I actually think that's one of the film's problems. It lacks confidence, so it feels its necessary to incorporate a bunch of pictorial aspects (IE: the surfboard and the cloying mime).
fun grindhouse picture with grand aspirations. great ending.
An excellent, if slightly unfocused (always such a pointless word in regards to autuers, I know) study of both racism and 30's cinematic mores, with some excellent jazz thrown in too.
Genius. Sturges' bleak satire at some of its finest, and also at its zaniest. Such a great film.
Alternates between focusing on politics, the media, military practice, and social mores, its slightly less funny and less focused than Sturges' masterworks. Still wonderful though, perhaps an essential film.
Netflix is streaming it in HD.
tiger shark was also one strange little comedic trip.
'Eastbound and Down' is so goddamn excellent, cinematically, and should really be considered alongside his other works in qualifying him as one of the very few American comedic autuers working today. I mean, in Chapter 7, he visually quotes 'Goodfellas' with the whip dolly up to someone blowing a line. Too awesome.
wonderful and sympathetic rumination on death. would have loved to have seen "hands on a hard body", which honestly sounded like one of the greatest movies never made, but this is such a fitting last effort from the american master of cinema.
Waiting on a copy of the 4 hour cut before I check this one out.
Actually quite good in its subversion of romantic Hollywood cliches. Kind of like a romantic film made by no one who had ever seen a romantic film before. Not to say its perfect, the musical aspect obviously comes off far more strangely than in "Nashville", but worth of Altman's later 70's work.
That still should be changed, ridiculous spoiler.
And on that note... if anyone has bootleg availability info on "Second-Hand Hearts", that would be excellent.
Wonderful but melodramatic, and far more "play-like" than the rest of the Cassavetes canon. Certainly worth a watch.
Perhaps the greatest of all the New Hollywood directors, and thats saying something. But honestly, "The Landlord" / "Harold and Maude" / "The Last Detail" / "Shampoo" / "Bound for Glory" /"Being There" / "Coming Home"?? Is there anyone else who put out SEVEN films of such magnitude in that era? Altman, with "MASH" / "Brewster McCloud" / "McCabe & Mrs. Miller" / "The Long Goodbye" / "California Split" / "Nashville" / "3 Women", is the only one I see having an argument.
Wonderfully experimental playlike film exploring emotional traumu among Nam survivors. Little forced and heavy handed, but in many ways a seminal work of the 70's.
The TV cut that I found was honestly not horrible, even a good film, very much to Fred Astaire what "What's Up, Doc" was to Hawks comedies. Don't see why it earned the lashing, though maybe the most embarrassing moments were deleted.
Ya, the director's cut, while not a perfect film, was very, very good, taking the screwball style developed in "What's Up, Doc" and applying it to a film filled with cinematic commentary. The Griffith worship is a little much (especially not including any racist scenes of "Birth of a Nation" in a ten minute excerpt) but this is a very overlooked film in the Bogdanovich oeuvre.
I'd love a source for the director's cut, it was released on laserdisc and never again... is it floating around ANYWHERE? I'd gladly pay for a source.
Not nearly as bad as I'd been led to believe. Witty, with tons of hilarious visual puns.
No "Down and Out in Beverly Hills"? "Blume in Love"??
Excellent editing and composition, horrific melodrama.
An extremely stylish play adaptation, a perfect sandwich filler between "Hard Day's Night" and "Help!"
Scorsese's take on "The Red Shoes" mythology, mixed with his acid trip vision of a "film noir musical". Magic.
Beautiful cinematography, but the humor is misplaced, the characters fairly empty or stereotypical, and the ending comes closer to a sly wink than to the emotional levity often associated with Herzog. His most passable work.
Judge. Roy. Bean.
The ending is excellent, pure poetry, and the cinematography is quite luscious, it's the super stiff acting from pretty much everyone involved, and a needless incestuous subplot, that drags this below the first two.
brilliant film. unexplainably kinetic, purely fucking hilarious, and more stylized than you can shake a stick at, more fun than i've had at the theatre in years. how to describe? "say anything" meets "kill bill"? a lovelorn nintendo programmer's surreal fever dream? i don't know, but i don't like comics, i don't like gaming, but this was the most lively, energetic, and all out fucking fun film in a long time
genius film. love the neverending gunfight at the end, and the fact that most critics didnt catch onto the fact that it was purposefully bloated. best when double featured with hollywood masterwork ''bad boys II''
if this guy doesn't make movies for the next 30 years, color me depressed