First off, any of these are a blessing, as I’m trapped in a small city with very little access to the greats.
The BRD Trilogy
Paranoid Park
Unknown Pleasures
La Haine
Night and Fog
Celine and Julie Go Boating
The 400 Blows
Le Boucher
Zazie Dans le Metro
Humanity and Paper Balloons
Onibaba
Dog Star Man
the original Dawn of the Dead
Werckmeister Harmonies
The Rules of the Game
The Third Man
Kanal
Love in the Afternoon
City of Pirates
Naked Lunch
anything by Ozu
Made in USA
Opening Night
Day of Wrath
Poison
W.R.: Mysteries of the Organism
Un Chien Andalou
a cleaned-up print of Rashomon
Redacted
anything by Manoel de Oliviera
Burn!
Ukigumo
The Umbrellas of Cherbourg
Band of Outsiders
Haha. Tati doing horror. Films like Scary Movie have more in common with Mel Brooks than any true horror film. As to the pastiches, they come off to me as postmodernist commentaries on the genre.
The Shining is the best mainstream horror film ever made, because it is still scary after years of jokes and ripoffs. The only thing I’ve seen from Asian horror, which has exploded in the past decade, is Audition, and that was creepy but not “terrifying.” Funny Games is a cross-polination between the Saw subgenre and the postmodernist subgenre – and it works, because the smugness of the villains (or are they villains in Haneke’s eyes?) makes us hate them all the more.
The Third Man I just discovered, and consider it a masterpiece. If I had a blu-ray player, I’d purchase that one, El Norte, The 400 Blows, Contempt, and Walkabout. El Norte for its political relevance and gorgeous color, 400 Blows and Contempt for being French New Wave, and Walabout because I’ve always wanted to see it.
In the final cut, Edward James Olmos (his character’s name slips me) leaves an origami unicorn at Deckard’s doorstep. This corresponds to an earlier dream/memory Deckard had of a unicorn walking through a forest, implying that Olmos had access to Deckard’s dreams. The only way he could have access to those was…by Deckard being a replicant.
The book is very different from the movie. A whole subplot about the influence of television is removed, Isildore is more mentally disabled than “sick”…the list goes on and on. I haven’t read it in a while, so not an expert, but it is made explicit, say, that there was a nuclear war that led to the colonies being founded.
Haven’t read in FOREVER, but just got finished revisiting 1984. Big fan of sci-fi lit such as Dick and Gibson, had to study The Catcher in the Rye and The Great Gatsby and enjoyed both, planning to read Sartre’s Nausea and some Nietzsche. Don’t know what the British lit class I’m taking will cover.
Writing a script over the summer, have dozens of ideas to pick from… I’m already forming a local film collective with friends. I work as a writer, director, actor, and want to learn editing and cinematography. This would be a great place to host shorts.
The Fog of War. As a former political science major and history buff, I dug McNamara opening up about how we fucked up Vietnam, how we won WWII, and how we kept moving through the Cold War. I liked how Morris doesn’t judge McNamara, but lets him speak for himself.
Don’t know if Standard Operating Procedure will be the same way.
I personally quote Zoolander daily. It’s not arthouse comedy like Wes Anderson, but it’s definitely hilarious. The Master of Disguise is a horribly stupid kids film with Dana Carvey that I laugh at for the absurdness of its everything.
My Dinner with Andre – a rehearsed dinner conversation between two early 1980s New York intellectuals
Dazed and Confused – another Linklater slacker film
Shadows – Cassavetes claimed it had a plot, but it feels as if nothing happens at all. I didn’t like it, but the fact I saw a VHS copy might have influenced my opinion.
The filmography of Eagle Pennell (esp. The Whole Shootin’ Match and Last Night at the Alamo) – Two cult classics about Texas ne’er do wells; Eagle was the original Austin filmmaker, but sadly his alcoholism curbed him from becoming the great director he had inside of him. He was one of Linklater’s friends and influenced him to make Slacker, along with inspiring Robert Redford to start the Sundance festival. You can find this out on the documentary ‘The King of Texas’ by Rene Pennell (Eagle’s nephew) and Claire Huie, which comes as a bonus feature in the 3-disc set of The Whole Shootin’ Match. I was lucky enough to meet Rene and Claire when they screened King of Texas at my campus last semester. The title of the doc is a reference to Eagle’s ambition to make a Texas-set production of King Lear. Rene Pennell is himself a “slacker” director of comedy shorts (google Backpack Picnic for some gems) and spoke at the Art Institute, and Claire’s father, a film prof on campus, is screening The Whole Shootin’ Match in his film history course this fall.
