Man, that’s a tough one, there’s plenty of them, and I suppose that with perfect, you mean perfect, so I’m going to put myself in the risk of being heavily criticized, but I think Casino is one, because it takes the Goodfellas formula, (which, by the way is another perfect film, so basically I’m speaking for both films) and takes it beyond, I mean, it’s more stylized and the script seems to take on more themes, like consumerism and corporations ripping traditions apart. On the other hand there’s Raging Bull, which has some beautiful imagery, and the script, as Roger Ebert put it is kind of the Italian-American version of Othello, and to me, it’s the deepest exploration Scorsese has done on himself and his people. Anyway, by now, everyone must know I’m a Scorsese fanboy, so I think I’ll have to add Amelie by Jean Pierre Jeunet, Kubrick’s 2001, Leone’s Once Upon a Time in America, and, of course, Kurosawa’s Seven Samurai. I could go on for hours and even days if I explained why each film is perfect, so, as I said before, there’s plenty.
Some time ago I noticed the AFI put Travis as one of the greatest villains ever, I couldn’t believe it, tome, Travis isn’t a villain, but he isn’t a hero either, he’s just a man wanting to get noticed, and whose view of life is so torn apart by war, that he becomes socially inept, so he is just a lonely man motivated by the selfish need of being accepted by the people he criticizes because they are either too perverted or too distanced form each other, and of course, from him.
Well, everybody who’s seen it thinks I’m crazy, but I loved Pasolini’s Salo, I mean, what it depicts is horrible, but the way it does it… it’s just so subtle and beautiful, and it’s a film with such a huge meaning, to me it’s more like an artistic statement about the things that are wrong in our world. It’s a fatal view of the filth in modern society, seen through the eyes of a poet.
Well, you’ll see, Scorsese is my all time favorite director, his movies are not only realistic, but in some strange sense, a part of reality, so I wonder, Why do many people in either the art film sector or the mainstream audience underrate him?, I mean just look at many of the folks around here, everybody loves either Tarantino or Kubrick, not ever caring that Scorsese is a great influence on Tarantino and the one who perfected the formula left by Kubrick and other great artists such as Fellini, Kurosawa, Buñuel, Godard, and so on. I don’t mean to say he’s the greatest ever, ‘cause I tend to think there is a list of the greatest directors, but there can never exist one who is better than everyone else ’cause they’re so different, but anyway, I am just trying to realize if there’s more people who trully love his work besides a few I know. Oh, and by the way, I’d also like to know if you’d like to see more of his films here in The Auteurs, I mean they’ve got Only three?! C’mon, give me a break.
I’m becoming a Criterion junkie, especially of the OOP ones, I have several of the hardest to find, all of them are original, although, let me tell you, it cost me a lot of time and money to find’ em, but they’re worth it.
Here’s a classic topic with a little variation, Has anyone ever seen a film that everybody thought to be mainstream/arthouse but you thought it was the contrary?
Well, I’m glad to see I was wrong, and probably searching in the wrong channels, so it’d be cool if we could post our favorite Scorsese film and why, as of me, Goodfellas is my favorite because of the clear influence from the Neorealists and Truffaut, and the way it ends with the romantic myth about gangsters created by The Godfather, which is a wonderful film, and actually intends to portray what Scorsese called the high class gangster, and not the working class type, but anyway, the realism in the film is just so great and raw. I think it’s the culmination of the Maestro’s work. I love Taxi Driver and several others maybe as much, but there’s a bit of every Scorsese film in Goodfellas, and that’s why it’s my favorite.
I’d love to direct some day, maybe pull an Allen Baron-like career since I’m a beginning journalist, but I’m tryin’ to write somethin’, I hope I can show it here when I’m done with it.
