Lila64
Blue Crack Distributor
Carry on!
LemonMacPhisto said:Billy Joel? Completely missed him.
Darjeeling finally opened in a theater near me, so I should be seeing that sometime this week.
Dalton said:Fun fact to know and remember: Red Dawn was the first movie to be labeled as PG-13.
Lancemc said:Gone Baby Gone - 8.5/10
Ben Affleck can direct! I'm amazed. It's far from a masterful job, but damn impressive nontheless. His brother Casey proves once again what a fine young talent he is. This film benefits from a rock solid script, that rarely surprised, but maintains a taught and deliberate narrative. The biggest strength of the film, though, comes from the seed of debate it plants in your mind walking out of the picture. The film itself doesn't ask many questions, but it succeeds at making the audience ask them themselves, which is the sign of a great script. Do I agree with Casey's character's dicision in the end? I don't know, but I do know that I've been thinking about it since this afternoon.
The Godfather - 10/10
My second time viewing the film tonight was a much more satisfying experience than the first. There isn't much to say about the film that hasn't been said, other than to affirm my admiration for the film. I still haven't seen Part II yet, though I'm planning to either this week, or possibly during Thanksgiving break. Either way, I feel much more prepared for the next installment than I did before, and I am genuinely looking forward to it now.
I gotta say though, I still greatly prefer Once Upon A Time In America, which I've only seen once.
Lancemc said:2046 - 10+/10
Now here we are. This is a film that won't be leaving me any time soon, especially since I plan on watching it again some time this week. I've never seen a Wong Kar-Wai film before, so that included this films spiritual, quasi-predecessor In The Mood For Love. A lot of material concerning this film stated the benefit of knowing Wong's catalogue in order to more fully grast the characters and motivation in 2046. I think I'm glad I wasn't familiar with his prior to this, however. Why? Well, I was able to view this film on its own terms, with no expectation and no frame of context. That might have been the wrong way to do it, but it obviously made its mark.
Let me just say I plan on buying In The Mood For Love as soon as humanly possibly, watching that, and then immediately watching 2046 again afterwards. For now though, my thoughts and reactions will remain a torrent of emotions, observations, and awes. I didn't need to understand Tony Leung's previous love affair to appreciate his state of mind in 2046. The film itelf sets up the fact that he came from a failed love, not sure whether or not she ever loved him back. It was the most sincere affair of his life (see In The Mood For Love). What transpirses here is the aftermath. The longing of a ruined man to recapture what he never quite attained before. Every woman he meets here demonstrates one or more similar qualities to the love of his past, but he treats them all as no more than shallow replacements.
I can't currently describe my emotional state after viewing this masterpiece of a film. The non-linear and often vague narrative will surely turn off a lot of people, but the importance of these scenes is what they evoke from the viewer in or outside of the context of the story. That caveat aside, I can say that every frame of this film is a work of art unto itself. I'm not entirely sure I've seen a more thoroughly beautiful film before. From the dingy echoes of Singapore's crowded alleys in the 60's, to the lush vibrant brushstroke of the technicolor future trains, 2046 could merely be a presentation on "How to film pretty shit".
It maintains a hypnotic dream-like aura, where characters and words fall in and out of conciousness. Every frame is pitch-perfect. The composition blows me away throughout every scene. The musical score, as important as any line of dialogue makes its presence obvious, but this itsn't your typical film anyway. Everything about this is beautiful, and really I'm not in a proper frame of mind to review anything rationally. Mr. Wong has left me overwhelmed and hungry for more. If there was ever a film I'd feel comfortable using the term "haunting" to describe, this would be it. 2046 is work masterful beyond masterful, where it takes on a life and meaning of its own, and I don't see it leaving me any time soon.
Lancemc said:You review has reaffirmed my excitement for that film Laz.
Back to Wong for a second though, how do you think 2046 stacks up against his other film, if you were forced to compare them, which I'm already thinking might turn out to be a fruitless exercise.
edit: also, after seeing that film, I really feel like editing my Best of 2000's list for LMP's competition. It would definitely place in the top 3 somewhere if I did.
Lancemc said:I just bought the Criterion of ITMFL through amazon and should be getting that Friday, and Days of Being Wild is next on my netflix queue, once I recieve and watch Network and send that back.
I wonder what you think about My Blueberry Nights. I've read a lot of mixed critical responces from the film's debut at Cannes. Some outright calling it a mess, and none calling it truly great that I've read.
AS for Malick, The New World is right behind ITMFL in my queue, and I just finished watching Days of Heaven. Absolutely beautiful, though I'm not ready to commit to a proper rating.