mood for Love
42. The Insider
43. Irma Vep
44. Kind Hearts and Coronets
45. The Last Wave
46. Live Flesh
47. Love Serenade
48. M
49. Man Bites Dog
50. The Man Without a Past
51. Marjoe
52. Mästerman
53. Mulholland Dr.
54. Muriel’s Wedding
55. Nashville
56. The New World
57. No Country for Old Men
58. Office Space
59. One Flew Over the Cuckoo’s Nest
60. Onibaba
61. Owning Mahowny
62. Palindromes
63. The Passion of Joan of Arc
64. Pather Panchali
65. Paths of Glory
66. A Reason to Live
67. Rockers
68. The Rules of the Game
69. Rushmore
70. Sink or Swim
71. The Spirit of the Beehive
72. Stroszek
73. Summer with Monica
74. Sweetie
75. The Swimmer
76. Talk to Her
77. Through a Glass Darkly
78. Tokyo Story
79. 12 Monkeys
80. The Vanishing
81. Wages of Fear
82. Welcome to the Dollhouse
83. Werckmeister Harmonies
84. Winter Light
85. Woman in the Dunes
86. Wonderland
87. Yi Yi
No other movie has so profoundly unsettled me as The Exorcist. (maybe it’s a Catholic thing) And I agree with Chris Doyon, Exorcist III is also pretty damned unnerving.
No, David, I don’t think his recent films are a “return to form” in the strictest sense. I think that’s basically meant as a backhanded complement because his earlier work tends to be more well regarded. As I mention above, I think “Drugstore Cowboy” is outstanding and “My Own Private Idaho” is worth seeing for River Phoenix alone. And, although I don’t care for any of his other films, I AM eager to see the new skateboard one and “Milk.”
So, yeah, I think it’d be a mistake to pass over Drugstore and Idaho.
“The Third Man” probably belongs on the short list, but, as much as I love it, I can’t can’t imagine it’s the best. “If” is a vastly underrated film, but probably too quirky to warrant serious consideration as the best British film. Not that determining the best film in any category is THAT serious of an endeavor, but “If” somehow doesn’t seem universal enough.
“Kind Hearts and Coronets” is probably my favorite British film, but I’m not about to nominate it.
Though it’s true that the term “Vanguard” comes from the old French “avaunt garde” now “avant-garde,” I don’t think the terms are really synonymous, at least not in the context of cinema.
In cinema, “Vanguard” just means groundbreaking or at the forefront of a movement. “Avant-garde,” on the other hand, is a little trickier. It’s not a genre, but it might be useful to think about avant-garde cinema as its own genre or even mode (experimental filmmaking), whereas a vanguard work or filmmaker can belong to any genre.
Hmmm, I may have made an even bigger mess with my attempt to delineate a distinction between these terms.
Pather Panchali: The reverse shot of Apu and Durga standing in a field and gazing in awe at a passing train. The shot itself is immensely powerful, and the sound accompaniment really drives it home.
Highly original, well constructed, poetic, gritty, beautifully shot, superbly acted, and POWERFUL!
I’m too lazy to be eloquent or even draft a description with whole sentences, but if I can offer a weak comparison: Think of a character study along the lines of Love Liza (with a performance by Paul Giamati that easily rivals Hoffman’s) combined with a sort of poetic yet hyper-realist style of filmmaking. (naturally lit, hand held, and every shot is amazing) The film succeeds, at least for me, at evoking a uniquely American juxtaposition between grotesque caricatures and genuine pathos, without tempering the emotional impact through ironic distance.
The climax of the film is incredibly moving. I haven’t seen anything like it in weeks.
I once read a post on anther forum by a guy who included films by Bergman, Ozu, and Libitsch on his very short list of favorite comedies. This transgression in itself is forgivable, but he went on to deride other’s selections as inferior.
I mean, it’s comedy; if Adam Sandler makes you laugh hardest, that has to count for something.
