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John

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Toy Story

Time has weathered its look but its charm remains. Here is a movie that proves that art & commercialism can exist in unison. It beings a chain of Pixar movies that have become an influence instead of being influenced. Because Lasseter was original, because he was brave enough to voyage into a new mainstream film format (successfully), he brought Toy Story & for that alone, we should be forever grateful.

Favorite Films

Displaying 4 of 56 films

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Psycho

Grave of the Fireflies

The Seventh Seal

Spirited Away

Wall

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Jazzaloha

11Nov09

Sorry, but you asked. And you're not alone! I'm struggling with my decision to purchase (and what to purchase) myself. Let me know if how you like those films, if you pick them up.

Jazzaloha

7Nov09

18 years old? Wow, there’s hope for the future. Unfortunately, I can’t recall the specific scenes to respond, nor can I point to specific scenes that will support my view. (Hopefully, I can rewatch this soon.) One of the things to remember (and maybe you realize this already), but Days of Being Wild, ITMFL and 2046 are a kind of trilogy. Maggie Cheung’s character in Days is supposedly the same one in ITMFL. I had no idea this was the case until after watching the each film. Each film seemed to put a different emotional spin on the characters. Again, I need to see the films again to give specifics. (Your detailed post is certainly motivating me to do so!) Anyway, I really enjoy the thoughtful posts, John! I really appreciate it.

Jazzaloha

7Nov09

I respect your opinions as well and I've enjoyed the discussion. I do understand the "style over substance" criticism, and I'm curious to re-watch his films to see if my views would change. I'm curious to know if strong narrative (or any narrative at all) are essential for you, or can you appreciate films where narratives are secondary or even irrelevant. Btw, just for clarification, by "situational" I meant a simple type of (universal setting). In ITMFL, two married people are drawn together (fall in love?) when they're spouses are cheating on them. That's not much of a plot or story. Hence, my use of the term situational to describe it. *Tokyo Story* is like that, too: aging parents visit their adult children for what could be the last time. It's not much of a story or it's a very basic one. My guess is that this is a common criticism from people who don't "get" Ozu. I also mentioned Nanni Morretti's(sp?) *A Son's Room* (which basically shows a family dealing with a loss of a loved one) *Sunrise* and *L'Atalante*. I mighave add *In the Bedroom* to the mix, too. Have you seen these films? I don't know if this description is accurate, but it's the way I've understood some of these films. I think it's fascinating approach, especially when it works. When it doesn't work, you sort of feel like, "What's the point?"