[Rock]

This is basically a viewing thread, as the title and banner suggest. Write-ups will tend to be on the shorter side, because I’m not much of a writer and far too lazy to write anything substantive on a regular basis. I had been using the “Rate the Last Movie You Watched Thread” for this sort of thing, but posts tend to get buried in there and it’s not always the most conducive environment for discussion (but I will continue to drop by there because I’ve had some good discussions there). So yeah, read along and comment and hopefully we'll get some discussion going.

First reviews coming up shortly.



REVIEWS

The American Soldier (Fassbinder, 1970)
Argo (Affleck, 2012)
The Ascent (Shepitko, 1977)
Autobiography of a Princess (Ivory, 1975)
As Tears Go By (Wong, 1988)
Barfi! (Basu, 2012)
Battle: Los Angeles (Liebesman, 2011)
Billion Dollar Brain (Russell, 1967)
Bobby Fischer Against the World (Garbus, 2011)
Clerks (Smith, 1994)
Dangerous Encounter - 1st Kind (Tsui, 1980)
The Dawn Patrol (Goulding, 1938)
Daybreakers (Spierig & Spierig, 2009)
The Dictator (Charles, 2012)
Eyes Without a Face (Franju, 1960)
Fighting Elegy (Suzuki, 1966)
The Freshman (Bergman, 1990)
Harold & Kumar Go to White Castle (Leiner, 2004)
Heat and Dust (Ivory, 1983)
Hell is for Heroes (Siegel, 1962)
Imitation of Life (Sirk, 1959)
Inside Man (Lee, 2006)
Invocation of My Demon Brother (Anger, 1969)
Jigoku (Nakagawa, 1960)
The Killing of a Chinese Bookie (Cassavetes, 1978)
Kustom Kar Kommandos (Anger, 1965)
The Life and Times of Judge Roy Bean (Huston, 1972)
Lucifer Rising (Anger, 1981)
Man Bites Dog (Belvaux, 1992)
The Music Room (Ray, 1958)
No (Larraín, 2013)
Oblivion (Kosinski, 2013)
Pickpocket (Bresson, 1959)
The Place Beyond the Pines (Cianfrance, 2013)
The Proposition (Hillcoat, 2005)
Puce Moment (Anger, 1949)
Rabbit's Foot (Anger, 1950)
Roman Holiday (Wyler, 1953)
Satyajit Ray (Benegal, 1982)
Scanners (Cronenberg, 1981)
Scorpio Rising (Anger, 1964)
Seven Chances (Keaton, 1925)
Sherlock Jr. (Keaton, 1924)
Slacker (Linklater, 1991)
Slap Shot (Hill, 1977)
Stranger Than Paradise (Jarmusch, 1984)
The Taking of Pelham 1 2 3 (Scott, 2009)
Traffic (Soderbergh, 2000)
Transformers: Dark of the Moon (Bay, 2011)
The Trip (Winterbottom, 2011)
The Trouble with Harry (Hitchcock, 1955)
Twelve O'Clock High (King, 1949)
Universal Soldier: Regeneration (Hyams, 2009)
Vengeance is Mine (Imamura, 1979)
Wall Street: Money Never Sleeps (Stone, 2010)
The War Game (Watkins, 1965)
Who'll Stop the Rain (Reisz, 1978)
Young Mr. Lincoln (Ford, 1939)
Zero Dark Thirty (Bigelow, 2012)

[Rock]

Jigoku
Dir. Nobuo Nakagawa
1960

The film functions primarily as a morality play, where people do bad things and later get punished for them (in eye-popping set pieces). There’s a somewhat noirish feeling to the early parts of the film, where the main character is wracked with guilt after being involved in a fatal car accident. I almost got a sense that the film was trying to form an indictment of Japanese society, as the sinners come from all walks of life (a doctor, a policeman, a professor, a student, an artist, among others). The Tamara character I found the most compelling – he has a sinister, almost supernatural presence, and acts as a disruptive force exposing others’ sins while indulging in them himself.

I liked the film’s sense of contrast in its style. The earlier sections have a fairly muted colour scheme and traditional look to reflect the characters hiding their wrongdoing, and the occasional intrusions of red and unusual camera angles and sound effects come off as jarring against the otherwise repressive feeling. The third act indulges in bright colours and manic camerawork, depicting the descent into hell in an explosion of psychedelia.