My point: Snobbery can get in the way of sound judgment and group-think can sometimes supplant honest expression. I don’t doubt that many people find “Smiles of a Summer Night” to be a laugh riot, but I suspect a lot of people pick it as their favorite comedy just because it was made by Bergman. Bergman’s my favorite director of all time, but give me a break. If I want to laugh, I’m popping in “Palindromes”, “Raising Arizona”, or maybe even something really stupid.
There is somewhat of a fine line between demonstrating one’s discriminating taste and being needlessly pretentious.
That said, I agree with the sentiments of those hoping this forum is not overrun with discussions of mainstream fare.
The final five or so minutes of In the Mood for Love resonates more strongly with me than any other ending I can think of. Beyond the sheer emotional impact, the scene is endowed with so much connotative significance that I’m compelled to sit and reflect well into the credits. So powerful!
Other endings that left a strong impression on me: Stroszek, Idioterne, and Habla Con Ella
Special mention to Dogville for having the most moving end credits I’ve ever seen. (Von Trier just knows how to end a movie)
How hard is it to write the word “SPOILER” at the top of a post? It’s just common courtesy. I agree with Adam that the priority ought to be on “in-depth discussion,” which means spoilers are inevitable, but I don’t see any harm (aesthetic, maybe?) in offering an alert when it’s clearly warranted.
Stories are designed to pay off with unexpected twists and turns. The experience is ruined when the outcome is foreknown.
My view: People ought to be conscientious, but I’m not necessarily in favor of an “official” policy.
Not only is the protagonist capable of solving the world’s most complex mathematic equations, he’s able to analyze art, deconstruct an experienced psychologist, and wax on colonial economics. Add to that the fact that he was an abused orphan who grew to be a tough guy with a good heart, you have the perfect formula to make frat boys everywhere cry. The movie plays upon the worst sort of wish-fulfillment and cheap pathos.
Amélie bothers me, but not because I think it’s bad. It’s just too cutesy-poo!
I gave away my Criterion of Mouchette. I actually think the movie’s very interesting, but too boring for me to watch again (I’ve seen it twice), and my friend loved it, so it made a nice gift.
It seems a lot of people on this forum hate Drugstore Cowboy, but I count it among my very favorite films. My attachment is admittedly sentimental and not wholly based on the film’s relative artistic and/or technical merits. I love the world GVS creates: i.e. 1970’s Oregon drug culture. Also, the performances and dialogue are pretty strong. Although I’m not a big William S. Burroughs fan, his cameo in the film is an added delight because his character plays meaningful role. This film just never gets old for me. IMHO, it’s GVS’s best work to date.
Angel Heart staring Mickey Rourke is another derided favorite. I don’t think people hate this film so much as they just don’t care about it. Either way, I find it immensely engrossing.
Hmm, now that I think about it, I first saw both of these movies when I was twelve years-old. Must have been a formative time for me.
If you don’t know about Myra Breckinridge, it’s worth at least reading up on this film. It’s fascinating in its badness. There’s not even another film with which to compare it. The closest related experience might be drinking an entire bottle of maple syrup.
HA! I’m just messin’ around, David, but it’s true that I genuinely dislike the film. I saw it in the theater, too. The part that really turned me off was Tom Cruise’s deathbed melodrama. I was ready to walk out.
MOMENT OF TRUTH: HAVE YOU EVER GONE TO THE MOVIES AND FALLEN ASLEEP DURING THE FILM? over 3 years ago
I fell asleep seeing “Armageddon.” I awoke just as Ben Afleck broke into a rendition of “Leaving on a Jet Plane,” and I just walked out. Looking back, I feel like that movie signaled the coming of the Bush era. Awful!
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Opinions of Van Sant? over 3 years ago
I love “Drugstore Cowboy.” In fact, it’s one of my favorite films. But, aside from “My Own Private Idaho,” I don’t think he’s made anything else that I found even remotely interesting or enjoyable. This is just my opinion, and I’m not trying to offer any sort of analysis of the man as a filmmaker, but I think it’s remarkable that the same man who brought us those two gems also made “To Die For” and “Psyho.”
