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Nick Olson

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Everything posted by Nick Olson

  1. This subway moment is one of the most powerful, if not the most.
  2. But the film is from Belfont's perspective. Do we know that he feels bitterness and melancholy? I haven't read his book or seen his interviews, and frankly I have no desire to do so... but I think Scorsese recognized that Belfont's apparent obliviousness (perhaps still?) to the effect of his actions on others was going to be obvious. To me, the key scene in the film isn't the payphone-meltdown/Ferrari-ordeal scene (although that scene is certainly my favorite, one that strangely reminded me of Dave locked out of his own starship in 2001). It's the scene in which Belfort makes his outrageous sales pitch to an ordinary guy while his team is listening, mocking and insulting and flipping the bird to his target the whole time. That scene alone goes a great distance, in my opinion, demonstrating the dark heart of capitalism and hopefully scarring the audience just enough that they'll remember it next time a salesman — or a politician — comes after them. That scene was more disturbing to me than any of the orgies or other spectacles of self-indulgence. Agree on both scenes you mention, Jeffrey. Add in the suicidal image and it starts to become evident just how much shock-and-awe horror is mixed in with the laughs.
  3. FWIW: I posted an essayish review for Filmwell earlier this evening.
  4. Jeffrey, I'll be interested to see what comments you may (may not) have about The Sampler, who--on one viewing--is a presence in the film that isn't quite making sense for me...particularly when I read some of what Carruth and Sensenig have to say about him. I plan to watch the film a second time before posting a year-end list.
  5. Yeah, I see what you're saying--and I think it's there (from what I remember), but it just didn't cross my mind (and that's not to say that I haven't noticed Disney subtexts in the past, either)...
  6. Dropping by to say that I'm growing bored with "video game movie" in its various iterations to function as a lazy negative description of a movie. I wonder if the people who use it have played video games, or if they have heard about college students playing Halo a lot. Obligatory Note: I've not noticed anyone in this forum use it--so if you have, I'm not intending to fire shots.
  7. LIKE SOMEONE IN LOVE is at the top of my must-see list, but I just have a feeling it won't be available until, like, March or April when IFC inevitably teams up with Criterion or puts it on Netflix.
  8. I could make a top ten (15, even) list right now that I'd think was really enjoyable. And yet, in the next two to three weeks, I plan to watch: Faust American Hustle Bastards Hannah Arrendt A Hijacking Apres Mai The Wind Rises Fruitvale Station Drug War The Grandmaster You ain't seen nothin' yet The Act of Killing Leviathan Ain't them bodies saints inside llewyn davis Wolf of Wall Street Nebraska Her Stoker The Bling Ring Until then, I'll wait on posting a "list", but I'll say that I'm high on: The Past This is Martin Bonner From Up on Poppy Hill 12 Years a Slave Before Midnight Frances Ha The World's End To the Wonder Gravity Stories We Tell Museum Hours A Conjuring A Touch of Sin The Spectacular Now Mud Captain Phillips
  9. I actually (informally) adopted your point system when I decided to start including Star scores over at Letterboxd, Darren. Of course, it's still two different systems ultimately. My 4-star is inevitably likely to be different from your 4-star--not to mention I feel pretty unqualified to hand out five stars (from a historical perspective, I mean). But I think what you've created is a pretty helpful guide for me to orient my response to a film. I agree with you that it's helpful to give scores/brief reviews to films shortly after I see them (in part, that's why I started doing so on Letterboxd). Yet, I'm finding that there are still some film experiences in which I'm unable to account for a growth or decline of how much I value the film (I mean within, say, 3-7 days after seeing it, for instance). And I think it raises another set of questions (when scoring) about whether a film is especially reliant on the viewer's first experience of it, or whether it's the kind of film which rewards multiple viewings. I try to account for these things, too, though it's not always easy. When I first saw Certified Copy, I *liked* it, and I felt pretty confident that I would grow to love it (I did). So it's interesting to score something like CC after seeing it a first time versus (for me) scoring something like The Prestige which has (again, for me) a more immediate payoff.
  10. I was just telling a friend over the weekend that if I saw movie X (let's say it's 7th on my list) yesterday instead of 5 months ago, when I saw movie y (number 5, let's say) and z (#3) in the last three weeks, I wonder if my ranking of movie X would be different. I tend to think that it might be. Yet, some films *do* seem to affect me in such a way that time away from them doesn't diminish how I feel. For instance, I saw The Kid with a Bike during Spring of last year, and it remained my number 1 film for the long haul of the rest of the year. ...which might indicate that once you get past 4 or 5, it's especially a temptation for latest to be greatest?
  11. David Ehrlich could compile a top 25 list that included none of my favorites and I'd still love his yearly video compilation. Here's his 2013 top 25 video.
  12. I think my hesitation stemmed from some not-so-pleasant remarks I've heard/read about Korine's past work, and I feared that there wasn't really going to be much satire going on at all. Sometimes that line gets fuzzy, particularly with a subject like this one.
  13. The tide of (my personal trustworthy) critical reception to this film is turning enough that I may end up redboxing it despite my initial hesitations.
  14. Thanks for the coupon direction, du Garbandier. Dreyer collection for $29. Excellent.
  15. For anyone who happens to be following along with my "conversation" with Amanda, here is part 3 (my second and final post) of our month long series looking at Polley's films through the lens of Stories We Tell. Amanda peaked my interest in her second post when she connected intimacy with memory: "to be remembered is to be known." The more I thought about this point, the more interested I became in "recognition" as the frame of reference I wanted to take with my reply. And so I did. Have a look if time allows.
  16. I'm starting to think of this as a less cynical, more caring--and enjoyably comical--Young Adult. That may or may not be a helpful comparison for some of what's going on in the film, but there it is.
  17. I finally had the chance to see this over the weekend. How we understand this life as a "passing through"--our sensibility about the time we've been given--will affect the way we love and hope to be loved. If there's a "thesis," that's the one I sense throughout the trilogy, and it's fascinating to me. That's one essay I'm working on. The other has to do with the "anatomy of an argument." The physical gestures throughout the argument in this film are truly remarkable for me. By God's grace, I've not had an argument quite like that in my marriage, but I also recognize so many moments--gestures--from it. It resonated in some unsettling ways.
  18. I enjoy both parts, though a couple of songs from the first half feel a bit out of place within the context of the record as a whole. But, for me, the stretch from Awful Sound to Afterlife on the second half is very, very good. You Already Know and Joan of Arc are highlights for me on the first half.
  19. Did I miss this being seconded? I don't think I did. Heartily seconded.
  20. Film: The Trip Director: Michael Winterbottom Run time: 107 minutes Language: English IMDb: http://www.imdb.com/title/tt1740047/
  21. Nick Olson


    So it *is* about what it means to be human, then?
  22. Okay. Not sure when exactly it appeared since I last posted (and since Jeffrey posted), but as of this morning, I can stream it.
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