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What I'm Watching This Weekend

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Amy, which is the last Ecumenical Jury nominee I plan to see before voting.

Either Joy or The Danish Girl.

Hopefully a second viewing of either Spotlight or Brooklyn.

And then The Hateful Eight this afternoon. Wish me luck.


"Anyway, in general I love tragic artists, especially classical ones."

"Even the forms for expressing truth can be multiform, and this is indeed necessary for the transmission of the Gospel in its timeless meaning."

- Pope Francis, August 2013 interview with Antonio Spadaro

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1 hour ago, Evan C said:

And then The Hateful Eight this afternoon. Wish me luck.

It was almost sold out, so I switched to the showing of Joy ten minutes later.


"Anyway, in general I love tragic artists, especially classical ones."

"Even the forms for expressing truth can be multiform, and this is indeed necessary for the transmission of the Gospel in its timeless meaning."

- Pope Francis, August 2013 interview with Antonio Spadaro

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We're thinking about a double feature of Boy and the World and When Marnie Was Here at the GKids program at the Fine Arts on Sunday.

I'm also trying to get my wife to The Lady in the Van and Anomalisa.


A foreign movie can't be stupid.

-from the film
Armin

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I've been missing so many things in theaters lately, but I'm going to try to catch NOTFILM, Ross Lipman's "kino-essay" about the Beckett-penned Keaton short of 1965. I hadn't heard about this odd, historic collaboration between two discrete geniuses until last week. It's delightful and humbling to know that cinema is still yielding up its treasures.


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

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Well, I didn't make it out to see NOTFILM, doggonit. But at least this frees up some pocket money for this year's Noir City at the Egyptian! They're doing something a little different this year by opening the fest with a restoration of the rare Argentine crime film, The Bitter Stems. That should be good. It's too bad I'll be out of town for Flesh and Fantasy, which I've been aching to see again.

Dead Reckoning, Deception, and The Captive City also look enticing. 


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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6 hours ago, Mike_tn said:

Your events at the Egyptian begin in two days. I'm jealous! Last night I watched the 1946 Killers, with Burt Lancaster & Ava Gardner. Tonight it will be the second feature on the disc, the 1964 version of the same Hemingway story which I'm curious to see Ronald Reagan in. That's the closest I'll get to Noir City this week.

You've got some good stuff coming your way. The Siodmak version opens with one of my very favorite noir scenes, but the remake is also excellent. One of the assassins is played by Clu Gulager, a longtime character actor who is something of a fixture around here. He practically lives at the New Beverly Cinema. I had dinner with him once and he's really nice!

Edited by Nathaniel

"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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Last weekend I got to see a release print of Friedkin's Sorcerer with a rare, 4-track mag soundtrack. The picture was a B- but the sound was incredible! The eerie score by Tangerine Dream is one for the ages. 

This weekend Rialto is releasing a new restoration of The Fallen Idol, so I'm making arrangements to see that. 


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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Did you see Sorcerer on Saturday?  We may have unknowingly crossed paths.  I saw it with my niece, who's studying film at LMU.  This was her first exposure to Friedkin. 

This weekend I'm finally able to take her to see Lawrence of Arabia at the Egyptian.


Formerly Baal_T'shuvah

"Everyone has the right to make an ass out of themselves. You just can't let the world judge you too much." - Maude 
Harold and Maude
 

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I went on Sunday night. One of these days, John, we need to see a movie together intentionally! 


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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Last weekend it was The Fallen Idol. Last night it was The Devils.


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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As I type this, it's 103 F in Whittier (rising steadily to a projected 108). To heed the excessive heat warning issued by the National Weather Service, I'm staying inside and watching one of the most intelligent British s-f films of the 1960s: The Day the Earth Caught Fire.


"A great film is one that to some degree frees the viewer from this passive stupor and engages him or her in a creative process of viewing. The dynamic must be two-way. The great film not only comes at the viewer, it draws the viewer toward it." -Paul Schrader

Twitter     Letterboxd

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This weekend (tomorrow or Saturday) Edge of Tomorrow, double-billed with 1989's Robot Jox at the New Beverly Cinema.

Next weekend I'm really going to try and make it to the Egyptian to see Heaven's Gate, the director's cut. I've only seen portions of this film, but have really liked what I've watched.


Formerly Baal_T'shuvah

"Everyone has the right to make an ass out of themselves. You just can't let the world judge you too much." - Maude 
Harold and Maude
 

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Got the dates wrong in the above post.  I'll be seeing Heaven's Gate tomorrow night.


Formerly Baal_T'shuvah

"Everyone has the right to make an ass out of themselves. You just can't let the world judge you too much." - Maude 
Harold and Maude
 

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A search on "Bernard Tavernier" pulled up this thread, and I thought it might be timely to pull it back to the top and see if anyone else wants to feed it during the pandemic.

As mentioned last night on Twitter, I have the Koker Trilogy waiting for me - my second time checking it out from the library (yes, some of us still watch DVDs primarily, rather than stream) after not starting it during my previous checkout. I grabbed it again as COVID-19 began to spread, believing the library might close and I might be able to hang on to it for an extended period of time, rather than the usual one-week checkout period. That was the right decision, although I've put off my viewing again; last night I read a book on the couch and then didn't feel up to starting the first film in the trilogy after 10 p.m.

Maybe later today? 


"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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Good idea!

Over this past 1+ month, I've been nourished by watching or re-watching candidates for my Top 25 list.  Not all of these made my list, but highlights have included A Man Escaped, lots of Dardennes, 2001, The Searchers, Haxan, The Passion of Joan of Arc, The Seventh Seal, and Day of Wrath.

