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Old 12.04.2014, 04:33 PM   #18421
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Quote:
Originally Posted by h8kurdt
Still not seen this movie. Really should get around to it.

yes you should! it's most excellent.

anyway, recently saw:

 


"blackboard jungle" (1955) - originally i looked this up purely on anthropological grounds: i had been listening to broadcast a lot and figuring out the lyrics "your father was a teddy boy" i found about about some teddy boy riots (and other youth riots) which were caused by this film. turns out it's pretty awesome! yes a bit of 50s cheesiness is inevitable but overall great.

 


"parfait amour!" aka "a perfect love" (1996) - aka "quel dull!!" ha ha. i generally like catherine breillat's movies and her unflinching look at sex and relationships, but this one was sooo boring!!! since i was already caught in the story i had to watch it at double speed in order to finish-- still a chore. in retrospective yes, there were some interesting ideas there, but just terrible execution for my taste.
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Old 12.04.2014, 05:49 PM   #18422
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Old 12.08.2014, 01:05 PM   #18423
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We've been on a Netflix Gilmore Girls marathon. Who has time for movies?!
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Old 12.12.2014, 02:42 PM   #18424
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STILL ALICE

Filmed theater, mostly. Some chick gets early Alzheimer's.

Julianne Moore always struck me as a solid, respectable actress, but she knocks it out of the park on this one. It's something of a career defining performance, not unlike Deniro's in Raging Bull. Amazingly, she does nothing and gets everything across. I watched it twice: the second time, I mostly just watched her eyes which is where all the action takes place.

A great film marred by two things: a out-of-place bit of Hitchcockian suspense, and the presence of Kristin Stewart, who basically shows how NOT to act. It's so "hey dig me," whereas the scenes with Moore and Alec Baldwin are great because they just do their subtle thing and you sort of forget they're acting, which seems an appropriate style for a realism film like this. Kristin Stewart's desperate attempt to prove she's a real actress might totally ruin the movie for some people, which is too bad.
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Old 12.12.2014, 03:32 PM   #18425
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Hobbit:Journey

and

Hobbit: Smaug

will see the new one in theater.
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Old 12.12.2014, 06:46 PM   #18426
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Recently watched Interview With A Vampire which for some reason ive always been obsessed with.. Platoon which is one of the hands down best Vietnam flicks.. Raw Deal which I always thought was a totally underrated Arnold movie..
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Old 12.14.2014, 10:18 PM   #18427
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i try to watch a movie a day (can't always manage) but lately these have been remarkable in one way or another:

the man without a past (2002)
 


(the actual movie does NOT look washed out like this)

what can i say. kaurismäki rules all. i don't think there's a movie by him i don't love. his usual themes and motifs and aesthetics are here. it's never gonna be "oh, thrilling action and great effects" but damn, great fucking humans and a lovely, hand-made cinematography, plus great music.

chico & rita (2010)

 


the love story was pretty bleh, but the look into mid-century cuban music was amazing (even w/ the falsification of some dates making a certain bolero "appear" 11 years before it was written). holy fuck i loved the music here. and lovely voices. also a great graphic recreation of ancient times.


bad lieutenant port of call new orleans (2009)

[no picture cuz we can only post 4]

a lot less boring than the original bad lieutenant (which i never finished because zzzz). starts pretty depressing and suddenly, holy fuck, it's HILARIOUS. i thought there was something wrong with me for laughing at this shit but no, it's what herzog intended. you think you should be horrified but instead you laugh & laugh. great job. nicolas cage is the greatest live cartoon ever.

frank (2014)


 


ginger devil office drone rockstar wannabe meets eccentric experimental band. i ended up liking the music, particularly carla azar on drums. probably a great narrative for all sygers i'd imagine. not sure how much i would have liked it without the actual music though.

a nos amours (1983)

a crazy jumbled story that jumps through years in the life of an emotionally stunted teenager/young adult. as a "plot" movie, not much to say; as a kind of petit-bourgeois neorrealism, on the other hand, fantastic stuff. great lines of dialogue throughout and great performances.

