The mask making scene was the best part. If more scenes could have come off like that. Or if there were at least 3 good scenes like that...that drew you in.
Hard to get through. Beautifully diffuse, yet entirely predictable. Needs some sort of invisible oomph to hook us with this dayinthelife material. Casting is perfect and for its lazy pace, it covers a lot of terrain. Haven't found a way to put this well but here goes: she doesn't trust us to get it or wants to over-rationalize. She gives her characters a simple task, then pulls it away last minute. And that's a drag.
How do you explain his style. It's simple, I want to use the word "low-key" but his films have these intense moments of drama. You could call his and Eleanor Perry's work concise? Haunted? One could overlook their merits, easily.
The director slightly laments--in the dvd commentary--that Wings Hauser could have been in more A list movies had he taken some more scary roles like this one, and not envisioned himself as "the main guy" of the movie. Mr. Sherman recalls getting calls from Walter Hill and John Milius about him. This was his first big role.
Wide screen cinematography to die for. Those fake-no depth of field shots(is there a name for them?). Gregory Peck and Tuesday weld deliver. And the story keeps you involved from the beginning to the final shot. I have to watch more Frankenheimer movies. It wouldn't be too much of a stretch to call I Walk the Line a masterpiece. It's definitely overlooked.
This movie was cute. Another fun man out of time in New York movie is Man of the Century. This one doesn't have anything supernatural about it, though. It is just of the heartwarming movie event of the season variety but much better than what that implies. The performances are excellent and it's not at all that crude.
You could do a lot worse if you were looking for a great pre-code movie. It keeps a light, engaging and charming tone yet it dips into some very dire subject matter. Stanwyck and Blondell are tough cookies. Clark Gable--in an early role I am guessing--is a very tall man.
I checked this movie out from the library down the street. It's not there anymore. The movie, not the library.
PART 1: I saw this for the first time in high school after knowing about it's rep...and rarity..for years. I was floored. It struck me as a touchstone of a lot that had come since (at that time The Pixies and Joel-Peter Witkin). It also has intense, sound, visuals and an utterly unique narrative and pace. As the years went by and I checked out each of the latest Lynch films (and each one is a sort of event), I grew increasingly annoyed by people who were so happy to offer, "It was no Eraserhead!'”
PART 2: I checked back into it a few years ago, and I guess that we're--I'm--more familiar with the Lynch narrative style, it was tough to get into. Eraserhead is brave and honest, but it is also anti-family...revolted by it, in fact. It's like a psychological exercise where you discover you have a long way to go to find stability. And it's bad news.
Is this film a influence on a Alien? The plot has a similar thread...happening upon an abandoned alien spacecraft. And that spacecraft is very similar in design--tilted horseshoe shape--to the one in the Ridley Scott film.
This was very depressing. Kirk Douglas' character is the hero and the nemesis. Well, I know he's evil, but Douglas gives him a glimmer of humanity to make the whole bad situation that much more distressing
I loved Squid and the Whale and I had no desire really see this. Maybe the plot synopsis just screamed un- involving bourgeoisie disaffection to me. Boy was I wrong! . Baumbach's weaknesses are his reliance on catty dialogue to illustrate the passive aggressive situations and his constant desire to expose us to second string--but very familiar--cultural references. These are quips, though, because he draws a lot of strength from these same things as well. From the first moment the two ravishing and stringy haired sisters meet, he puts us on a roller coaster of power grabs and misplaced love.
A few great scenes, but I'm not sold. It brushed over plot points and motivations of the characters. I'm not completely sold on--in this--super stunning Penelope Cruz, either, but maybe it was her character. One of it's strengths was the way it flashed back to 15 years ago and underlined how much movie making--and just recording images--has changed. It's a bit obvious with this theme as well, but I liked the way an old photograph is both visual and physical--tactile--in this valentine to Mr. Almodovar's own movie making past.
Is this a movie that is meant to be shown as part of a presentation?
I'm happy some edition is out...It was a longtime wish. Thank Anchor Bay's re-issue of Possession for some new interest in Żuławski. This movie plays with my mind. During scenes where he tells what's lost, I think c'mon that's not true. Then I see actual footage and my jaw drops. Worth seeing for costumes alone. The narrative: Mr.Z seems to want to have his visuals, dialogue and movements go up to 11 at all times.
His output pinpoints a time when mainstream animation was exploring more sinister themes. Here he reigns in his audacity compared to the Coonskin/Street Fight project before it. He has his flaws for sure...every movie looks like it was done quickly. I love his work because he just put's it all up there. Animation is supposed to be a limitless medium and he is definitely pushing the boundaries with what can be shown.
Part 2: I concede Bub is the EwokET, but Mr. Howard's make up-ed acting is so nuanced, and there's such a moving Freudian subtext among him and Frankenstein. Well thought out relationships between all characters. Goblin's absence, a letdown given the fake "Come to Jamaica" DX7 and synthesizer "time is running out" syncopated motifs. Bask in the 80's! I'm a huge fan of Dawn and was heartbroken when a friend said it was too slow, but this is right up there!
Lawrence, I disagree. It's the best of the "Dead." At this point Romero was disappointed with the returns of being a pioneer in the zombie genre, but had obviously spent too much time thinking about it. The script is airtight. We have the hasty military right wing, scarily experimental left wing and the apathy of those who want to drink and live off the last spoils until they find a right moment to get the fuck out.
Does the term "political musical," only apply to Jancso or is it a genre, maybe including Sergei Parajanov as well... Also, am I alone in thinking that with Deer Hunter and Heaven's Gate, Michael Cimino wanted to be the American Jancso?