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Movies You've Seen Recently: Return of the Revenge of the Curse of the...

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That would require to ever want to watch Tintin ever again, which is not a desire I have.

In a slightly-related note, this Spec Ops: The Line game is not subtle in the LEAST about it's Apocalypse Now homages, but at least it's interesting about how shit on the battlefield can change, and who you're actually killing.
 
Not quite, since it's much easier to do with a virtual camera. But the framing and creativity in that one take is very, very impressive.

Spielberg has always said he's impressed most by somebody who can fit a lot in without cutting and does it quite a lot himself.

Eg: http://www.youtube.com/watch?v=EUv7iRaWOOQ

That's what I was referring to. It's impressive in the amount of characters that he essentially juggles at the same time (they go off frame, come back on frame, and go off again) and he never loses track of any of them. I felt the same way about the sequence in the construction yard at the end, minus the one big take. It's just stuff you don't normally see in animated films.
 
One of these days, Andy Serkis will get recognized for all the work he does. He's the only interesting character in both Tintin and Rise of the Planet of the Apes.
 
This is the third time I've tried to watch Sympathy for Lady Vengeance and I never make it past the half hour mark. I lose interest in the movie completely every single time.
 
One of these days, Andy Serkis will get recognized for all the work he does. He's the only interesting character in both Tintin and Rise of the Planet of the Apes.

I haven't seen either but I already was impressed by what he did in LOTR and then I saw the making-of stuff for King Kong and was pretty much floored.

Really amazing work.
 
This is the third time I've tried to watch Sympathy for Lady Vengeance and I never make it past the half hour mark. I lose interest in the movie completely every single time.

Don't worry Chan-wook Park isn't a good filmmaker anyways and only has two good films and another that is slightly okay.
 
Don't worry Chan-wook Park isn't a good filmmaker anyways and only has two good films and another that is slightly okay.

Personally, I feel JSA is his only legitimately great film.

I always enjoyed Sympathy for Mr. Vengeance more than Oldboy, which I felt was incredibly overrated. After those two, his segment in Three Extremes, Cut, is the only other film of his that I enjoyed.

The first act of Thirst was extremely enjoyable, but then it withered into garbage with the introduction of the female character. I'm a Cyborg, But That's OK is pure trash, but then again, I'm biased considering I hate Korean romantic comedies in general.

I honestly don't remember much of Lady Vengeance outside of the scene where
she has the parents enact their revenge on (?)
. I literally don't remember anything about the movie outside of that, which probably doesn't bode well for my overall enjoyment of the film.

Chan-Wook Park is probably the best filmmaker in Korea visually, but his writing lets him down IMO. Considering next year seems to be year of the Korean director in Hollywood, I'm surprised he hasn't made the jump state side. If given a budget and a decent script, I think he could probably make a damn good film.
 
American Beauty - I've seen hundreds of films and somehow never got around to this one. It was alright.

Crazy, Stupid, Love - Had a bunch of friends over and none of them had seen it so we watched it. Great movie. Emma Stone is a goddess and Gosling is a god.
 
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Had a decent premise but got lost really quick right when the second act starts, the girl's character is not at all believable.
 
True Romance is a dope movie. Don't think it's on par with the rest of Tarantino's filmography, but it was definitely a fun flick and worth a watch.
 
Continuing my string of thinking that jarosh is sometimes fucking crazy:

Nine Lives is a really, really, really, really fantastic movie, filled with great acting, poignant and realistic writing, excellent cinematography, and a very tasteful use of music that creates emotion and mood without spoon-feeding the audience.
 
Don't worry Chan-wook Park isn't a good filmmaker anyways and only has two good films and another that is slightly okay.

Oldboy and Mr.Vengance were good, Lady V had a few decent moments, after that i saw I'm a cyborg but that's ok, and now i'm afraid to touch any other movie of his.

Also Tin Tin was fucking terrible, aside from the visuals, a constant, non-stop stream of over the top crap, it was unbearable, by the end.
When at the start of the movie, they needed to frame the cat rushing through the room, toppling the model ship, like it was a goddamn speeder chase in Star Wars, i knew it was gonna be a nasty one.

Watched Keane.
At first i was kind of annoyed by the constant close ups, but i figured they would've had a point.. and tbh, they did.
It was quite good, nice tension by the end, good performances, some of the protagonist's mumbling wasn't 100% convincing to me, but aside from that, it was nice and didn't overstay its welcome.
 
The Breakfast Club was a great movie up until the last five minutes. I loved it when it was Who's Afraid of Virginia Woolf meets Sartre's No Exit, but ending was a huge let down. I thought it was completely unbelievable.
 
