I think “Boogie Nights” is PT’s best work. It’s his magnum opus that is almost universally satisfying, disturbing, and challenging. Magnolia is a monumentally affective but cluttered.
I agree with you Pomoxian, but I do find it peculiar that Criterion has made a name for itself by impeccably explaining and contextualizing the films they release without really explaining how they themselves operate and make their selections. I read that they have a blog, but there hasn’t been any Criterion overview-esque press. They never explicitly provide reasoning for their selections, but this air of mystery has undoubtedly increased their brand appeal and the significance of their “canon,” as you described it. Not that they have to defend themselves, but sometimes I think about those Michael Bay movies possessing those cherished spine numbers and I wonder.
Does the symmetric cinematography of this film remind anyone else of Wes Anderson’s work, or, perhaps more fittingly, the obsessively sterilized work of Kubrick?
The Curious Case of Benjamin Button is not an “important contemporary film.” It is an over-marketed high-budget Oscar-hopeful, but it certainly is not important. The aging effect is interesting but not “important,” and it is one small aspect of this steaming fecal matter posing as an artistically sensible motion picture.
Spike Lee often confounds me. SHE’S GOTTA HAVE IT and DO THE RIGHT THING are two of my favorite movies. All of his films are interesting and generally good or great. Unfortunately, I had the two worst film viewing experiences of my life watching his SUMMER OF SAM and, to a lesser extent, CROOKLYN. To further fuel the fire, people with opinions that I respect very highly have lauded these films. What am I missing? Who’s on my side? Can anybody account for these atrocity/masterworks?
When I say "A Perfect Film", What One Film Pops Into Your Head First? over 3 years ago
I think “Boogie Nights” is PT’s best work. It’s his magnum opus that is almost universally satisfying, disturbing, and challenging. Magnolia is a monumentally affective but cluttered.
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Fishing With John (Criterion) over 3 years ago
Does anyone else find the inclusion of this TV show a bit odd?
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Fishing With John (Criterion) over 3 years ago
I agree with you Pomoxian, but I do find it peculiar that Criterion has made a name for itself by impeccably explaining and contextualizing the films they release without really explaining how they themselves operate and make their selections. I read that they have a blog, but there hasn’t been any Criterion overview-esque press. They never explicitly provide reasoning for their selections, but this air of mystery has undoubtedly increased their brand appeal and the significance of their “canon,” as you described it. Not that they have to defend themselves, but sometimes I think about those Michael Bay movies possessing those cherished spine numbers and I wonder.
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Spirit of the Beehive over 3 years ago
Does the symmetric cinematography of this film remind anyone else of Wes Anderson’s work, or, perhaps more fittingly, the obsessively sterilized work of Kubrick?
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Come on Criterion about 3 years ago
The Curious Case of Benjamin Button is not an “important contemporary film.” It is an over-marketed high-budget Oscar-hopeful, but it certainly is not important. The aging effect is interesting but not “important,” and it is one small aspect of this steaming fecal matter posing as an artistically sensible motion picture.
Go to Comment
SUMMER OF SAM (Overrated or Underrated?) about 3 years ago
Spike Lee often confounds me. SHE’S GOTTA HAVE IT and DO THE RIGHT THING are two of my favorite movies. All of his films are interesting and generally good or great. Unfortunately, I had the two worst film viewing experiences of my life watching his SUMMER OF SAM and, to a lesser extent, CROOKLYN. To further fuel the fire, people with opinions that I respect very highly have lauded these films. What am I missing? Who’s on my side? Can anybody account for these atrocity/masterworks?
Go to Comment