- May 2, 2002
- 129,309
Film Crue: Civil War. Josh Wheton's contributions to the art of film will be thoroughly evaluated ITT. What side are you on?
- Thread starter Niccolo-daddy
- Start date
- CREW
-
- Tags
- mal's abs are real
- Dec 30, 2004
- 67,666
- Jan 5, 2006
- 41,790
- Jan 5, 2006
- 41,790
This was very good. A couple well done tonal shifts turns it into something much more elevated. The first obviously being Nick Stahl's early demise. (I hadn't seen him in anything since Carnivale and Sin City lol) Where a traditional set up lends way to a quick and unexpected reverie of remorse and regret. This part is where Spacek, Wilkinson and Tomei do most of the heavy lifting, until Wilkinson's character finally decides to do something about what happened and the second shift happens. This time you're anticipating it. And right there with him in support as he embraces the darkness, hoping he can set things right in the only way he has figured out to do. There's a bit I loved once he's back in the bedroom with Spacek, who is the more relieved one, where he couldn't get the image of Tomei's character smiling with her husband in a photograph from the killer's house out of his mind. Almost as if he was contemplating doing the same thing to her. The movie ends shortly after on this ambiguity, leaving us all to think what exactly he may or may not enact. A masterful debut film.
- Jan 5, 2006
- 41,790
- Jun 30, 2003
- 330,779
Sphygmo
OT Supporter
- Mar 23, 2007
- 282,096
Oh man you're making me want to rewatch, glad you liked it
Just remember finding myself emotionally overwhelmed despite the somewhat subdued presentation
That was the time period in which I really thought stahl would have a long lasting career. He was strong as fuck
- May 2, 2002
- 129,309
only 2 eps in so far, loving the mood
something about his work does it for me. the things he puts on film i cant imagine anyone else doing
and they look so insane. totdy was visually incredible most of the time
- Jan 5, 2006
- 41,790
I see myself rewatching this one in a few years, so you definitely should. Yeah Stahl was just as strong as the three primaries here so he had the chops. Kind of sad really. He was awesome in Carnivale.Oh man you're making me want to rewatch, glad you liked it
Just remember finding myself emotionally overwhelmed despite the somewhat subdued presentation
That was the time period in which I really thought stahl would have a long lasting career. He was strong as fuck
- Jan 5, 2006
- 41,790
I agree his work does it for me as well. Too Old to Die Young is simply put one of the most profound things I've ever seen. Not necessarily in a story or plot driven way, which I don't think he has ever been too interested in, but in the structure and aesthetic sense.
- Jan 5, 2006
- 41,790
recently watched new movie thought drop
White Noise (Noah Baumbach)
I tried to like this but ended up hating most of it. The first 30 minutes had some interesting plays at alienating you with information cram which made you feel uneasy ala white noise. I'm wondering if I may have been more on board if this bombarded us with its pseudo inept postmodernisms for the entire run time? But even during these almost intriguing early parts, it was all just so frivolous.. Adam Driver produces his worst performance yet. I don't think I've ever disliked anything he has output acting wise until now. Greta Gerwig, one of the best actresses of her age group, has maybe one good scene in this chore. Certain things like Cheadle pointing out that Gerwig's catching curls were eye grabbing would simply be better off left unsaid. And this lack of subtlety drowns us for the entire run time. Even a would be great LCD Soundsystem addendum feels worthless because of what it follows. I guess you have to applaud Baumbach for branching out stylistically and adapting a piece that is foreign to his previous work, but it's still something that pales in comparison to what Cronenberg accomplished with adapting the same author's Cosmopolis.
the Menu (Mark Mylod)
This was at least entertaining. Not exactly the great burger from an experienced chef it wants to be, more like a Big Mac that satisfies you in the moment, able to cure your hunger while simultaneously making you feel ill and regret afterwards. I know an excellent one just won the Palme, again, but these 'rich people are bad' movies really have to stop. Y'all are never going to be the next Buñuel. Anya Taylor-Joy also continues her streak of being the shining takeaway of mediocre films. Am I really considering seeing David O. Russell's fucking Amsterdam to see if this happens again? I have faith Furiosa will remedy this but jfc.
Bergman Island (Mia Hansen-Løve)
I've heard about Hansen-Løve for a while now, but this is the first of her films I have experienced. A self-assured and lived-in tribute to the titular master himself. Being able to capture the essence of what Ingmar was all about in her own mimicing story that we would see from him, and wrapping it in a type of collective fandom hitting the major and some minor highlights of his career with proper love and admiration. Vicky Krieps and Mia Wasikowska are both wonderful here. Our very own Ingrid Thulin and Bibi Anderson in Hansen-Løve's own way. I'm very aware of her talents now, and am not only actively waiting for her newest work from last year to drop, but looking into going back to see how she got to this point.