I think Bob has a great point, not only is the man a great filmmaker, but he’s also a walking encyclopedia. He is the one who made me look at films in a different way and not just see a couple of guys doing something on the screen, but a couple of characters being shot in a specific way to express something and constructed by language and gestures. The way he talks about films is just wonderful. The second film I saw of his was My Voyage to Italy, and the way he describes every scene is just so passionate and accurate, that you have to be too insensitive to not fall in love with films. Scorsese is, to me, more than a person, a character who I’d find really hard to dislike.
I think Bob has a great point, not only is the man a great filmmaker, but he’s also a walking encyclopedia. He is the one who made me look at films in a different way and not just see a couple of guys doing something on the screen, but a couple of characters being shot in a specific way to express something and constructed by language and gestures. The way he talks about films is just wonderful. The second film I saw of his was My Voyage to Italy, and the way he describes every scene is just so passionate and accurate, that you have to be too insensitive to not fall in love with films. Scorsese is, to me, more than a person, a character who I’d find really hard to dislike.
I think Bob has a great point, not only is the man a great filmmaker, but he’s also a walking encyclopedia. He is the one who made me look at films in a different way and not just see a couple of guys doing something on the screen, but a couple of characters being shot in a specific way to express something and constructed by language and gestures. The way he talks about films is just wonderful. The second film I saw of his was My Voyage to Italy, and the way he describes every scene is just so passionate and accurate, that you have to be too insensitive to not fall in love with films. Scorsese is, to me, more than a person, a character who I’d find really hard to dislike.
I am a Sex Pistols fan myself, and I loved the film because it goes beyond being a Sid Vicious or Sex Pistols biopic, it’s almost something apart, but you’ve got the story and the characters of the band in it, and although it’s full of inaccuracies, I find this a great film that portrays what the 70’s English punk scene was: filthy and furious.
Seems to me like someone is a Bronson fan alright, but anyway, I didn’t like this film at first… maybe thanks to my dad being watching it with me, he really tends to spoil every film I watch, but anyway, I saw it a couple of times after that, and I got to love it, I agree with Jonathan in that the twists are predictable, but I don’t think that makes it a bad film, I mean, You know what’s going to happen at the end of Schindler’s list, Don’t you?, and it’s still a gorgeous film. I think this is the kind of film you should be watching and judging for its content, not for its plot, I mean the characters are so great, this is trully a character film, more than anything, so try to watch it that way, if not, maybe you’ll enjoy something like The Departed or The Maltese Falcon better, films which, by the way, also have some character development, but in the end focus more on the plot.
Oh, yeah, I know Rotten hated it, he even ranted against Joe Strummer, and I know it’s not accurate, although Sid was pretty much a cartoon himself, but as a Pistols fan, do you or anyone else share Johnny Rotten’s hatred for the film?
I think David is right, I actually meant something else but got carried away a little bit… quiet a lot actually, lol, I also think his influences are very different from each other, but what I really mean is that he took elements from each of them a created a style of his own that, to me, is the greatest I’ve seen, Scorsese tries to portray reality just like the neorealists, he is clearly influenced by surrealists (especially Fellini) in dream sequences or dreamlike scenes, like the ones in Raging Bull, he has a clear biblical influence (that’s actually a personal trademark made by himself) like the one David! highlighted in Casino, but anyway, that’s all I meant, but you’re right, David, each of his influences are the best at what they do, I mean, there’s no one who can make cinema the way they did. No one can make samurai cinema like Kurosawa or neorealism like De Sica or surrealism like Buñuel or Fellini, and Scorsese himself knows that.
I think that having a mainstream success like Paul Thomas Anderson or the Coen brothers doesn’t necessarily make them mainstream, because in the end, they do what they want to, they’re not controlled by studios and you can see that in their films, I mean, I know no one who really understood No Country for Old men because even though they’re not film experts or even people who like ‘art films’, they knew there was something else to it, so I think arthouse or mainstream are categories that should be given to films because of their intention, I mean, there’s films that are clearly made to be sold to an audience, for example all the comic book adaptations that have been coming out since X Men and Spiderman, and speaking of this, Michael Bay came to my mind. I tend to think the guy is trully an auteur, you can see his trademarks very clearly in his films since Armegeddon, he’s very talented, although the movies themselves are designed to be blockbusters, so What do you think about him, is he an artist who makes blockbusters or a very gifted director with no artistry whatsoever?