Masculin Feminin, by Godard – someone on IMDB described it as the “anthropology of a decade”. The phrase “children of Marx and Coca-Cola” comes from this movie, and it is one of Jean-Pierre Leaud’s great roles aside from Antoine Doinel. Hell, every Godard movie with characters has a slacker element to it. I think Made in U.S.A. is very similar to MF, but I haven’t seen it.
Two-Lane Blacktop – I thought it was terrible and plotless, but a prof of mine loves it. James Taylor, Dennis Wilson, and Warren Oates race cars down Americana highways; this is more of the “Easy Rider” genre but it kind of slips into the slacker genre as well. Monte Hellman, the producer of Reservoir Dogs, directed; the Criterion edition includes the entire screenplay.
The works of Woody Allen – he invented the “intellectual” conversation style in modern film along with Godard (or at least Americanized it). Manhattan I think fits the slacker mold best.
Its amazing I ran across this topic. I write scripts in the slacker vein (though the only short I’ve directed was crime/noir, not slacker), and loved the movie ideas. Zbombin, I think it’s one of the easier genres to write, but also one of the most personal, since it deals with up to the minute topics like pop culture and politics, and one-on-one relationships between people usually playing themselves instead of vampires or robots with testes. Some directors who seem cohesive in plots and capable of grand symphonies of action (though who says philosophical conversations can’t be symphonic) carry the slacker trait latently (thinking of Tarantino, Bergman and Wes Anderson). Soderbergh’s sex, lies and videotape was very slacker, but subsequent films have veered towards Kubrickism.
There is a dangerous trend in film criticism and fandom to hate films that are “just entertaining”. The best examples are the disregard for Spielberg as a great director, the trendy hate of Tarantino, the trashing of Avatar, and the assumption that all “Hollywood” films are junk.
Cinema was born as a form of entertainment. The Lumiere brothers and Porter showed moving images to get people in the door, not to make an ideological or visual statement. Griffith and Eisenstein built their innovations around high-concept stories and big budgets. The classic era of Hollywood inspired Godard and Truffaut to pick up pens and cameras and define auteur theory. MTV co-opted the styles of Brakhage, Deren, and Anger to remake the short film into the music video. There is no way you can separate pleasure from cinema and have a functioning medium.
I watch all films to be entertained, whether in a visual, intellectual or narrative sense. I hold some blockbusters as underrated classics, while I’ve been bored to tears by films like Coffee & Cigarettes, Fahrenheit 451, Death Proof, The Hawks and the Sparrows, Little Miss Sunshine, Melinda and Melinda, The Motorcycle Diaries, The Passion of Anna, Secret Agent, Shadows, The Triplets of Belleville, Triumph of the Will, and Two-Lane Blacktop. I’ve sat through the merely flawed All or Nothing, Alphaville, American Graffiti, The Bakery Girl of Monceau, The Birds, Burn After Reading, Cabaret, Cache, Contempt, Donnie Darko, Dracula, Eyes Without a Face, Fear and Loathing in Las Vegas, The French Connection, The Hurt Locker, Indiscretion of an American Wife, Lacombe Lucien, The Lady from Shanghai, The Maltese Falcon, Miami Vice, The Misfits, Moolaade, Of Time and the City, The Passenger, Pollock, Pretty in Pink, The Proposition, Raising Arizona, The Reader, Shame, Sin City, Slumdog Millionaire, Straw Dogs and That Hamilton Woman. I will defend my opinions on any of those films if I am challenged to justify them, because all are attempts at art that fail in their goal to be enlightening – not because they don’t live up to some convoluted theoretical premise on what cinema should be, but because they are not entertaining as well as deep.
I want to know your opinion: is it better for a film to entertain, enlighten, or is a great film one that provides both? Is it a cinematic sin to simply be the first?
The Social Network worked for me on the level of its script alone. I don’t get how it’s a portrait of the Millennials (that film has yet to be made, I can only imagine it as a cross between Slacker and L’avventura), because most Millennials aren’t Harvard undergrads who make a few hundred thousand in energy futures over the summer. That interpretation is actually insulting, when you look at how many Millennials are having a hard time in the job market. To me, it’s a good variation on Citizen Kane. The only American films to equal it this year were Inception and The American.