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INGMAR BERGMAN: GENIUS...OR...OVERRATED BORE? over 3 years ago
Insofar as any director/filmmaker can be considered a genius, Bergman definitely deserves that level of regard. However, I don’t believe all of his works necessarily speak for themselves. I think it’s at least helpful to go into some of his more esoteric films (e.g. Persona, Fanny and Alexander, Cries and Whispers) with some knowledge of the artist’s thematic and stylistic preoccupations as well some biographic information. What’s more, Bergman’s films take on greater significance after you’ve seen several of them. It’s like watching Wong Kar-Wai’s “2046” without ever having seen “In the Mood for Love” and then rendering an opinion. (Actually, that analogy doesn’t REALLY hold, but I’m keeping it anyway)
But, then, there are those (I presume) who have been exposed to Bergman’s oeuvre and still dismiss his works as boring and even trite. To them I merely proclaim, in all caps, “NO FRIGGIN WAY, MAN! BERGMAN RULEZ!!”
Nah, JK, it’s subjective, I suppose, but dismissing Bergman’s films as merely boring doesn’t sit well with me. It just… bugs me.
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favorite films? over 3 years ago
To be revised:
1. The Adversary
2. Ali: Fear Eats the Soul
3. All About My Mother
4. All or Nothing
5. Badlands
6. Band of Outsiders
7. Barton Fink
8. The Big Lebowski
9. Breaking the Waves
10. The Butcher Boy
11. The Celebration
12. Central Station
13. City of God
14. Cold Fever
15. Contempt
16. Crumb
17. Days of Being Wild
18. Days of Heaven
19. Dead Man
20. The Devil and Daniel Johnston
21. Donnie Darko
22. Drugstore Cowboy
23. Ed Wood
24. 8 1/2
25. Fanny and Alexander
26. Fay Grim
27. Fireworks
28. Fitzcarraldo
29. The 400 Blows
30. Fresh
31. Full Metal Jacket
32. Goodfellas
33. Hannah and Her Sisters
34. Happy Together
35. Heavenly Creatures
36. Henry Fool
37. Hold Me While I’m Naked
38. Holy Smoke
39. Hud
40. The Idiots
41. In the Mood for Love
42. The Insider
43. Irma Vep
44. Kind Hearts and Coronets
45. The Last Wave
46. Live Flesh
47. Love Serenade
48. M
49. Man Bites Dog
50. The Man Without a Past
51. Marjoe
52. Mästerman
53. Mulholland Dr.
54. Muriel’s Wedding
55. Nashville
56. The New World
57. No Country for Old Men
58. Office Space
59. One Flew Over the Cuckoo’s Nest
60. Onibaba
61. Owning Mahowny
62. Palindromes
63. The Passion of Joan of Arc
64. Pather Panchali
65. Paths of Glory
66. A Reason to Live
67. Rockers
68. The Rules of the Game
69. Rushmore
70. Sink or Swim
71. The Spirit of the Beehive
72. Stroszek
73. Summer with Monica
74. Sweetie
75. The Swimmer
76. Talk to Her
77. Through a Glass Darkly
78. Tokyo Story
79. 12 Monkeys
80. The Vanishing
81. Wages of Fear
82. Welcome to the Dollhouse
83. Werckmeister Harmonies
84. Winter Light
85. Woman in the Dunes
86. Wonderland
87. Yi Yi
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Favorite film composers over 3 years ago
Alberto Iglesias
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Favorite film composers over 3 years ago
MR E 2 ME: I’m jealous!
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Whats the scariest film ever or some of ur favorites over 3 years ago
No other movie has so profoundly unsettled me as The Exorcist. (maybe it’s a Catholic thing) And I agree with Chris Doyon, Exorcist III is also pretty damned unnerving.
