Is this the thread for a cinematic masterpiece Rubber
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David_TA fashion yes-man is no good to me.Copenhagen, DenmarkRegistered Userregular
There are a lot of really great movies out there.
That being said, is "Olympus Has Fallen" worth my time if I just want a decent action flick? I think I remember it as not being "the good one" of the White House films but is it passable on its own?
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ArtreusI'm a wizardAnd that looks fucked upRegistered Userregular
I found Olympus Has Fallen more entertaining of the two.
White house down had a bunch of attempts at humor that really did not work.
I mean they are both sort of entertaining at least in a "holy shit this is so dumb" kind of way
David_TA fashion yes-man is no good to me.Copenhagen, DenmarkRegistered Userregular
The Raid is great, agreed. Man From Nowhere is awesome. There are plenty of really good action movies, I've just seen quite a few of them already and I wanted something new.
And, well, action movies are often like pizza, they don't necessarily need to be great, they just need to be.
Let me mention another great movie that i always recommend along with Identity, and that movie is Stay starring Ewan McGregor, Ryan Gosling, Bob Hoskins and Naomi Watts.
I don't think i can accurately describe why I love it so much. I like how so many things work together in this film to tell the story of what is going on and its pretty great movie over all.
I got nothing for you now. Try again later.
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ArtreusI'm a wizardAnd that looks fucked upRegistered Userregular
edited November 2013
Stay really fucked me up for a while, as someone who has struggled a lot with that whole suicide thing
A trap is for fish: when you've got the fish, you can forget the trap. A snare is for rabbits: when you've got the rabbit, you can forget the snare. Words are for meaning: when you've got the meaning, you can forget the words.
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Snowbeati need somethingto kick this thing's ass over the lineRegistered Userregular
Wes Anderson… has a very special kind of talent: He knows how to convey the simple joys and interactions between people so well and with such richness. This kind of sensibility is rare in movies.
Wes Anderson, born in Houston, Texas, is one of highest-profile American directors working today. He is also one of the most divisive, due to his singular style.
Mixing a variety of influences, but drawing most heavily from the French New Wave, Anderson's films are marked by their unique characters and playful approach to formalism. He favors 90-degree panning shots, mechanical dollies, long shots, and actors speaking directly to the camera. His characters have unusual vocabularies and diction. The sets and props in his films, as well as the color filters he uses, mark each frame of his movies as an Anderson production.
His movies feature similar themes, with characters who are drawn from the same stable and given new roles in each one. Although they regularly receive criticism for their similarity, this method allows for his filmography to seamlessly explore different aspects of a single question: who are the people that make up a family?
Some critics and many viewers dislike Anderson. His movies have been called "pretentious" and "lowbrow" by turns. Some consider him one of the worst products of auteur theory; others just think his twee stylings and his habit of stitching his films out of wholesale pastiches of scenes from other movies. It's hard to deny that his movies are dripping with nostalgia and sentimentality, and that for a director whose stories focus on rich characters, have a unsettling streak of gaudy materialism running throughout.
I find great comfort in his movies, although that's not exactly the best reason to like a director. I think that his imitators have 'poisoned the well', so to speak, by making mediocre take-offs that copy the visual conceits of his films and forget to add anything of substance. Anderson might be one of the first truly post-modern directors, in the sense that his work has both created and ended its own genre. His stylistic choices are so unique and instantly recognizable that there's nothing to 'improve' upon or take apart. He's already deconstructed his own films to the point that they now resemble gigantic moving dioramas, each piece as finely and exactly crafted as the gears of a Swiss watch.
Below, I've linked the Anderson shorts from the previous page, as well as the short prologue he produced for The Darjeeling Limited, Hotel Chevalier.
I like Romeo and Juliet
I like Moulin Rouge
I haven't seen Strictly Ballroom, I saw parts of Australia and thought it was boring as hell, and Great Gatsby had a few moments of cool stuff but was a letdown overall
I like Romeo and Juliet
I like Moulin Rouge
I haven't seen Strictly Ballroom, I saw parts of Australia and thought it was boring as hell, and Great Gatsby had a few moments of cool stuff but was a letdown overall
The Raid is entirely overrated as a "good" action movie.