The American – now that’s a criminally underrated film.
And no, Roscoe and Mark, I don’t understand why Black Swan is getting all its hype either. You’d think people had never seen The Red Shoes or Repulsion. I’m dying to see True Grit as a Coen brothers fan.
I’m surprised no one has mentioned Stalker. That was ’77, right? A masterpiece.
I love Woody Allen’s films, and he is a superior director to Lucas, but Star Wars defines the idea of imagination. Annie Hall is the same template as Manhattan, Hannah and Her Sisters, Cries and Misdemeanors, Husbands and Wives, Match Point, etc. – quality films about witty people in tangled romances. Star Wars takes the idea of space travel and elevates it to the level of opera. If you did not love that film as a child, then you had no childhood. You felt at every moment like you were part of a vast interstellar society that could be taken in any direction the auteur wished. Star Wars and Annie Hall are both classics, but Star Wars is the more cinematic of the two, and deserved the award.
Now, as to Avatar vs. The Hurt Locker vs. A Serious Man – where is Inglourious Basterds in this contest? All three of those ’09 nominees are superior to Hurt Locker in writing, acting, cinematography, direction and grandeur (well, maybe not cinematography for Serious Man, but you get my drift). 2009 was like 1998 – a superb year where the Academy chose the worst contender.
Just to toss it out there, The American deserved to be nominated this year over Black Swan. But really, after you realize how many classics from the Golden Era of International Cinema (1959-1977) were not nominated for Best Picture by a Hollywood establishment that wanted to keep their bloated careers going – Hiroshima mon amour, Winter Light, The Red Desert, Aguirre the Wrath of God, Le Samourai, House, El Topo, The Spirit of the Beehive, Amarcord, In the Realm of the Senses – you realize how irrelevant they are.
The trend of not nominating foreign films for the top prize continues today – Underground, Santa Sangre, Das Boot, Waltz with Bashir, Amelie, Persepolis. This may be the first year I don’t watch since childhood.
Best Picture almost never goes to the Best Film of the year (Shakespeare in Love over Saving Private Ryan, The Hurt Locker over Inglourious Basterds, Oliver! over 2001), but of all the winners, which is the greatest?
I just had a dream that I met JLG and tried to talk film with him. I brought up Bertolucci, and he immediately responded with, “It’s convenient for a 21 year-old to like Last Tango in Paris.” I tried to switch the subject to Tarkovsky and woke up.
If this was real life, I think it all depends what and who you bring up first. I.e., Spielberg gets you disapproval, but Nick Ray and Sam Fuller get you approval. Thoughts?
Which movies would you like to see on The Auteurs? about 5 years ago
First off, any of these are a blessing, as I’m trapped in a small city with very little access to the greats.
The BRD Trilogy
Paranoid Park
Unknown Pleasures
La Haine
Night and Fog
Celine and Julie Go Boating
The 400 Blows
Le Boucher
Zazie Dans le Metro
Humanity and Paper Balloons
Onibaba
Dog Star Man
the original Dawn of the Dead
Werckmeister Harmonies
The Rules of the Game
The Third Man
Kanal
Love in the Afternoon
City of Pirates
Naked Lunch
anything by Ozu
Made in USA
Opening Night
Day of Wrath
Poison
W.R.: Mysteries of the Organism
Un Chien Andalou
a cleaned-up print of Rashomon
Redacted
anything by Manoel de Oliviera
Burn!
Ukigumo
The Umbrellas of Cherbourg
Band of Outsiders
That’s enough.
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Bloody Good Horror about 5 years ago
Haha. Tati doing horror. Films like Scary Movie have more in common with Mel Brooks than any true horror film. As to the pastiches, they come off to me as postmodernist commentaries on the genre.
The Shining is the best mainstream horror film ever made, because it is still scary after years of jokes and ripoffs. The only thing I’ve seen from Asian horror, which has exploded in the past decade, is Audition, and that was creepy but not “terrifying.” Funny Games is a cross-polination between the Saw subgenre and the postmodernist subgenre – and it works, because the smugness of the villains (or are they villains in Haneke’s eyes?) makes us hate them all the more.
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Criterion junkies here? about 5 years ago
The Third Man I just discovered, and consider it a masterpiece. If I had a blu-ray player, I’d purchase that one, El Norte, The 400 Blows, Contempt, and Walkabout. El Norte for its political relevance and gorgeous color, 400 Blows and Contempt for being French New Wave, and Walabout because I’ve always wanted to see it.
