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Andrew

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About Andrew

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

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    Male
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    Eastern Tennessee

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    psychiatrist

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  1. Wonderstruck (2017)

    Haynes and Selznick are terrific together here. This'll definitely be making my Best of 2017 list: http://www.patheos.com/blogs/secularcinephile/2017/11/yes-wonderstruck-todd-haynes-newest-film/
  2. Harold and Maude

    I'm not an expert on the film by any means, but I've watched it a few times and ranks as a favorite. So I'll give my response to a few of your questions: - I think Ashby handles the revelation of Maude as a Holocaust survivor just right, letting us know subtly that this experience has without doubt profoundly affected Maude's 'embrace the moment,' life-affiriming ethos. I have deep respect for directors who don't belabor key story points, trusting audiences enough to connect the dots. - I think her experience as a Holocaust survivor helps answer your last question: she's had the power of life and death removed from her once before, she's gonna go out on her own terms. (As a doc who's seen many patients linger agonizingly in cold ICUs because their families can't let go of them, I have profound respect for her choice here.) - And I've always presumed that H & M did the deed; I don't see any reason to assume they didn't, and the 'afterwards' scene is set up in the style of a Hollywood post-coital scene.
  3. I'd like Red Beard, s'il vous plait.
  4. A Ghost Story

    I liked it well enough, but it won't come close to making my Best of 2017 list. Here's my review: http://www.patheos.com/blogs/secularcinephile/2017/06/david-lowerys-ghost-story-lures-style-though-substance-proves-tougher-grasp/
  5. The Lost City of Z (2016)

    Yeah, this one has only grown in esteem as I've thought back to it. I can't wait to watch it again.
  6. Mother! (Darren Aronofsky)

    The first shot went by too quickly for me to tell, but yeah, the actress at the end is definitely not JL. I don't have time to write in detail this morning, but I look forward to reading the reviews linked to here. A fascinating, disturbing film; Lawrence certainly deserves an Oscar nod for her performance here. No time to link, but yesterday's NY Times had a worthwhile interview with Aronofsky and Lawrence. And I can't resist a little snark: I'm guessing Aronofsky didn't reach out to the Christian press for this one?
  7. TIFF 2017

    Yeah, I know, no celebrity sightings out and about Toronto, unlike last year (walked past Agnes Varda at TIFF Lightbox and saw Iggy Pop at the airport). But I've been more impressed with the films on offer. Today included my second 5-star film of 2017 (Makala) and a 4.5-star suspense film out of Norway (Thelma).
  8. One of Us

    The newest film from the co-directors of "Jesus Camp" had its world premiere at TIFF last night, with the co-directors and their documentary's 3 subjects in attendance. This time they're looking at the lives of ex-Hasidim, and I think they've done splendidly. Here's my review: http://www.patheos.com/blogs/secularcinephile/2017/09/one-us-struggles-ex-hasidim-vividly-revealed-directors-jesus-camp/
  9. TIFF 2017

    Well, I made our film selections yesterday afternoon, and I'm very happy with how the process shook out this year. I was able to score tix for 6 of my top 10 selections, and I'm hopeful we'll be able to make it in for 2 of the others. I do notice that the tone of the films I chose is lighter than in years past; this wasn't conscious, but in this Year of Trump, I guess I've had enough dourness in current events to make me aim for more upbeat cinematic fare. Saturday 9/9 - I, Tonya - Mary Shelley or Suburbicon Sunday, 9/10 - The Current War - The Square - One of Us Monday, 9/11 - Lean on Pete (our lean day – we may add in Hostiles) Tuesday, 9/12 - Downsizing - BPM Wed, 9/13 - Faces Places - Loving Pablo Thurs, 9/14 - Kings - Marrowbone Fri, 9/15 - Makala - Thelma Sat, 9/16 - Jane - C’est la Vie!
  10. TIFF 2017

    Jessica and I will be there Sept 8-17. I'm still working on my selection list, but at the top are BPM, C'est la Vie (horrible title, though), Downsizing, Faces Places, Happy End, I Tonya, Jane, Kings, Loving Pablo, Marrowbone, Mary Shelley, Molly's Game, Novitiate, Number One, One of Us, Sighted Eyes, Suburbicon, The Children Act, The Current War, The Florida Project, The Insult, The Killing of a Sacred Deer, The Square, The Third Murder, Thelma, and Three Billboards. So even if my very favorite contemporary directors don't have films showing, there's still plenty that I'm excited to see.
  11. The Good Place

    Sounds appealing, and my family and I are always looking for good comedy on our streaming services - we'll check it out!
  12. Red Beard

    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.
  13. Red Beard

    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.
  14. In this Corner of the World

    This one had escaped my notice; thanks for the recommendation.
  15. Dunkirk

    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.
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