David: I totally agree with you, and you made me realize something I hadn’t thought about, there is no consistency in regards of what his films are about. There is not a consistent body of work in terms of themes, and that leaves him only as maybe the greatest action director I’ve seen, but not an auteur like John Woo, in chose films there’s the subjects of honor, friendship, loyalty, and othe themes that make me think fo him as a modern samurai cinema maker, whose characters are gangsters instead of ronin, who use guns instead of swords, I wish he could go back to stuff like Hard Boiled, Bullet in the Head or The Killer, seems to me like it isn’t like Hollywood spoiled him, but he’s rather confused on how to make movies, he makes American blockbusters with a chinese point of view, so, to me, he has to either change his approach or go back to China, hope his new film is better than his Hollywood years.
David: Once again we agree, although I think Jonh Woo’s the greatest action director (referring to his Hong Kong years) I’ve seen, Ang Lee is one of the finest Asian directors both in his homeland and in America, but my personal favorite is Yimou Zhang.
That’s something I wanted to make a post about too, The Departed, I mean I thought it was a brilliant film, it’s clearly (at least to me) a tribute to the B movies and film noir Scorsese used to watch as a kid, but with his touch in it. There’s lots of dialogue scenes that if not for the Scorsesesque (It’s a new word I read somewhere around here a while ago) language would sound really cheesy, just like those old gangster films. I think it’s a great film that sholudn’t be compared to other Scorsese gangster films since it’s too different, it does keep the realism but at the same time bends it, I mean, what kind of gangster phlosophizes the way Frank Costello does? But the character seems to be some kind of intellectual gangster, and the way it recreates Boston is very realistic, so every detail is justified and although Scorsese himself said this is his “first B-movie”, I think his touch made it a realistic one, and that’s why I think it’s brilliant.
J.R.: The guys you mention have some wonderful action sequences, but Woo’s are actually very different, when you watch things like Hard Boiled, you see a display of characters dancing around shooting each other, it’s like ballet, the choreography is just great, and I said I thought he was the greatest I had seen, I don’t think a director can be put on top of all others, so maybe I wasn’t very clear, what I meant was that he was the best I had seen, and my favorite, but that doesn’t mean there can’t be anoyne better, I just think he was more creative and unique, and actually, I wouldn’t call many of the directors you mention “action film directors” most of them have action sequences in their films, but I don’t think Saving Private Ryan, for example, is other than a war drama, Don’t you agree?
When I saw this film I was mostly tense, but afterwards, when I thought about what I was going to say when people asked what it was about, I didn’t know, so I started to create several theories in my head by rememebring what happened throughout the “plot” (This doesn’t mean anything bad, I think it’s actually brilliant to have a film without a plot), and I ended up thinking that the film is about the conflict of an actor between his character and his true self. Throughout the film we see Laura Dern confused about where she really is, what she is really doing and who she really is, so I think that what we see is an actress caught in between reality and realism. She’s so deep into her character that she can’t tell what’s really going on, and through her insane perspective, we get to see this dreamlike and even nightmarish experience in which time and space are highly disregarded as part of the narrative thread.
When I was 14, I saw a couple of films that changed everything not only in my view towards cinema, but towards everything, but it wasn’t the films themselves, but the man behind them, he really transmitted his passion for films to me. The films were:
Taxi Driver: I couldn’t really understand it at that time, but I knew it was special and different to everything I had seen.
My Voyage to Italy: The way Martin Scorsese talks about Italian cinema is just amazing, you can trully feel the same way he feels about those films, even if you haven’t seen them.
