Evan C

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About Evan C

  • Rank
    Being led on an illegal suicide mission by a selfish maniac.

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  • Gender
    Male

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  • Occupation
    Church organist
  • About my avatar
    The Jaguar Shark
  • Favorite movies
    The Double Life of Veronique - Kieslowsk WALL-E - Stanton A Man for All Seasons - Zinnemann Casablanca - Curtiz Singin' in the Rain - Donen and Kelly Henry V - Branagh Rebecca - Hitchcock Faust - Murnau Babette's Feast - Axel Sweeney Todd the Demon Barber of Fleet Street - Burton Three Colors Trilogy - Kieslowski The Lord of the Rings (extended editions) - Jackson It's a Wonderful Life - Capra The Maltese Falcon - Huston Shadow of a Doubt - Hitchcock Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb - Kubrick The Red Shoes - Powell and Pressburger Bringing Up Baby - Hawks The Godfather Part II - Coppola Finding Nemo - Stanton Sophie Scholl the Final Days - Rothemund The Pianist - Polanski Paths of Glory - Kubrick Chariots of Fire - Hudson All About Eve - Mankiewicz
  • Favorite music
    Quartet for the End of Time - Olivier Messiaen Prelude to the Afternoon of a Faun - Claude Debussy The Rite of Spring - Igor Stravinsky Eroica Symphony - Ludwig van Beethoven Sunday in the Park with George - Stephen Sondheim Meditations on the Mystery of the Holy Trinity - Olivier Messiaen Three Chorales - Cesar Franck St. Matthew Passion - J. S. Bach Fantasia and Fugue in G minor - J. S. Bach Choral Symphony - Ludwig van Beethoven Six Organ Sonatas, op. 65 - Felix Mendelssohn Prelude and Fugue on the Name of 'Alain' - Maurice Durufle Sweeney Todd the Demon Barber of Fleet Street - Stephen Sondheim La Nativite - Olivier Messiaen The Messiah - G. F. Handel Magical Mystery Tour - The Beatles Piano Etudes - Gyorgy Ligeti Requiem - Wolfgang Amadeus Mozart Dialogues of the Carmelites - Francis Poulenc Piano Concerto no. 1 in B-flat minor - Pytor Ilyich Tchaikovsky Cantata 147 - J. S. Bach Symphony no. 5 - Carl Nielsen Mass for Pentecost - Olivier Messiaen Sonata on the 94th Psalm - Julius Reubke Company - Stephen Sondheim The Four Seasons - Antonio Vivaldi Atmospheres - Gyorgy Ligeti The White Album - The Beatles Rigoletto - Giuseppe Verdi Canon for 4 - Elliott Carter
  • Favorite creative writing
    The Lord of the Rings by J. R. R. Tolkein Perelandra by C. S. Lewis The Hobbit by Tolkein The Woman in White by Wilkie Collins The Screwtape Letters by Lewis Fox in Socks by Dr. Seuss The Ballad of the White Horse by G. K. Chesterton King Lear by Shakespeare My Cousin Rachel by Daphne du Maurier A Tale of Two Cities by Charles Dickens The Possessed by Fyodor Dostoyevsky
  • Favorite visual art
    Sunday Afternoon on the Island of La Grande Jatte

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  1. Yeah, the ending and final twist really are kind of rushed; I think they could have worked better with just a little more time. But Guinness is wonderful.
  2. It was "meh" on watching, and becomes worse every time a Chris Pratt fangirl tells you it's better than Jurassic Park.
  3. Well, it's certainly possible I missed something, and maybe I was influenced by the audience I saw it with, who strongly presumed Rachel was guilty. Or maybe I was too ticked off by rushing through plot points I considered crucial, but whatever the reason, I did not see that in the film.
  4. Well, I was trying to avoid spoiling the ending of the novel or the movie in the review, but yes, the way du Maurier ties that line into the conclusion is brilliant. You might be less disappointed than I was, but I think you made a good point about writing vs. directing.
  5. QUASI-SPOILERS I went into it in detail (sans spoilers) at Letterboxd, but the short answer is I felt it rushed through too many crucial plot points (Philip's uncritical adoration of Ambrose, Louise's unrequited love for Philip, and most importantly allowing Rachel to be a sympathetic figure), which in turn never allowed the atmosphere of uncertainty to ripen the way it needed to. Philip is admittedly an impetuous, rash character, but I felt the film was using that as a crutch not to develop him or explain the guilt and turmoil that plagues him after Ambrose's death, which directly influences his hatred then infatuation with Rachel. More problematically, even with the ante-penultimate scene of going through Rachel's belongings, the film doesn't really entertain the possibility that Rachel is innocent (the perpetual back and forth questioning of her guilt/innocence is one of my favorite aspects of the book), and therefore Philip just comes across as an impetuous fool being taken in by an eeeevil woman, which I think whitewashes his many faults (cavalier sexism, inflated self confidence, and hot-headedness).
  6. According to the Movie Database, this thing has a runtime of 3 hours and 2 minutes. And with that, I think I'm going to give this a Deuce factor of -3.
  7. There will be worse movies this year; there have already been worse movies, but there will be none that I hate more than My Cousin Rachel. I expounded my thoughts into a review.
  8. I don't remember the details, but you can rank each film 1-5; 1 being you strongly disagree with it being on the list, 3 being neutral, and 5 being you strongly agree with it being on the list. The weighted votes mean that those who have a higher post count and have thus put more time into shaping A&F will have their votes weighted slightly more heavily, which started as a precaution against anyone setting up an account just to vote and then never participating in the forum. I forget the equation to calculate the ranking, but it's not a simple average; the average of the scores, combined with the number of votes a film receives, plus the weighted votes all contribute to a film's ranking. E.g. A film that gets nine 5's and one 4, would still rank higher than a film that gets two 5's and nothing else.
  9. As we discussed, here is the thread for June. I nominated Last Holiday for the films on Waking Up, which I would describe as Ikiru in the style of The Ladykillers. I enjoy it immensely, but it seems that very few people have seen it. The Criterion essay is here. YouTube link is here; it's also available on Amazon.
  10. Thanks, guys. The modeling scene struck me as integral to the film's themes, so I started there when I was trying to work out what I felt it was about. How about Last Holiday (dir. Henry Cass, 1950) for June? I nominated it for the films on Waking Up; it's available on Amazon or YouTube for $1.99. As I've said before, think Ikiru meets The Ladykillers.
  11. Better late than never (even if a month late), but here are my first impressions.
  12. I think it's marginally better than the last one, but that's not saying much. There's probably more than one glaring anachronism in this, but did anyone else notice that the word "horologist" was not invented until the 19th Century, and this takes place in the early 18th?
  13. From the director of Force Majeure, just won the Palme d'Or. The consensus seems to be "it's good, not great." https://www.theguardian.com/film/live/2017/may/28/cannes-2017-palme-dor-winners-live Link to the Force Majeure thread
  14. Okay. Why am I just finding out about this now? Du Maurier's novel is one of my three favorite books, so naturally I'm very excited/nervous to see what is done with this. Weisz is a great choice for Rachel, but nothing in Michell's filmography fills me with confidence that he's the right director, but at the same time, none of his previous films suggest he would be a bad choice. International trailer here. The American one has some spoilers, and is basically a two minute summary of the book, minus the ending, but it's worth watching if you want to see how vastly different a tone it takes. Part of the novel's brilliance is the way it strikes a balance between the genre and tone of the two trailers.
  15. Is it necessary to see Prometheus to fully understand this? Or is there not that much worth understanding?