I didn’t know he had a 4th movie. I do know he had something in the works for the future which I believe got postponed last year due to covid. I’ll have to check that one out.
I agree that the singing could’ve been better but the acting and chemistry between the two was so good it made up for their lacking in other areas— at least for me. Hurwitz definitely had a huge mark on LLL but I also think his score was nearly as important for FM, it really set the mood for those quiet, intimate scenes and really elevated the show-don’t-tell emotional scenes.
Speaking of space movies, did you guys like 2001? I watched it for the first time recently and I hate to admit I just didn’t enjoy it. The visuals are incredible at times, but the overall movie I just found kinda meh. I certainly prefer the movie that it inspired (interstellar) over it.
Probably worth returning to 2001 at least once more in future years. You still may not like it then, but I came to appreciate it more on a second viewing.
Do you like Kubrick overall?
Tbh I haven’t seen much. Going to rewatch The Shining soon (along with the sequel) and still have Full Metal Jacket in the queue from my war-film request a few weeks ago.
I do find most quality movies are more enjoyable the second time around because they’re still fresh but familiar enough to sit back and take it in more.
Joined: 02 May 2005 Posts: 90307 Location: Formerly Known As 24
Posted: Thu May 13, 2021 7:10 pm Post subject:
The remake of Point Break was the trifecta of horrific, unintentionally hilarious, and self indulgent. _________________ “We must always take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.” ― Elie Wiesel
Feel like pairing up All That Jazz and The Brown Bunny. Any other movies as grossly self-indulgent?
Coffee and Cigarettes
Hateful Eight
A Serious Man
Only God Forgives
JFK
Haha at Hateful 8. That's an understatement. I enjoyed both it at Coffee and Cigs tho. JFK is bollocks. Oliver Stone really did a disservice peddling that tripe to the masses, most of whom don't know any better but to believe him as an expert on the subject. _________________ GOAT MAGIC REEL SEDALE TRIBUTE EDDIE DONX!
I didn’t know he had a 4th movie. I do know he had something in the works for the future which I believe got postponed last year due to covid. I’ll have to check that one out.
I agree that the singing could’ve been better but the acting and chemistry between the two was so good it made up for their lacking in other areas— at least for me. Hurwitz definitely had a huge mark on LLL but I also think his score was nearly as important for FM, it really set the mood for those quiet, intimate scenes and really elevated the show-don’t-tell emotional scenes.
Speaking of space movies, did you guys like 2001? I watched it for the first time recently and I hate to admit I just didn’t enjoy it. The visuals are incredible at times, but the overall movie I just found kinda meh. I certainly prefer the movie that it inspired (interstellar) over it.
Probably worth returning to 2001 at least once more in future years. You still may not like it then, but I came to appreciate it more on a second viewing.
Do you like Kubrick overall?
Tbh I haven’t seen much. Going to rewatch The Shining soon (along with the sequel) and still have Full Metal Jacket in the queue from my war-film request a few weeks ago.
I do find most quality movies are more enjoyable the second time around because they’re still fresh but familiar enough to sit back and take it in more.
There's not a lot of movies to see given how precise Kubrick was and how he distanced himself from Hollywood at first opportunity, but everything from The Killing (1956) through Eyes Wide Shut (1999) that spans his Hollywood through Pinewood Studios output is worth a watch or two. _________________ Under New Management
Feel like pairing up All That Jazz and The Brown Bunny. Any other movies as grossly self-indulgent?
Birdman Eyes Wide Shut
Anything by Woody Allen
The Lady from Shanghai: just look up Rita Hayworth and Orson Welles
It’s shameful how little I know of Orson Welles outside of Citizen Kane.
I was the same way as of 2018 when The Other Side of the Wind hit Netflix. Outside of Kane and the exceptional Touch of Evil, I was a Welles neophyte at that time. I still have a few gaps to see in his filmography and I don't like his vision of Othello, but Lady, F for Fake, Chimes, etc. are all wonderful. _________________ Under New Management
Joined: 02 May 2005 Posts: 90307 Location: Formerly Known As 24
Posted: Thu May 13, 2021 7:46 pm Post subject:
The Passion of The Christ would have to rank very very near the top of any self indulgent movie list. _________________ “We must always take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.” ― Elie Wiesel
Feel like pairing up All That Jazz and The Brown Bunny. Any other movies as grossly self-indulgent?
Birdman Eyes Wide Shut
Anything by Woody Allen
The Lady from Shanghai: just look up Rita Hayworth and Orson Welles
It’s shameful how little I know of Orson Welles outside of Citizen Kane.
I was the same way as of 2018 when The Other Side of the Wind hit Netflix. Outside of Kane and the exceptional Touch of Evil, I was a Welles neophyte at that time. I still have a few gaps to see in his filmography and I don't like his vision of Othello, but Lady, F for Fake, Chimes, etc. are all wonderful.
Thanks. Gonna add Lady From Shanghai to my queue and go from there.