I don’t love making posts about lists, but I have one with a topic I haven’t heard of before, so I hope you guys can tell me straight out which is your favorite film title you’ve heard and why. In my case, I think it’s Amarcord, because it translates as “I Remember”. I think it’s the most nostalgic title I’ve heard, and it’s kind of tender and at the same time raw, it’s very ambigous, it could refer to someone who has either good memories or bad ones, and it really fits the film.
I think, although, already mentioned by Number 6, Roland Emmerich embodies the name of the topic, although I liked Independence Day… when I was a kid, lol.
Well, I think this is a film meant to be watched. It certainly is a tough one… I guess, since I wasn’t even shocked by it (that doesn’t mean I don’t think the scenes in it are horrible), but the whole point of it is what it menas, what it wants to transmit and state. You should read a lot as Andrew says and know about the subjects it deals with so that your approach will be more focused on the metaphors, rather than the depictions of torture, murder and coprophagia.
When I say "A Perfect Film", What One Film Pops Into Your Head First? over 3 years ago
Man, that’s a tough one, there’s plenty of them, and I suppose that with perfect, you mean perfect, so I’m going to put myself in the risk of being heavily criticized, but I think Casino is one, because it takes the Goodfellas formula, (which, by the way is another perfect film, so basically I’m speaking for both films) and takes it beyond, I mean, it’s more stylized and the script seems to take on more themes, like consumerism and corporations ripping traditions apart. On the other hand there’s Raging Bull, which has some beautiful imagery, and the script, as Roger Ebert put it is kind of the Italian-American version of Othello, and to me, it’s the deepest exploration Scorsese has done on himself and his people. Anyway, by now, everyone must know I’m a Scorsese fanboy, so I think I’ll have to add Amelie by Jean Pierre Jeunet, Kubrick’s 2001, Leone’s Once Upon a Time in America, and, of course, Kurosawa’s Seven Samurai. I could go on for hours and even days if I explained why each film is perfect, so, as I said before, there’s plenty.
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Is Travis a hero or a villain? over 3 years ago
Some time ago I noticed the AFI put Travis as one of the greatest villains ever, I couldn’t believe it, tome, Travis isn’t a villain, but he isn’t a hero either, he’s just a man wanting to get noticed, and whose view of life is so torn apart by war, that he becomes socially inept, so he is just a lonely man motivated by the selfish need of being accepted by the people he criticizes because they are either too perverted or too distanced form each other, and of course, from him.
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Films you love but most people hate. over 3 years ago
Well, everybody who’s seen it thinks I’m crazy, but I loved Pasolini’s Salo, I mean, what it depicts is horrible, but the way it does it… it’s just so subtle and beautiful, and it’s a film with such a huge meaning, to me it’s more like an artistic statement about the things that are wrong in our world. It’s a fatal view of the filth in modern society, seen through the eyes of a poet.
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Scorsese fans out there, it's time to unite! over 3 years ago
Well, you’ll see, Scorsese is my all time favorite director, his movies are not only realistic, but in some strange sense, a part of reality, so I wonder, Why do many people in either the art film sector or the mainstream audience underrate him?, I mean just look at many of the folks around here, everybody loves either Tarantino or Kubrick, not ever caring that Scorsese is a great influence on Tarantino and the one who perfected the formula left by Kubrick and other great artists such as Fellini, Kurosawa, Buñuel, Godard, and so on. I don’t mean to say he’s the greatest ever, ‘cause I tend to think there is a list of the greatest directors, but there can never exist one who is better than everyone else ’cause they’re so different, but anyway, I am just trying to realize if there’s more people who trully love his work besides a few I know. Oh, and by the way, I’d also like to know if you’d like to see more of his films here in The Auteurs, I mean they’ve got Only three?! C’mon, give me a break.
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Criterion junkies here? over 3 years ago
I’m becoming a Criterion junkie, especially of the OOP ones, I have several of the hardest to find, all of them are original, although, let me tell you, it cost me a lot of time and money to find’ em, but they’re worth it.