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Youth In Revolt

Enjoyable comedy. Me laugh longtime.
Great supporting cast. I loved his friend Vijay.

It reminded me of that scene in 40 Year Old Virgin with Elizabeth Banks extended for an entire movie. Fabulous.

And it had the added bonus of having the incomparable Ray Liotta in it.
 
The action sequences were great, but the script had issues. That .GIF was more in a response to all of the sexual tension.

I always loved how Besson handled that, it could've been disgusting or disturbing very easily, but in the end he plays the sexual tension just on the surface, while it's pretty clear that none of the characters really wanted any sexual interaction with each other; both of them were oblivious to tender human relationships and, since Mathilda is a "grown too fast kid" going through early puberty, she probably interprets it as sexual love, while it's not (she even says as much when talking about a weight in her stomach going away).
Leon on the other hand never expresses as much, and is just generally awkward because he has encountered another human being that cares for him (him being a never grown up adult, emotionally retarded at times, also a serial murderer).
It's a weird relationship no doubt, but it's never in bad taste imo, the way they shift from mother/son (when Mathilda teaches Leon to read, or does the chores for him or teaches him to sleep in a bed) to Father/daughter (when Leon is being protective and taking care of her, especially at the end when Mathilda is freaking out) is at the core.
I think the lovers angle is played just on the surface and it's just Mathilda being confused as how to interpret this father/son figure, while also going through hormonal changes, coupled with her need to get attention (with the hotel receptionist or at the restoraunt, for example).
 
Just watched The Tsunami and the Cherry Blossom (2011) as I'm catching up on the HBO 2012 documentaries series.

It was incredibly heart wrenching and uplifting in the span of 39 minutes as it showcased the very worst and best of mother nature with stunningly savage then beautiful imagery.

The filmmaker does a wonderful job of connecting the viewer to the subjects emotionally.
 
Man, David Bowie is so bad in Merry Christmas Mr. Lawrence. Really don't see the quality - comes off as a non-actor trying really hard to take himself serious as an actor.

Thank Jeez for Takeshi Kitano.
 
I always loved how Besson handled that, it could've been disgusting or disturbing very easily, but in the end he plays the sexual tension just on the surface, while it's pretty clear that none of the characters really wanted any sexual interaction with each other; both of them were oblivious to tender human relationships and, since Mathilda is a "grown too fast kid" going through early puberty, she probably interprets it as sexual love, while it's not (she even says as much when talking about a weight in her stomach going away).
Leon on the other hand never expresses as much, and is just generally awkward because he has encountered another human being that cares for him (him being a never grown up adult, emotionally retarded at times, also a serial murderer).
It's a weird relationship no doubt, but it's never in bad taste imo, the way they shift from mother/son (when Mathilda teaches Leon to read, or does the chores for him or teaches him to sleep in a bed) to Father/daughter (when Leon is being protective and taking care of her, especially at the end when Mathilda is freaking out) is at the core.
I think the lovers angle is played just on the surface and it's just Mathilda being confused as how to interpret this father/son figure, while also going through hormonal changes, coupled with her need to get attention (with the hotel receptionist or at the restoraunt, for example).
I didn't think it was in bad taste, it just could have been handled better. I feel there was tonal issues, the whole movie has a sort of odd tone. It's made light of how damaged they both are, and I don't buy Mathilda as a character. Ignoring that, there was a number of plot holes and contrivances. The movie is obviously stylized, but I don't think Besson pulled it off.
Nobody talks shit about my Leon. I'm gonna clean you.
Bah, go clean yourself.
 
I didn't think it was in bad taste, it just could have been handled better. I feel there was tonal issues, the whole movie has a sort of an odd tone. It's made light of how damaged they both are, and I don't buy Mathilda as a character. Ignoring that, there was a number of plot holes and contrivances. The movie is obviously stylized, but I don't think Besson pulled it off.

I can see your point of view about tone, but i don't feel the same about it, since it's one my favorite movies.
Of course, since i watched it literally hundreds of times as a kid, i might be biased, just the initial shot of NY--> Little Italy --> Tony's restaurant, gives me chills. :P
 
Don't worry Chan-wook Park isn't a good filmmaker anyways and only has two good films and another that is slightly okay.

You can't count.
If Lady Vengeance qualifies as the 'slightly okay' film (its better than that) then JSA, Mr. Vengeance and Oldboy make three good films.
How many do you need to be considered a good filmmaker?

The action sequences were great, but the script had issues. That .GIF was more in a response to
all of the sexual tension. Sure, it didn't lead to anything, but I can see why the extended edition didn't test well with in the US.