Unrest (Cyril Schäublin)
A superbly realized feat in academic formalism. For his sophomore film, Schäublin has created something as idiosyncratic as I've ever seen. The framing is ridiculous and auspicious. The compositions miraculous. A synopsis reading of 'a small town Swiss factory in the late 19th-century meticulously assemble watches' doesn't quite do it credit. It's a deliciously languid, hyper unique experience. The townsfolk throughout debating the merits of socialism, capitalism and the the majority of the town's preference, anarchy. In many ways echoing the comeplete lack of deference to how a typical movie should be made. I have firmly gained yet another filmmaker to love in Schäublin.
the Girl and the Spider (Ramon Zürcher; Silvian Zürcher)
Another stunner. How the Zürcher's place their human figures and situations is absolutely masterful. Repeated piano cues during transitions make it play more like a musical. A whimsical and intensely fraught piece of daring work. Throwing you into a situation and keeping you in a disorienting place where you're never truly sure where it's coming or going. On first viewing it tricks you into believing you can personally fill in the who, the why and the when. A claustrophobic mystified film distilled from time, rife with beautiful cigarette smokers and cat dander. In those ways it's as much indebted to French cinema as it is German.
Hold Me Tight (Mathieu Amalric)
A luminous Vicky Krieps showing. Quickly asserting herself as one of the most powerhouse actresses out there. Revealing itself more as it goes along, Almaric deftly tells his story by blending reality and fantasy, keeping the viewer guessing and engaged as to why the main character leaves her family in the beginning of the film. It's difficult to unpack further without giving too much away, but there wasn't a moment that Krieps didn't enrapture me completely.
Sick (John Hyams)
This one kind of floored me. Hyams follows up his minimalistic escape horror Alone with the equally reserved and poignant modern slasher Sick. From the three joints I've seen from this guy he is clearly a leading force in the small grindhouse genre exercise. Possibly the first film to effectively make use of the Covid quarantine. Written by Wes Craven regular Kevin Williamson this is yet another classic from him. Helped along by Hyams' usual crystalline style.
Alcarras (Carla Simón)
A lovely follow-up to her brilliant autobiographical feature debut. Simón remains proficient at staging gorgeously observed rural dramas. This time focusing her penchant for family awareness on a small Catalonia village orchard reeling when they face an eviction and worries that this crop might be their final season. The Spanish wunderchild continues to be very in tune with capturing honest child performances. Her eye for this is undeniable.
White Noise (Noah Baumbach)
I tried to like this but ended up hating most of it. The first 30 minutes had some interesting plays at alienating you with information cram which made you feel uneasy ala white noise. I'm wondering if I may have been more on board if this bombarded us with its pseudo inept postmodernisms for the entire run time? But even during these almost intriguing early parts, it was all just so frivolous.. Adam Driver produces his worst performance yet. I don't think I've ever disliked anything he has output acting wise until now. Greta Gerwig, one of the best actresses of her age group, has maybe one good scene in this chore. Certain things like Cheadle pointing out that Gerwig's catching curls were eye grabbing would simply be better off left unsaid. And this lack of subtlety drowns us for the entire run time. Even a would be great LCD Soundsystem addendum feels worthless because of what it follows. I guess you have to applaud Baumbach for branching out stylistically and adapting a piece that is foreign to his previous work, but it's still something that pales in comparison to what Cronenberg accomplished with adapting the same author's Cosmopolis.
the Menu (Mark Mylod)
This was at least entertaining. Not exactly the great burger from an experienced chef it wants to be, more like a Big Mac that satisfies you in the moment, able to cure your hunger while simultaneously making you feel ill and regret afterwards. I know an excellent one just won the Palme, again, but these 'rich people are bad' movies really have to stop. Y'all are never going to be the next Buñuel. Anya Taylor-Joy also continues her streak of being the shining takeaway of mediocre films. Am I really considering seeing David O. Russell's fucking Amsterdam to see if this happens again? I have faith Furiosa will remedy this but jfc.
Bergman Island (Mia Hansen-Løve)
I've heard about Hansen-Løve for a while now, but this is the first of her films I have experienced. A self-assured and lived-in tribute to the titular master himself. Being able to capture the essence of what Ingmar was all about in her own mimicing story that we would see from him, and wrapping it in a type of collective fandom hitting the major and some minor highlights of his career with proper love and admiration. Vicky Krieps and Mia Wasikowska are both wonderful here. Our very own Ingrid Thulin and Bibi Anderson in Hansen-Løve's own way. I'm very aware of her talents now, and am not only actively waiting for her newest work from last year to drop, but looking into going back to see how she got to this point.