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Opinions of Van Sant? over 3 years ago
No, David, I don’t think his recent films are a “return to form” in the strictest sense. I think that’s basically meant as a backhanded complement because his earlier work tends to be more well regarded. As I mention above, I think “Drugstore Cowboy” is outstanding and “My Own Private Idaho” is worth seeing for River Phoenix alone. And, although I don’t care for any of his other films, I AM eager to see the new skateboard one and “Milk.”
So, yeah, I think it’d be a mistake to pass over Drugstore and Idaho.
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Opinions of Van Sant? over 3 years ago
Stoopid double post!
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Best British Film over 3 years ago
“The Third Man” probably belongs on the short list, but, as much as I love it, I can’t can’t imagine it’s the best. “If” is a vastly underrated film, but probably too quirky to warrant serious consideration as the best British film. Not that determining the best film in any category is THAT serious of an endeavor, but “If” somehow doesn’t seem universal enough.
“Kind Hearts and Coronets” is probably my favorite British film, but I’m not about to nominate it.
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Vanguard versus avant-garde over 3 years ago
Though it’s true that the term “Vanguard” comes from the old French “avaunt garde” now “avant-garde,” I don’t think the terms are really synonymous, at least not in the context of cinema.
In cinema, “Vanguard” just means groundbreaking or at the forefront of a movement. “Avant-garde,” on the other hand, is a little trickier. It’s not a genre, but it might be useful to think about avant-garde cinema as its own genre or even mode (experimental filmmaking), whereas a vanguard work or filmmaker can belong to any genre.
Hmmm, I may have made an even bigger mess with my attempt to delineate a distinction between these terms.
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Still Image over 3 years ago
Pather Panchali: The reverse shot of Apu and Durga standing in a field and gazing in awe at a passing train. The shot itself is immensely powerful, and the sound accompaniment really drives it home.
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Rate The Last Film You Watched over 3 years ago
The Hawk is Dying: 10/10
Highly original, well constructed, poetic, gritty, beautifully shot, superbly acted, and POWERFUL!
I’m too lazy to be eloquent or even draft a description with whole sentences, but if I can offer a weak comparison: Think of a character study along the lines of Love Liza (with a performance by Paul Giamati that easily rivals Hoffman’s) combined with a sort of poetic yet hyper-realist style of filmmaking. (naturally lit, hand held, and every shot is amazing) The film succeeds, at least for me, at evoking a uniquely American juxtaposition between grotesque caricatures and genuine pathos, without tempering the emotional impact through ironic distance.
The climax of the film is incredibly moving. I haven’t seen anything like it in weeks.
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Worries about the future... over 3 years ago
I once read a post on anther forum by a guy who included films by Bergman, Ozu, and Libitsch on his very short list of favorite comedies. This transgression in itself is forgivable, but he went on to deride other’s selections as inferior.
I mean, it’s comedy; if Adam Sandler makes you laugh hardest, that has to count for something.
My point: Snobbery can get in the way of sound judgment and group-think can sometimes supplant honest expression. I don’t doubt that many people find “Smiles of a Summer Night” to be a laugh riot, but I suspect a lot of people pick it as their favorite comedy just because it was made by Bergman. Bergman’s my favorite director of all time, but give me a break. If I want to laugh, I’m popping in “Palindromes”, “Raising Arizona”, or maybe even something really stupid.
There is somewhat of a fine line between demonstrating one’s discriminating taste and being needlessly pretentious.
That said, I agree with the sentiments of those hoping this forum is not overrun with discussions of mainstream fare.
We’re counting on you, 53! Regulate!
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Worries about the future... over 3 years ago
“When I first saw the title I thought you were referring the the international economic condition.”
Ha! So did I!
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When I say "A Perfect Film", What One Film Pops Into Your Head First? over 3 years ago
Every time I see Days of Heaven, I’m struck by how strong every aspect of the film is.
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Most Traumatic or Dramatic Film Endings over 3 years ago
The final five or so minutes of In the Mood for Love resonates more strongly with me than any other ending I can think of. Beyond the sheer emotional impact, the scene is endowed with so much connotative significance that I’m compelled to sit and reflect well into the credits. So powerful!
