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Old 01.19.2014, 05:01 AM   #17761
Toilet & Bowels
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The Necromancer (1988)

 


Not exactly good, but has a kind of charm to it
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Old 01.19.2014, 07:52 PM   #17762
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i would never have gone with it by its title, but caught silver linings playbook on a hotel tv (amazing, all those channels, nothing to watch but commercials).

ANYWAY-- pretty good. then i realized it was fucking david o. russell who directed. he's pretty great-- not the best ever but yes. good.
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Old 01.20.2014, 08:09 AM   #17763
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Originally Posted by !@#$%!
i don't think the holocaust is funny at all but demonio's joke made me laugh though-- because it was about hitchcock.


 

Senor demonrail's zinger made me groan audibly over here (hence my reply), but he certainly isn't the second coming of Richard Edmonds or what have you. In fact, if anyone went up to him offline with Holocaust "jokes" ahoy, he'd whack them upside the head with the nearest heavy book to hand, then tell them to fuck off. Hope that maked things clear to all you SYG-ers.

(Incidentally, I hear tell that demonrail's currently heavily at work on the definitve bigoraphy of the late film critic/lecturer/all-round "character" Ray Durgant. Apparently he's up to the bit where Durgant punches out Mick Farren at the UFO Club in 1967, after Farren tried to steal Durgant's girlfriend under the pretext of having her "produce the second Deviants album". And this after Durgnat had helped himself to Syd Barrett's rider (a barrel of Watney's Party Seven bitter and packet of Salt 'N' Shake crisps), and tried to drag the resident UFO DJ away from his booth, after said DJ played The Yardbirds' "Ha Ha Said The Clown". More details as I find out about them!)
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Old 01.20.2014, 03:35 PM   #17764
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This was much better than I was expecting - the plot moves along very well, there's some very funny moments along the way, and Di Caprio has a fair bit of presence in this. My only quibble is the lack of a solidly strong female role here (Di Caprio's 2nd wife begins to get there towards the end, but a lot more could have been done with her), but otherwise this is a solid effort from Scorsese. Didn't realise how long it was going to be, though!
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Old 01.20.2014, 04:01 PM   #17765
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A Serious Man (by the Coen Brothers)

I enjoyed it.
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Old 01.20.2014, 04:12 PM   #17766
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Quote:
Originally Posted by MellySingsDoom
Senor demonrail's zinger made me groan audibly over here (hence my reply)
your reply was funny too-- but his comment was funnier. i'm still laughing about it. it was the only possible context to say that, and the joke works (for me anyway).
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Old 01.20.2014, 04:32 PM   #17767
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Inside Llywen Davis, a lot of really likable characters, sad but touching
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Old 01.21.2014, 09:51 AM   #17768
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Much better than Stallone's Dredd. I thought it captured a lot of what the comic was. hyper violent.
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Old 01.22.2014, 01:13 AM   #17769
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A few days ago I saw "Skidoo" on television. An absolutely amazing film. I mean, it was directed by Otto Preminger and scored by Harry Nilsson. The flm takes off from there.

Here's the write-up on Wikipedia, upon which I simply cannot improve:

