Which reminds me, I had a class assignment in high school freshman English. The assignment was to write a short essay basically assigning blame in Romeo and Juliet. Whose fault was it that the young lovers died.
Every single student in the class with the exception of myself confidently and definitively blamed the apothecary for everything.
(For my part I blamed poor communication and rash decision making). But I always think of that when R&J comes up.
BlackDragon480Bluster KerfuffleMaster of Windy ImportRegistered Userregular
I'd blame R + J for being pants-on-head teenagers that didn't mind taking down an entire city because they're so in love.
In more movie related news, rewatched Outland last night for the first time in years, and it still holds up. I love me some lived-in 80's Sci-Fi, and James Bond as space Narc is something you don't see everyday.
No matter where you go...there you are. ~ Buckaroo Banzai
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AtomikaLive fast and get fucked or whateverRegistered Userregular
Hey everyone,
Let's talk about maybe cinema's most overlooked master director, Peter Weir. Weir is the most-nominated director you've never heard of, holding 5 nominations from the Academy, 4 Golden Globes, and 7 BAFTAs (winning 3). His painterly, sweeping style is lush and classical and epic, the deeply-saturated cinematic equivalent of baroque composition. Wide vistas, Malick-esque natural lighting, and a flair for organic environments mark his technique as a master of traditional cinematography, made all the more interesting with his complex heroes and stories detailing the lives of the morally compromised. Let's look at some of his compositions:
[img][/img]
such classic
much motivated light
wow
Weir doesn't work much these days, sadly, and he's getting a little age on him (he's 71). It's shame to think we may be at the end of his production cycle (he hasn't attached himself to a project in the last 5 years), but I'd be remiss if I didn't at least extol the virtues of this naturalist to an audience of cinephiles that may not be familiar with his CV. Some of his titles are available for streaming on Netflix and Hulu, the rest are available for rent on services like iTunes, YouTube, and GooglePlay. I'd recommend these as most seminal works:
- Witness
- The Mosquito Coast
- Dead Poets Society
- Master & Commander
- Gallipoli
- The Way Back
- The Year of Living Dangerously
I hope you all enjoy these as much as I did.
+10
Options
AtomikaLive fast and get fucked or whateverRegistered Userregular
What makes Southland Tales so bad? I've never actually seen it.
Oh . . friend. Words will not do it justice. It must be seen to be believed.
It's the tale of a time-travelling prophet of the Apocalypse (The Rock) who, along with his porn star sidekick (Buffy the Vampire Slayer), seeks to prevent the destruction of the world, which of course is being brought about by the Republican Party and a doomsday cult that has invented a perpetual-motion machine. Along the way this intrepid pair will encounter gun-running anarchists (played by SNL's Cheri O'Teri and Highlander's Christopher Lambert), a violent racist cop (played by Jon Lovitz), a paraplegic geriatric war general who lives in an underground bunker (played by Kevin Smith under 8 tons of prosthetics), and Sean William Scott as a pair of twins (or are they??) who might be the reborn Christ.
Don't miss Wallace Shawn as the evil scientist, Jeanine Garofalo as the guerrilla soldier, Bai Ling as the dancer who dances at completely inappropriate times for no discernible reason, and Justin Timberlake, who gets his own musical number in the film (oh, but he doesn't sing in it). Thrill to the finale as reality is unmade when the reborn messiah pilots his flying ice cream truck up to the GOP's flying zeppelin headquarters and destroys it with a bazooka.
I can't remember where I read it, but I once heard Romeo and Juliet's ending described as a brilliant writerly device--because of the poison and sleeping potion and whatnot, Shakespeare managed to write a romantic tragedy in which both lovers die and yet each is given the chance to mourn the other.
