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Old 03.07.2013, 07:24 AM   #16701
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Originally Posted by !@#$%!
oh shit yeah your guilty pleasures definitely. i was almost gonna put lethal weapon (the first one, not the rest).

i remember la confidential but i can't recall the cop. swiss cheese mind & what not.

The cop in la confidential is the one played by Russell Crowe. A thug with a badge, effectively. My general rule of thumb is the less I'd condone their actions in real life, the more I'll like them on screen - although the older I get the more I wouldn't mind the idea of a few real life Popeyes patrolling the streets of London.

Another obvious candidate for top cop is 'Dirty' Harry Callahan.
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Old 03.07.2013, 11:11 AM   #16702
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Originally Posted by demonrail666
The cop in la confidential is the one played by Russell Crowe. A thug with a badge, effectively. My general rule of thumb is the less I'd condone their actions in real life, the more I'll like them on screen - although the older I get the more I wouldn't mind the idea of a few real life Popeyes patrolling the streets of London.

Another obvious candidate for top cop is 'Dirty' Harry Callahan.


oh yeah i remember him now vaguely (ha ha).

oh let's not forget beat takeshi on "violent cop"

 
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Old 03.07.2013, 05:42 PM   #16703
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Very good call on Violent Cop
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Old 03.08.2013, 02:23 PM   #16704
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Originally Posted by Murmer99
 


Love Scorsese's lyricism and passion here. Paul Newman is surprisingly good in this film as well. Glad I checked it out, as I feel it's easily one of Scorsese's best efforts.

Completely agree. One of Scorsese's most underrated films, IMO. Paul Newman is brilliant. It'd make a great double bill with Hard Eight.
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Old 03.08.2013, 02:25 PM   #16705
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Originally Posted by Murmer99
 


What a brilliant job Bunuel does at combining reality and dream intricately together. They both go hand in hand in this film, to the point where you never know for sure about whether it's Belle De Jour's dream, her fantasy, her husband's dream, or if what's happening is reality itself. It calls for another watch, but it was pretty inspiring. Catherine Deneuve is wonderfully complex in this.

I have to say I find that film deathly boring. It's all very well done, and all that, but Christ is it slow.
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Old 03.08.2013, 04:19 PM   #16706
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Originally Posted by Murmer99
I can understand that. I wouldn't say Bunuel is for everyone, but he's up there (in my opinion) as one of the best directors of all time. LAge dor, The Discreet Charm of the Bourgeoisie, Viridiana are some of my favorites.

i think maybe i'll side with whit sillman re: the discreet charm (ha ha ha).

but don't miss simon of the desert! hilarious, as i recall.
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Old 03.08.2013, 04:24 PM   #16707
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Like District 9, this is one of those movies where the fantastic production and effects almost make up for the absolute shit acting and casting. However, I will say this movie is better than District 9 because it had (a) less characters in general so less opportunities for bad acting; (b) had less dialogue per character than D9 so again, less opportunities for bad acting; (c) relied more so on scenery, setting, and effects than the actors, and so in this regard was visually brilliant. If you had just shown us a few scenes from this movie without any of the acting, like some of the panorama shots or wide-outs, you might have been fooled into thinking it was made by somebody decent. After all, what would the world do late-nights or boring weekend mid-afternoons without terrible movies on television to watch? What would TV be without these movies? It is synchronicity and a delightful survival of the fittest adaptation. Humans are crazy. Our flowers and mating dances are in actuality such shit movies and television. Our dance of survival is much less mystifying than the birds of paradise, but altogether more epic in scale. I mean, that movie must have cost millions (they're saying $90,000,000) of dollars and employed a thousand people.
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Old 03.08.2013, 04:37 PM   #16708
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Old 03.09.2013, 04:14 AM   #16709
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Quote:
Originally Posted by Murmer99
I can understand that. I wouldn't say Bunuel is for everyone, but he's up there (in my opinion) as one of the best directors of all time. L’Age d’or, The Discreet Charm of the Bourgeoisie, Viridiana are some of my favorites.

I like Bunuel too and agree that he's up there with the greats. I've just never been able to get into Belle De Jour.

Back to Colo(u)r of Money, besides Paul Newman's performance, I love the dialogue, which was written by probably my favourite contemporary novelist, Richard Price (The Wanderers, Bloodbrothers, Clockers, etc). He's regularly called on by Hollywood to provide gritty, streetwise dialogue and sometimes writes for The Wire and is probably the only screenwriter today that I actively follow. If he's involved, even a crappy movie (say American Gangster) is guaranteed to have a few great lines. Very much a dive bar Billy Wilder.

