Strangely, I don’t. Of course, I’m in a circle of friends at school who hate the film so that may be part of it. I very much understand what everyone means, though.
Me? Well, I want Kate Winslet (Revolutionary Road) to win. I want Sean Penn (Milk) to win. I want Amy Adams (Doubt) to win. And that’s all I’ve really decided.
Everyone has a favorite one, one that sticks out in their mind, one that’s just absolutely awful, one that just happens to come in regularly in conversation.
Mine’s from A New Hope (Luke’s line)
LEIA: It’s not over yet.
HAN SOLO: It is for ME, sister. Look, I ain’t in this for your revolution, and I’m not in it for you, Princess. I expect to be well paid. I’M in it for the money.
LEIA: You needn’t worry about your reward. If money is all that you love, then that’s what you’ll receive. (beat) Your friend is quite the mercenary. I wonder if he really cares about anything. Or anybody.
LUKE: (calling after her) I care.
Like any other child, I had a fondness for Disney movies – animated and non – but it was one weekend in 3rd grade that I happened upon The Dark Crystal, which began by search for other off the beaten path “children’s” movies. Jim Henson films fascinated me and as I became more and more interested in the modeling and costuming world, I began watching Spanish, Italian and (of course) Japanese films that were constructed similarly. Of course, as I began watching films from other countries, I happened upon Kurosawa, Bergman, Fellini…which opened up a new world of films to me: plot-driven, supremely directed, finely cut and full of actors. That set off my love of character driven (strong actor – director relationships) films, pushing me into the American realm of Lumet, Van Sant, PT Anderson and the Coen Brothers.
Again, this is all due to Frank Oz’s brilliance in The Dark Crystal.
Award shows always praise the actors, directors and writers on their accomplishments, of course. But there is something to be said to praising a character for its growth and development. What characters from 2008 do you think deserve to be recognized and praised?
I say Jamal Malik of Slumdog Millionaire. I award his persistence and courage and faith despite everything.
Last semester in my Intro to Critical Studies course, we watched Peckinpah’s Straw Dogs. The whole movie had me squirming in my seat. Every character was so either slimy or helpless throughout the whole film and almost devoid of emotions. Even when characters were upset they hid their feeling and just moved on. The unspoken unsettledness was too much to bear for me. And when it all came tumbling down in the fight during the climax, I felt crushed and frightened. I wasn’t rooting for anyone. At the end, I voiced my opinion on the film — touting it as one of the most disturbing films I’d seen..
I thought the same thing at first: Oh no! A Time Bloop! But then my friend and I had a discussion about PTA films and really decided that he’s too much of a “maticulyst” (if you will) to allow something like that to slip into one of his films. It probably deals with the fact that either, A. The Lord and his faith keeps him/his soul steady which is hard to agree with because we (at times) see the inner conflict of the character struggling with his faith or keeping his faith for unrighteous reasons. B. His character robs Plainview of his youth/life, thus remains the same age as the time when Plainview met him.
Revolutionary Road. Standing on the carpet. Looking out the window. “I think I need help.”
then
Revolutionary Road. Kathy Bates is talking. Her husband turns down his hearing aid. Silence.
QT’s films are all based in the pastiche. They’re sort of like touchstones for popular culture. And they’re all about flattery. They take the successes of films before them (with the exception of Reservoir Dogs) and act upon them so they can succeed themselves. They don’t lack any unique flair or twist, they just lack the core of originality that “good films” (or what users on on auteurs classify as ’good films) contain.
His movies are all distinctly Tarantino, though, and something any person would be able to pinpoint. The language is fresh and vulgar and the violent scenes are flippant and nonchalant. He has fun while making his films and likewise I have fun watching them. They’re pure entertainment, sort of like universal inside jokes.
speaking on Paya’s behalf, I can tell you that she has seen both The Red Balloon and Crin Blanc. In fact, The Red Balloon is her favorite film. The movies she named were either German (The Neverending Story), Japanese (My Neighbor, Totoro) or American (The Dark Crystal). And I think you did get her point, unlike Crap Monster who I don’t think quite did.
I don’t think Paya’s talking about movies made for children but movies made with the spirit on innocence intact. You can either this way and that about the loss of innocence in adults or whether or not a feeling of youth can ever really be maintained, but both Paya and I think that these films (that she mentioned as well as countless others) keep the valve on the imagination wide opened. Directors like Frank Oz and del Toro know how to keep the spirit alive.