Mad Max 1 AND 2 aka The Road Warrior. Gotta do both despite the Mel. He doesn't say much in those movies btw. I tend to like him in those because of that. He's pretty good when he's working understated and conveyed a lot in Pt 2 just by looks and nods.
And Leor, you might wanna make sure you've gotten thru Mean Streets, Raging Bull, and Taxi Driver if you haven't already seen all 3. They're kind of rudimentary must-sees if you're diving into the older stuff. Marty and Bobby and Harvey's youthful beginnings.
Yeah for sure. I was trying to keep it limited to 70s films. But if we're talking sequels and Mad Max series, The Road Warrior is tops for me. The Mad Max series is one of the rare instances where I really like all films, including Thunderdome which is generally viewed as the weak link.
I actually remembered that Road Warrior was 1981 before I read this, so I edited my prior one. Even still, it's close enough to the 70s to be a must see. The Humungus commands it. I agree. I have Road Warrior, Part 1, and Thunderdome in that order. I don't hate Thunderdome, I enjoy the Tina Turner parts, but it kinda turned into a kiddie fest. Still, I usually watch it all the way thru and I liked the story time scene where the teenager told the younger ones about the history that they concocted themselves as a group that knew nothing but what came from a few artifacts and their imaginations. But Road Warrior is tops at least for the first 3. I'm still trying consider where the newer one fits in. A lot of folks have it at 1 already. How much of that is due to the CGI and what not? I think there's something aobut the mundane-ness of 1 and 2 and the lack of all that new stuff that is charming in a way. I like Wez and his male friend on a chain. They are VERY, VERY good friends from outward appearance.
I feel like a lot of the praise for the Tom Hardy one was reactionary. I don't deny that it's a very good film, and certainly visually engaging, perhaps even more ambitious than its predecessors. I think that audiences, myself included, were just eager to watch George Miller return to his roots. Much like Ridley Scott coming back to Alien-verse with Prometheus. But it doesn't come close to The Road Warrior in terms of introducing a novel concept and then really knocking out of the park with its post-apocalyptic world design. The opening scene to The Road Warrior alone is insanely good, and on its own just a great piece of action film making. I love the shot where it pans vertically on Wez and his Turbo Lover (always thought he favored one of the guitar players in Judas Priest) with the road horizon as the backdrop and the ominous score. There's something so great and dystopian about that shot. Just little things like that that really stir your imagination. I rarely get bits like that in modern action films these days.
Fury Road should've changed Hollywood film editing, but no one has dared to emulate it yet. It's a fascinating fusion of New Wave art house "visual impression" cinema ( Hiroshima, Mon Amour) with Hong Kong action editing in which each cut introduces a new "building" action movement - all while every element is center shot for maximum clarity.
I respect loving The Road Warrior more, and it set an incredible precedent for action film language in the early 80s. But Fury Road was a cinematic jump forward in a relatively boring cinematic decade that needed some jumper cables to our creative gonads. _________________ Under New Management
I didn’t know he had a 4th movie. I do know he had something in the works for the future which I believe got postponed last year due to covid. I’ll have to check that one out.
I agree that the singing could’ve been better but the acting and chemistry between the two was so good it made up for their lacking in other areas— at least for me. Hurwitz definitely had a huge mark on LLL but I also think his score was nearly as important for FM, it really set the mood for those quiet, intimate scenes and really elevated the show-don’t-tell emotional scenes.
Speaking of space movies, did you guys like 2001? I watched it for the first time recently and I hate to admit I just didn’t enjoy it. The visuals are incredible at times, but the overall movie I just found kinda meh. I certainly prefer the movie that it inspired (interstellar) over it.
Fury Road is certainly an achievement in stunt work and choreography, as well as being impressively shot. Visually, I do find it a bit bright and saturated, but respect the craft in that regard. It’s an impressive film technically. But yeah there’s just something that’s genuinely grassroots and rock n roll about The Road Warrior that easily makes it my favorite of the series.
I didn’t know he had a 4th movie. I do know he had something in the works for the future which I believe got postponed last year due to covid. I’ll have to check that one out.
I agree that the singing could’ve been better but the acting and chemistry between the two was so good it made up for their lacking in other areas— at least for me. Hurwitz definitely had a huge mark on LLL but I also think his score was nearly as important for FM, it really set the mood for those quiet, intimate scenes and really elevated the show-don’t-tell emotional scenes.
Speaking of space movies, did you guys like 2001? I watched it for the first time recently and I hate to admit I just didn’t enjoy it. The visuals are incredible at times, but the overall movie I just found kinda meh. I certainly prefer the movie that it inspired (interstellar) over it.
A few links:
Fred was just in a league of his own, although even Gene shows how much room for improvement Gosling had. I recently watched Funny Face with Fred and Audrey and it was a treat.
Fury Road is certainly an achievement in stunt work and choreography, as well as being impressively shot. Visually, I do find it a bit bright and saturated, but respect the craft in that regard. It’s an impressive film technically. But yeah there’s just something that’s genuinely grassroots and rock n roll about The Road Warrior that easily makes it my favorite of the series.