 
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Old 03.09.2013, 09:38 AM   #16710
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Old 03.09.2013, 09:38 AM   #16711
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I heard about a new documentary on Jim Baker and the source family (http://vimeo.com/58953915 | http://thesourcedoc.com/) and found out this series of interviews.
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Old 03.09.2013, 10:07 AM   #16712
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Not everything Bunuel made is available, but of the dozen or so I've seen, none have disappointed. Oh, I suppose he repeats his themes a lot, particularly male jealousy, but big whoop.
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Zero Dark Thirty was so much better the second time. Kind of genius in its own way. First time, I thought it was cold and devoid of normal human emotion. Now I see that as its strength. Almost any other director would've made it more pulse-pounding and "action-y", and I think it took great control to simply tell the story without jerking the audience around.

Anyone else see it?
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Old 03.10.2013, 08:33 AM   #16713
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i forgot who the fuck didn't like it (apparently tons of people, judging by the imdb ratings) but this shit was brilliant, gorgeous, extraordinary, delicious---

 


cosmopolis

really, i think i get why so many people don't like it-- you have to be familiar with, or at least amenable to cronenberg's language, methods, obsessions. it pulls elements from things as far away as existenz and the italian machine (one of his early shorts) and dead ringers and crash...

it's "heavy" too-- it demands you think instead of just see--add some jazz drums and intertitles and it could be masculin-feminin (ha).

fantastic. extraordinary. i enjoyed it immensely. i want to watch it again right now.
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Old 03.10.2013, 08:34 AM   #16714
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K so I think one thing we all seem to agree on is Scorcese rules. So top 5 films by him?

In no order for me it's

1)Taxi Driver
2)Raging Bull
3)King Of Comedy
4)Shutter Island
5)Mean Streets

It's admittedly De Niro heavy but bite me. Two notable mentions for me is The Departed and Kundun.
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Old 03.10.2013, 08:41 AM   #16715
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i didn't like the departed. but goodfellas should be in his top 5 i think.
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Old 03.10.2013, 08:59 AM   #16716
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1. Last Temptation of Christ
2. Kundun
3. Aviator
4. A Personal Journey with Martin Scorsese Through American Movies
5. (A fan edit of New York, New York could be really good)
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Old 03.10.2013, 10:58 AM   #16717
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Quote:
Originally Posted by !@#$%!

cosmopolis

really, i think i get why so many people don't like it-- you have to be familiar with, or at least amenable to cronenberg's language, methods, obsessions. it pulls elements from things as far away as existenz and the italian machine (one of his early shorts) and dead ringers and crash...

it's "heavy" too-- it demands you think instead of just see--add some jazz drums and intertitles and it could be masculin-feminin (ha).

fantastic. extraordinary. i enjoyed it immensely. i want to watch it again right now.

I hate that film with a passion.

Quote:
Originally Posted by h8kurdt
K so I think one thing we all seem to agree on is Scorcese rules. So top 5 films by him?


1. Mean Streets
2. Taxi Driver
3. Goodfellas
4. Raging Bull
5. Colour of Money
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Old 03.10.2013, 05:02 PM   #16718
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Originally Posted by demonrail666
I hate that film with a passion.

haaa haaa haaa

i can see how you could hate the characters, but they are what they are-- the ultimate sociopathic one percenter and his various minions/associates.

it all made perfect sense to me, it even felt a bit of a cyberpunk movie (minus the punk part), the unreal everything of it, perfect, very don de lillo, very cronenberg also, brilliant.

if anything the only part that felt a bit off to me was the last one, the one with harvey pekar, or whatever he's called. which is the only part that people who hate the movie seem to have liked. to me it was the opposite, it was a slight letdown, a bit obvious, after all that otherwordliness to end up in that random grime and the predictable employee with a grudge, but eh, the dialogue throughout the film was poetry to my ears, what can i say, i'm a sucker for conversation movies.

e.g.:

"your prostate is asymmetrical"
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Old 03.11.2013, 05:44 AM   #16719
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As you say, there was something inevitable about Cronenberg adapting a DeLillo novel; they do seem like kindred spirits in lots of ways. It's interesting that you're drawn to the dialogue, though. I like DeLillo a lot but that's a side of his writing I really struggle with. Great ideas and amazing descriptions but he does that thing where his characters don't so much speak to each other as make statements. I'm sure it fits with his overall message and can apprecate how it might work conceptually, it just really grates on me, and it seems that Cronenberg stuck pretty close to DeLillo's dialogue.
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Old 03.11.2013, 08:26 AM   #16720
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