Random Movie Talk, Louis the XIVth Edition

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Hewson said:
The movie's like 4 months old ffs.
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1997....19...97...


This makes me mad, like, serious, red-faced, ranting mad. Do you realize just how lazy this is? This is a franchise that fucking prides itself on how unoriginal and campy it is. They could have taken the plot from the film, gave it a new name and NO ONE WOULD HAVE BEEN THE WISER. At most, people would've thought, "Huh, this seems familiar." and OF COURSE IT DOES! Because I Know What You Did Last Summer is one of the most generic teen slasher films of all time. That's what's so fun about it. It doesn't even try. You can just sit back, relax, and turn that shit on and know that you aren't going to see anything good or original...just some good, ole fashioned jump scares and boogeymen.

This is just cheap and it pisses me off...sooooooo much.
 
bono_212 said:
1997....19...97...


This makes me mad, like, serious, red-faced, ranting mad. Do you realize just how lazy this is? This is a franchise that fucking prides itself on how unoriginal and campy it is. They could have taken the plot from the film, gave it a new name and NO ONE WOULD HAVE BEEN THE WISER. At most, people would've thought, "Huh, this seems familiar." and OF COURSE IT DOES! Because I Know What You Did Last Summer is one of the most generic teen slasher films of all time. That's what's so fun about it. It doesn't even try. You can just sit back, relax, and turn that shit on and know that you aren't going to see anything good or original...just some good, ole fashioned jump scares and boogeymen.

This is just cheap and it pisses me off...sooooooo much.
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Wait, what? They're doing what? That's just incredibly silly.

Speaking of movies from 1997, I just finished watching Grosse Pointe Blank, because it's on Netflix and occupies the #4 spot of my top 5 favorite movies.
 
So I've been meaning to watch 3 Women for a while now, and tonight could be the night (Song For Someone reference, motherfuckers!). But I'm feeling a little anxious, since Persona is a favorite and I'm afraid I might not be able to watch 3 Women without drawing unnecessary comparisons, and end up labeling it as a poor man's Persona.
 
lazarus said:
Reverse Shot is doing a "symposium" of Scorsese's entire filmography:

Symposiums - Reverse Shot


Hopefully Lance will read these and see the error of his ways, stop praying to false deities like De Palma.
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Having seen Scarface, The Untouchables and Carrie...well...assuming those are among his best films, I'm not sure what the big deal is about the guy. All decent films, sure, but his style just doesn't move me at all. And I haven't even watched any of his films that get heavily criticized.

I will give Carlito's Way a fair shot though, that one sounds promising.
 
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He has more standout films than that. But he has a history of lifting quite shamelessly from directors, particularly Hitchcock on multiple occasions, or Eisenstein in the Untouchables' famous "baby carriage" scene.

A good shotmaker but hardly an important artist.

Sisters is well worth a watch, and The Fury and Obsession for cheap thrills.
 
LemonMelon said:
Having seen Scarface, The Untouchables and Carrie...well...assuming those are among his best films, I'm not sure what the big deal is about the guy. All decent films, sure, but his style just doesn't move me at all. And I haven't even watched any of his films that get heavily criticized.

I will give Carlito's Way a fair shot though, that one sounds promising.
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Those aren't his "best," though you could make the argument they are his most popular.

I get Laz's position, especially since it seems to be the dominant mode of viewing De Palma's work. It's a highly reductive view of a filmmaker who polishes off a technical mastery with sublimity and sophistication. He and Scorsese are both massively cinephilic directors, but I think the main difference between them is one of emotionalism and intellectualism. Scorsese will borrow the "galaxy in a teacup" shot from Godard's 2 or 3 Things... for Taxi Driver to describe Travis' loneliness without knowing the "meaning" of the shot; De Palma mixes Wellesian long-takes, adds a split-screen, and heightens tension as a form of commentary in the bomb sequence of Phantom of the Paradise. I am not making an argument for which filmmaker is "better," per se, just that it's absurd to dismiss De Palma as a shot-maker when the meaning behind his cinema is directly found within his aesthetics. He's an anarchist let loose in the studio system.

Blow Out, Phantom of the Paradise, Carlito's Way, Raising Cain, Hi Mom!, Sisters, Body Double, Dressed to Kill... they're all works of a master with a singular, absurdist point of view.
 
Thanks for the film recs, Laz and YLB. I'm in a horror film mode lately so Sisters seems right up my alley.
 
LMP said:
Blow Out, Phantom of the Paradise, Carlito's Way, Raising Cain, Hi Mom!, Sisters, Body Double, Dressed to Kill... they're all works of a master with a singular, absurdist point of view.
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And Femme Fatale, Casualties of War, Snake Eyes, the unfairly maligned Mission to Mars. Not to mention Mission: Impossible is just about a perfect Hollywood blockbuster model. Anyway, don't like arguing about this stuff, but citing one blatant homage in his least interesting film and saying that he rips off Hitchcock is missing the mark. It only even applies to one subset of De Palma's films, but even then he does to Hitchcock what a master hip hop artist does to their samples.

Also I quite like Scorsese, just not so much the holy trinity of Goodfellas, Raging Bull and Taxi Driver aka the boring ones.
 
Carlito's Way is the best film of the 90's natch. Most spot on thing those Cahiers crackers ever got right.
 
Lancemc said:
And Femme Fatale, Casualties of War, Snake Eyes, the unfairly maligned Mission to Mars. Not to mention Mission: Impossible is just about a perfect Hollywood blockbuster model. Anyway, don't like arguing about this stuff, but citing one blatant homage in his least interesting film and saying that he rips off Hitchcock is missing the mark. It only even applies to one subset of De Palma's films, but even then he does to Hitchcock what a master hip hop artist does to their samples.

Also I quite like Scorsese, just not so much the holy trinity of Goodfellas, Raging Bull and Taxi Driver aka the boring ones.
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So De Palma is the RZA to Scorsese's Method Man is what you're saying.
 
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