LMP
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You got to see Heather Graham hit rock-bottom.
Review The Movie You Viewed Part VIII: Lance's Mom Takes Manhattan
- Thread starter monkeyskin
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You got to see Heather Graham hit rock-bottom.
LMP
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As #6 perfectly illustrates: Mercy Kill: 6 Shows (Thankfully) Canceled After One Episode | Cracked.com
One of the best moments from 41-38 was Keith Jackson being forced by ABC to do a promo for Emily's Reasons Why Not in the middle of the fourth quarter. He said something to the effect of "and check out Emily's Reasons Why Not, I don't know."
You had to hear it. Hysterical.
You had to hear it. Hysterical.
lazarus
Blue Crack Supplier
impy13;6342916 To be fair said:
I thought John C. Reilly as the converted Buddhist who eventually loses his shit was pretty damned funny.
Also, speaking of Turturro, I'm showing Spike Lee's Clockers tonight to friends. If you people haven't seen it, you should. The book (and the film, to a lesser extent) was a pretty major influence on The Wire, and it's probably one of the first major films to show the day-to-day life of crack dealers. Personally I think it's one of Spike's better films.
Originally, Scorsese was to direct it, with De Niro in Keitel's part. But he got the money for Casino, and moved forward with that.
LMP
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I admittedly need to see more of Spike's films. I've only seen Jungle Fever, which I felt was pretty overbearing and heavy-handed without a lot of the flair I expected, and Inside Man, which was pretty solid.
25th Hour and Malcolm X are the two I'd put high on the pipeline. Besides Clockers, are there any other I should consider?
25th Hour and Malcolm X are the two I'd put high on the pipeline. Besides Clockers, are there any other I should consider?
Lancemc
Blue Crack Addict
Err... Do the Right Thing?
LMP
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Forgot to mention that, but yeah.
lazarus
Blue Crack Supplier
Jungle Fever and Mo' Better Blues aren't two of the better ones. I think He Got Game is fantastic, featuring one of Denzel's against-type performances, and of course if you like basketball you'll enjoy it more.
I'd also recommend Summer of Sam, his first film with a mostly-white cast, and one that pretty damned intense. You will definitely like it. Also Crooklyn is probably his best lighter film, and then there's his pseudo-doc Get On The Bus with some great acting.
No spoken words
Blue Crack Supplier
The book was fantastic. Not as enamored with the film. Hope your peeps enjoy it, though.
LMP
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Thanks for the feedback.
Kobe Doin' Work was retarded, by the way. Carry on.
Kobe Doin' Work was retarded, by the way. Carry on.
No spoken words
Blue Crack Supplier
I like Spike Lee's film: Inside Man.
lazarus
Blue Crack Supplier
Did you see Lance's final project from last semester, Inside Mom?
No spoken words
Blue Crack Supplier
It's so fucking sad that I HAD to add the Spike Lee part, cos if I just typed "I liked Inside Man" there'd have been a fucking free for all.
Am I the only one that liked that film? Spike with a big budget, Denzel, Owen, Ejiofor, NYC denizens, etc.
lazarus
Blue Crack Supplier
Oh, I thought it was great fun. Acting and directing were top-notch. It just saddens me that he's resorted to doing other people's screenplays.
No spoken words
Blue Crack Supplier
It saddens me that they're making a sequel, but maybe it'll be good.
Malcolm X is my favorite Spike joint, by far.
lazarus
Blue Crack Supplier
Mine as well, and I think Denzel gives one of the Top 3 or so perfs of the 90's.
No spoken words
Blue Crack Supplier
Agreed. It takes, what, 15 minutes before you sort of forget that it's an actor portraying an historic figure. Amazing work.
Dalton
Blue Crack Addict
I went and saw 500. I enjoyed it, but the bigger news was this:
Apple - Movie Trailers - Nine
It's a movie I really want to get excited about, but Fergie? Really?
Apple - Movie Trailers - Nine
It's a movie I really want to get excited about, but Fergie? Really?
Lancemc
Blue Crack Addict
If Fellini's film is anything to go by she has a relatively minor part. And she plays a whore. So there's that.
OP
OP
monkeyskin
Refugee
[REC]
I was really impressed with this. Remade as Quarantine by an over eager American studio last year, this Spanish original can be easily summed up as 28 Days Later meets Cloverfield. What I really liked was the performance of the lead actress who, thanks to a slow opening, really engages the audience and gets us on her side before the chaos ensues. She's cute, determined and not too hard on the eye either. But I also admired the restraint the film showed. With a limited runtime of 75 minutes the filmmakers could be forgiven or even expected to hurtle through the proceedings, but they take their time to set the scene and even once we've had the initial attack they let the situation and group tensions build to a head before unleashing Hell.
