Andrew

Member
  • Content count

    2,510
  • Joined

  • Last visited

About Andrew

  • Rank
    And a good day to you, sir!
  • Birthday 06/12/1968

Contact Methods

  • Website URL
    http://
  • ICQ
    0

Profile Information

  • Gender
    Male
  • Location
    Eastern Tennessee

Previous Fields

  • Occupation
    psychiatrist

Recent Profile Visitors

2,166 profile views
  1. I think Stephen Prince - in probably the best English language book on Kurosawa's career, The Warrior's Camera - considers this connection the most substantially of any writer I've seen. I don't recall coming across any articles or chapters that consider this issue specifically when I wrote my chapter on Kurosawa for the book Ken Morefield edited several years ago. And scanning the index of Prince's book, he name-checks Dostoevsky nearly 20 times.
  2. I don't know that I want to fully defend that scene, as it is certainly over the top. But I can see why Kurosawa included it, as it shows that Niide is quite capable of reacting violently to try and right the world, yet regrets doing so and has chosen a path of healing instead. I imagine this was an especially relevant point of view for a society that had recently been perceived as an extension of the military for over 10 years. IIRC, Kurosawa was especially inspired by Dostoevsky's The Insulted and the Injured in writing this script.
  3. This one had escaped my notice; thanks for the recommendation.
  4. THERE BE SPOILERS AHEAD I dunno, I think a golden mean can be found between fetishizing violence (I only made it through 45 min or so of Hacksaw Ridge before turning it off as war porn) and sanitizing it. With its bloodlessness, Dunkirk erred to the opposite extreme (when bombs drop on a crowded beach, the result will look a whole lot different than what we saw here). And the dangers endured by the characters here (especially the repeated scenes with water filling compartments) felt too movie cliche to me, such that I never felt the main characters in these scenes were actually in grave danger.
  5. Yeah, count me underwhelmed as well. A few major drawbacks to it: 1) it felt too clinical with its near-total lack of character development; 2) some of the CGI effects were unconvincing; 3) the three separate Inception-esque timelines were quite disorienting at first. To be sure, there were some very touching moments, especially around Mark Rylance's character and the civilian rescue efforts. Overall, though, this feels far inferior to Nolan's best work.
  6. After a meh couple of months at the cineplex, this was a good one, and quite timely. Here's my review: http://www.patheos.com/blogs/secularcinephile/2017/07/beatriz-dinner-fish-water-parable-time/
  7. My wife and I loved this (Season 1 > 3 > 2). The final season is batshit crazy but iresistibly watchable. I couldn't tolerate Lost, nor the source material for this show, but yeah, this worked for me. Terrific finale; the entire third season explores the desperate things that people will believe to make grief and the brevity of life bearable, but credibly keeps an open mind as to the objective veracity of some of those beliefs. As Iris Dement's opening tune states, they're willing to let the mystery be.
  8. If you have teens (especially, by my informal survey, teenaged daughters), they've likely already watched this series. In a moment of deep pride for me, my daughter and I co-wrote a review of the series (in which, truth be told, she did the heavy lifting). We both agree that the show is a substantial success aesthetically (using the talents of folks like Jessica Yu, Gregg Araki, and Tom McCarthy), but fails by its irresponsible handling of serious topics like teen suicide and sexual trauma. Here's the link to our full analysis: http://www.patheos.com/blogs/secularcinephile/2017/06/high-school-trauma-edutainment-teenagers-dads-responses-13-reasons/
  9. This was an excellent read (or listen, actually). I hope the film does it right; for its theme, it was surprisingly un-bitter and understated.
  10. Thank you for all of that exposition, Peter. I thought Prometheus was fun and creepy, even if it had way too much of scientists behaving stupidly. Covenant, OTOH, just felt flat and predictable after its first 30 minutes. Here's my full review, though it feels a bit extraneous after Peter's commentary: http://www.patheos.com/blogs/secularcinephile/2017/05/alien-covenant-starts-promisingly-fails-stretch/
  11. Title: The WayDirector: Emilio EstevezYear: 2010Language: EnglishIMDB Link: http://www.imdb.com/title/tt1441912/?ref_=nv_sr_2YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one):
  12. It's been available on HBO for a month or so, but I finally got around to watching it. I thought this was an excellent overview of recent Syrian events, offering clarity while not sacrificing accuracy. Very gutsy reporting (much of the footage was captured by ordinary Syrian citizens and activists), but it's not for the faint of heart, as it doesn't flinch away from showing the actions and consequences of the brutality perpetrated by Assad, Putin, and ISIS. Here's the link to my full review: http://www.patheos.com/blogs/secularcinephile/2017/05/cries-syria-illuminating-gut-wrenching-masterclass-current-events-filmmaking/
  13. I know Gray's earlier film The Immigrant got lotsa love around here, but I think this is even better: http://www.patheos.com/blogs/secularcinephile/2017/04/lost-city-z-enchanting-throwback-progressive-twist/