Movies you love, but everyone else hates. over 3 years ago
Hellboy. 1 and 2. They’re so aesthetically pleasing.
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Best title over 3 years ago
Before the Devil Knows You’re Dead
Eternal Sunshine of the Spotless Mind
Requiem for a Dream
Maria Full of Grace
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Does anyone else feel THE DARK KNIGHT is way overrated? over 3 years ago
Strangely, I don’t. Of course, I’m in a circle of friends at school who hate the film so that may be part of it. I very much understand what everyone means, though.
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NODS - What & who do we want to see win? over 3 years ago
See title, I suppose.
Me? Well, I want Kate Winslet (Revolutionary Road) to win. I want Sean Penn (Milk) to win. I want Amy Adams (Doubt) to win. And that’s all I’ve really decided.
You?
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Most Memorable Villain over 3 years ago
Hannibal Lecter is worth mentioning, I think.
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Here it is... Top 10 films of all time? over 3 years ago
Citizen Kane
Seven Samurai
A Clockwork Orange
2001: A Space Odyssey
Vertigo
I know you said ten but I can’t do it…I’ll have to just keep going.
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in a galaxy far, far away... - Star Wars Quotations over 3 years ago
Everyone has a favorite one, one that sticks out in their mind, one that’s just absolutely awful, one that just happens to come in regularly in conversation.
Mine’s from A New Hope (Luke’s line)
LEIA: It’s not over yet.
HAN SOLO: It is for ME, sister. Look, I ain’t in this for your revolution, and I’m not in it for you, Princess. I expect to be well paid. I’M in it for the money.
LEIA: You needn’t worry about your reward. If money is all that you love, then that’s what you’ll receive. (beat) Your friend is quite the mercenary. I wonder if he really cares about anything. Or anybody.
LUKE: (calling after her) I care.
What is yours? Which one’s it from?
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WHICH IS YOUR FAVORITE ASPECT RATIO? over 3 years ago
2.35:1 is my favorite. There’s something about it that just makes everything so clearly unreal yet realistic at the same time.
(dreaming in cinemascope is odd)
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what film or films may have made you into the fan/fanatic you are over 3 years ago
Like any other child, I had a fondness for Disney movies – animated and non – but it was one weekend in 3rd grade that I happened upon The Dark Crystal, which began by search for other off the beaten path “children’s” movies. Jim Henson films fascinated me and as I became more and more interested in the modeling and costuming world, I began watching Spanish, Italian and (of course) Japanese films that were constructed similarly. Of course, as I began watching films from other countries, I happened upon Kurosawa, Bergman, Fellini…which opened up a new world of films to me: plot-driven, supremely directed, finely cut and full of actors. That set off my love of character driven (strong actor – director relationships) films, pushing me into the American realm of Lumet, Van Sant, PT Anderson and the Coen Brothers.
Again, this is all due to Frank Oz’s brilliance in The Dark Crystal.
Go to Comment
QUENTIN'S NEW FILM over 3 years ago
He didn’t peak at Reservoir Dogs. Four Rooms is such a classic.
But really, I would like to know what Eli Roth is doing in it too, SHOTZI.
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Film quotes you love over 3 years ago
“We may be through with the past, but the past ain’t through with us.”
Magnolia
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WHAT IS YOUR PICK FOR THE WORSE MOVIE EVER MADE? over 3 years ago
Ice Princess.
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Favorite Romances of all time over 3 years ago
Eternal Sunshine
Natalie Portman’s Vignette in Paris Je T’aime
Before Sunrise
Spirited Away
The Lady Eve
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Movies Not On Criterion (& therefore, not on TheAuteurs) over 3 years ago
Punishment Park
New World
The Verdict
The Sting
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What's your Top 10? over 3 years ago
Too hard.
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From the Inkwell over 3 years ago
Award shows always praise the actors, directors and writers on their accomplishments, of course. But there is something to be said to praising a character for its growth and development. What characters from 2008 do you think deserve to be recognized and praised?
I say Jamal Malik of Slumdog Millionaire. I award his persistence and courage and faith despite everything.
