Meet Joe Black. EVERYONE hated it. I dare anyone on here to agree with me that this was a fascinating and profound film (though yes, too long). Also Squirm, which is a cheapo grindhouse 1970s horror film (about man-eating worms) that is genuinely creepy and interesting (and silly).
Um, hello: Robocop is brilliant, by any measure. Worst Criterion is probably The Rock. Worst extra: P.T. Anderson’s intro to The Earrings of Madame D. — completely banal and has no place next to such a masterpiece — Anderson to Ophuls is like KFC next to foie gras.
Much sadder than the directors who consistently make terrible films are the ones that used to be great and have degenerated, yet still continue to work, and are thus irrelevant in the current cinema. Francis Ford Coppola is the best example — from greatness (Godfather, Conversation) to self-indulgence (Apocalypse Now, One From the Heart) to studio crap (Jack, Rainmaker) to WTF?? (Youth Without Youth).
Scorsese’s best days are behind him but there is still something there. Same with Spielberg. Lucas doesn’t count as he was never a real filmmaker (American Graffiti being the exception).
But yes, Barry Levinson — sad. Also Ridley Scott, whose films of the last ten years have been totally mediocre. John Boorman. Oliver Stone. Please, people — retire. Make way for the new.
Those who have always been terrible: Tony Scott, most of Brian DePalma (c’mon, does anyone really think he is a visionary on any level?), Joel Schumacher (except for Falling Down), Brian Singer, Michael Bay, John Milius, Robert Rodriguez (sorry), Brett Ratner, Ben Stiller, Jan De Bont, Roland Emmerich, Nora Ephron, Zack Snyder. The list goes on and on and on…
On one hand, it is hard to fathom why CC would handle the worst film from a brilliant filmmaker (OK, admittedly I haven’t seen The Game so I can’t really say that).
One the other hand — it IS an interesting failure — epic in scope, thematically ambitious, gorgeously shot, and probably the greatest visual and makeup effects in any film ever. Not every title from this label has to be canonical.
What’s really disappointing, though, is that, going through the extras, it is the same crap you would get from most studio DVDs — press materials, making-ofs, standard commentary (though Fincher does excellent commentaries) — so where’s the added value for the premium price you will pay for this DVD?? No scholarly material? How about a reprint of the Hemingway short story? Extra points for bravery if they did a Benjamin Button / Forrest Gump scene-by-scene comparison!
I have trouble understanding why some people hate musicals? I love musicals — susension of disbelief, going with the good feeling most musicals impart, and the art and craft of vocals, performance, choreography, dancing…the greatest musicals are sublime experiences.
I suppose if you hate musicals, watch ones that seem to be of another genre: Cabaret is a perfect example, great movie. Disney’s Beauty and the Beast? Does Nashville count (“I’m Easy” being one of the greatest movie songs EVER)? Well, probably not. And of course, one of the GREAT musicals of all time — South Park: Bigger, Longer and Uncut.
Yep, minority of one. As cheap and throwaway as much DVD packaging is, tossing them out is a little like tossing out an album cover — the artwork has the potential to give the viewer a sense of the film at a quick visual glance, and impart a mood or style that enhances the film. If I feel like watching a movie and I’m not sure what, I can glance through my collection, where the artwork on the cover might hit my mood in the right way and help me figure out what I feel like watching.
Never heard of his English documentary. I mostly agree with Lermentov — his films of late, though better than most Hollywood films currently made, are not quite on the level of his 70s and 80s work. However, you mention he is too enmeshed within Hollywood — remember, almost all of his films (especially his greatest films) were made in the Hollywood system. Also, sorry — I think DiCaprio is brilliant, and their pairing equal to his pairing with De Niro.
He stands alone as not only a great filmmaker but also a passionate educator. My pet peeve is directors who refuse to do commentary tracks — Scorsese does perhaps the best commentary tracks I’ve ever heard, and everything he does outside of directing speaks to an amazing love of cinema that is inspirational. I haven’t seen Viaggio yet, but no-one can go wrong seeing every film he mentions in American Journey!
Bobby, amazing list of films (and I’m ashamed to say there are many I haven’t seen). But what is the jist of the film school? I’m not sure film school should just be a list of great masters for students to watch and discuss. Is there a common thread between the fifty films that together impart some sort of consistent lesson throughout?