Now it's on to current films to stream at home and potentially review.  Since sheltering in place, I've been keeping a running list of candidates.  Last night, it was Corpus Christi; tonight, Platform.

Oh, and Jessica and I just finished the first season of Star Trek: Picard last night.  What a delight!


To be an artist is never to avert one's eyes.
- Akira Kurosawa

https://www.patheos.com/blogs/secularcinephile/

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For the first time in my life, I'm watching movies like I read books -- three or four at a time -- which is probably a sign that these strange days are affecting my attention span more than I realized. Earlier this week I was simultaneously rewatching Stroszek, Johnny Guitar, and Low Life in 40-minute bursts. Right now I'm half-way through Who Are You, Polly Maggoo? (after seeing another of his films in Berlin, I'm dipping into William Klein movies) and I've queued up a dozen or so Allan Dwan films on Amazon. Robin Hood (1922) is really good!

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Watched The General yesterday. We've been doing Hunters, Hotel Beau Sejours, and 100 Humans for our binge viewing.

 


A foreign movie can't be stupid.

-from the film
Armin

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As posted elsewhere on this site earlier in the week, I really want to rent Satantango from the Film at Lincoln Center site ($14.99 for three days), but I don't think I can make that happen today. I'll be out most of tomorrow, and Sundays are usually booked solid for us. So ...

When I posted about the film elsewhere this week, I was told Satantango could be streamed for free via Kanopy - if I had access, which, alas, I do not. Sigh. I still think the film is probably worth the $14.99 fee. I just have to carve out 7.5 (!!) hours to watch it.


"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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I forgot about this thread!

Since the quarantine began, my kids have gradually shifted to a later bed time, which means I have less than an hour to myself every night before I start falling asleep. I've gotten in the habit of fixing a cocktail and watching something from the Tell Me series on Criterion Channel. I'm a little more than halfway through the collection so far, and it's been a real treat. Few of the films are excellent on their own, but the program has such a clear voice. Most of the films were made in the early-'70s, when I was a child, so it's giving me a new perspective on my mother and other women of her generation. Also, it's just fun to see inside homes, businesses, schools, and grocery stores of the era.

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I ended up watching "I Am Cuba" instead. It was free on the Milestone site - I'm not sure it still is - and I'd wanted to see it since hearing great things about it in the early 1990s. It's pretty dazzling on a technical level. I have no idea how the filmmakers executed certain shots/sequences. 


"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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Tonight's streaming choice is Shirley, which is just $1.99 on Prime. A friend is going to host a discussion of the movie, and Decker is an interesting enough filmmaker for me to want to give this one a try despite Andrew's downbeat review.


"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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Please share your thoughts - I know mine is the dissenting opinion, per the Tomatometer.  Alas, my viewing last night - Miss Juneteenth - was a missed opportunity for excellence in this cultural moment, feeling only a couple notches above a Lifetime movie.  I'm hoping I'll like today's viewing of The Surrogate better.


To be an artist is never to avert one's eyes.
- Akira Kurosawa

https://www.patheos.com/blogs/secularcinephile/

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On 6/20/2020 at 8:12 AM, Andrew said:

Please share your thoughts - I know mine is the dissenting opinion, per the Tomatometer.  Alas, my viewing last night - Miss Juneteenth - was a missed opportunity for excellence in this cultural moment, feeling only a couple notches above a Lifetime movie.  I'm hoping I'll like today's viewing of The Surrogate better.

Were you on last month's A&F Zoom call when we talked about Shirley, Andrew? I wasn't much of a fan, but have tried to keep an open mind about the movie. Jeffrey's review, which I read only after seeing the movie, got me thinking I might give Shirley another look - an effect that, say, Richard Brody's rave didn't have on me. We talked about the film again during this past week's A&F Zoom call. Also on that call, I brought up the movie I'm hoping to get to this weekend, Bloody Nose, Empty Pockets, by the Ross brothers. Alissa Wilkinson raved about the film last week, but my link is to Victor Morton's review. He reminded me, when I asked him if he'd seen the film, that he'd covered it way back at Sundance. As I told the few folks who were on the Zoom call this past week, I'm a big fan of some of the Ross brothers' earlier work, particularly Tchoupitoulas. I was less enamored of Contemporary Color (I think a David Byrne mention, or a Stop Making Sense mention, during the call was what brought CC to mind; I'm thinking of revisiting CC now that I've finally seen Stop Making Sense), but I like how each of their films differ from the others. And I see now that the brothers are credited cinematographers on I Am Not Your Negro, which I know you loved, as did I.

I didn't intend to turn this post into an ad for the Ross Brothers' movies, but if it stimulates further viewing, I'd like to think that's a good thing.


"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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No, I had been on the conversation the week before.  I won't begrudge anyone their engagement with a work of art that moves them, but I don't foresee my own dial moving with Shirley - the way Decker distorts Shirley Jackson's life into a more fiction-than-fact tale of someone who is relatively recently deceased is deeply problematic to me, in a way that, say, Shakespeare in Love is not.  

On the other hand, I am very keen to watch Bloody Nose, Empty Pockets, but I don't see anywhere online that it's readily available.  Sigh...


To be an artist is never to avert one's eyes.
- Akira Kurosawa

https://www.patheos.com/blogs/secularcinephile/

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Yeah, I followed the link to participating theaters at the end of Alissa's review, but haven't followed through. Elsewhere I'd read that Film at Lincoln Ceter was playing it in its virtual cinema, which looks like it might be exclusive

Edited by Christian

"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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