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Art or Mainstream? over 3 years ago
Here’s a classic topic with a little variation, Has anyone ever seen a film that everybody thought to be mainstream/arthouse but you thought it was the contrary?
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Scorsese fans out there, it's time to unite! over 3 years ago
Well, I’m glad to see I was wrong, and probably searching in the wrong channels, so it’d be cool if we could post our favorite Scorsese film and why, as of me, Goodfellas is my favorite because of the clear influence from the Neorealists and Truffaut, and the way it ends with the romantic myth about gangsters created by The Godfather, which is a wonderful film, and actually intends to portray what Scorsese called the high class gangster, and not the working class type, but anyway, the realism in the film is just so great and raw. I think it’s the culmination of the Maestro’s work. I love Taxi Driver and several others maybe as much, but there’s a bit of every Scorsese film in Goodfellas, and that’s why it’s my favorite.
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Who's looking for eachother? over 3 years ago
I’d love to direct some day, maybe pull an Allen Baron-like career since I’m a beginning journalist, but I’m tryin’ to write somethin’, I hope I can show it here when I’m done with it.
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Age / Level of education? (An informal poll) over 3 years ago
I’m 19, Mexican, and studying journalism. Seems like I’m the only one (or one of a few) whose career has little to do with cinema.
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Scorsese fans out there, it's time to unite! over 3 years ago
I think Bob has a great point, not only is the man a great filmmaker, but he’s also a walking encyclopedia. He is the one who made me look at films in a different way and not just see a couple of guys doing something on the screen, but a couple of characters being shot in a specific way to express something and constructed by language and gestures. The way he talks about films is just wonderful. The second film I saw of his was My Voyage to Italy, and the way he describes every scene is just so passionate and accurate, that you have to be too insensitive to not fall in love with films. Scorsese is, to me, more than a person, a character who I’d find really hard to dislike.
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Scorsese fans out there, it's time to unite! over 3 years ago
I think Bob has a great point, not only is the man a great filmmaker, but he’s also a walking encyclopedia. He is the one who made me look at films in a different way and not just see a couple of guys doing something on the screen, but a couple of characters being shot in a specific way to express something and constructed by language and gestures. The way he talks about films is just wonderful. The second film I saw of his was My Voyage to Italy, and the way he describes every scene is just so passionate and accurate, that you have to be too insensitive to not fall in love with films. Scorsese is, to me, more than a person, a character who I’d find really hard to dislike.
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Scorsese fans out there, it's time to unite! over 3 years ago
I think Bob has a great point, not only is the man a great filmmaker, but he’s also a walking encyclopedia. He is the one who made me look at films in a different way and not just see a couple of guys doing something on the screen, but a couple of characters being shot in a specific way to express something and constructed by language and gestures. The way he talks about films is just wonderful. The second film I saw of his was My Voyage to Italy, and the way he describes every scene is just so passionate and accurate, that you have to be too insensitive to not fall in love with films. Scorsese is, to me, more than a person, a character who I’d find really hard to dislike.
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What do Sex Pistols fans think of this? over 3 years ago
I am a Sex Pistols fan myself, and I loved the film because it goes beyond being a Sid Vicious or Sex Pistols biopic, it’s almost something apart, but you’ve got the story and the characters of the band in it, and although it’s full of inaccuracies, I find this a great film that portrays what the 70’s English punk scene was: filthy and furious.
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Underrated Films... over 3 years ago
Casino, I mean, nobody ever seems to notice the brilliance of this film.
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A History Of Violence over 3 years ago
Seems to me like someone is a Bronson fan alright, but anyway, I didn’t like this film at first… maybe thanks to my dad being watching it with me, he really tends to spoil every film I watch, but anyway, I saw it a couple of times after that, and I got to love it, I agree with Jonathan in that the twists are predictable, but I don’t think that makes it a bad film, I mean, You know what’s going to happen at the end of Schindler’s list, Don’t you?, and it’s still a gorgeous film. I think this is the kind of film you should be watching and judging for its content, not for its plot, I mean the characters are so great, this is trully a character film, more than anything, so try to watch it that way, if not, maybe you’ll enjoy something like The Departed or The Maltese Falcon better, films which, by the way, also have some character development, but in the end focus more on the plot.