It occurs to me that the same applies to the end of Kill Bill:
The "five point palm exploding heart technique" isn't just a silly device imported from kung fu movies; it's a way to let Beatrix achieve her goal of Killing Bill while still giving them one more chance to talk--after she's already killed him. As soon as she uses the technique on him, her eyes widen with horror--for all that he's done, for all that she wanted to kill him, she still loved him and now in her moment of triumph is shocked that she actually went through with it. Had he simply died, she might have gone on to feel guilty for what she'd done. But Tarantino wants a happy ending, for her revenge quest to have redeemed her. So through the ridiculous device of this technique, which only kills you after you take five steps, Bill can absolve her after she's killed him but before he actually dies. "I'm a bad person," she says, voicing her worst fear. "No, you're not," he replies. "You're a terrific person. You're my favorite person." It's a beautiful moment, and crucial to the film as a whole as well as the ending.
For his part, Bill gets to accept his death with dignity--the only one of the five villains to do so. There's a running theme throughout the two-part picture about what these assassins consider a "good death", with some of them proposing climactic, cinematic battles they'll never have (Green suggests a knife fight at night in a baseball stadium, both dressed in black; Bill himself suggests a sunrise swordfight on the beach), and others ruminating on an easy out (when Elle sneaks into Beatrix's hospital room to poison her, she calls it a "gift," telling the unconscious Beatrix that "Dying in our sleep is a luxury our kind is rarely afforded"). Moreover, each character's opposition to Beatrix's goals represents a narrative struggle against death, a refusal to allow her to progress until she forcibly defeats them. Bill's segment of the film is compelling because he presents almost no direct counter to Beatrix's quest, but attempts to sway her with words and emotions instead. And in the end, his reward for allowing the film's conflicts to resolve almost peaceably is that he is given a minute to button his shirt, wipe the blood from his face, and accept his death on its own terms.
Which are Beatrix's terms, really. In a way, it's the nicest thing he ever does for her.
I really wish we could get to see The Whole Bloody Affair, but it seems like QT has given up on it. If I ever get some time (which is at a premium these days because motherhood), mixing up something similar might be my warmup for my eventual Hobbit all-in-one edit.
Were there extra scenes or any major changes in TWBA or was it just re-edited to flow in chronological order?
I know that it's only been shown once for 2 nights in LA or something so it's probably a hard question to answer...
Stayed up and watch the new RoboCop last night, and honestly, didn't think it was bad. It played up the politics pretty hard, but I thought they gave the creation of robocop at least an air of plausibility. It certainly left me with at least one question
At the end he overrode his programming, but the idea that in combat mode he was full on robot just seemed to be glossed over? I felt that was one of the big moral dilemmas of the film, and felt like it the consequences were never really addressed.
Can I just say how much I love Leo's performance in Wolf of Wallstreet? It's fantastic. Belfort is both very intelligent and a total buffoon. At times he's charismatic and likable, but at others he's horrible and terrifying. He's both totally confident and woefully insecure. There's a lot going on in that performance, probably more than he gets credit for. I know it doesn't ultimately matter, but it's a shame he didn't win best actor.
+9
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NocrenLt Futz, Back in ActionNorth CarolinaRegistered Userregular
Stayed up and watch the new RoboCop last night, and honestly, didn't think it was bad. It played up the politics pretty hard, but I thought they gave the creation of robocop at least an air of plausibility. It certainly left me with at least one question
At the end he overrode his programming, but the idea that in combat mode he was full on robot just seemed to be glossed over? I felt that was one of the big moral dilemmas of the film, and felt like it the consequences were never really addressed.
I thought that was the whole point of the film?
That they wanted a robot with basically a human face/hand to be able to work on US soil. [/sppoiler]
I haven't seen the film yet, though its on Netflix I believe so maybe tomorrow.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
I can't remember where I read it, but I once heard Romeo and Juliet's ending described as a brilliant writerly device--because of the poison and sleeping potion and whatnot, Shakespeare managed to write a romantic tragedy in which both lovers die and yet each is given the chance to mourn the other.
