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  1. Yesterday
  2. Same here. As a rule, I always wait to close to the very end voting date in order to watch a few of the nominated films I haven't seen yet.
  3. This came to my local community-sponsored art movie program last week, and I was all excited to go. But then I got there and realized I had to pay in cash and hadn't brought any with me. I had to park 10 minutes walk away, and I was on the campus of a university closed for the summer and the weekend, so there were no ATMs anywhere nearby. I wandered around for awhile looking, but the movie had already started, and at best I would have missed the whole first act, so I ended up just going home. Guess I'll have to wait for home viewing.
  4. I don't have much to add, except that this is clearly the cinematic event of the summer, and probably the year. It's clearly not for everyone, yet I really feel like any cinephile who isn't watching is really missing out.
  5. FWIW, my review: http://1morefilmblog.com/2017/06/27/the-beguiled-coppola-2017/
  6. Shoot. I thought it was July 14th too.
  7. Yup. And don't forget the influence of Brakhage and other experimental filmmakers, of which Lynch is one.
  8. Fair enough, that's just not how my brain works. Perhaps because I'm not a prolific spur-of-the-moment poet in the way you describe. I write occasionally and with intense concentration, and sometimes I'll get stuck halfway and put the poem aside and when I come back to it months later my subconscious has been working on it and I can finish it easily enough. I still maintain that Paterson, who writes his poems longhand in a notebook, and is seen mulling over his work and revising it, would be able to write it again from memory. I know I would, and I'd expect anyone to at least try if it means that much to you. Heck, I think I could make a fairly good stab at it, just from having seen and heard them written down in the film.
  9. Hmmmmm.... Bummer.... I guess I should have followed this Facebook link to the actual A&F post, where the date said June 14th... Am I the only one who thought we had more time?
  10. Last week
  11. In its expansive reach, Episode Eight draws in material from a lurid crime thriller, an old-fashioned romance, late-90s-style Nine Inch Nails, The X-Files, Eraserhead, Malick's Tree of Life, Weir's Last Wave, and Kubrick's 2001, while carefully refraining from cutting the cord that keeps us tethered to the story of Laura Palmer. I've never seen cinema like it — and it is cinema. We're not even halfway through this series, and it has already broken the mold that the original series made, and anything can happen now.
  12. Hello all! As you've probably seen, voting for the 2017 top 25 films on Waking Up is officially closed! The Image staff are currently working to calculate those results; they should be ready by the end of the week. Thanks for your input, and your patience in a very busy season at Image! -Paul
  13. Writing poetry is not the same as reciting it. I have written hundreds of poems I couldn't tell you the words to if you held a gun to my head. Poetry is catharsis for some of us, just a way to let the steam of life out in one flawed imperfect attempt at at least making some beauty out of it. Sometimes we never return to that poem again, and the words fade like smoke into the air. Course if you make a book of poems and recite them over and over for fans, I suppose you'd come to remember the words a bit. I'd kinda hate doing that myself. Maybe that's why I'm not a -poet- but just a guy who writes poetry sometimes.
  14. OT: Twitter has a way of making even the kindest and most thoughtful of us seem like arrogant, dismissive jerks at times. The desire to deliver a "sick burn" in the heat of the moment of experiencing art is too much for most of us. As I told Ryan H. once in a Twitter thread, I'm tired of moralistic language being used to describe films on Twitter (in other words, tell me more about the film, less about your reaction to the film and why you're better than me for disliking it). But it's a function of the medium. I digress. PATERSON is still on my must watch list.
  15. For the record, my tweets were an attempt to describe the scenario in realistic terms. Jarmusch always has one foot in reality, so I think that kind of description is not only fair but essential to understanding how the films work. I wasn't condemning the film. "It's about an emotionally co-dependent amateur poet in a not-altogether-healthy relationship" is a pretty great starting point for a film. Paterson, obviously, is about other things too.
  16. So pleasant when that happens. Currently having this experience with every Kubrick film.
  17. This is Lynch's magnum opus. I started grinning about fifteen minutes into tonight's episode and didn't stop until the end. Just...beautiful and odd and offputting and wonderful. Thank God for Lynch and Frost and thank God for Showtime.
  18. April 15, 2013
  19. Absolutely. I don't even dislike Finding Neverland, but I'm so tired of cutesy-poo 'life' affirming biopics with magical tinkly piano scores and golden-wash cinematography which try to hide all the bodies in the woodshed. The story of Christopher Robin is actually pretty sad and difficult. He was bullied at school because of his father's books, then became estranged from his parents because he married his first cousin, and his child was born with severe cerebral palsy. It is possible that the film touches on these topics, because there are scenes with Christopher Robin in his early twenties, but if so the trailer isn't giving it away.
  20. One thing I found truly unrealistic [MILD SPOILERS] was the idea that Paterson would be unable to write his poems out again from memory; or at least some of them; or at least try. Even his wife, positive and upbeat character that she is, doesn't suggest it. I used to memorise poetry as a kid, and I've scribbled the occasional verse myself, so I know how the cadences of a poem - however 'free-verse' - echo through the cranium. Especially when your brain has created those lines itself, and spent energy on trying to get each line weighted correctly, with the right word in the most telling place. That amount of passivity seemed unrealistic even for him. As to the quality of his poetry - I thought the scene with the girl was perhaps meant to be a moment when he meets someone who has real ability rather than simply inclination. She's young - eleven, I think - but there's a certain life to her poem, and a sense of potential opening up around her that she herself doesn't realise yet. Something that Paterson sees and that possibly makes him reconsider his own efforts. At least, that's how I read it.
  21. Just watched this. It's not great, but it is enjoyable. McAvoy's obviously having a blast, as most actors would with that kind of role(s). I've only seen her in this and The VVitch, but I think Anya Taylor-Joy has real talent - she's got the ability to convey an interior stillness which is important for deeper roles. Disappointed to see her next film is an X-Men spin-off, but hey ho - even Saoirse Ronan has The Host in her resume. It's nice to see Shyamalan enjoying himself, although it definitely feels like he's making B-movies now - I kinda miss the slightly pretentious early works where he was reaching for something a bit more. Nothing about this lingers in the mind like scenes from Sixth Sense, Unbreakable or Signs do. Only mildly intrigued for Glass, but I'll still catch it.
  22. Fair enough. Thanks for the clarification, Darren. I admit, I reacted in a "punchy" way when I saw the tweets Peter shared. I hadn't seen the other one.
  23. Isn't that the same thing as "desperately clinging for beauty?" I think you've loaded my comment with a lot more criticism than I intended. I also identify strongly with Paterson -- I'm working through PTSD and am a bit codependent and hyper-vigilant (to quote my therapist), which is why the film made me so anxious. Peter might not have seen my other Tweet last night because it was in conversation with someone: "It still might be really good -- just not in the ways I originally experienced it."
  24. A review by Susan VanZanten, a Dickinson scholar who works with me here at SPU.
  25. I'd argue that the American Beauty guy is a bad version. He's detached, desperate to find beauty in really troubling things without honestly engaging with the truth of them. "Hey, the dead body of someone close to me! His head's shot open! Cool! How beautiful!"
  26. A case could be made that there is a good version of this guy and a bad version of this guy. I do not have any good examples of the latter at hand, but surely there are some.
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