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Mike_tn

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About Mike_tn

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    Nashville TN

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    clerk
  • About my avatar
    "The Illusionist" (2010) animated film

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  1. Mike_tn

    Gran Torino (2008)

    Warner Bros. will release “The Mule” nationwide December 14 (2018). Clint Eastwood stars and directs. "The movie was inspired by the real story of Leo Sharp, a World War II veteran in his 80s who became the world's oldest and most prolific drug mule for the Sinaloa Cartel." imdb.com "Eastwood hasn’t been the lead actor in a film since 2008’s 'Gran Torino,' ... The supporting cast includes Eastwood’s 'American Sniper' star Bradley Cooper, plus Dianne Wiest and Michael Peña." indiewire.com Eastwood is 88 years old, born 1930. Trailer
  2. Mike_tn

    The Queen of Versailles

    Watched this last night and almost quit with an hour to go, wondering why it was recommended, and had to read a synopsis on how it finished to get myself to go on. I had a similar reaction to the Maysles documentary Grey Gardens. That one popped into my head while watching The Queen of Versailles, both like watching a train wreck, uncomfortable but you can't help yourself. With Grey Gardens the effect by the aunt and first cousin of Jackie Onassis, is more in your face and the need for a decision to go on watching hit much earlier in the show. The Siegels are less of a freak show, and sometimes it was only missing the British accent of a Robin Leach narration, so sometimes it required a divining rod to see past the surface. The documentarian took away something the cast either had little idea was going to be present or just didn't care if it was seen, I'm not sure which. Apparently the Versailles home is to be completed fall of 2019, according to Jackie herself: Jackie Siegel on Instagram in August 2018 "Victoria Siegel autopsy report released: 18-year-old Queen of Versailles star died of methadone & sertraline toxicity. The funeral was at a Methodist Church....(she) long struggled with an addiction to prescription drugs that she initially began taking for a seizure condition." (people.com)
  3. Mike_tn

    Deux Jours, Une Nuit (Two Days, One Night) (2014)

    They are believable characters to me, just out of the norm for today maybe. Wonder if they say "not believable" because they can't figure out what it really is that confounds them? Watched this Mamet movie after your mention. Middle management, Line management what a concept. They can waffle. Sometimes they lack integrity. Line managers would be, or probably were at one time, great floor level workers, but management paid them off with a position and cash. In the end, those types always side with the higher-ups. Floor level workers ought to wary of their immediate supervisor or foreman because they are management, not a comrade. If I'm honest, if I were in Sandra's place or sales guy in the Glengarry Glen Ross cast I'd probably be quick to accuse Jean-Marc or Williamson of doing something viscous or being ignorant sometime etc, I'd try to have my ducks in a row but I might not have all the facts. That's awesome.
  4. Mike_tn

    Deux Jours, Une Nuit (Two Days, One Night) (2014)

    Good catch. Put yourself in Jean-Marc's shoes. Sandra is no perfect victim launching her retaliatory smear campaign and trying to kill herself! Justifiable anger is not a luxury to easily afford. It can mean going overboard too, and getting reeled in. Sandra's absence happened to get the solar-panel factory thinking about a new business model for economic survival. The modern workplace as a tragedy. I like that too. The technology indictment reference. It flows with the modern workplace tragedy theme. Industrialization run amok. And since you were comparing them: The politicking in Two Days, One Night is a bit dry like a documentary, it did not keep my attention as well as The Unknown Girl did with its mystery and some thrill. I've only seen three of the Dardennes, those two and The Kid with a Bike. The only one I liked a lot on first viewing and cold with no background info was The Unknown Girl.
  5. Mike_tn

    Favourite Halloween Viewing?

