No spoken words
Blue Crack Supplier
Chanukah needs to return to its roots....it aint about getting gifts or the dradel or gefilte fish.....no, it's about kicking ass, Macabee style. Who's with me?
No spoken words said:Chanukah needs to return to its roots....it aint about getting gifts or the dradel or gefilte fish.....no, it's about kicking ass, Macabee style. Who's with me?
Lancemc said:In The Mood For Love - 9/10
Not quite the masterpiece some have made it out to be, it's more deliberately paced than the other Wong films I've seen, with a remarkably lean plot. Instead we're intoxicated by the two leads, and ask our own moral questions as they play-act and accidentally fall in love themselves. It's remarkably touching, and insanely beautiful in all respects. Perhaps just not quite motivated enough to earn a perfect score.
I also watched 2046 again after this, and was even more impressed than I was the first time. Definitely going to grow to become an all time fav, if it isn't already. I really hope WKW revisits this ensemble again some time in his future, maybe so we can see Mr. Chow as an even more mature man, perhaps with a family? And what of Su Li Zhen and her daughter? Or Bai Ling? I would love to visit these stories again down the line, and wouldn't be the least bit surprised to see WKW do so at some point.
corianderstem said:Enchanted
8/10
It was a cute and charming as I was expecting, and exactly what I needed on this dreary weekend.
If Amy Adams' previous Oscar nomination didn't make a star, this SHOULD. And James Marsden - the more I see him, the more I like him. I don't think they could have casted either of those two roles more perfectly.
Lancemc said:I'm Not There - Fuckin' Best Movie of the Year/10
I really don't know where to start with this film. I do know that going into the picture with a respectable knowledge of Dylan or at least a broad familiarity of his music is increasingly beneficial to both the understanding and probably the enjoyment of I'm Not There. In other words, if you know nothing about the man and the artist Bob Dylan, you likely aren't going to know any more when you leave this film. But I strongly believe all audiences will leave with unparalleled insight into the psyche, the torment, and the myth behind one of America's greatest living artists, whether they know it or not.
What Todd Haynes has accomplished with this piece is nothing short of a masterpiece. On the surface, he's taken a concept, a hook, nearly designed for failure, and applied it to a quickly stagnating genre, thereby deconstructing the film biopic and replacing its fundamental devices with a wholly unique and inherently surprising cinema experience. There isn't a single predictable moment in the film, which in itself defies the laws of the genre, since the script functions within and without the bounds of reality, unapologetically shuffling times, personas, logics, and a handful of radically opposed cinematic styles.
The result is nothing if not inspired. There's a lot at work here, but the majority of viewers are going to see six different actors portray Bob Dylan. It's a novel hook, and it works wonders for marketing the film, but after the first 20 minutes or so, the focus isn't on the novelty, it's on Todd Haynes and his remarkable control over his chosen artistic medium.
I'm Not There is essentially a sketch of Dylan. It's a sketch printed onto a lush jigsaw puzzle. A jigsaw puzzle with no defined edges, whose individual pieces are borrowed and swipes from six different boxes. The subject remains the same, but the inspiration and execution varies.
This film is also a marvel of editing and design. Any misstep would have destroyed the entire film, but there were none. Every actor filled their duties beautifully, and like everyone has mentioned before, Blanchett nearly steals the show. But like I said, it's really Todd Haynes' show. The man clearly has a greater spiritual connection to Dylan. The legend the man is overwhelming, and the mere thought of capturing America's most provocative, iconic, prolific, and mysterious songwriter in one film remains a dumbfounding proposition. I just saw the film and still can't believe he accomplished it.
As much as this is a tribute to a man and an artist, it's also as much a tribute to the art and method of film itself. Todd Haynes has created one of the most rich and progressive films in recent memory, and he's clearly pushing the medium in an exciting direction like very few directors show the ambition to dare try. I'm Not There is clearly one for the history books, and film students and enthusiasts will be studying this and discussing this one 20, 30, and 50 years from now.