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Everything posted by kenmorefield

  1. Has there ever been a successful reunion show? I'm not sure I can think of one. I watched most of 30 Rock, though I don't think I got all the way to the end. That sort of sketch comedy doesn't lend to the character development that makes me curious or invested in what happened to the characters. I guess I think that drama might allow people to change in some interesting ways but comedy is about the same formula, same interactions. I'm assuming Liz is still Liz and doing Liz things.
  2. I found the new Flannery O'Connor documentary to be a move in the right direction, though I still find the overall arc of O'Connor studies to be a tad too hagiographic (is that a word)...a tad too protective of the author and her reputation to the point that it may not be possible to really wrestle with any problematic aspects of her fiction or biography. My review: http://1morefilmblog.com/2020/07/16/flannery-bosco-coffman-2020/
  3. I went to local store to pick up a copy of Babette's Feast, but they were out (and no Beau travail until September), so I bout Three Colors trilogy instead...that'll show 'em!
  4. Rushmore won with like 35 or so...because he was the only entry! (If you know more, you should of entered, coulda won...) Here is the list from Jeremy: 0:00 - Babette’s Feast (1987) 0:04 - Three Colors: Blue (1993) 0:06 - Of Gods and Men (2010) 0:07 - Sunrise (1927) 0:09 - The Tree of Life (2011) 0:12 - 2001: A Space Odyssey (1968) 0:14 - L'Avventura (1960) 0:16 - Selma (2014) 0:18 - Make Way for Tomorrow (1937) 0:21 - Andrei Rublev (1966) 0:28 - The Night of the Hunter (1955) 0:29 - The Mill and the Cross (2011) 0:31 - First Reformed (2017) 0:33 - The Kid with a Bike (2011) 0:35 - Bicycle Thieves (1948) 0:37 - The Tree of Life (2011) (again) 0:39 - The Immigrant (2013) 0:41 - On the Waterfront (1954) 0:43 - Ordet (1955) 0:44 - The Gospel According to St. Matthew (1964) 0:45 - Silence (2016) 0:46 - The Seventh Seal (1957) 0:47 - Wings of Desire (1987) 0:49 - Amadeus (1984) 0:52 - The Red Shoes (1948) 0:56 - Babette's Feast (1987) (again) 0:59 - Stop Making Sense (1984) 1:00 - Amazing Grace (2018) 1:01 - Beau travail (1999) 1:02 - Won't You Be My Neighbor (2018) 1:03 - Close-Up (1990) 1:05 - The Miracle Maker (2000) 1:06 - Chariots of Fire (1981) 1:07 - Spirited Away (2001) 1:08 - The Man Who Planted Trees (1987) 1:10 - Silence (2016) (again) 1:11 - Magnolia (1999) 1:12 - Diary of a Country Priest (1951) 1:14 - Secret Sunshine (2007) 1:15 - Three Colors Blue (1993) (again) 1:17 - Lourdes (2009) 1:19 - It's a Wonderful Life (1946) 1:20 - Ikiru (1952) 1:21 - A Man for All Seasons (1966) 1:23 - Calvary (2014) 1:24 - This is Martin Bonner (2013) 1:25 - To Sleep With Anger (1990) 1:26 - Witness (1985) 1:27 - Do the Right Thing (1989) 1:28 - I Am Not Your Negro (2016) 1:30 - Selma (2014) (again) 1:31 - Munyurangabo (2007) 1:33 - Of Gods and Men (2010) (again) 1:34 - The Mission (1986) 1:35 - Schindler's List (1993) 1:37 - Sophie Scholl: The Final Days (2005) 1:38 - Silent Light (2007)
  5. So Movies Anywhere (a storage for digital downloads of movies I've purchased at various venues) is offering a Beta of Screen Pass. The concept is that people who are in the Screen Pass can share up to 3 movies a month from their collection. During Beta, anyone can receive a movie but only Beta invites can share. Here is the list of movies I have in my Movies Anywhere folder, PM me if there is something you want to see. If this thread takes off or more people use this service I may pin this or move it somewhere else for easier access: Calvary Avengers Confidential: Black Widow and Punisher Jason Bourne The Lego Moive Batman v Superman: Dawn of Justice The Legend of Zorro The Mask of Zorro The Natural Dirty Harry Magnum Force Sudden Impact The Dead Pool The Enforcer From Here to Eternity Ted 2 Unrated Rio Bravo Kingdom of Heaven: Director's Cut Thunderheart Man of Steel Badlands A Few Good Men The Interview Carousel Ray Rise of Planet of the Apes Casino Goodfellas Mean Streets The Aviator The Departed The Fisher King Blow Matchstick Men Anna and the King Michael Clayton Vanity Fair The Bourne Idenity A Raisin in the Sun
  6. Thanks Beth, I'll fix it now. I've been thinking some all day about the idea of representation. I know Kevin, didn't know he dreamed of being a director when he was a kid. It's hard to imagine having so few role models in your dream vocation.
  7. Kevin Sampson has given us a blurb for Do The Right Thing: http://artsandfaith.com/index.php?/films/film/374-do-the-right-thing/
  8. Well, this is an unassuming war film (if such things are possible) that strikes me as a near perfect vehicle for pandemic summer -- it's short (90 minutes), understated, not that hard to follow but still aspirational. It's in the Hanks mode of decent men having greatness thrust upon them, and it's got a pro-faith vibe about it without being preachy. Recommend: http://1morefilmblog.com/2020/07/06/greyhound-schneider-2020/
  9. Okay, so I thought I'd have a little fun with this, so I am offering a contest. The trailer has 57 clips. to enter the context, identify as many of the clips as you can, in order. Hint: Some films appear more than once. Sent me your entry via PM using your Arts & Faith account. Deadline is Sunday, July 12, at 11:59 p.m. EST. Winner gets a one month free subscription to Criterion channel. If more than one person gets them all (or if there is a tie), I will draw winner at random from the entries. Good luck! (To win you must have an Arts & Faith account -- it's free -- so feel free to invite a friend.
  10. I couldn't be more pleased with this effort. If you like it, please share on social media. Also, I paid/am paying Jeremy for this, but he did it at a steep discount (according to one of my director friends not on this list who I asked about pricing), so I encourage anyone who has Paypal and likes it to "tip" the editor. I'm going to be running a contest in July to identify the clips, but for now just watch and enjoy:
  11. I have seen the near-finished trailer that one of our own created, and it is spectacular. Can't wait to share it with you all, you are going to love it.
  12. Exciting. I know this is a lot of work just to put together a proposal. I hope you are successful.
  13. I esteemed it, but I had a hard time writing why. (That's not too unusual, I've been having a hard time writing much of anything these days.) I was surprised by at least one of the reactions to Daniel being confessing at the end. I guess I see both points from the Andrews. Like Andrew J., I was surprised the end didn't land harder, but like Andrew S., I honestly don't see how it could have ended any other way. In the DVD notes, Komasa says: 1) If Daniel hadn't committed a crime, he probably would not have been drawn to the Church in the first place. 2) Leviathan was "a reference point of sorts" though he "tried to add some lightness to [Zvyagintsev's] pessimism" FWIW, my review.
  14. When the Pythons first thought of making a comedy about Jesus, they decided to actually read the gospels first. They discovered that his teachings were so good, he couldn't be mocked. So they made a movie about Brian instead, an accidental messiah whose frustrations with ungrateful lepers and slow-on-the-uptake followers echo Jesus' own. Many Bible movies flatter their audiences ("Of course we’d have been awestruck in Jesus' presence!"), but Brian reminds us that the gospel is often obscured by the people who hear it and don't quite get it. By getting us to laugh at these foibles, it brings to life a side of the gospels that other Jesus movies obscure. - Peter T. Chattaway