"As a cartoon character dressed in prison stripes (and holding a peace-logo flower which turns into a tiny parasol and then a helicopter blade) executes a few dance steps to the music of Nilsson's Skidoo theme, the words "Otto Preminger" appear below him. Additional words "presents SKIDOO starring" can also be seen as the camera pulls back to reveal that this image is on a TV screen, while Carol Channing's voice is heard exclaiming, "No, Harry, not that. No, I don't wanna see that", with the channel suddenly switching to show a US Senate hearing conducted by Senator Hummel, portrayed by Peter Lawford, who asks a series of organized crime figures various questions to which they invariably reply, "I refuse to answer on the grounds it may tend to incriminate me." Every few seconds, the channel showing the hearing switches to another channel which is screening Preminger's black-and-white 1965 feature, In Harm's Way, or still other channels which have one spurious commercial after another. The initial ad depicts an attractive blonde declaring, "now you too can be beautiful and sexually desirable like me instead of being that fat, disgusting, foul-breathed, slimy, wallowing sow that you are", the second has another intensely smiling blonde stating that "maybe we blondes do have more fun" and the third ad depicts a drunken slob swilling beer and belching, interspersed with an image of a pig with beer foam around its snout, while an unseen announcer exclaims "feel big, drink pig".
After another switch to In Harm's Way, Channing's voice is again heard, complaining, "no, Harry, I don't like films on TV. They always cut them to pieces." Additional channel changes produce more images of the beer pig, then another scene from In Harm's Way, followed by an ad for "Fat Cola", with three generously proportioned middle-aged women, wearing bathing suits, beach hats and carrying little parasols, gyrating to the jingle, "You'll never lose your man if you drink fat cola, you'll never have to worry about losing him", then an ad showing a boy and a girl, both about six years old, dressed like adults at a picnic setting, next to a dog resembling Our Gang's Pete the Pup (Pete's trademark circular ring around the eye is here drawn at a sharply oblique angle), with all three vigorously emitting smoke from long cigarettes held in their mouths, while happy young voices sing the jingle, "Puff, puff, puff, puff, puff, if you want to have a girly, you must puff, puff, puff." The following ad shows a family, including small children, standing in front of their house, all holding guns, with the father (shown in closeup to be the meek, bespectacled actor Wally Cox) declaring, "...get a gun for everyone in your family, remember, for family fun, get your gun", while the next ad, for "New Daisy Chain Deodorant", has a male voice followed a female voice singing ever more insistently, "I want my deodorant". Then a balding, mustachioed pitchman explains that if you're bothered by "dandruff, athlete's foot and the common cold, cancer, birth defects, mental illness, ringworm, poison ivy, tooth decay, acne, measles, brain tumor, smallpox, syphilis, plague, influenza, hepatitis and St. Vitus Dance, well, you're in luck, friend. Pick a pack of Peter's perfidious pink pacifying placebo pills..." At that point we see Jackie Gleason, Carol Channing and Arnold Stang sitting in front of the TV, with Gleason and Channing grabbing the remote control from each other and switching channels. Gleason and Stang subsequently go to the kitchen and, as they come out, the TV screen shows combative 1960s TV personality Joe Pyne commenting on the hearings: "...and, as one witness follows another, Senator Hummel is getting the same answer Senator Kefauver got in 1950 and 1951..."
Plot[edit]