 


i sort of feel like the character of... wasser name... sandrine bonnaire... is recycled decades later in "blue is the warmest color" but to a very different end... sort of, 2 paths of an unrefined sensualist (maybe it was the spaghetti that made me think of it, ha ha). the director maurice pialat, who also played the dad, was great as the dad, dispensing philosophy among the unworthy.

also caught stuff like:

guardians of teh galaxy. - ssssokay... redeemed by some humor. but overall nothing special.

looking for eric - rises from tv-episode quality by featuring a series of hallucinations featuring eric cantona. makes me regret not having known about cantona in his day. but other than than, a bit of "meh" film with nice people in it. i think it began promisingly and ended a bit too pedestrian and that was my problem with it.
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Old 12.14.2014, 10:35 PM   #18428
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ps- okay here's the picture from he greatest cartoon on film because dammit he deserves to be shown

 


 
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Old 12.15.2014, 08:37 AM   #18429
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That lizard scene is classic.

Edge of Tomorrow- fucking idiotic and I'll probably never watch it again, but I wasn't bored one second.


Looking for mid-80s to early 90s indie classics, preferably American. (Let's pretend I've already seen Clerks and Slackers.) Suggestions?
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Old 12.15.2014, 09:46 AM   #18430
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Quote:
Originally Posted by evollove
Looking for mid-80s to early 90s indie classics, preferably American. (Let's pretend I've already seen Clerks and Slackers.) Suggestions?

trying to think what qualifies as indie -- basically, the money (can get picked up by large distributors though) which allows creative control. free from big studios. the mid-90s brought us the explosion of sundance & the "big indies". these days, hard to tell what's what.

sodherberg: sex lies & videotape (i didn't like it that much but it has its place in history)
tarantino: reservoir dogs / pulp fiction
rodriguez: el mariachi (the original one, not the one wih banderas)
tsukamoto: tetsuo, the iron man
sayles: brother from another planet + other stuff i haven't seen
jarmusch: stranger than paradise / down by law / mystery train / night on earth / dead man
whitman: metropolitan / barcelona / last days of disco (this goes a but past mid-90s but they go together)
kaurismäki: ariel / leningrad cowboys go america / the match factory girl / la vie de boheme / drifting clouds
waters: crybaby/ serial mom
cohens: blood simple / miller's crossing / raising arizona/ barton fink
van sant: drugstore cowboys / my own private idaho / to die for / (was good will hunting "indie"? i hate that movie but it was "big")
cronenberg: the fly / dead ringers / m. butter fly / crash
haynes: superstar / safe
burton: scissorhands / ed wood
linklater (you didn't mention this): dazed & confused
smith (you didn't mention either): mallrats, chasing amy
anderson: bottle rocket
lee: school daze / do the right thing
almodovar: too many films to mention
merchant-ivory: same thing

(i gotta go but i'll keep adding later)

serious question: when is a "foreign" movie an "indie"? e.g. fassbinder, jarman, greenaway? always? [oh i just noticed the "mostly american" note-- still...] also: i'm including releases from 1983 up to 1997 (except when noted) (so no fassbinder)


ferrara: bad lieutenant (i didn't like it but it's a "classic") + some other stuff
hartley: the unvelievable truth / trust / simple men / amateur / flirt / henry fool
russell: spanking the monkey / flirting with disaster
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Old 12.15.2014, 11:41 AM   #18431
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Damn it. Aside from some of the kaurismäki, I've seen every single one of those fucking movies.

There has to be some cool Sundance-y thing I haven't seen yet.


Quote:
Originally Posted by !@#$%!
serious question: when is a "foreign" movie an "indie"? e.g. fassbinder, jarman, greenaway? always?