Somewhere closer to yay than nay, but not all the way there.
Between nay and yay: Reservoir Dogs, Pulp Fiction (yeah, I know that sounds crazy, but Pulp Fiction is just too brazenly hipster).
Definite yays: Jackie Brown, Kill Bill Vol. 2 and — my favourite — Death Proof!!
Fellini – 8 1/2 (1963)
Bergman – Persona (1966)
Kurosawa – Seven Samurai (1954)
Truffaut – Stolen Kisses
Renoir – The Rules of the Game
Fassbinder – Ali: Fear Eats the Soul
Herzog – Aguirre: Wrath of God (1972)
Godard – Breathless
Antonioni – The Passenger
Bresson – Au Hasard Balthazar
Hitchcock – Vertigo
Bunuel – Viridiana
Lang – M (1931)
Tarkovsky – Andrei Rublev (1966)
Mizoguchi – Ugetsu (1953)
Rossellini – Rome Open City
Altman – Nashville
De Sica – The Bicycle Thief (1948)
Polanski – Repulsion
Rivette – La Belle Noiseuse
Wenders – Wings of Desire
Rohmer – n/a
Melville – Circle Rouge
Kubrick – 2001: A Space Odyssey (1968)
8 1/2 is a great set — the extras are fascinating. I don’t have it, but The Leopard is a brilliant film, if you feel like dropping tons o’ coin, go for it.
Yes, Scorsese though he is not nearly as relevant a filmmaker today. In terms of modern filmmakers whose work is still exciting, I vote for David Fincher.
Films you love but most people hate. over 3 years ago
Meet Joe Black. EVERYONE hated it. I dare anyone on here to agree with me that this was a fascinating and profound film (though yes, too long). Also Squirm, which is a cheapo grindhouse 1970s horror film (about man-eating worms) that is genuinely creepy and interesting (and silly).
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Worst Criterion DVDs over 3 years ago
Um, hello: Robocop is brilliant, by any measure. Worst Criterion is probably The Rock. Worst extra: P.T. Anderson’s intro to The Earrings of Madame D. — completely banal and has no place next to such a masterpiece — Anderson to Ophuls is like KFC next to foie gras.
Go to Comment
Directors that consistently make terrible films over 3 years ago
Much sadder than the directors who consistently make terrible films are the ones that used to be great and have degenerated, yet still continue to work, and are thus irrelevant in the current cinema. Francis Ford Coppola is the best example — from greatness (Godfather, Conversation) to self-indulgence (Apocalypse Now, One From the Heart) to studio crap (Jack, Rainmaker) to WTF?? (Youth Without Youth).
Scorsese’s best days are behind him but there is still something there. Same with Spielberg. Lucas doesn’t count as he was never a real filmmaker (American Graffiti being the exception).
But yes, Barry Levinson — sad. Also Ridley Scott, whose films of the last ten years have been totally mediocre. John Boorman. Oliver Stone. Please, people — retire. Make way for the new.
Those who have always been terrible: Tony Scott, most of Brian DePalma (c’mon, does anyone really think he is a visionary on any level?), Joel Schumacher (except for Falling Down), Brian Singer, Michael Bay, John Milius, Robert Rodriguez (sorry), Brett Ratner, Ben Stiller, Jan De Bont, Roland Emmerich, Nora Ephron, Zack Snyder. The list goes on and on and on…
Go to Comment
The Curious Case of Benjamin Button - Why? about 3 years ago
On one hand, it is hard to fathom why CC would handle the worst film from a brilliant filmmaker (OK, admittedly I haven’t seen The Game so I can’t really say that).
One the other hand — it IS an interesting failure — epic in scope, thematically ambitious, gorgeously shot, and probably the greatest visual and makeup effects in any film ever. Not every title from this label has to be canonical.
What’s really disappointing, though, is that, going through the extras, it is the same crap you would get from most studio DVDs — press materials, making-ofs, standard commentary (though Fincher does excellent commentaries) — so where’s the added value for the premium price you will pay for this DVD?? No scholarly material? How about a reprint of the Hemingway short story? Extra points for bravery if they did a Benjamin Button / Forrest Gump scene-by-scene comparison!
