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Everything posted by Bcolinstacy

  1. Though I'm not participating in the voting this year, I can help get screeners from studios and distributors, if they are willing to send them.
  2. I'm in for Noirvember as well. In speaking with Ryan and Nathaniel about it, the film we thought would be a great place to start is Welles' The Lady From Shanghai.
  3. Jeff, I visited your page and added some thoughts to the conversation. I think @M. Leary did enough beforehand to alleviate that commenter's befuddlement, so I just piggybacked and supported his response. Thanks for bringing this to my attention.
  4. Looks like Salt of the Earth should be The Salt of the Earth, btw.
  5. Ah, right. @kenmorefield, are we proceeding according to EST?
  6. So, just to clarify: the nominating window closes on the 28th? And voting ends on the 3rd?
  7. Yup. This film is quite a marvel. Just left the theater and I want to go back in for a second screening. Alas, time. I just went to log this into my diary on Letterboxd and chuckled at the synopsis given on the film's page: A female assassin during the Tang Dynasty who begins to question her loyalties when she falls in love with one of her targets. I mean, this one is hard to follow certainly. There's a lot of political detail, similar names and faces (for a backwoods Southerner like myself, especially), and Hou's clearly intent on creating an entrancing, incoherent experience. But really, that last clause: "...begins to question her loyalties when she falls in love with one of her targets."
  8. I can understand your concerns with this film, Michael. I certainly lack the experience and exposure to this genre that you possess - an issue which I will attempt to rectify this next year - but I found the formal and narrative approach absolutely effective. The structural awareness is so keen, allowing the stations to impose meaning directly onto Maria's path. Its widescreen tableau presses a sense of inevitability right through the screen. And it strongly mirrored liturgy itself. Its commentary on sacrifice seem more specific than to just point out the absurdity of it all. What's absurd is that when we assume sacrifice must be equivalent to austerity, yet Christ's exacted sacrifice redefines the nature of human sacrifice. Actually, my review of it at Reel Spirituality just posted this week: http://www.brehmcenter.com/initiatives/reelspirituality/film/reviews/stations-of-the-cross
  9. Brilliant! I was very near to buying/renting this one. Time Out of Mind should be coming to Netflix on the 15th as well. Oh, and Guy Maddin's The Forbidden Room will be on Fandor starting tomorrow, if anyone is so inclined.
  10. What's the release date on that? You might wind up the only one of us to see it.
  11. Is this a second for Creed? Ken, was your post about it the other day a nomination? So, I watched Hard to Be a God this week. This film is an impenetrable slog. It's one I'd find hard to ever recommend to a viewer who isn't well-versed in cinema. It's certainly an extreme work of craft, with its cluttered verite frame and boisterously fluid mise-en-scene. (I say fluid quite literally; frames are often full of snot, blood, feces, mud, all at the same time.) The production design is draw-dropping, but with a running time of almost three hours and a conceit whose purpose is almost completely veiled by subtext, I was confounded and exhausted by the end. There is some disgustingly great humor, absurd characters, and an infectious anarchy to the whole thing, and, still, it's hard not to respect the craft, BUT, will someone please defend this film for our list? Knowing our target audience, I find this a hard film to include on our list. Segue: I have seen others reluctant to nominate A Pigeon Sat on a Branch Reflecting on Existence due to it's absurd bleakness and odd tableau, but if a film like Hard to Be a God is on our list of nominations, I think A Pigeon... is even more deserving. So here's my nomination for A Pigeon... I also want to nominate the film Buzzard. It's not dissimilar to Homeless but features an oddly complex protagonist who, by the film's end, effectively conjures a type of sympathy that was hard to administer when the film began. It's a more audacious, peculiar, and aggressive film, and it certainly makes us gaze at the unloved and lonely in an unusual and convicting way. It also serves as a deft exploration of nu-paranoia vis-a-vis the Mountain Dew-soaked, basement-dwelling, gamer-fisted millennial manboy. If a film can make you understand their plight a bit more, I'd say it's indeed a work of great empathy. One more thing: I implore all of you to watch the documentary Stray Dog which I recommended a couple weeks ago. It's directed by Debra Granik, who directed Winter's Bone, and is available to stream free on PBS's Independent Lens. It's only 85 minutes, and it's a beautiful portrait of a Vietnam vet biker who serves other veterans and bikers like a pastor, shepherding them to understand their experiences and trauma in a loving, utterly human way. His story is also about his two Mexican step-sons who move to live with him and their mother in Missouri. What could've easily been a voyeuristic piece of Americana absurdity turns out to be one of the most deeply moving portraits about love and community and the everyday I've seen this year. It helps that I have family just like those who litter this film, so it's nice to see Southern trailer park residents portrayed lovingly every now and then. Please watch it. It's the kind of film our nation needs right now.