    It took a few years of viewing lighter movies to get a tough enough skin for this kind of movie but recently watched GREEN ROOM. I actually liked it even though the graphic violence was significant. Others seen within the last month, good for Halloween season: A GIRL WALKS HOME ALONE AT NIGHT, UNDER THE SHADOW, THE ABOMINABLE DR. PHIBES, and ALICE, last one by Czech animator Jan Svankmajer.
  6. Mike_tn

    The Fits

    Thanks for taking time to post Joel. You gave a good alternate view. The Spiritual angle. Prior to my first post, I had read your review snippet and portions of reviews from a few other critics online but either skimmed over too much or that idea was not discussed. Spiritual seems the only tenable alternate explanation. A Bio-Medical point of view seems ruled out by the events of the film, through hospital stays and health tests coming up clean. To the question; is it worth the effort to think about it at all, certainly diagnosis of the fit experience is optional but since the fit experience is central to the film and title, it should be expected. If the girls, while in the 'fits', had spiritual experiences analogous to a person speaking in tongues, there was nothing in the early part of the film to suggest they were open to such a communication. I mean there was nothing preceding or simultaneous to make a viewer expect the person was ready for or voluntarily invited a 'fit' experience. Granted, sometimes a person does no invoking prior to communication with heaven or hell but often it does precede as with Pentecost or a seance. I can allow the more subtle. In the case of our girls it could be invoked by private meditation, even cosmic radiation (too many sci-fi monster movies). Please do not be angry if I go on with my diagnosis. The Spirit element accepted, now what kind of Spirit? Notice the girl's 'fit' prior to Toni's, talking in an overly self-confident way while describing her own experience. After that, near the end, the film majorly morphs by adding vivid fantasy elements with Toni's 'fit'. Notice in the vision, she's the star of the show. It's a spiritually middle-of-the-road experience, close to an self-induced hypnotic ordinary dream state, not pure and not the dark side. Which brings us back to something ordinary, maybe akin to fakery, however from this angle the girls are off-the-hook because they do not understand it all, they are swept away by it. It's real, strong, new, drawing them into it. Lacking culpability, my assumption of malice is null, the ending of the film is better. I'm not sure why you played the race card in your reply. I wrote nothing to suggest I was biased that way. In fact, the opposite. I playfully compared the girl's 'fits' to their behaving like a couple of white boys, the film characters Gordon Gekko and Yuri Orlov who are both much worse than the girls could ever be interpreted. Perhaps you confused me with other reviewers you've encountered? If the girls were white or aliens, I would have interpreted the film the same. I could not conjure up your spiritual perspective on my own, perhaps because I profile females, but not blacks. Profiling females....you might be challenged that way too if every other departmental employee of your day job was a woman, as mine are, I'm the only guy. Going too far while putting on a false display to get social attention is hardly unknown among modern US or UK females. Thank you for a better view for this film. May that go well for you! I'll pretend I helped. The film certainly has enough heart and soul to be included in a thesis with what I now see as at least two interpretations.
  7. Mike_tn

    The Fits

    What am I missing? Maybe missing my own kids, I don't have any. The movie was going fine for me until near the end when their 'fit' stories didn't match and one troupe member acted overly self-confident in describing her own, it was clear they were lying or doing what others describe as a rite-of-passage theatric. That would be fine except it doesn't seem harmless. It's after causing the city grief with alarming TV news reports and costing the health department time and money with water tests, plus personal hospital and doctor visits. When the movie ends on Toni's smirk, the writer/director almost seems to be telling girls to get attention by lying. Toni was suddenly in the vein of Gordon Gekko (Douglas) of Wall Street and Yuri Orlov (Cage) of Lord of War, but a kid version. The most complete 180 turn a movie ever took at the very end.
  8. Mike_tn

    Top 25 or 100 for 2018-19

    OK I'm just a lurker, but I want this. I speak for the masses.
  9. Mike_tn

    Soul of a Woman - Sharon Jones

    "He Said I Can" track on Soul Time! compilation album
  10. Mike_tn

    Starman

    Starman is a good choice for Valentines Day. Ladies like Bridges. Karen Allen is gorgeous. Has plenty of romance and explosions with aliens. And a road trip theme for honeymooners. Not overly cerebral/somber like Arrival was. From the maker of Halloween but not so scary, only rated PG. A crowd pleaser for V-day.
  11. Mike_tn