Tony Banks (Jackie Gleason), a retired mob "torpedo" (hitman), now settled with wife Flo (Carol Channing) and daughter Darlene (Alexandra Hay), worries about his daughter's new hippie boyfriend Stash (John Phillip Law), and his own paternity of Darlene. Cesar Romero and Frankie Avalon appear as a father-and-son pair of mob bosses, Hechy and Angie, who bring Tony the news that top mobster "God" (Groucho Marx) wants him to carry out one last job liquidating his old pal, "Blue Chips" Packard (Mickey Rooney), before Packard can testify before the US Senate's Crime Commission. Tony refuses, but upon discovering another old friend, Harry (Arnold Stang), shot through the head, goes along with God's wishes and, now wearing a convict's striped outfit, finds himself in the island prison of Alcatraz, a futuristically high-tech institution where Packard is held under top-level protection.
In Tony's absence, Stash and his friends, who have been charged with vagrancy, are invited by Flo to stay at their house. She visits Angie (as does Darlene, looking for her in turn) to persuade him to either cancel the job, or take her to God (who's living without a country, on a yacht in international waters) so she can ask personally. Angie won't take Flo, but he will take Darlene, who nonetheless insists on bringing Stash along. God takes a liking to Darlene, as does God's tall, supermodel-like black mistress (Luna) to Stash, but both are frustrated in their pursuit.
One of Tony's cellmates turns out to be a draft dodger called Fred the Professor (Austin Pendleton), an electronics wizard who has renounced technology, but makes an exception in rigging a television set to allow Banks the opportunity of cell-to-cell communication with Packard. Banks realizes he can't kill his old friend, and, as a result, will probably never leave the prison. He writes his wife with the news, on stationery borrowed from Fred, while ignoring Fred's admonition not to lick the envelope and discovering the hard way that all the stationery is soaked with LSD... enough to send the whole prison on a bad trip. One of the inmates, Leech (Michael Constantine who, a few months after Skidoo's release would be playing a high-school principal on ABC's 196974 comedy-drama, Room 222) says, "Hey, maybe if I take some of that stuff, I wouldn't have to rape anybody anymore." Fred guides Tony through the resulting acid experience, helping him come to terms with his worries about Darlene and his past while plotting their escape.
Darlene and Stash spend the night aboard God's yacht, with Stash getting word back to Flo and his friends about their location, and a coded plea for help. As the hippies mount a rescue, Tony and Fred build a makeshift balloon from discarded freezer bags and garbage cans, dump the whole supply of stationery into the prison's lunch, and fly out of the prison as everyone below begins to freak out.
As it happens, both the hippies (led by Flo, who sings the title number as they storm the yacht) and the balloon arrive on God's hideaway at the same time. Feeling trapped, God adopts the stooped Groucho posture, skulks into a clothes closet and closes the door. As the film ends, we last see Flo and Tony as she pulls him towards a bed in one of the yacht's empty side cabins, while in the main cabin, God's Skipper (George Raft), holding open a copy of Gabriel Vahanian's iconic 1961 book, The Death of God, performs a marriage ceremony between Angie and God's Mistress, who then proceeds to become overly affectionate with surprised best-man/father-figure Hechy, as the dismayed Angie tries to separate them. Behind them, another ceremony, performed by a hippie "minister" named Geronimo (Tom Law, brother of John Phillip Law), using the Skipper's Death of God book, joins "this brother and this sister" (Stash and Darlene) "in holy union". The scene cuts to a medium shot, in calm waters, of a small sailboat, with sails decorated in large psychedelic designs of the words "LOVE" and "PEACE", holding two occupants Fred the Professor and God, both dressed in Hare Krishna/transcendental meditation garb. As Nilsson's voice is heard singing "I Will Take You There", they smile beatifically while sharing a lit joint and, after taking a puff, God/Groucho murmurs, "...mmm, pumpkin".
At this point, before members of the theatrical audience can rise from their seats, the words "Stop!, we are not through yet, and before you skidoo, we'd like to introduce our cast and crew", spoken in Otto Preminger's familiar German-accented voice, are heard from the soundtrack. The entire credit sequence (all cast, crew, and copyright information) is then sung by Nilsson, with various asides ("and Luna as 'God's' Mistress, well you know-oh what I mean"... "arranged and conducted by George Tipton, a very good friend"... "Visual consultant and titles by Sandy Dvore and, what's more, they were executed by Pacific... ahem, how's your popcorn?, copyright em, see, em, el, ex, vee, eye, eye, eye [MCMLXVIII] by Sigma Productions Incorporated, your seat's on fire")."

***

A totally cool movie!

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Old 01.23.2014, 05:36 AM   #17770
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Old 01.24.2014, 10:58 AM   #17771
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Two cinema visits for me yesterday - first up was this:


 


As other SYG-ers have already said, this is a powerful, outstanding and very affecting film. Not as relentlessly violent as I thought it might be, but still with plenty of uncomfortable scenes on offer, and a film that leaves you with much to think about. I really want to see more Steve McQueen films on the strength of this.
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Old 01.24.2014, 11:01 AM   #17772
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And the second cinema visit up was for this:

 


Basically a rehash of the themes and ideas already covered by "The Blair Witch Project" and "The Last Broadcast". Shot on digital video, and with an all-amateur cast, this was a deeply predictable and disappointing film, though it did have a couple of entertaining moments to break up the boredom. Not one I would recommend to followers of horror film, unless you're a fan of the barrel-scraping end of Jesus Franco's oeuvre.
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Old 01.24.2014, 11:03 AM   #17773
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Quote:
Originally Posted by MellySingsDoom
I really want to see more Steve McQueen films on the strength of this.

oh, watch PAPILLON

 


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Old 01.24.2014, 11:04 AM   #17774
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^^^ (boom tish etc)
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Old 01.24.2014, 11:08 AM   #17775
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i put 12 years a slave in my netflix quee cuz there's no decent movie houses near me. it predicts 5 stars! see you in 3-6 months.

