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Everything posted by kenmorefield

  1. I would assume there is since I found correspondence from a previous admin to a previous owner talking about making the board archives a "subreddit." That's a bit beyond my level of expertise, though if someone else wants to investigate alternatives and recommend a proposal, I am willing to consider.
  2. Hey all. I am currently leaning towards retiring the Invision |Discussion board for this site at the end of 2021. This is mostly a time thing rather than a money thing, though money might play a slight part. The Invision software is complicated and involves my paying help every time there is an update. It's also a renewal cost for a subscription cost, which, while minimal, is superflous. My current idea is to keep the domain registration and convert the Top 100 lists, blurbs, and intros as well as the Ecumenical Jury lists and blurbs to stand-alone web pages so that they would still be accessible (and could even be expanded for further lists.) I mention this for two reasons: 1) If there is content beyond that you might want to save, think about making whatever back up copies you can in the next final months. 2) If there is some argument against retiring the board that I haven't thought of, speak up. I know some people like the idea of preserving the board posts as an archive, and traffic suggests there is some value to that, I just don't know how much people really investigate past threads. 3) It's possible that the pandemic and paucity of new movies might have created a slow down, but it's looking like the reverse, actually. As parts of society in North America open back up a little people may be spending even less time glued to their computer screens. Of course this could change too after an initial rush to get back out in the world, but.... Anyway, just thinking out loud. Nothing imminent, but I'm putting that out there in case there are any obvious arguments I'm missing.
  3. This was a truly terrific film; it reminds me of why I miss film-festivals that feature world cinema. The setting is Macedonia and Petrunya is a woman who sets the town on edge by jumping for the cross -- i.e. participating in a local ceremony where the priest throws the cross in the river and the *men* jump in to catch it and earn God's favor. Seems like it's getting good but not great reviews on Rotten Tomatoes, but I think it might really resonate with exvangelicals or those concerned about misognyny in society and the church who aren't yet ready to throw out the whole thing as being so from the get go. Your mileage may vary, but it's definitely gonna be on my Top 10 list for 2021, probably somewhere near the top. http://1morefilmblog.com/2021/06/18/god-exists-her-name-is-petrunya-mitevska-2021/
  4. kenmorefield

    Luca (2021)

    Liked it a lot. Maybe loved it, though looking back, I see my initial impressions of some Pixar wane quickly. Still, it's gorgeous, and it's been a long time since I've seen movies with moments of genuine joy. It's somewhat manipulative in an emotional way, but boy do it's punches land. Full review: http://1morefilmblog.com/2021/06/16/luca-casarosa-2021/
  5. Not sure what this says about me, but I keep feel genuine hesitation to answer or make any suggestions because I feel like we've gotten to a point in cancel culture where calling someone "fat," even in a non-derogatory way, will be construed as fat-shaming or contributing to fat-shaming culture. I know that is not what you are doing, just saying that it's really hard for me to answer question because I every time I think of some possible reply, I hear this imaginary reply in my head, "Oh, you think 'x' is FAT? You are part of the problem...."
  6. It's hard not to love an art process documentary that tells you the makers of The Day After showed the entire crew Hiroshima Mon Amour in order to try to get them on the same page about the the devastation of nuclear weapons. This is my favorite documentary of the year so far, not because it champions The Day After (which I don't know if I ever saw) but because it argues that movies can change things, even if the ones that do are always little miracles that somehow defy all the odds as they slouch towards Bethlehem, waiting to be born. http://1morefilmblog.com/2021/06/05/television-event-daniels-2020/
  7. I've been mostly striking out at this year's Full Frame, and I wonder if it is because of the films or because the virtual festival doesn't quite replicate the film festival experience. I find myself more critical of the films, making because the director isn't right there doing a Q&A or maybe because I'm watching 1-2 films a day over a longer period rather than slamming through many and only remembering the best. Anyhow, this is an engaging film, to be sure, with lots of great anecdotes and generous film clips. I'm not sure that putting the two together does anything that a profile of either wouldn't do better, but... http://1morefilmblog.com/2021/06/04/truman-tennessee-an-intimate-conversation-vreeland-2021/
  8. I liked the idea of this film -- a focus on the friendship, but the film itself sticks so close to the text and interpretations of Hamlet that it feels as though the angle was a pitch to get it made. I actually liked it...as a rendition of Hamlet. But I don't see how the angle affected the text other than a framing device where Horatio is making the film about Hamlet. So, yeah, he tells Hamlet's story. There was a pointed homoerotic bond implied between the two which didn't bother me but which felt less revolutionary than I think the makers thought it would be. Gonna try to do a movie a month in June...we'll see if that lasts.... http://1morefilmblog.com/2021/05/30/hamlet-horatio-warner-2021/
  9. Joel, I just now clicked on this, and was surprised to see among the participants....MIchial Farmer was a former student of mine a long time ago in a galaxy far, far, away. What a small world we live in....
  10. Good point about the release info. From publicist: "Opens exclusively in theaters on Friday, June 18 in New York (Angelika Film Center and Film at Lincoln Center) and Los Angeles (Laemmle’s Royal and Pasadena’s Laemmle Playhouse 7) followed by a national release" I haven't seen Double Lover, but I want to. I remember thinking in the first twenty minutes of Summer of 85 how *different* it was from By the Grace of God. For awhile I thought I couldn't really pin Ozon's style but more and more I am wondering if that's by design. He seems to adopt style that fits the material rather than looking for material that suits his predetermined style. But that's conjecture on my part....
  11. kenmorefield