I have to admit, as edge of the seat and thrilling the final half hour is, logic does go out the window. "But how did he..." and "Whaaaaat" popped into my head a couple of times after some effective jolts, but these can be forgiven and can arguably be written off as disintoriating techniques to heighten the fear and paranoia mindset of the two TV fellows. Well worth a look.
I was really impressed with this. Remade as Quarantine by an over eager American studio last year, this Spanish original can be easily summed up as 28 Days Later meets Cloverfield. What I really liked was the performance of the lead actress who, thanks to a slow opening, really engages the audience and gets us on her side before the chaos ensues. She's cute, determined and not too hard on the eye either. But I also admired the restraint the film showed. With a limited runtime of 75 minutes the filmmakers could be forgiven or even expected to hurtle through the proceedings, but they take their time to set the scene and even once we've had the initial attack they let the situation and group tensions build to a head before unleashing Hell.
I have to admit, as edge of the seat and thrilling the final half hour is, logic does go out the window. "But how did he..." and "Whaaaaat" popped into my head a couple of times after some effective jolts, but these can be forgiven and can arguably be written off as disintoriating techniques to heighten the fear and paranoia mindset of the two TV fellows. Well worth a look.
LMP
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She is on a beach...
bono_212
Blue Crack Distributor
Julie & Julia
I'll admit that I wanted to be excited for this film, and then got way too skeptical about it right before I was finally going to see it. That being said, I had a great time. The Julie storyline wasn't as bad as I thought it would be, and Meryl Streep was nothing short of wonderful.
I'll admit that I wanted to be excited for this film, and then got way too skeptical about it right before I was finally going to see it. That being said, I had a great time. The Julie storyline wasn't as bad as I thought it would be, and Meryl Streep was nothing short of wonderful.
lazarus
Blue Crack Supplier
Inglourious Basterds:
Well, it's unlikely one is going to have a more enjoyable time at the cinema this year. The first thing I came away with was that Tarantino's visual palette seems to have grown once again, and it was nice to see him in more exotic locales than what we're used to (can't really say Japan was featured noticeably in Kill Bill Vol. 1). It also seemed that, despite some scenes that were dialogue heavy (like the opening, and the two major restaurant scenes), the focus seemed to be much more on the images this time around. Which was fine with me
Of course Christoph Waltz is to be celebrated, though I take issue with his categorization as a Supporting player. He has more screen time than anyone else, and if he weren't a foreign newcomer (at least in the States), he probably wouldn't get relegated to the supporting ghetto. I know he won Lead Actor at Cannes, but don't be surprised when he gets bumped down and promoted by the Weinsteins in the easier category, where they tend to take more chances.
I'll also join in the chorus of praising Mélanie Laurent, who should be nominated for her scene with Waltz alone, where her eyes and non-verbals say everything. She's a great find. I'm a little bummed that Diane Kruger isn't receiving more attention, because I think she did a fantastic job, and I don't know if a lot of people would have thought her capable of carrying a relatively large part with a lot of dialogue. She actually covers a pretty wide range of emotions while she's on screen, made more difficult by the fact that she's putting on a "performance" to hide her identity as a spy.
Pitt is hilarious, and I find it ridiculous that he's been criticized for his accent, when it's clear to me that he was urged to do something over the top. Of course he's more of an ensemble player here, but he had some great comedic and quieter moments. Fassbinder is fantastic, and made a huge impression in his small amount of screen time. I'll say the opposite about that loser Eli Roth--he was so obnoxious in his first few pieces of dialogue I thought he was going to sink the picture. He had a very funny moment when introduced to Waltz as Italian, which slightly redeemed him, but then there was that part where Tarantino abrupty cut from a pretty intense and emotional double death scene right to Roth and the other guy yelling. It was really sloppy. I also don't understand why neither of those guys received a scene where they
whereas Laurent and the black guy did. It may have made me give a shit about them.
Anyway, I'll just conclude by saying that there were many fantastic scenes in this film, with a level of tension that surpasses the high marks Quentin has set before, and as I said earlier, it's a hell of a lot of fun. But even with Shoshana's story, I didn't quite feel the resonance I did at the end of Jackie Brown (which had two characters drawn with much more detail and depth than anyone in this film) or at the end of Kill Bill Vol. 2. That resonance isn't something readily apparent in Pulp Fiction either, but I consider Jules' epiphany and crisis at the coffee shop to be rather profound by comparison as well, and of course as cinematic art it was revolutionary blast in independent film.