  15. This is a film about the machine age. Chaplin’s lovable character is repeatedly swallowed up by machines both literal and figurative: the gigantic gear-filled edifice at the factory where he works, social movements, and the government. Set against the mechanization of the modern age, he has only his most human qualities of love, compassion, and a boundless persistence in hope. Prefiguring modern dystopias, from 1984 to Dilbert, and full of outstanding set pieces, this deeply serious but gentle satire is no less relevant or enjoyable today than it was almost eighty years ago. - Robert Dixon

  16. Marci, how do you take Koreeda in general? I ask to try to contextualize your response, not challenge it.
  17. Not sure if there is a bigger Koreeda man than me on this forum, but I found this one less endearing when I saw it at Filmfest 919 last fall. Perhaps it was the film festival format that forced an early morning screening. (I remember Koreeda personally thanking everyone as they left the Scotiabank one year at TIFF for coming to a 9 am weekday screening). Perhaps a second viewing under better circumstances will help. It does feel to me like post After the Storm that he has moved in a more....commercial direction? I guess a lot of people felt Shoplifters was classic Koreeda, but The Third Murder and The Truth both try to bring in elements of genre or commercial cinema (A-list stars) in ways that felt a bit forced. Still, he's a treasure, and I'm glad this film is finding its way out into the world.
  18. When adolescents Sam and Suzy (Jared Gilman and Kara Hayward) run away from their homes to scout the trails of New Penzance Island, they are actually running toward a world full of joy and wonder where they are understood and loved, a desire expressed through their whimsical first romance. The purity and innocence of the world they create for themselves contrasts with their broken homes, which are troubled by affairs and rejection. An impending flood underscores the harm caused by these betrayals, but when it strikes, the local church becomes an ark offering salvation from the water and a chance to restore broken covenants. - Evan Cogswell