It occurs to me that the same applies to the end of Kill Bill:
The "five point palm exploding heart technique" isn't just a silly device imported from kung fu movies; it's a way to let Beatrix achieve her goal of Killing Bill while still giving them one more chance to talk--after she's already killed him. As soon as she uses the technique on him, her eyes widen with horror--for all that he's done, for all that she wanted to kill him, she still loved him and now in her moment of triumph is shocked that she actually went through with it. Had he simply died, she might have gone on to feel guilty for what she'd done. But Tarantino wants a happy ending, for her revenge quest to have redeemed her. So through the ridiculous device of this technique, which only kills you after you take five steps, Bill can absolve her after she's killed him but before he actually dies. "I'm a bad person," she says, voicing her worst fear. "No, you're not," he replies. "You're a terrific person. You're my favorite person." It's a beautiful moment, and crucial to the film as a whole as well as the ending.
For his part, Bill gets to accept his death with dignity--the only one of the five villains to do so. There's a running theme throughout the two-part picture about what these assassins consider a "good death", with some of them proposing climactic, cinematic battles they'll never have (Green suggests a knife fight at night in a baseball stadium, both dressed in black; Bill himself suggests a sunrise swordfight on the beach), and others ruminating on an easy out (when Elle sneaks into Beatrix's hospital room to poison her, she calls it a "gift," telling the unconscious Beatrix that "Dying in our sleep is a luxury our kind is rarely afforded"). Moreover, each character's opposition to Beatrix's goals represents a narrative struggle against death, a refusal to allow her to progress until she forcibly defeats them. Bill's segment of the film is compelling because he presents almost no direct counter to Beatrix's quest, but attempts to sway her with words and emotions instead. And in the end, his reward for allowing the film's conflicts to resolve almost peaceably is that he is given a minute to button his shirt, wipe the blood from his face, and accept his death on its own terms.
Which are Beatrix's terms, really. In a way, it's the nicest thing he ever does for her.
I really wish we could get to see The Whole Bloody Affair, but it seems like QT has given up on it. If I ever get some time (which is at a premium these days because motherhood), mixing up something similar might be my warmup for my eventual Hobbit all-in-one edit.
Were there extra scenes or any major changes in TWBA or was it just re-edited to flow in chronological order?
I know that it's only been shown once for 2 nights in LA or something so it's probably a hard question to answer...
The only key differences I know of are:
- some scenes that were in color for the theatrical version were intended as black & white
- the scene where Bill tells Sophie that BB is still alive was never intended to be in the film at all, and was shot later as a demand by the Weinsteins.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
Can I just say how much I love Leo's performance in Wolf of Wallstreet? It's fantastic. Belfort is both very intelligent and a total buffoon. At times he's charismatic and likable, but at others he's horrible and terrifying. He's both totally confident and woefully insecure. There's a lot going on in that performance, probably more than he gets credit for. I know it doesn't ultimately matter, but it's a shame he didn't win best actor.
I don't think DiCaprio is nearly as good an actor as the mainstream (and his own ego) makes him out to be, but I definitely think Wolf of Wall Street was his best work by far. Honestly, he was pretty great in Gatsby, as well, and I like his performance in Inception well enough.
DiCaprio's problems are that he doesn't understand his own range, he doesn't like to portray charismatic characters, and he frequently mistakes "grim and po-faced" for serious acting.
I made sure to not know anything about the film going in, and it payed off dividends for the opening scene alone. I feel like this movie aced everything it was trying to do. So many stand out scenes that I spent most of the night reflecting on in terror. I was impressed with how the film portrayed the kids - almost gang like in their group-strength, equally confident and aimless. The monster was unique, fresh, and awoke something deep within me that raised the hairs on the back of my neck. The cinematography did as much of the heavy lifting for the story as the dialogue did with tons of movement across busy, Where's Waldo framed shots. Half of the horror of the film was looking at a wide shot of a neighborhood and frantically scanning for the impending doom. I'm still digesting the message I know is woven into the plot but right now I'm still just too creeped out to function properly.