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Is Deckard a replicant? about 5 years ago
In the final cut, Edward James Olmos (his character’s name slips me) leaves an origami unicorn at Deckard’s doorstep. This corresponds to an earlier dream/memory Deckard had of a unicorn walking through a forest, implying that Olmos had access to Deckard’s dreams. The only way he could have access to those was…by Deckard being a replicant.
Makes sense? Yes? No?
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Is Deckard a replicant? about 5 years ago
The book is very different from the movie. A whole subplot about the influence of television is removed, Isildore is more mentally disabled than “sick”…the list goes on and on. I haven’t read it in a while, so not an expert, but it is made explicit, say, that there was a nuclear war that led to the colonies being founded.
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Who do you read? about 5 years ago
Haven’t read in FOREVER, but just got finished revisiting 1984. Big fan of sci-fi lit such as Dick and Gibson, had to study The Catcher in the Rye and The Great Gatsby and enjoyed both, planning to read Sartre’s Nausea and some Nietzsche. Don’t know what the British lit class I’m taking will cover.
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Who's looking for eachother? about 5 years ago
Writing a script over the summer, have dozens of ideas to pick from… I’m already forming a local film collective with friends. I work as a writer, director, actor, and want to learn editing and cinematography. This would be a great place to host shorts.
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Documentaries about 5 years ago
The Fog of War. As a former political science major and history buff, I dug McNamara opening up about how we fucked up Vietnam, how we won WWII, and how we kept moving through the Cold War. I liked how Morris doesn’t judge McNamara, but lets him speak for himself.
Don’t know if Standard Operating Procedure will be the same way.
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Good Bad Films about 5 years ago
I personally quote Zoolander daily. It’s not arthouse comedy like Wes Anderson, but it’s definitely hilarious. The Master of Disguise is a horribly stupid kids film with Dana Carvey that I laugh at for the absurdness of its everything.
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Other movies similar to Richard Linklater's Slacker? over 3 years ago
My Dinner with Andre – a rehearsed dinner conversation between two early 1980s New York intellectuals
Dazed and Confused – another Linklater slacker film
Shadows – Cassavetes claimed it had a plot, but it feels as if nothing happens at all. I didn’t like it, but the fact I saw a VHS copy might have influenced my opinion.
The filmography of Eagle Pennell (esp. The Whole Shootin’ Match and Last Night at the Alamo) – Two cult classics about Texas ne’er do wells; Eagle was the original Austin filmmaker, but sadly his alcoholism curbed him from becoming the great director he had inside of him. He was one of Linklater’s friends and influenced him to make Slacker, along with inspiring Robert Redford to start the Sundance festival. You can find this out on the documentary ‘The King of Texas’ by Rene Pennell (Eagle’s nephew) and Claire Huie, which comes as a bonus feature in the 3-disc set of The Whole Shootin’ Match. I was lucky enough to meet Rene and Claire when they screened King of Texas at my campus last semester. The title of the doc is a reference to Eagle’s ambition to make a Texas-set production of King Lear. Rene Pennell is himself a “slacker” director of comedy shorts (google Backpack Picnic for some gems) and spoke at the Art Institute, and Claire’s father, a film prof on campus, is screening The Whole Shootin’ Match in his film history course this fall.
Masculin Feminin, by Godard – someone on IMDB described it as the “anthropology of a decade”. The phrase “children of Marx and Coca-Cola” comes from this movie, and it is one of Jean-Pierre Leaud’s great roles aside from Antoine Doinel. Hell, every Godard movie with characters has a slacker element to it. I think Made in U.S.A. is very similar to MF, but I haven’t seen it.
Two-Lane Blacktop – I thought it was terrible and plotless, but a prof of mine loves it. James Taylor, Dennis Wilson, and Warren Oates race cars down Americana highways; this is more of the “Easy Rider” genre but it kind of slips into the slacker genre as well. Monte Hellman, the producer of Reservoir Dogs, directed; the Criterion edition includes the entire screenplay.
The works of Woody Allen – he invented the “intellectual” conversation style in modern film along with Godard (or at least Americanized it). Manhattan I think fits the slacker mold best.