    Summer of 85

    I don't know what it is about Ozon's work that appeals to me, but I can't remember But really, since In the House, he's been on a five film run or so that reminds me of when I was first falling hard for Kore-eda. Not meaning to imply the two are similar in style, just reaching for some sort of comparison about being aware of a director, liking him (or her) okay, and then all of a sudden having a run of films that elevates your affinity. I also have a tough time describing Ozon's style or sometimes seeing similarities. Summer of 85 is...i don't know, a mash up between John Hughes, Erich Rohmer and Call Me By Name.... I guess the gay themes might put off some, but the film did a much better job at making me believe the main character was actually in love in a way that I thought was both appropriate to his age and not particularly tied up in traditional beats of sexual bildungsroman. I sorta liked that it felt like the kid was figuring out who he was as a person and not just what his sexual orientation was. First new to me film from this year that I've really liked and that hasn't felt like a chore (i.e. "watch this and review it to keep movie business alive while we wait for enough people to get vaccinated that we can release Black Widow....")
  12. EDIT: Both the miniseries and the Cusack movie end with Stevie Wonder's "I Believe" (or a cover of it.) There is an element of hope in the lyrics that I find appropriate in the Cusack movie (and the novel) which just comes across as cynicism in the min-series. It's more like Natalie Wood at the end of Miracle on 34th Street -- not really believing but hoping that if one obsessively repeats over and over and over again that one does that it will somehow workout. Also, at the end of the novel, Rob makes .... not a transformation, but some small steps in the direction of self-knowledge and growth that leave room for hope. The end of the miniseries strikes me more as an illustrated AA parable...doing the same thing over and over and expecting next time will be different.
  13. Cindy and I finished watching this and I don't know quite what to think. It's hard to describe without getting into spoilers, but it was a project I approached with skepticism, gradually relented and accepted on its own terms, and then.... well, the ending. I disliked the ending intently. I felt it was different from the book (and the Cusack film). I guess there were other parts that were different from the book as well, but I think changing the ending changes the MEANING, and either I didn't understand the new ending or, I did understand it and found it deeply pessimistic bordering on nihilistic. I've noted that the last few years I've taught Hornby, student response has shifted a lot towards HF. A lot more students purport to hate Rob and find him a monster. I wonder if they've changed or time and distance from the 90s gives a perspective about what is just normal human condition and what is part of the culture of the moment.
  14. I got an e-mail for a publicist saying the film will be available in September and "more information" was coming in May. Sounds like they are going to do at least some marketing to evangelical press.
  15. Most of you know Nathan's film Wrestling for Jesus. This new one is one of those thoughtful documentaries that has spiritual undertones and embedded messages without needing to be overtly preachy. I liked it: http://1morefilmblog.com/2021/05/06/the-passing-on-clarke-2020/
  16. Viva l'Italia! is on MUBI for 30 days. I'm gonna try to watch it.
  17. Cindy and I are watching. Not sure what I think yet. The lead actress was in Outlander, so I'm a fan of hers.
  18. The word “acceptance” plays a prominent role in The Passing On, Nathan Clarke’s new documentary about an African-American funeral director mentoring his potential successor. When James Bryant quizzes his mentee about the five stages of grief there is a pregnant and symbolic pause between “depression” and “acceptance.” Bryant’s mentee, Clarence Pierre, states that “I’m black, but I don’t feel like I am accepted” in the African-American community. Pierre is gay; whether the ostracism he feels from the community he serves makes it easier or harder to serve them is a complex question. The emotions that people feel when they come in contact with a funeral parlor are not specific to the grieving, but neither are they ones that contemporary society is good at equipping us to deal with. Anger, numbness, despair, all are hard to deal with. Grief can make us question what we think we know about God and the way the universe operates. Bryant does not condemn Pierre, but the film isn’t a tolerance lecture. Bryant is honest about his own struggles with drug addiction stemming from trauma experienced during combat. War, like death, can make us question what we think we know about God. “I accept the struggles of others,” Bryant said. He doesn’t excuse them. He doesn’t forgive them. He “accepts” them. What does acceptance mean in a Christian context? And why does it feel so much like dying? We tend to think that death is the one thing we have no choice about, the thing we must accept. But what if it is just the most overt example of a Godly principle? What if learning to accept the flaws and struggles of others is the greater sign of spiritual growth than our own personal piety or the lengths we will go to condemn behavior that makes us uncomfortable? Like Clarke’s previous film, Wrestling