I made sure to not know anything about the film going in, and it payed off dividends for the opening scene alone. I feel like this movie aced everything it was trying to do. So many stand out scenes that I spent most of the night reflecting on in terror. I was impressed with how the film portrayed the kids - almost gang like in their group-strength, equally confident and aimless. The monster was unique, fresh, and awoke something deep within me that raised the hairs on the back of my neck. The cinematography did as much of the heavy lifting for the story as the dialogue did with tons of movement across busy, Where's Waldo framed shots. Half of the horror of the film was looking at a wide shot of a neighborhood and frantically scanning for the impending doom. I'm still digesting the message I know is woven into the plot but right now I'm still just too creeped out to function properly.
Ahhhh I want to watch this. I want to read this spoiler. I need to watch this first!!!
Let's talk about maybe cinema's most overlooked master director, Peter Weir. Weir is the most-nominated director you've never heard of, holding 5 nominations from the Academy, 4 Golden Globes, and 7 BAFTAs (winning 3). His painterly, sweeping style is lush and classical and epic, the deeply-saturated cinematic equivalent of baroque composition. Wide vistas, Malick-esque natural lighting, and a flair for organic environments mark his technique as a master of traditional cinematography, made all the more interesting with his complex heroes and stories detailing the lives of the morally compromised. Let's look at some of his compositions:
[img][/img]
such classic
much motivated light
wow
Weir doesn't work much these days, sadly, and he's getting a little age on him (he's 71). It's shame to think we may be at the end of his production cycle (he hasn't attached himself to a project in the last 5 years), but I'd be remiss if I didn't at least extol the virtues of this naturalist to an audience of cinephiles that may not be familiar with his CV. Some of his titles are available for streaming on Netflix and Hulu, the rest are available for rent on services like iTunes, YouTube, and GooglePlay. I'd recommend these as most seminal works:
- Witness
- The Mosquito Coast
- Dead Poets Society
- Master & Commander
- Gallipoli
- The Way Back
- The Year of Living Dangerously
I hope you all enjoy these as much as I did.
Have you seen The Cars That Ate Paris and The Plumber?
I can't remember where I read it, but I once heard Romeo and Juliet's ending described as a brilliant writerly device--because of the poison and sleeping potion and whatnot, Shakespeare managed to write a romantic tragedy in which both lovers die and yet each is given the chance to mourn the other.
It occurs to me that the same applies to the end of Kill Bill:
The "five point palm exploding heart technique" isn't just a silly device imported from kung fu movies; it's a way to let Beatrix achieve her goal of Killing Bill while still giving them one more chance to talk--after she's already killed him. As soon as she uses the technique on him, her eyes widen with horror--for all that he's done, for all that she wanted to kill him, she still loved him and now in her moment of triumph is shocked that she actually went through with it. Had he simply died, she might have gone on to feel guilty for what she'd done. But Tarantino wants a happy ending, for her revenge quest to have redeemed her. So through the ridiculous device of this technique, which only kills you after you take five steps, Bill can absolve her after she's killed him but before he actually dies. "I'm a bad person," she says, voicing her worst fear. "No, you're not," he replies. "You're a terrific person. You're my favorite person." It's a beautiful moment, and crucial to the film as a whole as well as the ending.
For his part, Bill gets to accept his death with dignity--the only one of the five villains to do so. There's a running theme throughout the two-part picture about what these assassins consider a "good death", with some of them proposing climactic, cinematic battles they'll never have (Green suggests a knife fight at night in a baseball stadium, both dressed in black; Bill himself suggests a sunrise swordfight on the beach), and others ruminating on an easy out (when Elle sneaks into Beatrix's hospital room to poison her, she calls it a "gift," telling the unconscious Beatrix that "Dying in our sleep is a luxury our kind is rarely afforded"). Moreover, each character's opposition to Beatrix's goals represents a narrative struggle against death, a refusal to allow her to progress until she forcibly defeats them. Bill's segment of the film is compelling because he presents almost no direct counter to Beatrix's quest, but attempts to sway her with words and emotions instead. And in the end, his reward for allowing the film's conflicts to resolve almost peaceably is that he is given a minute to button his shirt, wipe the blood from his face, and accept his death on its own terms.