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What do Sex Pistols fans think of this? over 3 years ago
Oh, yeah, I know Rotten hated it, he even ranted against Joe Strummer, and I know it’s not accurate, although Sid was pretty much a cartoon himself, but as a Pistols fan, do you or anyone else share Johnny Rotten’s hatred for the film?
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Scorsese fans out there, it's time to unite! over 3 years ago
I think David is right, I actually meant something else but got carried away a little bit… quiet a lot actually, lol, I also think his influences are very different from each other, but what I really mean is that he took elements from each of them a created a style of his own that, to me, is the greatest I’ve seen, Scorsese tries to portray reality just like the neorealists, he is clearly influenced by surrealists (especially Fellini) in dream sequences or dreamlike scenes, like the ones in Raging Bull, he has a clear biblical influence (that’s actually a personal trademark made by himself) like the one David! highlighted in Casino, but anyway, that’s all I meant, but you’re right, David, each of his influences are the best at what they do, I mean, there’s no one who can make cinema the way they did. No one can make samurai cinema like Kurosawa or neorealism like De Sica or surrealism like Buñuel or Fellini, and Scorsese himself knows that.
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Art or Mainstream? over 3 years ago
I think that having a mainstream success like Paul Thomas Anderson or the Coen brothers doesn’t necessarily make them mainstream, because in the end, they do what they want to, they’re not controlled by studios and you can see that in their films, I mean, I know no one who really understood No Country for Old men because even though they’re not film experts or even people who like ‘art films’, they knew there was something else to it, so I think arthouse or mainstream are categories that should be given to films because of their intention, I mean, there’s films that are clearly made to be sold to an audience, for example all the comic book adaptations that have been coming out since X Men and Spiderman, and speaking of this, Michael Bay came to my mind. I tend to think the guy is trully an auteur, you can see his trademarks very clearly in his films since Armegeddon, he’s very talented, although the movies themselves are designed to be blockbusters, so What do you think about him, is he an artist who makes blockbusters or a very gifted director with no artistry whatsoever?
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Art or Mainstream? over 3 years ago
David: I totally agree with you, and you made me realize something I hadn’t thought about, there is no consistency in regards of what his films are about. There is not a consistent body of work in terms of themes, and that leaves him only as maybe the greatest action director I’ve seen, but not an auteur like John Woo, in chose films there’s the subjects of honor, friendship, loyalty, and othe themes that make me think fo him as a modern samurai cinema maker, whose characters are gangsters instead of ronin, who use guns instead of swords, I wish he could go back to stuff like Hard Boiled, Bullet in the Head or The Killer, seems to me like it isn’t like Hollywood spoiled him, but he’s rather confused on how to make movies, he makes American blockbusters with a chinese point of view, so, to me, he has to either change his approach or go back to China, hope his new film is better than his Hollywood years.
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Art or Mainstream? over 3 years ago
David: Once again we agree, although I think Jonh Woo’s the greatest action director (referring to his Hong Kong years) I’ve seen, Ang Lee is one of the finest Asian directors both in his homeland and in America, but my personal favorite is Yimou Zhang.
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Scorsese fans out there, it's time to unite! over 3 years ago
That’s something I wanted to make a post about too, The Departed, I mean I thought it was a brilliant film, it’s clearly (at least to me) a tribute to the B movies and film noir Scorsese used to watch as a kid, but with his touch in it. There’s lots of dialogue scenes that if not for the Scorsesesque (It’s a new word I read somewhere around here a while ago) language would sound really cheesy, just like those old gangster films. I think it’s a great film that sholudn’t be compared to other Scorsese gangster films since it’s too different, it does keep the realism but at the same time bends it, I mean, what kind of gangster phlosophizes the way Frank Costello does? But the character seems to be some kind of intellectual gangster, and the way it recreates Boston is very realistic, so every detail is justified and although Scorsese himself said this is his “first B-movie”, I think his touch made it a realistic one, and that’s why I think it’s brilliant.