--

ps- netflix sez there's a 1984 version directed by gordon parks!!
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Old 01.24.2014, 11:42 AM   #17776
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OSCARS

They're fun if you don't take them too seriously. Actually, a pretty good bunch this year.

12 Years a Slave-Haven't seen. See above for discussion.
American Hustle-Christian Bale AND Bradley Cooper?? No the fuck thank you. (Actually, this looks fun in an ARGO sort of way. Still.)

Captain Phillips- Thought it was racist the Somali pirates were black. Kidding. Don't fuck with USA!

Gravity- Epic but intimate. Neat.

Her- Manages to be original, thought-provoking and pretty tedious. I had to bump up the playback speed on this. Still, glad it exists.

Nebraska- I dunno. Not a huge Payne fan. Acting is great.

Philomena- Good. Not enough of Steve Coogan's ass, so I have to say Alpha Papa was better.

The Wolf of Wall Street- Sum not equal to parts. A number of great scenes, but even after three hours I thought, "That's it?" If Casino is a poor man's Goodfellas, this is the poor man's Casino.

Blue Jasmine and Inside Llewyn Davis not nominated? Weird.

And evollove's Oscar goes to:

 


DALLAS BUYER'S CLUB

I know. I'm as surprised as anyone. I assumed it would be a sappy Hollywood tear-jerker. It's not. At all.

SPOILER ALERT: A few characters have HIV/AIDS. So I figure there's got to be a scene where the character is dying in a hospital bed and in a weak voice gives a life-affirming speech while a dramatic orchestra plays on the soundtrack. This scene is NOT in the movie.

Also, there's a court battle in the plot. But no prolonged court room scene with high drama and lovely speeches. It's over in about thirty seconds.

Basically, this film is not at all what I thought it would be. It moves toward cliche, then quickly veers in another, more honest direction. Matthew McConaughey is clearly going to win, as he should.

I pre-judged this movie. Thought it was going to suck in 99 different ways. (Look at that poster. A slab of cheese.) I was so wrong. Best film of the bunch.
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Old 01.24.2014, 02:08 PM   #17777
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Finally got round to seeing Fassbinder's debut feature film, and it's overall pretty impressive stuff. Fassbinder himself stars as Franz, a small-time criminal who finds himself being compelled to join a local gang. The film follows Franz as he and his associates, including fellow criminal Bruno (Ulli Lommel) goes through various scenarios, including the killing of a revenge-fuelled Turkish man. The police are on their tail on this one (and on other crimes the pair have been fingered for as well), and the film climaxes in a planned armed robbery which goes wrong, leading to the death of Bruno after being shot by the police. Franz ends up escpaing with his girfriend Joanna (Hanna Schygulla), and here the film ends.
Filmed in black and white, "Love Is Colder Than Death" initially has a stagey feel to it, but soon opens up as Franz and co wander through the environs of an un-named Bavarian town. Faasbinder spends an inordinate amount of time smoking and snarling at all and sundry, and this with his leather biker jacket, kicks off the public image that he had through much of his career. Ulli Lommel acquits himself well (and dresses in a style remisicent of Hunter S Thompson in his "Fear and Loathing..." era). Hanna Schygulla doesn't have that many lines, but looks striking and delivers a much-needed female presence to the film. The direction itself is competent and functional, but there are hints to what would later develop into Fassbinder's trademark style (use of slow camera pans, "still" images on film etc).
As a debut feature entry into the emerging New German Cinema, this is definitely an important film, I reckon. I have some rather large gaps in my Fassbinder film viewing, and this has certainly whetted my appetite to check out more of his output this year. Very much recommended if you're interested in post-war German cinema.
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Old 01.25.2014, 09:00 PM   #17778
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Lamberto Bava's poor sequel to his own "Demons". Not even a script (co-written by Dario Argento) helps matters at all. Not a film I can recommend, really. For Lamberto Bava completists only.
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Old 01.25.2014, 11:47 PM   #17779
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Old 01.26.2014, 07:28 AM   #17780
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The Manchurian Candidate remake with Denzel, a bit rough around the edges, but decent.
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