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Mark R.Y.

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Everything posted by Mark R.Y.

  1. Poster and release date
  2. You idiots who don't understand how great Malick is have no business calling yourselves film critics.
  3. The film itself is still nominated; it's just that one particular mixer who violated the rules who is out as a nominee.
  4. http://parallax-view.org/2017/01/30/moments-out-of-time-2016/ Every year Richard T. Jameson and Kathleen Murphy publish a list of memorable little moments from the year's movies. Their latest has just been made available. I'll add on a few of my favorite little moments: Cemetery of Splendour: The apparition of the princesses. Silence: The Inquisitor deflates right before our eyes. Hail, Caesar!: Cutest couple of the year - Carlotta and Hobie. La La Land: A pier at twilight - "City of Stars." The BFG: The corgis' wild ride. What little bits, moods, moments, lines of dialogue, and so forth were memorable for you from any of 2016's films?
  5. This is the one that's driving me nuts. The 1967 Accident comes to mind as it features several middle-aged & unhappy Oxford profs. There is a lengthy "backyard" party scene, although I don't recall any marshmallows, roasted or otherwise. Nor any working stiffs. Hail Caesar! is another movie that sounded right if we consider Clooney's actor a "working stiff," but the guys in the group are screenwriters, not professors (aside from Marcuse), and all I remember them chomping on were cucumber sandwiches, not marshmallows. (Of course, it might turn out to be an oblique reference to some recent genre superhero film, thus leaving me completely at sea.) Another hint, please!
  6. Any of the Joan of Arc films. EDIT: I had not seen Evan C's response before posting this. Let me throw in a couple of bad plot descriptions: 1. A man teaches a war veteran a few good lines to use with a woman during sex. 2. A businessman regrets not selling his watch.
  7. I recommend the recently rediscovered 1980s American independent film "Losing Ground." Rohmer fans in particular will appreciate its smart, character-driven artistry. Richard Brody is enthralled with it.
  8. As a rising (fully arrived?) filmmaker, Chazelle continues to intrigue me. Is the look of La La Land influenced by Francis Coppola's One From the Heart, of all things?
  9. ...and Criterion's second Coen brothers film this year following their recent Inside Llewyn Davis. Too bad Blood Simple's highly, uh, informative DVD commentary track has not been preserved for this release. But...Valley of the Dolls movies too?? Isn't Criterion dedicated to...good films?
  10. Thank you for your response, Anders. I created my little write-up yesterday after coming home from seeing and being moved by KoC and then grumbling at the amount of sheer dismissiveness of the film by both a large amount of professional critics and IMDB users alike. This is a new movie by Terrence Malick, for goodness sake, and for critics and film buffs to not even bother to wrestle with it is dismaying. (There are, of course, those who have examined KoC seriously and have still found it disappointing; I'm talking about the large volume of those who have waved it away without bothering to engage the film - to put at least a little bit of themselves into the process, rather than letting the movie "wash over them" and do all of the work.) I posted my write-up on several sites, including this one. Obviously, I know the members here will tend not to immediately dismiss a new Malick. (I also posted at IMDB, where there has been much of that lazy attitude, and am still waiting for a response there.) I apologize for the condescending tone of my post, which was borne out of my frustration. You raise excellent questions about KoC that I can only give superficial answers to at this point. I am eager to revisit the movie several more times to explore its "mosaic" form even more. I have simply found that Malick's poetry, with its boldness about the essentials of life, death, spirituality (a weasel word, I know. I should note that I am a firm, devout believer in Christ.), speaks to me in a manner that I rarely find in other movies. Certainly I can't think of many films recently that are similar to Malick's approach. (And don't say The Better Angels ;)) With at least one more viewing of KoC, and with the time to take notes and organize my thoughts better, I hope to come back to this thread and write more explicitly about this film using your questions as a starting point. (Boy, good thing I'm not a professional critic and have to deal with deadlines!) I hope you enjoy your viewing, and am eager to read your thoughts on it.