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Art or Mainstream? over 3 years ago
J.R.: The guys you mention have some wonderful action sequences, but Woo’s are actually very different, when you watch things like Hard Boiled, you see a display of characters dancing around shooting each other, it’s like ballet, the choreography is just great, and I said I thought he was the greatest I had seen, I don’t think a director can be put on top of all others, so maybe I wasn’t very clear, what I meant was that he was the best I had seen, and my favorite, but that doesn’t mean there can’t be anoyne better, I just think he was more creative and unique, and actually, I wouldn’t call many of the directors you mention “action film directors” most of them have action sequences in their films, but I don’t think Saving Private Ryan, for example, is other than a war drama, Don’t you agree?
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Your interpretation of this film over 3 years ago
When I saw this film I was mostly tense, but afterwards, when I thought about what I was going to say when people asked what it was about, I didn’t know, so I started to create several theories in my head by rememebring what happened throughout the “plot” (This doesn’t mean anything bad, I think it’s actually brilliant to have a film without a plot), and I ended up thinking that the film is about the conflict of an actor between his character and his true self. Throughout the film we see Laura Dern confused about where she really is, what she is really doing and who she really is, so I think that what we see is an actress caught in between reality and realism. She’s so deep into her character that she can’t tell what’s really going on, and through her insane perspective, we get to see this dreamlike and even nightmarish experience in which time and space are highly disregarded as part of the narrative thread.
Go to Comment
Films that changed how you looked at cinema over 3 years ago
When I was 14, I saw a couple of films that changed everything not only in my view towards cinema, but towards everything, but it wasn’t the films themselves, but the man behind them, he really transmitted his passion for films to me. The films were:
Taxi Driver: I couldn’t really understand it at that time, but I knew it was special and different to everything I had seen.
My Voyage to Italy: The way Martin Scorsese talks about Italian cinema is just amazing, you can trully feel the same way he feels about those films, even if you haven’t seen them.
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Classic movies you can't get on d.v.d. over 3 years ago
At the risk of getting bashed, I think Barbet Schroeder’s Barfly should be rereleased, I just loved that film
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Classic movies you can't get on d.v.d. over 3 years ago
At the risk of getting bashed, I think Barbet Schroeder’s Barfly should be rereleased, I just loved that film
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Classic movies you can't get on d.v.d. over 3 years ago
At the risk of getting bashed, I think Barbet Schroeder’s Barfly should be rereleased, I just loved that film
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Best title over 3 years ago
I don’t love making posts about lists, but I have one with a topic I haven’t heard of before, so I hope you guys can tell me straight out which is your favorite film title you’ve heard and why. In my case, I think it’s Amarcord, because it translates as “I Remember”. I think it’s the most nostalgic title I’ve heard, and it’s kind of tender and at the same time raw, it’s very ambigous, it could refer to someone who has either good memories or bad ones, and it really fits the film.
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Directors that consistently make terrible films over 3 years ago
I think, although, already mentioned by Number 6, Roland Emmerich embodies the name of the topic, although I liked Independence Day… when I was a kid, lol.
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Should it be seen? over 3 years ago
Well, I think this is a film meant to be watched. It certainly is a tough one… I guess, since I wasn’t even shocked by it (that doesn’t mean I don’t think the scenes in it are horrible), but the whole point of it is what it menas, what it wants to transmit and state. You should read a lot as Andrew says and know about the subjects it deals with so that your approach will be more focused on the metaphors, rather than the depictions of torture, murder and coprophagia.
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