    Room (2015)

    I came across Room at the library and so watched it last week (along with Star Wars I, II, III½ & VII and The Case For Christ) going in cold, not having read anything, only seeing part of a 60 seconds review by David DiCerto of 'Reel Faith' who liked it. No one I knew saw it. And I just now skimmed the A&F discussion above, not the links, and did not find written here that something sitting on my mind about the film. Tell me if I'm crazy. When the film ended, mostly I liked it quite a bit. The overall story, the boy & mother, the aftermath, all of it. Enough to think I'd like to tell people at work or friends about it. And what I didn't like wasn't something I put my finger on immediately probably because what was good in it overshadows that. After the movie, I read about the writer Emma, and how she influenced the making of the film. And that she's a Canadian feminist with previous work popular in the lesbian community. So it made me reflect on the film for possible bias reflecting her life orientation. Suddenly I thought, in Room, all the key white men are losers. Now is that crazy or legitimate? Of course old Nick had to be a primo loser. Not problematic. But the next white man you get to meet a little bit is the cop driving the car to first arrive when the escaping boy is found. Compared to his female cop partner, the man comes off like an ignorant taxi driver at best. The female cop is sensitive, solves the crime immediately, and astounds the white man cop. The male cop is such a numbskull while looking over his shoulder toward the two in back, what he says is laughable. The next adults we meet who are experiencing pressures of the story, not the flat healthcare people or crowd control guys, we meet are the 3 grandparents. The real father (Robert) leaves the film marked as being strongly prejudiced against the child we've all come to love. He's been divorced, replaced, and can't see past the rape. If any white guy in the film might shine it would have been the father/grandfather. Next, the step-father (Leo) acts much nicer than the real father but he looks like he just stepped out of a Western or a prison film of which he did not play lead, looking sort of dishevled, mussed up, even deranged. In fact I read that Leo almost played the part of old Nick. Leo really contrasted the middle class surroundings. The only adult man that we meet for any bit of time who seems admirable is the helthcare worker visiting their home and he was never a 'white boy from Ohio'. I grant that the writer Emma worked to make the boy, mother, grandmother, lady cop etc all seem real. Those characters were not all-powerful, they had troubles of their own to face and overcome but the viewer ends up seeing the worlds of these characters work out well enough in the end and we like them afterwards. Not so the men. This reflects the bias of Emma Donoghue who also greatly controlled the filming. "In 2012, (director) Abrahamson and Donoghue spent one week at her house in London, Ontario as they revised the screenplay. She served as executive producer and was included in major filmmaking decisions." Should it spoil the film? It does somewhat for myself, not entirely.
  12. I nominated Angel and the Badman a realistic conversion story of renegade John Wayne (the Badman). The ending isn't a given until it's over, he waffles a bit. First a Quaker family takes him in when he gets injured. He recovers and due to the influence of the family, though torn, he tries to finish his previous business more diplomatic than his norm, like without killing anyone. Another time he does good deeds for the same family by getting a stingy upstream neighbor to share water. The nasty neighbor gets a real general change of heart from it, and you wonder why Wayne doesn't notice it more and if he could possibly leave his wild & criminal cowboy life. He even half-heartedly attends a meetin' though it was probably in part because he liked the family daughter played by Gail Russell (the Angel). Then he relapses. That's enough details. The way typical Western film hostilities are resolved is unique. Wayne ends up giving up the guns for a simple life with the family and his girl of course. You are left with: "Only a man who carries a gun ever needs one."
  13. Mike_tn

    Detroit

    First Trailer Release Films of Kathryn Bigelow, Point Break (1991), The Hurt Locker (2008), Zero Dark Thirty (2012).
  14. "Second": The Illusionist, (2010) aka L'illusionniste, director Sylvain Chomet, (available in English too, but little dialogue)
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