Its amazing I ran across this topic. I write scripts in the slacker vein (though the only short I’ve directed was crime/noir, not slacker), and loved the movie ideas. Zbombin, I think it’s one of the easier genres to write, but also one of the most personal, since it deals with up to the minute topics like pop culture and politics, and one-on-one relationships between people usually playing themselves instead of vampires or robots with testes. Some directors who seem cohesive in plots and capable of grand symphonies of action (though who says philosophical conversations can’t be symphonic) carry the slacker trait latently (thinking of Tarantino, Bergman and Wes Anderson). Soderbergh’s sex, lies and videotape was very slacker, but subsequent films have veered towards Kubrickism.
I have more to say, but not now. Tired.
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Ok, admit you dozed off or slept while watching.... over 3 years ago
I don’t fall asleep, I just turn it off when I get bored. Don’t remember all of them, but…
Cries and Whispers
The Criterion anthology of Brakhage (that guy blows)
The Hurt Locker (2nd viewing)
Three Women
a lot more…
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What's Wrong with Entertainment? over 3 years ago
There is a dangerous trend in film criticism and fandom to hate films that are “just entertaining”. The best examples are the disregard for Spielberg as a great director, the trendy hate of Tarantino, the trashing of Avatar, and the assumption that all “Hollywood” films are junk.
Cinema was born as a form of entertainment. The Lumiere brothers and Porter showed moving images to get people in the door, not to make an ideological or visual statement. Griffith and Eisenstein built their innovations around high-concept stories and big budgets. The classic era of Hollywood inspired Godard and Truffaut to pick up pens and cameras and define auteur theory. MTV co-opted the styles of Brakhage, Deren, and Anger to remake the short film into the music video. There is no way you can separate pleasure from cinema and have a functioning medium.
I watch all films to be entertained, whether in a visual, intellectual or narrative sense. I hold some blockbusters as underrated classics, while I’ve been bored to tears by films like Coffee & Cigarettes, Fahrenheit 451, Death Proof, The Hawks and the Sparrows, Little Miss Sunshine, Melinda and Melinda, The Motorcycle Diaries, The Passion of Anna, Secret Agent, Shadows, The Triplets of Belleville, Triumph of the Will, and Two-Lane Blacktop. I’ve sat through the merely flawed All or Nothing, Alphaville, American Graffiti, The Bakery Girl of Monceau, The Birds, Burn After Reading, Cabaret, Cache, Contempt, Donnie Darko, Dracula, Eyes Without a Face, Fear and Loathing in Las Vegas, The French Connection, The Hurt Locker, Indiscretion of an American Wife, Lacombe Lucien, The Lady from Shanghai, The Maltese Falcon, Miami Vice, The Misfits, Moolaade, Of Time and the City, The Passenger, Pollock, Pretty in Pink, The Proposition, Raising Arizona, The Reader, Shame, Sin City, Slumdog Millionaire, Straw Dogs and That Hamilton Woman. I will defend my opinions on any of those films if I am challenged to justify them, because all are attempts at art that fail in their goal to be enlightening – not because they don’t live up to some convoluted theoretical premise on what cinema should be, but because they are not entertaining as well as deep.
I want to know your opinion: is it better for a film to entertain, enlighten, or is a great film one that provides both? Is it a cinematic sin to simply be the first?
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400 films (brakhage's best) over 2 years ago
The Dante Quartet, the first (I think) of his “painted” films.
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Worst films you have ever seen over 2 years ago
Once again, Edwin proves he knows nothing about what makes going to the movies great.
Santa Claus Conquers the Martians: nuff said.
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Is anyone else confused over all the critical acclaim "The Social Network is receiving? It feels like a semi-decent "made for HBO" movie at over 2 years ago
The Social Network worked for me on the level of its script alone. I don’t get how it’s a portrait of the Millennials (that film has yet to be made, I can only imagine it as a cross between Slacker and L’avventura), because most Millennials aren’t Harvard undergrads who make a few hundred thousand in energy futures over the summer. That interpretation is actually insulting, when you look at how many Millennials are having a hard time in the job market. To me, it’s a good variation on Citizen Kane. The only American films to equal it this year were Inception and The American.
The American – now that’s a criminally underrated film.
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Is anyone else confused over all the critical acclaim "The Social Network is receiving? It feels like a semi-decent "made for HBO" movie at over 2 years ago
And no, Roscoe and Mark, I don’t understand why Black Swan is getting all its hype either. You’d think people had never seen The Red Shoes or Repulsion. I’m dying to see True Grit as a Coen brothers fan.