for Jesus, The Passing On midwifes tolerance rather than simply preaching for it. When we look carefully at those different from us, taking the time to reflect on commonalities, matters of politics, sociology and religion cease to be abstractions. They become exemplified by real faces, and our understanding of these experiences become entwined in narratives of actual people’s lives. This is the power that documentary film has not only to reflect reality but also to help shape it. As is the case with most good documentaries, The Passing On is about more than one thing. The title refers not merely to the deaths of individual people but also the decline of an industry. Seeking to answer the question about why there are fewer African-American run funeral homes, the film forces us to reflect on how traditions are made–and lost. In other words, the title is correctly ambiguous. “Passing on” is a euphemism for dying, but it is also the means in which knowledge, tradition, and values are sustained. View the full article
  19. Jerry that makes some sense. If the people questioning you are sincere (it sounds like you think they are) than I might personally also try to reframe the practice -- For example: well, this allows us to include more girls in the ensemble, and research shows that theater helps build self-esteem and confidence, so I think it is important to let as many young women reap these benefits as possible. (Or conversely, to help men become more empathetic and in touch with their feelings.)
  20. I may not be the best person to ask, but the fact that you have only recently been challenged on this suggests to me that it's not something that particularly bothers you or the performers -- so that suggests to me someone external to the community/cast is trying to rope you into an issue. Do you (or your community) adhere to every Old Testament law? or just some? It would seem to me that any sincere answer to someone who asked this as a sincere challenge would have to be contextualized within a broader theology of what one's overall relationship was to the Old Testament ( https://en.wikipedia.org/wiki/Christian_views_on_the_Old_Covenant ) As someone who did a lot of drama in high-school (but not as an adult), I think theater helps us become more empathetic and hence moral, since I think empathy is the foundation of most New Testament theology. But that's just one man's opinion....
  21. While searching for a thread, I was surprised we don't appear to have anything for the book or the film...just some mentions in Hornby's thread and some nominations threads. Anyhow, this works far better than I thought it would, and it is making me rethink some of my assumptions about the novel. I've taught the novel several times, and there has been a definite shift in student attitudes over the years...from Rob is funny albeit sometimes painful to Rob is a monster. I've always sort of assumed that Rob's quirks are endearing (or not) because of male stereotypes and gender politics. So there are some scenes that are almost verbatim in the series but have different emotional resonances. Part of that is delivery, of course, but I'm convinced part of it is gender as well. I actually think we are more forgiving of some of the things Rob says and does when Kravitz is doing them than when Cusack is.
  22. I discovered Screen Rant's PITCH MEETING videos during the pandemic, and I love them so very, very, much:
  23. Michael, I don't want to put words in Andrew's mouth, but I'm pretty sure what he is saying is not that you are not eloquent enough for him but that that you may find less people inclined to interact or discuss with you if you take an aggressive or hostile tone (towards the material or towards people with different tastes/opinions). That may be okay...if what you want is just an open forum to express yourself and your views. But if you are looking for other people to engage with, there's fewer people on the board these days that just want to argue. Paul Schrader is a screenwriter and director. For what it's worth, Paul Thomas Anderson, director of You Will Be Blood (a film you say you admire), has cited Martin Scorsese as one of his major influences. Since Schrader and Scorsese were longtime collaborators, I think the point of his praise is that when the people I/we do admire and respect say they value or respect a film that I/we didn't care for, that can sometimes be an incentive for the intellectually or artistically curious to reappraise.
  24. Thanks for sharing your thoughts, Michael. Here's a clip from Dick Cavett interviewing James Earl Jones about the same thing: I think it is interesting (I'd love to know the Broadcast date) that Cavett's reaction is nearly identical to Ebert's in the clip (now taken down) above. He calls the letter to the NYT "silly." James Earl Jones does better at trying to explain/contextualize the argument while stopping short of making it a mandate. I agree with them both (though Jones seems to understand this at a deeper level) that part of the argument is socio-political, about empowering people to make art and not really artistic (about whether the product is unacceptable.).
  25. Bumping this thread to see if anyone is interested in making some 5-15 minute videocasts with me discussing specific Top 100 films. This would be for YouTube channel. I still watch Jeremy's trailer from time to time and it never fails to make me happy.
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