Greenaway's probably indie, Four Weddings and a Funeral not. I'm not sure how the powers that be figure this stuff out.
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Old 12.15.2014, 12:20 PM   #18432
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I hate when someone wants me to watch an "indie movie". My definition of "indie movie" is a movie with too much talking, not enough money for interesting plot points, boring sets borrowed from a relative, and dealing with the very specific and tedious concerns of whatever was up the filmmakers ass that day he wrote the "screenplay."
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Old 12.15.2014, 12:29 PM   #18433
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Shallow Grave 1994 Danny Boyle
Swimming with Sharks 1994
Repo Man 1984
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Old 12.15.2014, 12:44 PM   #18434
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Quote:
Originally Posted by evollove
Damn it. Aside from some of the kaurismäki, I've seen every single one of those fucking movies.

There has to be some cool Sundance-y thing I haven't seen yet.




Greenaway's probably indie, Four Weddings and a Funeral not. I'm not sure how the powers that be figure this stuff out.

indie just means made outside the big movie studios. today, that includes a bunch of big movie studio subsidiaries (it all started when disney bought miramax in the mid 90s). even shit like "the passion of the christ" is an "indie" movie. i haven't seen that, btw, but might some day just cuz monica bellucci.

reason i asked about foreign film is because in europe there are well-established production facilities (the bbc, cinecittá, etc) but many also get serious support from their culture ministries, etc. so, are all of them "indie" or are none of them "indie"? maybe this definition does not apply outside the usa.

e.g., shallow grave, which is thematically and estehetically very much a 90s "indie" movie, was funded by publicly-owned channel four (it wasn't a lot of money in that budget, but still...)

and then-- hong kong? china? bollywood? the iranians? how do the economics of filmmaking work there? i have no idea.

as for your quest for unearthed gems-- i'll try to throw more names later. have you seen "paris is burning"? great documentary.
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Old 12.16.2014, 08:03 AM   #18435
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Never saw "Paris is Burning." We have a winner.

---

I think it's a spectrum. One side is studio financed, produced, and distributed films. The other is what Cassavettes did with Woman Under the Influence, which is pony up the cash to produce it (along with Peter Falk chipping in) and then actually book the theaters himself to distribute it. The only way to get more indie is to build the theater yourself.

I think a lot of films fall inbetween. Something that cost fifty bucks to make in someone's backyard might get picked up by Warner Bros. Studios, for example. There are a bunch of ways to combine financing, production and distribution.

I'm guessing here, but I think depending on the film or filmmaker, the "indie" part of the ratio might be emphasized in the press release. A street cred thing. Maybe another film will try to ignore the film's ignoble beginnings and emphasize the major backing that eventually arrived. A "Hey, I can be a big player too" thing.

---

Finally occurred to me to just look up a list of Sundance winners and runner-ups. Watched PARTING GLANCES (1986). Steve Buschemi plays a gay. Deals with AIDS long before PHILADELPHIA. A bit boring.


Quote:
Originally Posted by Rob Instigator
I hate when someone wants me to watch an "indie movie". My definition of "indie movie" is a movie with too much talking, not enough money for interesting plot points, boring sets borrowed from a relative, and dealing with the very specific and tedious concerns of whatever was up the filmmakers ass that day he wrote the "screenplay."

I won't necessarily disagree with this, and I'm sure this phase of mine will end soon. After all, indie films have their own cliches and all cliches get old after awhile.

It's just that when I see a low-budget, character-driven film (actually shot on film), I know some people worked really hard against some tough odds to get the thing made. The amount of effort they put into something they care about is touching, inspiring and punk. Even if I do fast-forward through most of it.
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Old 12.17.2014, 01:29 AM   #18436
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Quote:
Originally Posted by Rob Instigator
I hate when someone wants me to watch an "indie movie". My definition of "indie movie" is a movie with too much talking, not enough money for interesting plot points, boring sets borrowed from a relative, and dealing with the very specific and tedious concerns of whatever was up the filmmakers ass that day he wrote the "screenplay."

oh yeah! like hardware, the terminator, repo man, moon, pi [moon pie] (sets definitely borrowed from a relative), a scanner darkly... platoon... sin city... fucking indies!!

http://en.wikipedia.org/wiki/Indepen..._for_Best_Film
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Old 12.17.2014, 01:42 AM   #18437
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I've been watching a lot of various "A Christmas Carol" versions. A holiday tradition of sorts for me.
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Old 12.17.2014, 02:12 AM   #18438
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Quote:
Originally Posted by evollove
That lizard scene is classic.