So at this point, I'd probably rank the films as such:
Pulp Fiction
Jackie Brown
Kill Bill (or just KB Vol. 2, if separated)
Inglourious Basterds
Reservoir Dogs
(Kill Bill Vol. 1, if separated)
Death Proof
I don't feel comfortable numbering because I love all these films so much; the difference between Res Dogs and KBV1 is minimal, and I could easily switch those two around.
Well, it's unlikely one is going to have a more enjoyable time at the cinema this year. The first thing I came away with was that Tarantino's visual palette seems to have grown once again, and it was nice to see him in more exotic locales than what we're used to (can't really say Japan was featured noticeably in Kill Bill Vol. 1). It also seemed that, despite some scenes that were dialogue heavy (like the opening, and the two major restaurant scenes), the focus seemed to be much more on the images this time around. Which was fine with me
Of course Christoph Waltz is to be celebrated, though I take issue with his categorization as a Supporting player. He has more screen time than anyone else, and if he weren't a foreign newcomer (at least in the States), he probably wouldn't get relegated to the supporting ghetto. I know he won Lead Actor at Cannes, but don't be surprised when he gets bumped down and promoted by the Weinsteins in the easier category, where they tend to take more chances.
I'll also join in the chorus of praising Mélanie Laurent, who should be nominated for her scene with Waltz alone, where her eyes and non-verbals say everything. She's a great find. I'm a little bummed that Diane Kruger isn't receiving more attention, because I think she did a fantastic job, and I don't know if a lot of people would have thought her capable of carrying a relatively large part with a lot of dialogue. She actually covers a pretty wide range of emotions while she's on screen, made more difficult by the fact that she's putting on a "performance" to hide her identity as a spy.
Pitt is hilarious, and I find it ridiculous that he's been criticized for his accent, when it's clear to me that he was urged to do something over the top. Of course he's more of an ensemble player here, but he had some great comedic and quieter moments. Fassbinder is fantastic, and made a huge impression in his small amount of screen time. I'll say the opposite about that loser Eli Roth--he was so obnoxious in his first few pieces of dialogue I thought he was going to sink the picture. He had a very funny moment when introduced to Waltz as Italian, which slightly redeemed him, but then there was that part where Tarantino abrupty cut from a pretty intense and emotional double death scene right to Roth and the other guy yelling. It was really sloppy. I also don't understand why neither of those guys received a scene where they
volunteered to sacrifice themselves to execute the misson,
Anyway, I'll just conclude by saying that there were many fantastic scenes in this film, with a level of tension that surpasses the high marks Quentin has set before, and as I said earlier, it's a hell of a lot of fun. But even with Shoshana's story, I didn't quite feel the resonance I did at the end of Jackie Brown (which had two characters drawn with much more detail and depth than anyone in this film) or at the end of Kill Bill Vol. 2. That resonance isn't something readily apparent in Pulp Fiction either, but I consider Jules' epiphany and crisis at the coffee shop to be rather profound by comparison as well, and of course as cinematic art it was revolutionary blast in independent film.
So at this point, I'd probably rank the films as such:
Pulp Fiction
Jackie Brown
Kill Bill (or just KB Vol. 2, if separated)
Inglourious Basterds
Reservoir Dogs
(Kill Bill Vol. 1, if separated)
Death Proof
I don't feel comfortable numbering because I love all these films so much; the difference between Res Dogs and KBV1 is minimal, and I could easily switch those two around.
Lancemc
Blue Crack Addict
Well, that's more or less where I would have guessed you would fall on this film... and surprisingly, the rest of your rankings are not too far off from my own, though I might have to settle IB either just above or just below Pulp Fiction.
lazarus
Blue Crack Supplier
The only problem I see with ranking this above PF, because as cinema it certainly hits a lot of high notes, is that it really isn't a perfect film. And there isn't one damned thing I'd change about PF.
Does that make sense?
Does that make sense?
Lancemc
Blue Crack Addict
Perfect sense. And I don't disagree either. But I think I mentioned the other day how it just taps into so many particular pleasure centers in my own personal taste, that it really does it for me. I wouldn't say it's a better film than Pulp Fiction either, and certainly no where near as important, but I'll give it a couple years and see if it's my favorite or not.
And as an aside, I read some piece the other day about great film deaths, and it mentioned the final confrontation between Bill and The Bride. Just reminded me how truly marvelous that film's final chapter is in particular.
And as an aside, I read some piece the other day about great film deaths, and it mentioned the final confrontation between Bill and The Bride. Just reminded me how truly marvelous that film's final chapter is in particular.
No spoken words
Blue Crack Supplier
Fucking everyone I know prefers Kill Bill 1 to Kill Bill 2, but, I think 2 is better and more enjoyable. Glad Father and Son do too.
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