Man Bites Dog
Dir. Rémy Belvaux
1992

There’s a scene in Alfred Hitchcock’s Frenzy where the killer, realizing that he’s left evidence behind that could incriminate him, struggles to remove it from a corpse while trapped in the back of a truck and fumbling amidst sacks of potatoes. Scenes like this, which build a sense of sympathy for the killer, populate Man Bites Dog, but this film goes even further in creating audience complicity by having audience stand-ins (a documentary crew) actually become involved in committing the crimes. The disjointed mockumentary style gives the proceedings an uncomfortable immediacy, and there are echoes of reality TV. The ending comes off as a little abrupt, but I’m not really sure how else it should have been wrapped up. Still, a very good film.

Pickpocket
Dir. Robert Bresson
1959

Incredibly effective in recreating the visceral thrill of picking pockets, showing us in intimate detail all the moves and tricks involved. Most impressive is the set piece where the main character and his accomplices work a train station, and there’s a dance-like rhythm to the movements and shots. There’s not a lot in terms of traditional character development, but I could really feel what the protagonist goes through as he becomes consumed by pickpocketing.

Eyes Without a Face
Dir. Georges Franju
1960

Really enjoyed this one. It reminded me a little bit of Cronenberg’s Fly remake, in that it handles its lurid subject matter seriously and turns it effectively into tragedy. There’s also a bit of a fairy tale quality to the whole thing.

On a side note, I noticed that the lead actress in this, Edith Scob, also is in Holy Motors, and wears a mask in that too. I haven’t seen that one yet, but I imagine it’s a nice little nod to this film.

The Killing of a Chinese Bookie
Dir. John Cassavetes
1978

Really really enjoyed this one, especially in the way it creates a sense of mounting dread with its nervous, almost agitated direction and its visuals that drip in shadows, neon colours and lens flare. An overwhelming seediness and sense of desperation pervade the whole thing, despite the hero’s attempts to class up his strip joint. Ben Gazzara (whom I foolishly thought had died recently due to sucking at reading comprehension) is quite simply fantastic. I saw the 1978 re-release edit, which I’m told is more focused but inferior to the original 1976 version, so I’d be interested to see how that one compares given my strong reaction to this.

Stranger Than Paradise
Dir. Jim Jarmusch
1984

Probably the first Jarmusch I’ve seen that I’ve outright loved, and the second best thing I’ve seen so far this year. There are elements here present in some of his other work that I’ve seen, such as the deadpan humour, the understated style, the sense of beauty in squalor and the outsiders’ view of America, but they clicked together for me here much more so than in those other films. Great stuff.

Zero Dark Thirty
Dir. Kathryn Bigelow
2012

The war on terror is depicted as being waged through data and information, so much so that the key event, Bin Laden’s death, isn’t even seen clearly except through the LCD screen of a camera. This approach pretty much ensures that the film is free of jingoism and glamour. It’s a very well crafted thriller, and despite some alleged inaccuracies in its depiction of events (I say alleged only because I haven’t really looked into it aside from glancing at some threads here), it can be said that the film doesn’t glorify torture (the early scenes show it as unpleasant business and not especially effective). Not really an actor’s picture, but Jessica Chastain is quite strong in the lead role. I also liked seeing Edgar Ramirez and Scott Adkins in this, even though they didn’t have huge parts. My only real qualm with this is that Bigelow is so good with the visceral (the bomb defusal scenes in The Hurt Locker, the playback sequences in Strange Days and the chase and skydiving bits in Point Break are ample proof of this), that the total lack of that sort of material here (aside from the final raid) make me feel that she may have made an even better film handling different material.

The American Soldier
Dir. Rainer Werner Fassbinder
1970

My first Fassbinder (my last two attempts to watch his films were foiled by circumstances too inane to go into). If Leone’s Dollars films are said to be rock and roll takes on the western, this is a rock and roll take on film noir. It has a neat premise (a Vietnam vet is hired secretly by some cops to kill a number of targets), a cool sense of detachment in its style (its visuals being almost abstractly noirish and its music being both mournful and raucous), and some nice dark humour (the stuff with the maid is hilarious). The film doesn’t add up to much in terms of story and it can be tempting to dismiss it as an empty exercise in style, but it’s a good style, and it’s good fun while it lasts.