Other endings that left a strong impression on me: Stroszek, Idioterne, and Habla Con Ella
Special mention to Dogville for having the most moving end credits I’ve ever seen. (Von Trier just knows how to end a movie)
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Good Bad Films over 3 years ago
I laughed uncontrollably both times I watched Adam Sandler’s The Waterboy.
“Mama says that alligators are ornery because they got all them teeth and no toothbrush”
And Kathy Bates is amazing.
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What is the spoiler policy in this forum? over 3 years ago
How hard is it to write the word “SPOILER” at the top of a post? It’s just common courtesy. I agree with Adam that the priority ought to be on “in-depth discussion,” which means spoilers are inevitable, but I don’t see any harm (aesthetic, maybe?) in offering an alert when it’s clearly warranted.
Stories are designed to pay off with unexpected twists and turns. The experience is ruined when the outcome is foreknown.
My view: People ought to be conscientious, but I’m not necessarily in favor of an “official” policy.
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Movies you hated that everyone else loves over 3 years ago
Good Will Hunting
Not only is the protagonist capable of solving the world’s most complex mathematic equations, he’s able to analyze art, deconstruct an experienced psychologist, and wax on colonial economics. Add to that the fact that he was an abused orphan who grew to be a tough guy with a good heart, you have the perfect formula to make frat boys everywhere cry. The movie plays upon the worst sort of wish-fulfillment and cheap pathos.
Amélie bothers me, but not because I think it’s bad. It’s just too cutesy-poo!
I gave away my Criterion of Mouchette. I actually think the movie’s very interesting, but too boring for me to watch again (I’ve seen it twice), and my friend loved it, so it made a nice gift.
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Help make The Auteurs totally awesome over 3 years ago
bold = * bold * (without spaces)
italics = _ italics _ (without spaces)
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Help make The Auteurs totally awesome over 3 years ago
Also, I’m sure you’ve noticed that by now, but there seems to be a problem with double posts.
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Films you love but most people hate. over 3 years ago
It seems a lot of people on this forum hate Drugstore Cowboy, but I count it among my very favorite films. My attachment is admittedly sentimental and not wholly based on the film’s relative artistic and/or technical merits. I love the world GVS creates: i.e. 1970’s Oregon drug culture. Also, the performances and dialogue are pretty strong. Although I’m not a big William S. Burroughs fan, his cameo in the film is an added delight because his character plays meaningful role. This film just never gets old for me. IMHO, it’s GVS’s best work to date.
Angel Heart staring Mickey Rourke is another derided favorite. I don’t think people hate this film so much as they just don’t care about it. Either way, I find it immensely engrossing.
Hmm, now that I think about it, I first saw both of these movies when I was twelve years-old. Must have been a formative time for me.
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Criterion junkies here? over 3 years ago
I would love to see Criterion release Toni by Jean Renoir because I don’t know how else to see it.
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Good Bad Films over 3 years ago
If you don’t know about Myra Breckinridge, it’s worth at least reading up on this film. It’s fascinating in its badness. There’s not even another film with which to compare it. The closest related experience might be drinking an entire bottle of maple syrup.
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favorite funniest movie over 3 years ago
I came completely unhinged watching Palindromes. Genius!
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Classic movies you can't get on d.v.d. over 3 years ago
Satyajit Ray’s so-called Calcutta trilogy:
– Pratidwandi (1970)
– Seemabaddha (1971)
– Jana Aranya (1975)
A region 1 box set would be particularly nice. Criterion?
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Worst Criterion DVDs over 3 years ago
Sadly, American films seem to be disproportionately represented among Criterion’s worst releases.
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the hate corner over 3 years ago
Magnolia blows.
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the hate corner over 3 years ago
HA! I’m just messin’ around, David, but it’s true that I genuinely dislike the film. I saw it in the theater, too. The part that really turned me off was Tom Cruise’s deathbed melodrama. I was ready to walk out.
I do like PT Anderson, though.
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