You want to watch a hour and a half of non-stop meaningless violence? Watch The Raid. Otherwise, just watch Dredd or Die Hard or something.
also, Grosse Point Blank started off a little rough, but shit yeah it ruled
The Raid is an entirely different sort of beast than those movies. It's an excellent film but it's not really a traditional "action movie".
Martial Arts flick pigeonholes it's genre a little better, it's certainly not meaningless violence, because the violence is the whole point. It's an hour and a half of beautifully constructed chaos.
That's not going to be everyone's cup of tea, but it was certainly mine and to be honest I like it infinitely more than Dredd which was a fun time but I don't quite understand the fawning it gets from people here.
[SIGPIC][/SIGPIC]
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Der Waffle MousBlame this on the misfortune of your birth.New Yark, New Yark.Registered Userregular
Finally got around to watching High Noon on Netflix.
Holy damn that is excellent.
Spoilers below
The film creates a sense of anticipation throughout, as Former Marshall Will Kane tries to rally the help of the townspeople he protected for years. One by one, and all together, they refuse him. Even those who sympathize urge him to leave town while he still can. And all the while, the clocks in the town are ticking inexorably to noon, when the train carrying Kane's nemesis will arrive.
We meet Kane's new wife, a virginal Quaker he marries in the opening scene. She urges him to leave with her, and for a moment he does before something draws him back. What? Well in the words of mysterious Mexican (and the film's most interesting character) Helen Ramirez, "If you have to ask, you'll never know."
Mrs. Ramirez, presumably a widow, has a history with both Will Kane and his nemesis, Frank Miller. We are informed of this by the leering hotelier, who in a few lines establishes himself as a smirking scoundrel who preferred the town when it was run by outlaws.
At first, it seems Kane will get the support of the townspeople, but as the clocks get closer to noon, the willingness to help dries up and the pleas for him to leave town become a dull roar. His own deputy, jealous and resentful, first demands a job recommendation, then quits when it is refused.
Ultimately the only people in town willing to help seem to be a one-eyed drunkard and a 14 yr old boy with more courage than brains. Marshall Kane must face Miller and his three gunmen alone.
Oh right, the three gunmen. They're the ones who tipped everyone off that Miller was coming back, and they've been waiting for him at the train depot. The camera goes back to them every ten minutes or so to remind us the train is coming, as if the constant shots of ticking clocks weren't enough to drive the point home.
I won't tell you how it all ends, except to say that every character has their moment to make a difference in some small way.
Not a very literary review and sort of rambling but you get the idea
Okay, but what if we put Sean Connery in it and set it in space?
I just saw Steven Soderbergh's movie "Side Effects", with Jude Law and Rooney Mara. It came out earlier this year, and it's about a depressed woman who takes a new medication that has some unintended consequences. It's like a thriller/critique of our supposedly overmedicated society.
Without going into spoiler territory, the movie starts off strong and shows some characters who are well fleshed out and act believably. However, the plot contrivances toward the end turn the movie from dark and tense to something a bit silly and ridiculous.
Overall, this movie was OK, not bad, not great. When in comes to Soderbergh's more "serious" movies, I still think "Contagion" was better. (I haven't seen "Haywire", but I hear great things.)
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ArtreusI'm a wizardAnd that looks fucked upRegistered Userregular
Yeah I found a lot of stuff in Dredd to be a little off-putting. Was bummed since I'd heard everybody talk about how amazing it was
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Wow. So I just checked out some of the background, including the idea that High Noon was an allegory
In short, fuck John Wayne.
-Indiana Solo, runner of blades
I forgot how dang good that movie is.
Steam ID - VeldrinD | SS Post | Wishlist
I got to see it at the cinema once, and it was great but I don't think certain parts would translate well to the small screen.
That being said, is "Olympus Has Fallen" worth my time if I just want a decent action flick? I think I remember it as not being "the good one" of the White House films but is it passable on its own?
White house down had a bunch of attempts at humor that really did not work.
I mean they are both sort of entertaining at least in a "holy shit this is so dumb" kind of way
And, well, action movies are often like pizza, they don't necessarily need to be great, they just need to be.
Also now I'm hungry.
in short, I hate it and it made me physically angry but I also think it might be a really good movie?
I don't think i can accurately describe why I love it so much. I like how so many things work together in this film to tell the story of what is going on and its pretty great movie over all.