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OSCAR NOMINATION OPINIONS ? over 2 years ago
Where is The American?
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Annie Hall vs. Star Wars over 2 years ago
I’m surprised no one has mentioned Stalker. That was ’77, right? A masterpiece.
I love Woody Allen’s films, and he is a superior director to Lucas, but Star Wars defines the idea of imagination. Annie Hall is the same template as Manhattan, Hannah and Her Sisters, Cries and Misdemeanors, Husbands and Wives, Match Point, etc. – quality films about witty people in tangled romances. Star Wars takes the idea of space travel and elevates it to the level of opera. If you did not love that film as a child, then you had no childhood. You felt at every moment like you were part of a vast interstellar society that could be taken in any direction the auteur wished. Star Wars and Annie Hall are both classics, but Star Wars is the more cinematic of the two, and deserved the award.
Now, as to Avatar vs. The Hurt Locker vs. A Serious Man – where is Inglourious Basterds in this contest? All three of those ’09 nominees are superior to Hurt Locker in writing, acting, cinematography, direction and grandeur (well, maybe not cinematography for Serious Man, but you get my drift). 2009 was like 1998 – a superb year where the Academy chose the worst contender.
Just to toss it out there, The American deserved to be nominated this year over Black Swan. But really, after you realize how many classics from the Golden Era of International Cinema (1959-1977) were not nominated for Best Picture by a Hollywood establishment that wanted to keep their bloated careers going – Hiroshima mon amour, Winter Light, The Red Desert, Aguirre the Wrath of God, Le Samourai, House, El Topo, The Spirit of the Beehive, Amarcord, In the Realm of the Senses – you realize how irrelevant they are.
The trend of not nominating foreign films for the top prize continues today – Underground, Santa Sangre, Das Boot, Waltz with Bashir, Amelie, Persepolis. This may be the first year I don’t watch since childhood.
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The first movie that made you love movies over 2 years ago
Star Wars (age 7)
Breathless (age 18)
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Last movie you saw and rate it over 2 years ago
The Embassy (Chris Marker): 6/10
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The Best Best Picture Winner over 2 years ago
Best Picture almost never goes to the Best Film of the year (Shakespeare in Love over Saving Private Ryan, The Hurt Locker over Inglourious Basterds, Oliver! over 2001), but of all the winners, which is the greatest?
I call Casablanca.
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Film Database Submission January 2011 over 2 years ago
The Decline of Western Civilization: Part III
Dir.: Penelope Spheeris
Year of Release: 1998
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What is the greatest film title ever? over 2 years ago
Dog Star Man*
Although The Dante Quartet is superior as a Brakhage.
Best titles:
Once Upon a Time in America (Leone)
Glory to the Filmmaker! (Kitano)
The Whole Shootin’ Match (Pennell)
Last Tango in Paris (Bertolucci)
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What is the greatest film title ever? over 2 years ago
Flesh Gordon
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What is the greatest film title ever? over 2 years ago
Senso
Generation Kill (technically not a film, but it’s in the MUBI database)
Antichrist
Night and Fog in Japan
Les Girls
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When I say "A Perfect Film", What One Film Pops Into Your Head First? over 2 years ago
The Red Shoes
Once Upon a Time in the West
Blue Velvet
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Most consistent director? over 2 years ago
I’m only going to list consistently great. The first that come to mind:
Jean-Pierre Melville
Bernardo Bertolucci
Christopher Nolan
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What is the greatest film title ever? over 2 years ago
sex, lies and videotape
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When I say "A Perfect Film", What One Film Pops Into Your Head First? over 2 years ago
It may be as mainstream as it gets, but the original Star Wars still defines a perfect entertainment.
For sheer technique, Melville’s Le Samourai is perfectly executed. Almost perfect as a film, but perfect as an exhibition of visual style.
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If You Met Godard, Would He Approve of Your Taste in Films? about 2 years ago
I just had a dream that I met JLG and tried to talk film with him. I brought up Bertolucci, and he immediately responded with, “It’s convenient for a 21 year-old to like Last Tango in Paris.” I tried to switch the subject to Tarkovsky and woke up.
If this was real life, I think it all depends what and who you bring up first. I.e., Spielberg gets you disapproval, but Nick Ray and Sam Fuller get you approval. Thoughts?
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