There is the silver and black version of the movie as well. Has anyone watched that version? I can’t imagine it being better but maybe I’m wrong.
Speaking of space movies, did you guys like 2001? I watched it for the first time recently and I hate to admit I just didn’t enjoy it. The visuals are incredible at times, but the overall movie I just found kinda meh. I certainly prefer the movie that it inspired (interstellar) over it.
There was something profoundly bold to me about the bollz Kubrick had to approach a topic like The Dawn Of Man, but he did and I enjoyed the interplay of the hominids. They were in 1968 makeup and costuming, yet well-done for 1968. It took the tribe to touch the monolith before the leader learned the first thing a hominid had to learn in order to secure things as vital as protection from leopards and dominance over waterholes -- how to use an object as a weapon to maim or kill his adversaries. This was such a profound discovery that it surged his species forward by suggested leaps and bounds until they morph into a scene of future hominids in space.
That and the end scene where the space navigator enters some inexplicable void of light and sound and is somehow able to witness the arc of his own life from beginning to end were great. Kubrick doesn't answer all questions, so who knows what the end was trying to tell us save for it being a convenient vehicle for that technologically forward light art segment. I think. The rest was meh save for his dealings with HAL900 which became sentient on its own. That movie has been borrowed from for decades the same as Texas Chain Saw Massacre 1 has been borrowed from for decades by horror writers/directors. I think of it in that respect, mostly. EG: the notion of a computer achieving self-awareness is in Terminator, the great movie "Her" w/ Joaquin Phx, etc. That's just one example. There's an ending to the recent movie "Annihilation" w/ Natalie Portman that reminded me of the light fest warp in 2001. _________________ GOAT MAGIC REEL SEDALE TRIBUTE EDDIE DONX!
Fury Road is certainly an achievement in stunt work and choreography, as well as being impressively shot. Visually, I do find it a bit bright and saturated, but respect the craft in that regard. It’s an impressive film technically. But yeah there’s just something that’s genuinely grassroots and rock n roll about The Road Warrior that easily makes it my favorite of the series.
There is the silver and black version of the movie as well. Has anyone watched that version? I can’t imagine it being better but maybe I’m wrong.
I liked that notion when the band Police released their album LP Synchronicity in 36 different color and photo selection variants, but in the end, it was still the album Synchronicity underneath. Maybe that's a poor example, but I wouldn't watch the silver and black one, least not AFTER seeing the color version. I was able to conceptualize Sin City (the movie) in black/white/other colors because that's how I initially saw it and I don't think I'd care to see it in color now. _________________ GOAT MAGIC REEL SEDALE TRIBUTE EDDIE DONX!
^i hear ya on that. I can’t imagine watching a movie like Clerks in color either. But yeah, Sin City in color sounds awful.
Or how bout Schindler's List? It would almost be heretical on first thought. The B/W does allow for the girl in red to be used as a powerful symbolic gesture. Say Stephen decided to use a set-up and the right film and whatever else to produce a so-called 1939-40s "look" to the coloration -- a la like that from Wizard Of Oz.
Marty did that in The Aviator (a WWII era to later film) w/ a lot of turquoise green and maroon red to make it look like early color TV that was actually sht, but they didn't know any better. There's a golf scene where the grass and sky are about the same shade of turquoisey green. There have been WWII movies that looked "oldey" colorwise. They used a sepia coloration for the 1980-based No Country, even, to evoke a poorer quality of TV coloration than we had later in the decade to the 90s. That sepia stuff was popular in the early 2Ks, maybe to flatten out the contrast and sharpness of the coloration we're used to now. When you look at your family pics from the early 80s, except for Polaroids, they often have a browish/yellowish tint that is thick enough that picture editing software can remove it to a point where all the colors underneath look normal and crisp, it's weird.
Guess what I'm saying is that I think even a coloration style that most viewers would agree looks "right" would lessen the overall artistic quality of the movie. Spielberg recognized that about from the start. _________________ GOAT MAGIC REEL SEDALE TRIBUTE EDDIE DONX!
The original by far. I thought the remake was lesser Tony Scott and Travolta is terrible in it. Denzel's good, though.
Tony Scott 2000s: Man on Fire > Deja Vu > Domino > Spy Game = Taking of Pelham 123
I’m mostly there with you except I really liked the chemistry between Pitt and Redford in spy game. It was a nice little yarn and they made it sizzle.
Scott was the one who dove off of the Vincent Thomas Bridge, no? Like William Peterson in To Live And Die In LA but w/o the harness. Tragic. When someone kills their self that way, it's probably a sign of how much spite they have left over for life at that moment of choice. _________________ GOAT MAGIC REEL SEDALE TRIBUTE EDDIE DONX!
Has anyone watch “G**k” on Prime? (the title is an Asian American slur so I don’t think I can’t type it, but it rhymes with “duke”)
It’s about 2 Korean-American brothers that run a shoe store in LA and a young black girl that hangs out at the shop with them. But it all takes place on the day of the Rodney King verdict so the tension of that just constantly builds throughout the movie. I definitely recommend watching it, I thought it was great.
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