You want to watch a hour and a half of non-stop meaningless violence? Watch The Raid. Otherwise, just watch Dredd or Die Hard or something.
also, Grosse Point Blank started off a little rough, but shit yeah it ruled
Wes Anderson, born in Houston, Texas, is one of highest-profile American directors working today. He is also one of the most divisive, due to his singular style.
Mixing a variety of influences, but drawing most heavily from the French New Wave, Anderson's films are marked by their unique characters and playful approach to formalism. He favors 90-degree panning shots, mechanical dollies, long shots, and actors speaking directly to the camera. His characters have unusual vocabularies and diction. The sets and props in his films, as well as the color filters he uses, mark each frame of his movies as an Anderson production.
His movies feature similar themes, with characters who are drawn from the same stable and given new roles in each one. Although they regularly receive criticism for their similarity, this method allows for his filmography to seamlessly explore different aspects of a single question: who are the people that make up a family?
Some critics and many viewers dislike Anderson. His movies have been called "pretentious" and "lowbrow" by turns. Some consider him one of the worst products of auteur theory; others just think his twee stylings and his habit of stitching his films out of wholesale pastiches of scenes from other movies. It's hard to deny that his movies are dripping with nostalgia and sentimentality, and that for a director whose stories focus on rich characters, have a unsettling streak of gaudy materialism running throughout.
I find great comfort in his movies, although that's not exactly the best reason to like a director. I think that his imitators have 'poisoned the well', so to speak, by making mediocre take-offs that copy the visual conceits of his films and forget to add anything of substance. Anderson might be one of the first truly post-modern directors, in the sense that his work has both created and ended its own genre. His stylistic choices are so unique and instantly recognizable that there's nothing to 'improve' upon or take apart. He's already deconstructed his own films to the point that they now resemble gigantic moving dioramas, each piece as finely and exactly crafted as the gears of a Swiss watch.
Below, I've linked the Anderson shorts from the previous page, as well as the short prologue he produced for The Darjeeling Limited, Hotel Chevalier.
I loathe Baz Luhrmann's work
Actively despise it
He hasn't done a single thing, ever, that has inspired a reaction more positive than "This is fucking horseshit"
I honestly think I would be a happier and more well-rounded person if I thought this
but it's so pretty and I know those songs and they're being repurposed and heeeeeee
Romeo + Juliet ain't that bad.
I like Moulin Rouge
I haven't seen Strictly Ballroom, I saw parts of Australia and thought it was boring as hell, and Great Gatsby had a few moments of cool stuff but was a letdown overall
Strictly Ballroom is ooookkaaay
otherwise your opinions are my opinions
It made me physically angry too, but I think it might be the best movie I've seen this year
In a lot of ways it's Ridley Scott and Cormac McCarthy at their respective bests
A worrying prospect
I...kind of dig it?
I just hadn't expected to like it as much as I am
You should watch it if you haven't
once the disk drive in my laptop broke after I put in The American, so that was the only DVD I could watch for nearly three months
I didn't even care
goddamn that was a fucking fun movie
I so totally agree with this
But a couple months back, I listened to an interview with the dude
It was a short thing, just a bit on a podcast I was listening to
And he sounded so articulate and had such interesting ideas and I was really interested in the films that the guy who was talking made
And then the spell was broken, and I remembered this was Baz Luhrmann, and was really disappointed
what
why do I remember talking to you about that movie already
The Raid is an entirely different sort of beast than those movies. It's an excellent film but it's not really a traditional "action movie".
Martial Arts flick pigeonholes it's genre a little better, it's certainly not meaningless violence, because the violence is the whole point. It's an hour and a half of beautifully constructed chaos.
That's not going to be everyone's cup of tea, but it was certainly mine and to be honest I like it infinitely more than Dredd which was a fun time but I don't quite understand the fawning it gets from people here.
Okay, but what if we put Sean Connery in it and set it in space?
Without going into spoiler territory, the movie starts off strong and shows some characters who are well fleshed out and act believably. However, the plot contrivances toward the end turn the movie from dark and tense to something a bit silly and ridiculous.
Overall, this movie was OK, not bad, not great. When in comes to Soderbergh's more "serious" movies, I still think "Contagion" was better. (I haven't seen "Haywire", but I hear great things.)