Which are Beatrix's terms, really. In a way, it's the nicest thing he ever does for her.
I really wish we could get to see The Whole Bloody Affair, but it seems like QT has given up on it. If I ever get some time (which is at a premium these days because motherhood), mixing up something similar might be my warmup for my eventual Hobbit all-in-one edit.
Were there extra scenes or any major changes in TWBA or was it just re-edited to flow in chronological order?
I know that it's only been shown once for 2 nights in LA or something so it's probably a hard question to answer...
The only key differences I know of are:
- some scenes that were in color for the theatrical version were intended as black & white
- the scene where Bill tells Sophie that BB is still alive was never intended to be in the film at all, and was shot later as a demand by the Weinsteins.
Also Production I.G. is extending the anime sequence - I think it will be about twice as long.
(I want to see Tarantino team up with I.G. and do a feature length animated film some day.)
(Also I think you have the color/b&w thing backwards - the b&w House of Blue Leaves sequence was supposed to be in color, but they had to switch it to b&w to avoid an NC-17, because of all the blood. They're switching it back to color for The Whole Bloody Affair. Although I rather liked the black and white.)
Let's talk about maybe cinema's most overlooked master director, Peter Weir. Weir is the most-nominated director you've never heard of, holding 5 nominations from the Academy, 4 Golden Globes, and 7 BAFTAs (winning 3). His painterly, sweeping style is lush and classical and epic, the deeply-saturated cinematic equivalent of baroque composition. Wide vistas, Malick-esque natural lighting, and a flair for organic environments mark his technique as a master of traditional cinematography, made all the more interesting with his complex heroes and stories detailing the lives of the morally compromised. Let's look at some of his compositions:
[img][/img]
such classic
much motivated light
wow
Weir doesn't work much these days, sadly, and he's getting a little age on him (he's 71). It's shame to think we may be at the end of his production cycle (he hasn't attached himself to a project in the last 5 years), but I'd be remiss if I didn't at least extol the virtues of this naturalist to an audience of cinephiles that may not be familiar with his CV. Some of his titles are available for streaming on Netflix and Hulu, the rest are available for rent on services like iTunes, YouTube, and GooglePlay. I'd recommend these as most seminal works:
- Witness
- The Mosquito Coast
- Dead Poets Society
- Master & Commander
- Gallipoli
- The Way Back
- The Year of Living Dangerously
I hope you all enjoy these as much as I did.
Have you seen The Cars That Ate Paris and The Plumber?
Sadly, no, my knowledge of his early catalogue is too thin
Let's talk about maybe cinema's most overlooked master director, Peter Weir. Weir is the most-nominated director you've never heard of, holding 5 nominations from the Academy, 4 Golden Globes, and 7 BAFTAs (winning 3). His painterly, sweeping style is lush and classical and epic, the deeply-saturated cinematic equivalent of baroque composition. Wide vistas, Malick-esque natural lighting, and a flair for organic environments mark his technique as a master of traditional cinematography, made all the more interesting with his complex heroes and stories detailing the lives of the morally compromised. Let's look at some of his compositions:
[img][/img]
such classic
much motivated light
wow
Weir doesn't work much these days, sadly, and he's getting a little age on him (he's 71). It's shame to think we may be at the end of his production cycle (he hasn't attached himself to a project in the last 5 years), but I'd be remiss if I didn't at least extol the virtues of this naturalist to an audience of cinephiles that may not be familiar with his CV. Some of his titles are available for streaming on Netflix and Hulu, the rest are available for rent on services like iTunes, YouTube, and GooglePlay. I'd recommend these as most seminal works:
- Witness
- The Mosquito Coast
- Dead Poets Society
- Master & Commander
- Gallipoli
- The Way Back
- The Year of Living Dangerously
I hope you all enjoy these as much as I did.