  11. If you don't give what you have in your mind, heart, and soul to Terrence Malick's most recent film, it might come off like Willem Dafoe's laughable movie in "Mr. Bean's Holiday." If you do give all of yourself to this film and you still find it empty and pretentious, then perhaps you need to explore the notion that you have forgotten what is important in life and beyond. Do you look downwards to earthly matters and mere materialism, or do you look up to the sky as a limping bird does - yearning to get back up there? In a dreamlike series of images, sounds, words and actions, "Knight of Cups" unfolds as a poem. An odd form for a movie - we're used to stories in films being told dramatically, or like novels. Three acts. A to B to C to Z. Malick has been attempting, especially in his last few films, to tell basic truths about flesh and spirit, nature and grace, living for the moment vs. living as a prologue to something better. Like all good art, you must add your own story, thoughts, memories and wisdom to what is presented to you. No, I'm not a well-off Hollywood screenwriter who looks like Christian Bale and courts beauties like Freida Pinto and Natalie Portman, but I identified with Bale's character's dilemma. Malick is reminding us of the age-old question: What good is it to gain the world, but lose your soul? So the "perfume-ad" glamour of his (and D.P. Emmanuel Lubezki)'s stunning images and women is necessary - we need to see the highest end of pleasure, happiness and comfort this world can offer us, and still note it's a shadow of greater things.
  12. I think Richard Brody is impressed. A lot of the other reviewers don't seem as willing to board the train ride Malick is offering. They'd rather remain in the station. (I stole this metaphor from Richard Jameson.)
  13. A 1954 setting would make more sense in terms of this "aspect," as the old 1.33 to 1 ratio had just been changed to the now familiar 1.85 to 1 standard, and, of course, the trend for widescreen (2.35 to 1 and wider) was all the rage by then. There was still some accommodation made for theaters that hadn't yet changed their projectors though. 1954's On the Waterfront is officially a 1.85 to 1 film, but director Elia Kazan and DP Boris Kaufman were careful to frame the shots so that they could look just as good in 1.85 to 1, 1.66 to 1, or 1.33 to 1 projections.
  14. A shot of waves breaking and crashing against rocks by the seashore. I want to post screenshots from the two movies (once I get the Caesar DVD) to compare their similarity.
  15. Thoughts after seeing it a few hours ago (some of them kind of spoiler-ish): Anyone else catch an obvious visual reference to Barton Fink (aside from the Capitol Pictures logo)? Although we're only a few weeks into 2016, will there be a cuter couple than Hobie and Carlotta in any other movie this year? "Have you heard the one about the rabbi, the Catholic priest, the Protestant minister and the Orthodox patriarch who all got together for a board meeting?" That scene hearkened back to the best of rapid-fire Coen dialogue scenes. It's like a well-oiled vaudeville routine. Tilda Swinton had fun with her double role. I noticed that one of the sisters sounded more American than the other. Where was Dolph Lundgren? Was he just a silhouette? But I found it wild to see John Bluthal in this, a character actor who has been around since at least the 1960s, maybe earlier. Some reality vs. illusion games toward the end of the film. A climactic scene which was meant to be "real" looked like it was filmed on a soundstage! I got a chuckle out of the notion of a Hollywood actor encountering leftist propaganda for the first time and instantly buying into it with no discernment whatsoever. Not that that would ever happen in the actual Hollywood, of course..... Did you like Jonah Hill's appearance in the trailer? That's pretty much his entire performance! Alden Ehrenreich's Hobie Doyle is maybe my favorite character. We're led to believe he's a knucklehead, but.....maybe he's not so much. Speaking of Hobie, the nuttiest bit for me is the "Lazy Ol' Moon" clip - especially the old prospector (or whatever he was) raging at the reflection of the full moon in a trough. As Justin Chang in Variety noted, Frances McDormand has a very memorable gag. Speaking as a loyal student of studio musicals of the period in question, I was not all that impressed with the "No Dames" number which is lethargic compared with most similar MGM dance productions. But I liked the aside by the bartender concerning his "slow burn." If this supposedly taking place in 1951, why do so many of the films within the film have wider aspect ratios than they should for the time? "Lazy Ol' Moon" almost looks like it's in 'Scope! But, perhaps like The Hudsucker Proxy, Hail, Caesar! is meant to be taking place in several time frames at once. I haven't seen any mention of her in reviews, but Heather Goldenhersh's loyal secretary to Josh Brolin's busy Eddie Mannix was nicely done, especially her line reading of "chippies." I can't believe that Alison Pill, who played one of Steve Carroll's teenage daughters in Dan in Real Life is now playing Brolin's wife. Time marches on, I guess. I'm not sure what to make of one of the characters exclaiming "son of a bitch!," especially considering where he is located at the time. As with other Coen brothers films, their satire often cuts on both ends. It will be very interesting to read further theological (Jeffrey Overstreet has gotten things off to a nice start in his review) and political discussion of this seemingly innocuous and "light" movie.
