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Old 06-09-2009, 12:32 AM   #571
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I do adore goofy Asian women. I want one.

And Kikuchi was the only thing I liked about Babel. And she was amazing. Surely one of the big draws of Bloom for me. She's also starring in Isabel Coixet's Map of the Sounds of Tokyo which screened in competition at Cannes last month.
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Old 06-09-2009, 01:35 AM   #572
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UP

10/10
As always, Pixar continues to deliver great story lines and create incredible visuals. 3D is not necessary for the movie but seeing those balloons was amazing using that effect.
Very sweet movie. I truly enjoyed it.
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Old 06-09-2009, 03:15 PM   #573
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Also, after you see Brothers Bloom, you will fall in love with Rinko Kikuchi if you haven't already and if I haven't overestimated your love with goofy Asian women.
If you would like to see more of her
I recommend - Babel
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Old 06-09-2009, 03:46 PM   #574
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She impressed as an actress in Babel, but I didn't fall in love with her, because her character was so aggravating, I didn't even know she was in Bloom. Cool, I'm finally going to see that tonight.
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Old 06-09-2009, 03:54 PM   #575
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If you would like to see more of her
I recommend - Babel
I don't think I could sit through Crash Jr. for her, or even Blanchett for that matter. Thanks though.
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Old 06-09-2009, 05:30 PM   #576
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It really isn't similar to Crash, the tone is a lot more grounded in reality, as are the connections (other than what brings her character into the mix), and there's a lot few storylines and more focus on character development. Its not as good as Inarritu's other films, but not because its took like Crash.

Also, 'see more of her' is kind of an understatement in reference to Babel.
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Old 06-09-2009, 07:13 PM   #577
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I liked Babel a lot more than Crash. Some of the stuff in it was ridiculous, but Gonzalez-Innaritu has a good eye for capturing detail. I really love the dialogue-free, pure cinema sections like the Mexican wedding and the Tokyo nightclub scenes.

Also, Pitt was really good.
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Old 06-09-2009, 07:17 PM   #578
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I agree. Crash made me want to throw things at my TV. There were a few things I didn't like about Babel, but it was a much, much, MUCH better movie.
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Old 06-09-2009, 11:06 PM   #579
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I liked Babel a lot more than Crash. Some of the stuff in it was ridiculous, but Gonzalez-Innaritu has a good eye for capturing detail. I really love the dialogue-free, pure cinema sections like the Mexican wedding and the Tokyo nightclub scenes.

Also, Pitt was really good.
I agree with all of this post. I didn't hate Crash for what it was, although it was completely manipulative (I don't think the same is true for all of Haggis' screenwriting, I quite liked In The Valley of Elah, which was subtle compared to the preachy mess it could have been), and it bothers me beyond compare that the general public thinks its interlocking screenplay was new, or even that well done. It would bother me less if they thought it was new with Magnolia, even though that's very much in the style of Robert Altman (RIP you American genius).
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Old 06-09-2009, 11:09 PM   #580
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Also, just got back from Brothers Bloom, I expected it, even after all this wait to be a diverting fun movie, what I got was a total wallop of a great original screenplay, excellent cast (that seemed true on paper though), sweet cinematography, and just the best all around entertainment experience. My favorite movie of the year thus far! And the funniest I've seen in a long time, for a variety of reasons, the biggest being the body language and the costumes (it makes me want to throw on a bowler and hop on a train). I'd go into more detail, but I totally need to go to bed.

Don't miss it if you get the chance.
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Old 06-10-2009, 12:54 AM   #581
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The Brothers Bloom

Took me by surprise. Despite the good word of mouth, I still sort of expected to dislike this. In fact, the movie is full of things that outright tell me I should dislike it. The overwhelming matter-of-fact "quirkiness", the narrated storybook intro, on-the-nose dialogue that grated at parts. However, and I guess it's a good thing I've seen Brick to understand this, Johnson has such a fine control over all his wild cinematic formalism, that what should have come off as cheap and eye-rolling actually lands rather well.