[Steveland. Danger.]

No offense, but why would anyone want to read anything by someone who's "too lazy to write something substantive." You may feel you're not be the best writer on this site but don't sell yourself short, your opinions are just as valid as anyone else's. You don't need to make excuses.

[Rock]

Originally Posted by Steveland. Danger.

No offense, but why would anyone want to read anything by someone who's "too lazy to write something substantive." You may feel you're not be the best writer on this site but don't sell yourself short, your opinions are just as valid as anyone else's. You don't need to make excuses.

It was a self deprecating way of saying that I'm not capable of turning out walls of text, nor do intend to do so.

[Steveland. Danger.]

Originally Posted by Rock

It was a self deprecating way of saying that I'm not capable of turning out walls of text, nor do intend to do so.

No one wants to read a wall of text anyway. Formatting is good.

[Rock]

Originally Posted by Steveland. Danger.

No one wants to read a wall of text anyway. Formatting is good.

You don't like Faulkner?

Select the black box below with your cursor to view the spoiler text

I say this never having read anything by Faulkner.

[MaxRenn]

You're watching films and talking about them? What kind of forum do you think this is?

But anyway, I share your love for Stranger Than Paradise. I saw that movie this weekend thanks to Hulu's free Criterion promotion. Good stuff.

Select the black box below with your cursor to view the spoiler text

What did you think about that ending? Do you think Eva did it to strand Willie in Romania as revenge for stranding her in America?

[Rock]

Originally Posted by MaxRenn

You're watching films and talking about them? What kind of forum do you think this is?

But anyway, I share your love for Stranger Than Paradise. I saw that movie this weekend thanks to Hulu's free Criterion promotion. Good stuff.

Select the black box below with your cursor to view the spoiler text

I too was taking advantage of Hulu's generous promotion.

Regarding Stranger Than Paradise:

Select the black box below with your cursor to view the spoiler text

Given the general benevolent feeling to the whole thing, I think it was just a funny accident. Eva probably had a change of heart at the last minute. She looked surprised to see that they were gone when she returned to the motel.

[5EasyPeaches]

I love Man Bites Dog. If Criterion puts it out on blu, I'll likely pick it up.

[Steveland. Danger.]

I never got the time to take advantage of Hulu's generous promotion.

[Master King Sexington]

So many topics to jump into... I wish it wasn't so overwhelming to respond to as this forum doesn't like long posts.

I'll just say that if you liked eyes without a face you need to check out the skin I live in.

[Rock]

Originally Posted by 5EasyPeaches

I love Man Bites Dog. If Criterion puts it out on blu, I'll likely pick it up.

There were a lot of scenes in that that disturbed me, but the part whereSelect the black box below with your cursor to view the spoiler text

he shoots the guy during the dinner party

made me jump harder than anything I've seen in a while.

Originally Posted by Steveland. Danger.

I never got the time to take advantage of Hulu's generous promotion.

I had a pretty free weekend as I'm getting my spring break this week, but I'd gone for like two weeks before that without seeing anything. I pretty much watched these over the past few days.

Originally Posted by Master King Sexington

So many topics to jump into... I wish it wasn't so overwhelming to respond to as this forum doesn't like long posts.

I'll just say that if you liked eyes without a face you need to check out the skin I live in.

I think that's on Canadian Netflix, so I might get to that soon.

[Janson Jinnistan]

Originally Posted by Rock

It was a self deprecating way of saying that I'm not capable of turning out walls of text, nor do intend to do so.

It's more about the qualities of incision and concision. I'd say you're doing a great job of representing your impressions. (Like I'm an expert...)

Jigoku and American Soldier I have yet to see, and I was too social this weekend to take advantage of the freebies, although I still have this afternoon and evening to squeeze in a couple. I was thinking about Fassbinder's World on a Wire instead.

I remember you asking about Jarmusch films recently, and I recommended Mystery Train and Dead Man I think. I was thinking of Strangers, but I can't remember if it was mentioned or whether I just assumed it's his "classic" that goes without saying. One of the most important indies of the 80s.