Go to Comment
Three musicals for people who hate musicals almost 3 years ago
I have trouble understanding why some people hate musicals? I love musicals — susension of disbelief, going with the good feeling most musicals impart, and the art and craft of vocals, performance, choreography, dancing…the greatest musicals are sublime experiences.
I suppose if you hate musicals, watch ones that seem to be of another genre: Cabaret is a perfect example, great movie. Disney’s Beauty and the Beast? Does Nashville count (“I’m Easy” being one of the greatest movie songs EVER)? Well, probably not. And of course, one of the GREAT musicals of all time — South Park: Bigger, Longer and Uncut.
Go to Comment
Does anyone else throw their DVD packaging away? almost 3 years ago
Yep, minority of one. As cheap and throwaway as much DVD packaging is, tossing them out is a little like tossing out an album cover — the artwork has the potential to give the viewer a sense of the film at a quick visual glance, and impart a mood or style that enhances the film. If I feel like watching a movie and I’m not sure what, I can glance through my collection, where the artwork on the cover might hit my mood in the right way and help me figure out what I feel like watching.
Go to Comment
Martin Scorsese, the world's best living critic/preserver by far almost 3 years ago
Never heard of his English documentary. I mostly agree with Lermentov — his films of late, though better than most Hollywood films currently made, are not quite on the level of his 70s and 80s work. However, you mention he is too enmeshed within Hollywood — remember, almost all of his films (especially his greatest films) were made in the Hollywood system. Also, sorry — I think DiCaprio is brilliant, and their pairing equal to his pairing with De Niro.
He stands alone as not only a great filmmaker but also a passionate educator. My pet peeve is directors who refuse to do commentary tracks — Scorsese does perhaps the best commentary tracks I’ve ever heard, and everything he does outside of directing speaks to an amazing love of cinema that is inspirational. I haven’t seen Viaggio yet, but no-one can go wrong seeing every film he mentions in American Journey!
Go to Comment
A canon for the Cinema: 50 Films almost 3 years ago
Bobby, amazing list of films (and I’m ashamed to say there are many I haven’t seen). But what is the jist of the film school? I’m not sure film school should just be a list of great masters for students to watch and discuss. Is there a common thread between the fifty films that together impart some sort of consistent lesson throughout?
Go to Comment
Last movie you saw and rate it almost 3 years ago
The Hangover: 7/10 — infantile but damn fucking hilarious.
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Tarantino...yay or nay? And why? almost 3 years ago
Somewhere closer to yay than nay, but not all the way there.
Between nay and yay: Reservoir Dogs, Pulp Fiction (yeah, I know that sounds crazy, but Pulp Fiction is just too brazenly hipster).
Definite yays: Jackie Brown, Kill Bill Vol. 2 and — my favourite — Death Proof!!
Go to Comment
Best film by each of these directors almost 3 years ago
Fellini – 8 1/2 (1963)
Bergman – Persona (1966)
Kurosawa – Seven Samurai (1954)
Truffaut – Stolen Kisses
Renoir – The Rules of the Game
Fassbinder – Ali: Fear Eats the Soul
Herzog – Aguirre: Wrath of God (1972)
Godard – Breathless
Antonioni – The Passenger
Bresson – Au Hasard Balthazar
Hitchcock – Vertigo
Bunuel – Viridiana
Lang – M (1931)
Tarkovsky – Andrei Rublev (1966)
Mizoguchi – Ugetsu (1953)
Rossellini – Rome Open City
Altman – Nashville
De Sica – The Bicycle Thief (1948)
Polanski – Repulsion
Rivette – La Belle Noiseuse
Wenders – Wings of Desire
Rohmer – n/a
Melville – Circle Rouge
Kubrick – 2001: A Space Odyssey (1968)
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Choose my Criterion! almost 3 years ago
8 1/2 is a great set — the extras are fascinating. I don’t have it, but The Leopard is a brilliant film, if you feel like dropping tons o’ coin, go for it.
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who's the greatest living director? over 2 years ago
Yes, Scorsese though he is not nearly as relevant a filmmaker today. In terms of modern filmmakers whose work is still exciting, I vote for David Fincher.
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