  19. Chaplin intoxicates us from the very first scene. As the silent era passes, he graces the human voice with soap bubbles, whistles, and the most poignant title cards ever screened. He lets the touch of a hand work the miracle that technology cannot. And he defies the jeers, slammed doors, and knockout punches of life with supple, kinetic comedy (and a love so audacious it gives all and asks nothing in return). - Josie Rhys

  20. Widely ranked among Hollywood’s greatest spiritual parables, Groundhog Day has been claimed by existentialists, Hindus, Buddhists, Jews and Christians of all communions. Projection? In specifics, perhaps; in evocative power, no. A comic fantasy conceit—a single day Bill Murray keeps reliving—occasions sharply funny soundings in helplessness, power, consequences, immortality, nihilism, longing, love, self-indulgence, self-worship, self-awareness and finally selflessness and growth, with Andie MacDowell as Murray’s Beatrice, guiding him to true fulfillment. The movie’s master-stroke: its silence on why Murray becomes stuck—and unstuck. - Steven D. Greydanus

  21. kenmorefield

    Dads (2020)

    This documentary is on Apple TV. It is fine, I guess. The problem I had with it is that it is so committed to not being negative about anything that there are no boundaries or conflicts or ideas to shape it. Dads are good. Yay! My review: http://1morefilmblog.com/2020/06/27/dads-howard-2020/ Edit: Of course, I'm not a father, so it's hard to tell, but then again, I don't think this film is for fathers so much as it is for kids to elicit them to appreciate their fathers, which I'm all for, in principle...
  22. I finished the novel yesterday. It is loooong. One thing I felt more at the end was that maybe Mitchell went once too often to the well of having someone (usually Rhett) explain Scarlett to herself...exposition in the form of dialogue. This is a tricky thing because some people are insightful and do analyze other people, and there are conversations like that. And I feel as I've grown older that people talk more and more "like" movies in real life because they grow up on more videos (or books). So for right now it. is hard for me to pinpoint when this literary device crosses the edge, but the final chapter of GWTW felt that way to me. Granted, I'm reading the book in 2020, but I had a slightly different response than Bastién. I didn't feel the characters were complex. They are relentlessly, obstinately static. Now, there are people like that in real life, people who are committed to not changing, ever. (I think of the exchange in Mississippi Burning where where Baldwin's character leaves his wife and she asks, "Are you saying I've changed?" and he replies, "I'm saying you haven't...'). Thus the characters in GWTW, for me, are not that interesting. Particularly in the latter third of the novel, I expected experience to make a mark on somebody, anybody. For somebody to change in a positive way. But it's a book mostly about plot...situations change but characters remain the static. That's a mark of a soap opera, really. Having said that, I do have a begrudging appreciation for the book. The world-building is quite extraordinary.
  23. I had this thought during the Zoom call...it might be interested to try a few video "introductions" to the films. In the app blurb list, there is a place that says "Video" and that can go to any YouTube video.We mostly use it for trailers, but some people really don't like trailers. Might be fun to do a 2 minute intro to the film or appreciation of it. I have a rarely used YouTube channel that can upload them, and that might even draw some traffic from a new source. Any thoughts?
  24. kenmorefield

    Shine (1996)

    I mentioned this film late in Zoom chat. Evan, here is a link to the article in the Chicago Tribune I mentioned that I read after Cindy and I attended the Chicago leg of the "Shine Tour" https://www.chicagotribune.com/news/ct-xpm-1997-04-06-9704050246-story.html He's not as negative as I remember, but it's funny he actually brings up P.T. Barnum:
  25. Late in chat tonight, Christian asked about responses to the Top 100 and some of my response was that Do The Right Thing prompted some "what's *spiritually significant" about it?" questions. Wondering if anyone who voted for the film might want to add some thoughts on that. I finally got around to the idea that belonging (to a family, a culture, a society) is a universal human aspiration and seeing the consequences of exclusions helps viewers understand that the consequences of exclusion are spiritual and not just economic/political/social (though they are that). Also, I think films that invite you to *identify* with the other are spiritual. But that's two very broad answers. It is also a film that wrestles with morality -- I think about the line in Calvary where Father James says, "Thou shalt not kill...no exceptions" and the conversant asks, "What about self defense?" Then Father James says, "Aye, that's a tricky one...." That answer (the morality of violence) has probably gotten more discussion because of the Malcolm X and MLK quotes.
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