Go to Comment
Favorite use of a song in a film. over 3 years ago
The music in Cache
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Favourite Movie About Music. over 3 years ago
being cliche but I have a real fondness for Once.
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THE BEST ACTORS WORKING TODAY? over 3 years ago
Kris Marshall, Matthew Macfadyen, Hugh Laurie, Stephanie Leonidas, Cillian Murphy, Natalie Portman, Vera Farmiga
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The scariest or most disturbing film you have EVER seen. over 3 years ago
Last semester in my Intro to Critical Studies course, we watched Peckinpah’s Straw Dogs. The whole movie had me squirming in my seat. Every character was so either slimy or helpless throughout the whole film and almost devoid of emotions. Even when characters were upset they hid their feeling and just moved on. The unspoken unsettledness was too much to bear for me. And when it all came tumbling down in the fight during the climax, I felt crushed and frightened. I wasn’t rooting for anyone. At the end, I voiced my opinion on the film — touting it as one of the most disturbing films I’d seen..
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Ageing Son vs. Non-Ageing Paul Dano over 3 years ago
I thought the same thing at first: Oh no! A Time Bloop! But then my friend and I had a discussion about PTA films and really decided that he’s too much of a “maticulyst” (if you will) to allow something like that to slip into one of his films. It probably deals with the fact that either, A. The Lord and his faith keeps him/his soul steady which is hard to agree with because we (at times) see the inner conflict of the character struggling with his faith or keeping his faith for unrighteous reasons. B. His character robs Plainview of his youth/life, thus remains the same age as the time when Plainview met him.
I’m glad you posted this.
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FAST & FURIOUS: WHO'S EXCITED over 3 years ago
Man I love fast cars and hot dudes. Right guys?
Actually, it does have some nice cinematic qualities. Takes a top notch camera man to capture some of the car footage.
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FAST & FURIOUS: WHO'S EXCITED over 3 years ago
Nah, Paya. Vin Diesel does it for me. The pecs and the acting
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Straight-Laced or Frogs Falling/Altman-on-Meth over 3 years ago
Agreed with Simon, it’s not that there’s more depth when he goes for broke, but those films tend to be darker. And PTA tend to thrive in “the dark”
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Most Traumatic or Dramatic Film Endings over 3 years ago
Revolutionary Road. Standing on the carpet. Looking out the window. “I think I need help.”
then
Revolutionary Road. Kathy Bates is talking. Her husband turns down his hearing aid. Silence.
It hurts so much
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If You Were a Film, What Film Would You Be and Why? over 3 years ago
16 mm
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Quentin Tarantino over 3 years ago
QT’s films are all based in the pastiche. They’re sort of like touchstones for popular culture. And they’re all about flattery. They take the successes of films before them (with the exception of Reservoir Dogs) and act upon them so they can succeed themselves. They don’t lack any unique flair or twist, they just lack the core of originality that “good films” (or what users on on auteurs classify as ’good films) contain.
His movies are all distinctly Tarantino, though, and something any person would be able to pinpoint. The language is fresh and vulgar and the violent scenes are flippant and nonchalant. He has fun while making his films and likewise I have fun watching them. They’re pure entertainment, sort of like universal inside jokes.
Go to Comment
Neverending Stories - The Eyes of a Child over 3 years ago
to Gordon
speaking on Paya’s behalf, I can tell you that she has seen both The Red Balloon and Crin Blanc. In fact, The Red Balloon is her favorite film. The movies she named were either German (The Neverending Story), Japanese (My Neighbor, Totoro) or American (The Dark Crystal). And I think you did get her point, unlike Crap Monster who I don’t think quite did.
I don’t think Paya’s talking about movies made for children but movies made with the spirit on innocence intact. You can either this way and that about the loss of innocence in adults or whether or not a feeling of youth can ever really be maintained, but both Paya and I think that these films (that she mentioned as well as countless others) keep the valve on the imagination wide opened. Directors like Frank Oz and del Toro know how to keep the spirit alive.
Go to Comment
WHO IS / WAS THE MOST BEAUTIFUL FILM ACTRESS EVER? over 3 years ago
Barbara Stanwyck
Natalie Portman
Kate Winslet
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Unusual Love Stories over 3 years ago
Has anyone seen The Reader? I feel like that romance falls into this category.
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