Have you seen The Cars That Ate Paris and The Plumber?
Sadly, no, my knowledge of his early catalogue is too thin
You of all people desperately, desperately need to see Picnic at Hanging Rock. It's probably the best movie he's ever done*, and brimming with gender issues as well.
*to be fair I haven't seen a lot of his, but by reputation alone...
+1
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AstaerethIn the belly of the beastRegistered Userregular
Southland Tales was so atrocious I turned it off after 20 minutes. That's ten minutes less than I gave The Last Airbender, people.
Saw Birdman. It's really, really good. Well cast, fantastic acting (Stone and Norton are actually even better in it than Keaton, imo), brilliantly shot and edited, a tight script with just the right amount of weirdness/ambiguity, strong thematic/emotional narratives, etc. Basically, everything about it is good. Don't know if it's Best Picture good - I haven't seen most of the other nominees - but it's a damn fine movie.
Donnie Darko is a bad movie with a great soundtrack. It's made even worse by the fact that Hot Topic kids love it and think loving it makes them special.
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jungleroomxIt's never too many graves, it's always not enough shovelsRegistered Userregular
I watched Memento with a couple of first-timers (I didn't realize they existed these days).
Their expressions about 15 minutes in were priceless.
Posts
such a great Intro, one of the best ever.
Resident 8bitdo expert.
Resident hybrid/flap cover expert.
Every single student in the class with the exception of myself confidently and definitively blamed the apothecary for everything.
(For my part I blamed poor communication and rash decision making). But I always think of that when R&J comes up.
Read an article on it from the Agony Booth way, way, way back. The movie is a car crash of pretentious bullshit, quantum physics, and stunt casting.
Shitty Tumblr:lighthouse1138.tumblr.com
In more movie related news, rewatched Outland last night for the first time in years, and it still holds up. I love me some lived-in 80's Sci-Fi, and James Bond as space Narc is something you don't see everyday.
~ Buckaroo Banzai
Let's talk about maybe cinema's most overlooked master director, Peter Weir. Weir is the most-nominated director you've never heard of, holding 5 nominations from the Academy, 4 Golden Globes, and 7 BAFTAs (winning 3). His painterly, sweeping style is lush and classical and epic, the deeply-saturated cinematic equivalent of baroque composition. Wide vistas, Malick-esque natural lighting, and a flair for organic environments mark his technique as a master of traditional cinematography, made all the more interesting with his complex heroes and stories detailing the lives of the morally compromised. Let's look at some of his compositions:
such classic
much motivated light
wow
Weir doesn't work much these days, sadly, and he's getting a little age on him (he's 71). It's shame to think we may be at the end of his production cycle (he hasn't attached himself to a project in the last 5 years), but I'd be remiss if I didn't at least extol the virtues of this naturalist to an audience of cinephiles that may not be familiar with his CV. Some of his titles are available for streaming on Netflix and Hulu, the rest are available for rent on services like iTunes, YouTube, and GooglePlay. I'd recommend these as most seminal works:
- Witness
- The Mosquito Coast
- Dead Poets Society
- Master & Commander
- Gallipoli
- The Way Back
- The Year of Living Dangerously
I hope you all enjoy these as much as I did.
Oh . . friend. Words will not do it justice. It must be seen to be believed.
It's the tale of a time-travelling prophet of the Apocalypse (The Rock) who, along with his porn star sidekick (Buffy the Vampire Slayer), seeks to prevent the destruction of the world, which of course is being brought about by the Republican Party and a doomsday cult that has invented a perpetual-motion machine. Along the way this intrepid pair will encounter gun-running anarchists (played by SNL's Cheri O'Teri and Highlander's Christopher Lambert), a violent racist cop (played by Jon Lovitz), a paraplegic geriatric war general who lives in an underground bunker (played by Kevin Smith under 8 tons of prosthetics), and Sean William Scott as a pair of twins (or are they??) who might be the reborn Christ.