I found it rather endearing.
Kinda helps that I thought I was in love with an adult as a kid I guess :lol
 
People are taking bad about Leon now? Thats just plain wrong. Anyway:

The Waterboy

The only truly brilliant film Adam Sandler did imo, he gives an hilarious performance. Plus who can forget You can do it!

****
 
I found it rather endearing.
That's also the impression i've always got, for the reasons stated above.
And again, the sexual tension was really just superficial (and one sided, from Mathilda), imo.

I don't know why it didn't work out in the US though, because it's not like a relationship with those premises would be accepted in Europe.
 
People are taking bad about Leon now? Thats just plain wrong. Anyway:

The Waterboy

The only truly brilliant film Adam Sandler did imo, he gives an hilarious performance. Plus who can forget You can do it!

****

His best films are Billy Madison, The Wedding Singer, and then maybe Big Daddy IMO.

...If we're counting the ones he didn't contribute to making, Punch Drunk Love and then maybe Funny People (though the last 30 minutes are awful).

The Breakfast Club was a great movie up until the last five minutes. I loved it when it was Who's Afraid of Virginia Woolf meets Sartre's No Exit, but ending was a huge let down. I thought it was completely unbelievable.


It just seemed a little too clean, like a forced fulfillment. It reminds me of the way Shakespeare's A Midnight's Summer Dream ends, but its farce was more purposeful. I was also surprised at the amount of cursing in The Breakfast Club. I had to cut the movie off at the local thrift store after receiving complaints from prudish elderly people.
 
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Love Exposure (2008 Sion Sono, Japan, IMDb): Could be described as a moving depiction of the pitfalls of young adulthood wrestling with identity, religion, sexuality and love and the influence of religion on families and society as a whole. While exploring these themes Jesus and Kurt Cobain are proclaimed to have been the only decent men to ever walk the earth, a martial arts montage explains the training an aspiring panchira photographer goes through and there's talk of totally acceptable and beautiful rape. The conclusion in the
mental ward, when Yu sees his own crotch reflection in the mirror dropped by Yoko
is absolutely brilliant. My only (unoriginal) complaint would be that it's only 237 minutes long.

In all seriousness, blown away. This movie moves from light comedy to romance, injects some cheesy fight scenes left and right, takes a turn towards organized religion and cult tactics, becomes a bit more grim, goes balls-deep into ridiculous territory but somehow lands on its feet again. Acting is over the top or downright amateurish at times - but the movies somehow gets away with it all. What a ride. ★★★★★
 
The direction, cinematography and editing say it's not.
Pretty good score and decent lead performance too.

The story (you know the fucking backbone) is fucking shit and the movie is filled with bad acting from everyone but the lead. Also, the editing is pretty fucking basic. Nothing special going on with cinematography either. I really find Park to be pedestrian. He's never done anything as interesting as Kim Jee-woon has done (like the cab scene in I Saw the Devil).
 
I must say Pale Flower is really really good and it would probably fit that description, despite my indifference towards Lady Vengeance.
 
In certain specific cases, sure!
Ever seen a De Palma or Suzuki film?
Films don't solely amount to characters or narrative, it is a visual medium after all.

De Palma and Suzuki are both hit and miss as directors, and their good movies both have something in common, their characters and narrative aren't complete shit.

You can have style over substance, with an average to above average story, and the end product will be solid. You can't have style over substance, with the substance being complete shit.

The story (you know the fucking backbone) is fucking shit and the movie is filled with bad acting from everyone but the lead. Also, the editing is pretty fucking basic. Nothing special going on with cinematography either. I really find Park to be pedestrian. He's never done anything as interesting as Kim Jee-woon has done (like the cab scene in I Saw the Devil).

I wouldn't go that far. The hand to hand fight scene in Oldboy was similarly well shot.
 
Film is a visual medium, but it's inherently an extension of the type of narrative storytelling found in literature, drama, and (to a certain extent) poetry. I think most would agree that a film could still be a great work of art absent notable cinematography if you have a really dynamite script (All About Eve is pretty boring-looking for the most part, for example), but I think that it's alot harder to credit a film as much more than an exercise in style if all it has is its visual elements.
 
Again, where does this idea that 'story = the be-all-and-end-all of a film' come from?
It's pretty ignorant to think that films can't be or aren't more than their stories.

Are Koyaanisqatsi, work by Chris Marker and many other examples not classified as 'films' all of a sudden?
What about visual artists, directors who make tone poems and experimental cinema that doesn't hinge on a story or narrative?
What medium are they working within?

You know what, this:

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is shit.
There's no story aka fucking backbone to it.
 
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