Unrest (Cyril Schäublin)
A superbly realized feat in academic formalism. For his sophomore film, Schäublin has created something as idiosyncratic as I've ever seen. The framing is ridiculous and auspicious. The compositions miraculous. A synopsis reading of 'a small town Swiss factory in the late 19th-century meticulously assemble watches' doesn't quite do it credit. It's a deliciously languid, hyper unique experience. The townsfolk throughout debating the merits of socialism, capitalism and the the majority of the town's preference, anarchy. In many ways echoing the comeplete lack of deference to how a typical movie should be made. I have firmly gained yet another filmmaker to love in Schäublin.
the Girl and the Spider (Ramon Zürcher; Silvian Zürcher)
Another stunner. How the Zürcher's place their human figures and situations is absolutely masterful. Repeated piano cues during transitions make it play more like a musical. A whimsical and intensely fraught piece of daring work. Throwing you into a situation and keeping you in a disorienting place where you're never truly sure where it's coming or going. On first viewing it tricks you into believing you can personally fill in the who, the why and the when. A claustrophobic mystified film distilled from time, rife with beautiful cigarette smokers and cat dander. In those ways it's as much indebted to French cinema as it is German.
Hold Me Tight (Mathieu Amalric)
A luminous Vicky Krieps showing. Quickly asserting herself as one of the most powerhouse actresses out there. Revealing itself more as it goes along, Almaric deftly tells his story by blending reality and fantasy, keeping the viewer guessing and engaged as to why the main character leaves her family in the beginning of the film. It's difficult to unpack further without giving too much away, but there wasn't a moment that Krieps didn't enrapture me completely.
Sick (John Hyams)
This one kind of floored me. Hyams follows up his minimalistic escape horror Alone with the equally reserved and poignant modern slasher Sick. From the three joints I've seen from this guy he is clearly a leading force in the small grindhouse genre exercise. Possibly the first film to effectively make use of the Covid quarantine. Written by Wes Craven regular Kevin Williamson this is yet another classic from him. Helped along by Hyams' usual crystalline style.
Alcarras (Carla Simón)
A lovely follow-up to her brilliant autobiographical feature debut. Simón remains proficient at staging gorgeously observed rural dramas. This time focusing her penchant for family awareness on a small Catalonia village orchard reeling when they face an eviction and worries that this crop might be their final season. The Spanish wunderchild continues to be very in tune with capturing honest child performances. Her eye for this is undeniable.
MiseryIndex
open your eyes child, your sea is changing.
saw skinamarink in theaters over the weekend.
100% the strangest movie i've ever seen. and i didn't necessarily enjoy it, but it was effective at what it says its trying to do.
100% the strangest movie i've ever seen. and i didn't necessarily enjoy it, but it was effective at what it says its trying to do.
- Jan 5, 2006
- 41,790
- May 2, 2002
- 129,309
ghost.prawn
OT Supporter
- May 11, 2006
- 51,892
'Alien' Series From Noah Hawley Is in Pre-Production
The exciting update comes from the 2023 TCAs, where Collider is in attendance.
collider.com
- Jan 5, 2006
- 41,790
Nah just Dragon Eyes, Alone and now Sick. I mentioned wanting to get to those in here a minute ago, but I think the prospect of needing to see the original first is holding me back. I'm sure I'll be liking them as I have become a big Hyams fan, I just need to get past the Emmerich hurdle.
- May 2, 2002
- 129,309
Nah just Dragon Eyes, Alone and now Sick. I mentioned wanting to get to those in here a minute ago, but I think the prospect of needing to see the original first is holding me back. I'm sure I'll be liking them as I have become a big Hyams fan, I just need to get past the Emmerich hurdle.
the original isnt really necessary, tho it does make the final confrontation more impactful
regen is also poorly written, ill give you that. but everything else is great
- May 2, 2002
- 129,309
Just finished fear x
It certainly was a movie. I dunno. Torturro was good, it really didn’t look like a refn although it was well done. Not surprised that this almost ruined his career
I’ve got bleeder downloaded and I think that’s the last thing I haven’t watched of his
It certainly was a movie. I dunno. Torturro was good, it really didn’t look like a refn although it was well done. Not surprised that this almost ruined his career
I’ve got bleeder downloaded and I think that’s the last thing I haven’t watched of his
- Jan 5, 2006
- 41,790
Nice. Love both of those but Bleeder is probably the better one. There's one scene in the latter during the beginning in a video store that is pretty much the best thing ever for a film lover.
'Alien' Series From Noah Hawley Is in Pre-Production
The exciting update comes from the 2023 TCAs, where Collider is in attendance.
MiseryIndex
open your eyes child, your sea is changing.
- Jan 5, 2006
- 41,790
RIP to the wonderful Yun Jung-hee
Keksim
OT Supporter
- Jan 16, 2012
- 8,254
Rewatched Interstellar today. I actually enjoyed it a lot this 2nd time. Back when it came out, I was a big fan of really serious/grounded feeling sci-fi movies like 2001, so I was pretty disappointed when Interstellar, The Martian, and Gravity were released because I wanted them to be that way but they weren't at all lol
Anyway for a Christopher Nolan movie it's pretty good. Probably still not in my top 5 but the visuals are stunning and the story/music gave me a lot of feels. After this, I am willing to give The Martian and Gravity another shot with different expectations
Anyway for a Christopher Nolan movie it's pretty good. Probably still not in my top 5 but the visuals are stunning and the story/music gave me a lot of feels. After this, I am willing to give The Martian and Gravity another shot with different expectations