Movie Reviews part 13: How many movies will Jessica Chastain star in?

[No spoken words]

I really do enjoy Temptation but I have to admit that Keitel's accent takes me out of it often. I don't know it that's just me or a common complaint but there it is.

 

[Lancemc]

Age of Innocence for me, but I'm a big King of Comedy fan as well.

This.

 

[LMP]

All three are phenomenal and impossible to choose for me.

I'd like to speak to Jerry, please.

 

[djerdap]

I really do enjoy Temptation but I have to admit that Keitel's accent takes me out of it often. I don't know it that's just me or a common complaint but there it is.

This is a common complaint and I really don't get it, but that has a lot to do with English not being my first language I suppose (not being that aware and/or sensitive of accents). But I do feel the whole concept of an upper-class English accent being the norm for historical movies set in ancient Rome or Egypt or Palestine is equally absurd as having a Brooklyn accent. If there is one thing what I like about Mel Gibson as a director, it is that he tries to make it authentic with the characters actually speaking the languages that were spoken at the time. Too bad Passion of the Christ is otherwise an awful movie.

In any case, Temptation is my favourite Scorsese after Goodfellas. The fact that Jesus is finally a fully-fledged, three-dimensional character is quite an accomplishment. Not even The Holy Book made this happen! Plus the fantastic final act, Dafoe's performance in general, the wonderful Paul/Jesus dialogue scene that sums up the nature of religion quite nicely, Peter Gabriel's music etc.

 

[No spoken words]

I grew up in NYC, so, hearing a strong local accent that conjures up 26 years worth of memories will do that to you I guess.

 

[LMP]

Speaking of NYC, just wrapped up a lo-fi early '80s exploitation flick with a Robert Forster, Fred Williamson, and Joe Spinnell called Vigilante. Bill Lustig also cranked out Maniac & Maniac Cop (no relation). It's a perfect storm of social activism, lurid violence, and technical craft all funneled into a "man against the system" story. Really worth checking out if this type of cinema appeals to you. If not, see it anyway. It's great.

 

[Lancemc]

So American Hustle. Is fine. Funny at least. And everyone is super committed to it which elevates.

Don't put metal in the science oven.

 

[LMP]

Picking up the Robert Downey Sr set at the last criterion sale was one the best decisions. Putney Swope and Babo '73 are hysterical, though the former outclasses the latter.

 

[lazarus]

So American Hustle. Is fine. Funny at least. And everyone is super committed to it which elevates.

Don't put metal in the science oven.

It's definitely funny. And enjoyable. But something this forgettable and derivative shouldn't be winning the big prizes.

Fuckabees.

 

[LMP]

The way Russell shoots Lawrence errs on the side of fetishism. It's obvious that he adores her and sees her as a sort of muse, but yikes. You know, like how Michael Bay used The Rock in Pain & Gain.

 

[LemonMelon]

forgettable and derivative

Yet somehow managing to dominate Zoo Station discussion for a month and counting!

 

[deep]

if that is the metric

StarWars is the greatest film(s) of all time.

 

[Lancemc]

Films don't get a whooole lot better than Inside Llewyn Davis.

Easily my favorite of the year.

 

[LemonMelon]

I loved how much of a talentless asshole the lead was. He was mediocre at everything and too stubborn to be even remotely sympathetic. He's a prick to everyone and he ultimately winds up a failure.

Very, very Coen.

 

[Lancemc]

Pretty much. It's also extremely in tune to the fact that a lot of people act that way and lead the sort of lives these people lead and it really resonated. Beautiful and touching and surprisingly not very pessimistic despite how much of an asshole he is.

Also nearly perfect structurally and visually. God damn.

 

[bono_212]

I thought I said this about Inside Llweyn Davis on here, but apparently I only said it on Facebook:

Completely agree with everything being said. I completely hated Llweyn, but loved the story. Kept wanting him to do the right thing and he just kept messing things up more. Reminded me a TON of Grave of the Fireflies. Obviously not the story, just the frustration I felt watching it.

Might be my favorite Coen film.

 

[LemonMelon]

nearly perfect visually

It would be a superb choice for best cinematography.

 

[purpleoscar]

Inside Llewyn Davis 6.5/10 - LOL! Just finished the movie. The music was great and I liked how it ended. The cinematography was good too but it was a slog to get through most of it. To me it's more about the majority of artists that don't make it. I need some Zoloft after seeing this. The John Goodman scenes were a complete miss. I liked F. Murray Abraham. It's not horrible but the rotten tomatoes reviews are overrated.

 

[lazarus]

As one of the biggest Coen Bros fans I know, I'm not sure why I'm not as ecstatic as everyone else about Llewyn. To me, the similar A Serious Man runs circles around this film.

There's nothing bad about it at all, I just didn't get the same feeling as I did with Barton Fink, The Man Who Wasn't There, and several other works.

 

[lazarus]

It would be a superb choice for best cinematography.

I would love it if Gravity lost to this. While it would be sadly ironic that a Coen Bros film finally wins but without Deakins behind the camera, I don't think Lubezki's logistical triumph with major CGI assistance should be celebrated as "cinematography".

 

[LemonMelon]

It's not a particularly likable film. The ending in particular was extremely frustrating. But then so was the entire film. There was little to no character development to speak of, which is inevitably going to turn a lot of people off. It's a coldly realistic film set in a time period that many people are nostalgic about, which I find quite bold.