Don't miss Wallace Shawn as the evil scientist, Jeanine Garofalo as the guerrilla soldier, Bai Ling as the dancer who dances at completely inappropriate times for no discernible reason, and Justin Timberlake, who gets his own musical number in the film (oh, but he doesn't sing in it). Thrill to the finale as reality is unmade when the reborn messiah pilots his flying ice cream truck up to the GOP's flying zeppelin headquarters and destroys it with a bazooka.
And never forget, "Pimps don't commit suicide."
Clearly, I will need to be very drunk to watch it, whenever that happens.
I'm TOTALLY ok with this turn of events.
Were there extra scenes or any major changes in TWBA or was it just re-edited to flow in chronological order?
I know that it's only been shown once for 2 nights in LA or something so it's probably a hard question to answer...
its one of the best/worst cinematic trainwrecks ever made
if you're looking for a good movie to get trashed with friends and laugh at its GREAT
I thought that was the whole point of the film?
I haven't seen the film yet, though its on Netflix I believe so maybe tomorrow.
The only key differences I know of are:
- some scenes that were in color for the theatrical version were intended as black & white
- the scene where Bill tells Sophie that BB is still alive was never intended to be in the film at all, and was shot later as a demand by the Weinsteins.
I don't think DiCaprio is nearly as good an actor as the mainstream (and his own ego) makes him out to be, but I definitely think Wolf of Wall Street was his best work by far. Honestly, he was pretty great in Gatsby, as well, and I like his performance in Inception well enough.
DiCaprio's problems are that he doesn't understand his own range, he doesn't like to portray charismatic characters, and he frequently mistakes "grim and po-faced" for serious acting.
Go, watch it, be terrified.
Ahhhh I want to watch this. I want to read this spoiler. I need to watch this first!!!
Have you seen The Cars That Ate Paris and The Plumber?
Screw that, drinking might make things worse.
Better to book a trip to Colorado and watch it under the influence of their national crop, that's the only way I'd manage to stomach it
(I want to see Tarantino team up with I.G. and do a feature length animated film some day.)
(Also I think you have the color/b&w thing backwards - the b&w House of Blue Leaves sequence was supposed to be in color, but they had to switch it to b&w to avoid an NC-17, because of all the blood. They're switching it back to color for The Whole Bloody Affair. Although I rather liked the black and white.)
Sadly, no, my knowledge of his early catalogue is too thin
This one isn't safe for work!
---
The best part is that I could post clips for days and it wouldn't make any more sense. Ever.
Southland Tales is a very special bad movie, one that can only be made by a director who thinks he is making an amazing movie.
Everyone should see this glorious trainwreck.
You of all people desperately, desperately need to see Picnic at Hanging Rock. It's probably the best movie he's ever done*, and brimming with gender issues as well.
*to be fair I haven't seen a lot of his, but by reputation alone...
I've seen The Box. That's enough "amusingly, Richard Kelly is a shitty filmmaker" to last me a lifetime.
I did and it's not worth watching.
I'm sorry, you appear to be suffering from stockholm syndrome resulting from sitting through the entire film.
and somehow it follows will be airing in Ohio
one theater 30 minutes away from me. i'll be there
Richard Kelly is a hoax.
Donnie Darko is one of the most ridiculously self-important and oblivious movies I've ever seen.
I have lost count over the number of booty war stories that started with 'so we were watching Donnie Darko and...'
Their expressions about 15 minutes in were priceless.
there was a time immediately following all three of those movies where I would have told you honestly that it was my new favorite movie ever.
I just can't bring myself to watch it again based on what people I trust tell me about it's actual quality.