  12. I'm going to go ahead and second The Mend. And for those of you who haven't yet, please watch Gett ASAP.
  13. I've reached out to the distributor for 45 Years and haven't heard back. The Witch doesn't have a release date until early '16, so I'm not sure how likely we are to get screener access. Ken didn't you receive a screener for 45 Years? EDIT: The Witch is being distributed by A24, whom I've reached out to for other screeners and also never heard back.
  14. Argh. I keep waiting for Netflix to correct the aspect ratio on this, but on my TV, no matter what adjustment I make, it is letterbox-stretching the image. I just can't watch the movie that way. Strange. I watched it via Netflix streaming in its proper viewfinder ratio with no troubles. Perhaps it's a TV thing, not a Netflix issue? Haven't watched the film yet, but when I pulled it up on my TV via Netflix I saw no imposed letterboxing either.
  15. This is one I still haven't seen, Ken. I missed it when it came to Dallas, and it doesn't look like it'll be out on any home video options until early next year. I tried contacting the distributor's publicist but never heard back. So...
  16. Did you get around to Entertainment, Peter? If only John C. Reilly singing had the power to save this film. If only...
  17. My recollection was that Colin's request for Listen to Me Marlon was early in the process and predated his having the e-mail roster. I gave him the contact info for the publicist (which I had from OFCS) and he asked for that one individually. Part of that, too, might have been that the film had already been nominated and seconded and at least two others (me/Steven) I knew/assumed had it (Steven because he is also in OFCS). If anyone wants to send me a PM or e-mail, I will be happy to send you the contact info to request it. Ken, I asked the publicist to send out LISTEN TO ME MARLON screeners to the whole jury earlier this week. He said they'd be happy to, looks like he hasn't sent them yet though. Also, everyone should be receiving A MIDSUMMER'S FANTASIA, nominated by Josh. I will also be seeing SPOTLIGHT tonight. Be sure to share your initial thoughts!
  18. I agree, Evan. I was planning on doing the same. Ken makes a good argument for it. Also, I want to nominate Stray Dog.
  19. I also tell everyone to watch Experimenter because people have a hard time understanding what I do all day, and the events of this film are one of the events that set the stage historically for the research ethics in the US. Ergo, it explains what I do all day. And... its existential (post-Holocaust) commentary on what it means to be a human is a real tribute to Milgram's core insights. I will third the recommendation for Experimenter. All of what Lauren and Michael said plus it's one of the most playful films I've seen in some time–formally and thematically. It deals deftly with its heavier subject matter while also reveling in its awareness of craft; it's at times both very silly and deeply melancholic. Peter Sarsgaard's performance is brilliantly affected, and the supporting cast is aces, notably Winona Ryder (glad to see her back doing some significant work!). Also, the film has swagger in spades which really had me wanting to rewatch it immediately. And–not to be *that* guy–but it transcends its biopic subject matter to really deal with, ultimately, the experiment that is film/theater and the ethics of filmic representation itself. The debate ever-rages on the nature of adaptation, be it literary or biographical, and I think Experimenter is a near-perfect adaptation in how it evokes the essence of a man's life, work, and relationships without ever betraying the human life behind it all. I feel like I need apologize to everyone who received those Magnolia screeners because of the inclusion of the film Entertainment. I'm not sure if any of you have watched it yet; I was curious about it so I requested it. But it may be the worst, most pitiful film I've seen in years. So, if any of you have seen it, I owe you some 100-odd minutes from my own life. Get in line. Has everyone received the screener links for Listen to Me Marlon and The Armor of Light?
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