Edge of Tomorrow- fucking idiotic and I'll probably never watch it again, but I wasn't bored one second.


Looking for mid-80s to early 90s indie classics, preferably American. (Let's pretend I've already seen Clerks and Slackers.) Suggestions?



Already some great films mentioned, but here's a few I'd add to the list (if they can be found, some of these are not on DVD but can be found if one looks hard enuf online.....)


1. "Laws of Gravity" (1992) directed by the great Nick Gomez, one of my very favorite films of all time
2. "Zebrahead" (1992) directed by Anthony Drazan
3. "City of Hope" (1991) directed by John Sayles
4. "Nadja" (1994) directed by Micheal Almereyda (awesome moody B&W vampire film)
5. any Jon Jost but especially "All the Vermeers in NY" (1991) and "The Bed You Sleep In" (1993)
6. "Imaginary Crimes" (1994) another Drazan film with Harvey Keitel
7. "Clean, Shaven" (1994) directed by Lodge Kerrigan
8. "Smoke" (1995) and "Blue In the Face" (1995) by Wayne Wang
9. "Daughters of the Dust" (1991) by Julie Dash
10. any Victor Nunez but especially "Rubi In Paradise" (1993) and "A Flash of Green (1984)
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Old 12.17.2014, 04:40 AM   #18439
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The industrial definition of indie (especially American indie movies) is a distraction. most people looking for those movies are just looking for a certain type of film, in terms of feel and theme: something not overtly genre based (or if it is, a tendency to deal with it ironically, ie Tarantino: Coens, etc) and leaning towards contemporary 'realist' subject matters. It's probably better just to think of a lot of it as American youth-oriented arthouse cinema. There are obvious examples that contradict that but generally, when I think of an American Indie movie, that's what I'm thinking of. Sofia Coppola would make 'indie' movies regardless of who financed them, IMO.
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Old 12.17.2014, 09:27 AM   #18440
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Quote:
Originally Posted by demonrail666
The industrial definition of indie (especially American indie movies) is a distraction. most people looking for those movies are just looking for a certain type of film, in terms of feel and theme: something not overtly genre based (or if it is, a tendency to deal with it ironically, ie Tarantino: Coens, etc) and leaning towards contemporary 'realist' subject matters. It's probably better just to think of a lot of it as American youth-oriented arthouse cinema. There are obvious examples that contradict that but generally, when I think of an American Indie movie, that's what I'm thinking of. Sofia Coppola would make 'indie' movies regardless of who financed them, IMO.
the funding aspect is all about creative control

take for example "hardware" -- in the dvd issue there is extensive commentary about the liberties richard stanley was able to take because of the structure of the production and his relation with palace pictures which wa sbasically born of this undergound movie theatre where all the weirdos hanged out. with the picture done, it took forever to get dvds made because of clusterfucks in the distribution deal (much like "el topo" was for so long in distribution limbo).

see, robert rodríguez to me is the definition of an independent-- fucker shoots whatever he wants, doesn't bother to go to hollywood and shoots in his own backyard.

now if people are mixing up the terms arthouse and independent then we're losing vocabulary.

part of the problem is that arthouse films were always independent but when the big studios saw the earning potential (mid-90s) they either snapped up companies like miramax and fine line or started spinning off their own independent/arthouse subsidiaries (fox searchlight, sony classics). arthouse still looked like arthouse, and terminator got slicker.

but economics do matter-- a lot. the superstructure is determined by the base, ha ha ha. buts seriously. big studio pictures are done by committee. independents, at least in theory, are truer to a director's vision.
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