  16. Thanks, Brian! I should note that aside from The Return of the Pink Panther, which I did see in the theater in '75 (I was still only going to G-rated films then), these other films I first saw in the years after, some as recent as this past summer. I wish I had been older to have experienced the great 1970s age of cinema first-hand, but am thankful I've been able to catch up with most of them since.
  17. I rely on DVDs from the library, and both systems here in Seattle are poorly stocked re Itami. A friend of mine always raves about him though, so I might find it worth it to buy some of his movies for my collection sight unseen. (And thank you for the spell check on Tampopo. )
  18. Another favorite movie year of mine. 1. Brazil 2. Mishima: A Life in Four Chapters 3. After Hours 4. Ran 5. The Emerald Forest 6. My Life as a Dog 6. To Live and Die in L.A. 8. Come and See 9. Plenty 10. Creator 11. Year of the Dragon 12. Desperately Seeking Susan 13. Lost in America 14. When Father Was Away on Business 15. Crimewave (Broken Hearts and Noses) White Nights Back to the Future Dreamchild Hail Mary Jagged Edge My Beautiful Laundrette Prizzi’s Honor The Purple Rose of Cairo Return to Oz Spies Like Us A View to a Kill ——– films I haven’t yet seen, but look promising: Alpine Fire Angry Harvest Boy Meets Girl The Bride Burke and Wills Colonel Redl Dim Sum Eleni Flesh and Blood The Gig Hour of the Star Into the Night Key Exchange King David Mask My Sweet Little Village No End The Official Story Orion’s Belt Paradigma The Power of Evil Revolution (revisited) A Room with a View Secret Admirer Static Subway Tampopo Turtle Diary Witness
  19. I enjoyed the review of 1974 movies last year, and have been waiting for a similar thread concerning 1975. There hasn't been one yet, so I'm going to go ahead and start one myself before the 40th anniversary label expires. 1975 may very well be my choice for my favorite year of films. Here's a list of its many treasures: (I still have Tarkovsky's The Mirror listed as a 1974 film, although I now keep reading references to it as a 1975. If so, then it would head this list.) 1. Dog Day Afternoon 1. Nashville 3. Barry Lyndon 4. Dersu Uzala 5. Night Moves 6. Picnic at Hanging Rock 7. Jaws 8. Lisztomania 8. Tommy 10. Hearts of the West 10. Shampoo 12. The Passenger 13. Monty Python and the Holy Grail 14. The Story of Adele H. 15. The Killer Elite The Magic Flute The Man Who Would Be King One Flew Over the Cuckoo’s Nest Philadelphia, Here I Come Posse The Return of the Pink Panther The Romantic Englishwoman The Wind and the Lion The Great Waldo Pepper Royal Flash Rollerball At Long Last Love Love and Death Black Moon French Connection II Fox and His Friends The Prisoner of Second Avenue Three Days of the Condor The Day of the Locust Doc Savage Jacques Brel is Alive and Well and Living in Paris Conduct Unbecoming The Eiger Sanction Brannigan A Genius, Two Partners and a Dupe The Adventure of Sherlock Holmes’ Smarter Brother Zorro Deep Red Seven Beauties The Man in the Glass Booth Hester Street The Rocky Horror Picture Show The Drowning Pool ——————– films I haven’t yet seen, but look promising: Cat and Mouse Farewell My Lovely The Fortune Funny Lady Hustle Jacob the Liar Keep Off! Keep Off! Let Joy Reign Supreme Lies My Father Told Me Lucky Lady Mackintosh and T.J. The Middleman Mother Kusters Goes to Heaven The Old Gun Rafferty and the Gold Dust Twins Rancho Deluxe The Reincarnation of Peter Proud Rosebud Smile W.W. and the Dixie Dancekings The Wilby Conspiracy The Wild Party
  20. Is the first time Criterion has tackled the Coen brothers? Classic Wim Wenders coming as well.
  21. http://www.vox.com/2015/10/10/9489949/hail-caesar-trailer-coen-brothers
  22. Trend of the year: Early OMD songs featured in movies. ("Enola Gay" in Ex Machina, "Souvenir" in Mistress America [possibly an Antonioni reference? -- MA used this same song in Identification of a Woman -- Baumbach also shows a poster for Le Amiche on Tony's wall]) Can't wait for the use of "Genetic Engineering" in The Force Awakens come December.
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