The movie is often uproariously funny. Probably the most genuinely comical movie I've seen in theaters in years, and not in a shallow Apatow way that falls flat on its face after a second time. This is the type of humor that will survive multiple viewings. Yes, LMP, I do adore Bang Bang. I want her. My favorite moment in the film came when she and Stephen were playing shuffle-board in the steamship, and they suddenly attack and block one another with their shuffle-board stick things. Little details like this bring the film to life.

The performances are stellar across the board. I love Rachel Weisz and will continue to do so. Brody and Ruffalo feel like genuine family, and thankfully I really bought into the romance, which could have totally killed the movie had it failed. The con itself I could honestly care less about, but that's never what makes these types of movies really interesting anyway. You know things are going to twist and turn, and despite getting muddled here and there, the pure explicit plot of the movie is hardly what matters, much like the mystery in Brick. I didn't care, and don't need to to get the most out of the film.

Another thing many critics seem to flaw the film for is its derivative Wes Anderson-ness throughout much of the movie. I see it. Anderson is an unavoidably influential figure from the last decade of popular cinema, and has spawned countless unbearable knock-offs and copycats, most of which fail to capture any of Anderson's real storytelling finesse. I was afraid of this at first, as I mentioned before, but like other aspects of the movie, I soon came to think that Johnson, the ardent cinephile he is, clearly understands this influence and as such, I believe he's consciously riffing on Anderson here in parts. That said, I'd go so far as to say he even eclipses Anderson's work (aside from Tennenbaums maybe) in terms of richness of character and emotional exploration.

Of course, the big concept of the film, if you will, is storytelling itself: stories, storytellers, fiction and creation. It's a good meaty theme, and it's obviously something Johnson is really fascinated by, as evidenced by both this film and Brick. However, I think his realization of this theme is Bloom's biggest failing, and keeps me from really loving the movie. He almost got it there too, almost. I think maybe he's selling his audience a bit short in this respect, or maybe he felt the film was already so full of "stuff" that he really had to lay it on thick, but more subtlety would have gone a long way here. I think even just one more go over the screenplay would have solved this perfectly. The setup and resolution were perfect, and the development of the concept was nearly in place, but I really didn't need the characters themselves spelling the damn thing out for me every 25 minutes. Yeah guys, we get it, you're writing stories and making it real, but you can't live someone else's story, an unwritten life, yadda yadda yadda. Show us, don't tell us Rian. You do everything else here so well.

That said, the ending of the film is surprisingly beautiful and nails down that concept perfectly. So much so that it makes how he handles it through the rest of the film all the more upsetting. But yeah, amazing ending. More hilarious moments (more Bang Bang), a touching resolution to the romance, a bit of sadness, and some near sublime imagery to tie together all the disparate themes. The final 5 minutes of the movie really contains storytelling so rich and rewarding and beautiful I think it even surpasses the opening montage in Up personally.

Ultimately, I had a lot to write about this, obviously, and I'm remarkably satisfied. But like I said, I can't really love it like I want to. It's just so sloppy in that one aspect. I think I'll have to score it an 8/10 for that. Otherwise it might have been a 9 at least. It doesn't quite surpass Brick's precision and dumbfounding creativity, but I'm now anxiously awaiting Johnson's next film. He's done enough great work now to prove he's one of the country's most promising young filmmakers.

And yeah, I loved the Brick cameos in the beginning.
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Old 06-10-2009, 01:10 AM   #582
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See, Bang Bang.

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Old 06-10-2009, 02:07 AM   #583
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Drag Me To Hell



SO MANY classic Evil Dead Sam Raimi-isms.
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Old 06-10-2009, 04:37 AM   #584
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Taken

I don't remember the last movie to elicit so many "Holy Shits!" from me while I was watching it. Liam Neeson is the baddest motherfucker since... fuck I don't know... ever? It's a shame such a badass character and performance was wasted on otherwise pedestrian filmmaking, though it's nice to see some filmmakers with a solid internal sense of rhythm and eye for crafting action sequences.
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Old 06-10-2009, 11:31 AM   #585
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^^ I know! I enjoyed the hell out of that movie, and I feel slightly dirty for doing so.

Revolutionary Road

The feel-good movie of the year!

Or not. Yikes.
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