Do I enjoy it as much as Big Lebowski, No Country or Fargo? Fuck no, but it's another great character study.

 

[Lancemc]

Probably my favorite CoBro film now alongside Lebowski though I love both for somewhat different reasons as of now. I'll try to say more in depth once at my computer. Also yes please award a Deakins-less film.

 

[bono_212]

I forgot about Lebowski...it's still close, though.


I have one major, major complaint about ILD, though: The friggin' music. Oh my God, I don't care how pretty it was, it doesn't sound anything like the period it was meant to. Well, none of Llewyn's music, anyways. Everyone else was pretty on track. Maybe he was just way, way ahead of his time.

 

[CrashedCarDriver]

I thoroughly enjoyed llewyn davis as well, for every 99 out of 100 that dont make it, they all have a story to tell as well

The final performance of fare thee well by oscar Isaac made the hairs stand up on the back of the neck

 

[corianderstem]

I'm still not sure about how I feel about Inside Llewyn Davis, several weeks after seeing it.

But what CCD said above re the last performance: yes. Yes.

 

[LemonMelon]

The Hunt is a great movie. Very claustrophobic and dark in tone. I've seen movies like it multiple times, but Mikkelsen's performance and the overall tense atmosphere puts it over the top. No truly weak acting from anyone in the supporting cast and I thought the actress playing Klara was particularly great.

 

[djerdap]

In the light of The Wolf of Wall Street, which was very entertaining and arguably Scorsese's funniest film, I've meant to check out the rest of Scorsese's filmography that I haven't seen yet. I started out with Alice Doesn't Live Here Anymore, which is basically the only Scorsese film that is completely told from a female perspective. It was refreshing to see Scorsese turning a script that could have easily been a corny melodrama into a grittier and more realistic effort, with an always reliable Ellen Burstyn turning in a memorable performance.

So, the ones that follow for me now are the much maligned New York, New York and Kundun. The interesting thing about Scorsese is that even his failures always have a fascinating component to them, so he's one of those directors whose filmography should be experienced in full. Any opinions about these two?

Here's my list just to have an idea of my opinions on Scorsese's repertoire:

1. Goodfellas
2. The Last Temptation of Christ
3. The King of Comedy
4. Taxi Driver
5. Raging Bull
6. Mean Streets
7. The Age of Innocence
8. After Hours
9. Casino
10. The Wolf of Wall Street
11. The Departed
12. Gangs of New York
13. The Aviator
14. Alice Doesn't Live Here Anymore
15. Hugo
16. Cape Fear
17. Bringing Out the Dead
18. Shutter Island

 

[IWasBored]

I've got nothin, since those two (plus Alice and Hugo) are some f the only Scorsese films I've never seen.



On an entirely different note, I'm trying to ruin Catch-22 (possibly my favorite novel of all time) by watching the movie.

 

[lazarus]

The Hunt is a great movie. Very claustrophobic and dark in tone. I've seen movies like it multiple times, but Mikkelsen's performance and the overall tense atmosphere puts it over the top. No truly weak acting from anyone in the supporting cast and I thought the actress playing Klara was particularly great.

I thought the device of the dog was cheap and so obvious in its telegraphing. It didn't mar the whole film for me, but prevented me from giving myself over to to it completely. A well-made thriller, basically. But if we're going to talk about small-town hysteria/hypocrisy this isn't even in the same galaxy as The White Ribbon, for example.

Really pulling for The Great Beauty to take the Foreign Language Oscar. It's my #2 of the year and IMO far beyond anything else nominated.

https://www.youtube.com/watch?v=avHJvdRPmus


The trailer alone is transcendent.

 

[lazarus]

In the light of The Wolf of Wall Street, which was very entertaining and arguably Scorsese's funniest film, I've meant to check out the rest of Scorsese's filmography that I haven't seen yet. I started out with Alice Doesn't Live Here Anymore, which is basically the only Scorsese film that is completely told from a female perspective. It was refreshing to see Scorsese turning a script that could have easily been a corny melodrama into a grittier and more realistic effort, with an always reliable Ellen Burstyn turning in a memorable performance.

So, the ones that follow for me now are the much maligned New York, New York and Kundun. The interesting thing about Scorsese is that even his failures always have a fascinating component to them, so he's one of those directors whose filmography should be experienced in full. Any opinions about these two?

Kundun wasn't maligned so much as underseen. I mean you're talking about a film with a mostly unknown Asian cast, many of whom were non-actors. It came out during the season of Titanic. Personally I think it's brilliant, and about as atypical a film as Marty has ever made. It's his only collaboration with Roger Deakins, as well as Philip Glass. So many great moments of pure cinema, just not very plot-heavy. And I think it's interesting how a life-long Catholic explores a very different perspective on worldly/spiritual matters.

New York, New York is difficult in that he's making an homage to bright, bold Vincente Minnelli musicals, and yet there's a serious conflict of acting styles right up front. Liza Minnelli is more traditional whereas De Niro is full method, and the improvisatory style favors the latter over the former. Plus De Niro creates one of the most unlikable characters of his career.

Visually, it's another home run, and there are a good number of excellent set pieces. Basically, if you like classic musicals you'll appreciate the experiment. Otherwise, you may find it a rough ride.