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Mr. Arkadin

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Everything posted by Mr. Arkadin

  1. FWIW, Woo is a Lutheran. You find a lot of Christian imagery in his movies, which Woo has said is very intentional.
  2. "Waking Up" seems to be the topic with the most momentum (so far, at least).
  3. So now hopefully we're all settled enough to devote some time to compiling and assembling a Top 25 list for 2017. So far, the topics discussed are the following: Films about coming of age Films about crime and punishment Films about cultural upheaval Films about government Films about idealism vs. reality Films about small towns Films about "waking up" I want to open up this week as an official nomination period to see if there are any topics others would want to suggest before we open voting on a specific topic next week.
  4. This looks like everything I feared it would be.
  5. Apparently, this will pull a SUPERMAN RETURNS and will be a sequel to only the first two HALLOWEEN films.
  6. So have things settled enough that we are ready to devote our attention to this? Speaking for myself, I'm ready.
  7. Oh, very much so. Fantasy and sci-fi is rife with storytelling of this sort.
  8. Glen is delicious in this movie. He makes the most of every little moment.
  9. I would strongly recommend skipping the 3D. I saw it in 2D on the recommendation of a friend, and I'm glad I did. The cuts are very, very fast, even by "chaos cinema" standards, and the images are often dark and shadowy.
  10. Hm. I'm thinking more in terms of "cultural upheaval." Moments where society's status quo is strained or shattered and factions are formed as a result. "Encountering the Other" isn't a bad idea on its own, but it suggests something different. To cite one example, CABARET is a film about cultural upheaval. It's not really a film about encountering "the Other."
  11. Anderson's decision to go full-on fast-cut shakycam is something of a bummer, but the action is still propulsive enough to keep things moving. Thankfully, Anderson's penchant for outlandish scenarios remains intact, as is his sense of lean, goal-focused plotting. In its own so-absurd-it's-almost-smart way, the film does well by the ideas about technology and identity that have run throughout this wild series, and therefore The Final Chapter ultimately serves as a strong conclusion (even if, when you get down to it, its conclusion isn't all that final). Iain Glen is pretty awesome here.
  12. I think there's a lot of potential there. It kinda captures the zeitgeist without limiting us to it.
  13. We may be able to push the deadline back a bit to allow for more discussion. These have been stressful weeks for me and I haven't been able to devote as much headspace to the list as I would like. I'm sure some of to feel the same way. How about a Top 25 about cultural conflict?
  14. Yeah, I share your concerns. Didn't we throw around the Top 25 Crime Movies a few times?
  15. More and more interviews have indicated that the marketing team knowingly built the ads out of cut material. The more I read about this film's production, the more inclined I am to blame Edwards for its considerable failings, not Disney. It seems like he didn't really know what he wanted, just blindly shooting reams of footage, and it was only after Disney realized the movie wasn't coming together that they pushed for the extensive reworking of the film.
  16. Is there any interest in revisiting the "Films about Government" idea?
  17. This is a very difficult film for me to discuss, but I've never been able to shake it. It became more accessible to me after seeing TETRO and TWIXT, which form a loose kind of trilogy with it (a trilogy that is, as far as my own idiosyncratic judgement is concerned, is the best work Coppola has ever given us). At the heart of all these films is the struggle for art and the way this overlaps with our sense of self and our relationships and how it will put strain on both. They are aesthetically and tonally playful as they are narratively peculiar, but they are bracingly personal and expressive as auteur cinema gets. There is some overlap here between a film like YOUTH WITHOUT YOUTH and something like NIGHT ACROSS THE STREET: an outpouring of inspiration and thought and dream, bound up in a sense of mortality and human limitation.
  18. It kills me a bit that I haven't seen this yet.
  19. Okay, so it seems we're leaning toward not doing the T100 until next year or later. Let's talk about topics, then.
  20. I've seen it four times now and love it as much as ever. I've not been able to find an English translation of the novel. As far as I've been able to tell, one has never existed.
  21. If they go digital, I'll throw a fit. Disney had better have more respect for Fisher than to turn her into a zombified CGI puppet.
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