[Rock]

Originally Posted by Janson Jinnistan

It's more about the qualities of incision and concision. I'd say you're doing a great job of representing your impressions. (Like I'm an expert...)

Thank you.

Jigoku and American Soldier I have yet to see, and I was too social this weekend to take advantage of the freebies, although I still have this afternoon and evening to squeeze in a couple. I was thinking about Fassbinder's World on a Wire instead.

If you see that, tell me how it is. I'm kind of interested in getting around to it eventually.

I remember you asking about Jarmusch films recently, and I recommended Mystery Train and Dead Man I think. I was thinking of Strangers, but I can't remember if it was mentioned or whether I just assumed it's his "classic" that goes without saying. One of the most important indies of the 80s.

I've seen Mystery Train. I liked it, but didn't love it. I felt that the third segment ("Lost in Space") with Strummer, Buscemi and Rick Aviles was much stronger than the other two. Dead Man I haven't seen yet, but given my general fondness for westerns I'll have to check it out.

[Master King Sexington]

Dead man is far and away the best Jarmusch I've seen. I thought stranger than paradise was more interesting from a contextual reference of the beginning of his career and style. Like who's that knocking on my door for Scorsese.

[Rock]

Originally Posted by Master King Sexington

Dead man is far and away the best Jarmusch I've seen. I thought stranger than paradise was more interesting from a contextual reference of the beginning of his career and style. Like who's that knocking on my door for Scorsese.

Which other ones have you seen?

[Master King Sexington]

Originally Posted by Rock

Which other ones have you seen?

Coffee and cigarettes and ghost dog.

[Rock]

Originally Posted by Master King Sexington

Coffee and cigarettes and ghost dog.

Haven't seen Coffee and Cigarettes, but I enjoyed Ghost Dog quite a bit, even more so than one of the films it's inspired by (Branded to Kill, which is very much worth a watch, although I didn't really "get" it).

[Janson Jinnistan]

I'll take the chance and recommend Jarmusch's Limits of Control, a very slow, controlled noir without much dialogue or action. A very polarizing film. Isaach de Bankole (the ice cream vender from Ghost Dog) is really terrific in this, as are great cameos from John Hurt, Tilda Swinton, Gael Garcia Bernal and Bill Murray. Great glacial soundtrack by Boris and Sun O))).

[Rock]

Originally Posted by Janson Jinnistan

I'll take the chance and recommend Jarmusch's Limits of Control, a very slow, controlled noir without much dialogue or action. A very polarizing film. Isaach de Bankole (the ice cream vender from Ghost Dog) is really terrific in this, as are great cameos from John Hurt, Tilda Swinton, Gael Garcia Bernal and Bill Murray. Great glacial soundtrack by Boris and Sun O))).

I saw that one, but didn't like it. I liked it's construction but it didn't add up to a whole lot for me.

[Prof. St. Justice]

I guess I'm in the minority when it comes to Stranger Than Paradise; I didn't really care for it. I must prefer the formula flipped, with Lurie directing and Jarmusch acting, because I really liked the first episode of Fishing With John.


I've always been very conflicted when it comes to Bresson's films. I despise them until the last scene, which blows me away and leads me to spend the next week trying to fully decipher what it is I just saw.


I saw the original cut of The Killing of a Chinese Bookie, but I've always heard that most of the scenes truncated for the re-release were dance scenes. If that includes the scene where that waitress auditions then I would recommend seeing the original, I think that was by far the best scene in the film. (Unfortunately, I'm pretty sure Ben Gazzara actually did die recently.)

[Trolloc]

Interesting thread. I'll be reading.

[Rock]

Originally Posted by Prof. St. Justice

I guess I'm in the minority when it comes to Stranger Than Paradise; I didn't really care for it. I must prefer the formula flipped, with Lurie directing and Jarmusch acting, because I really liked the first episode of Fishing With John.


I've always been very conflicted when it comes to Bresson's films. I despise them until the last scene, which blows me away and leads me to spend the next week trying to fully decipher what it is I just saw.


I saw the original cut of The Killing of a Chinese Bookie, but I've always heard that most of the scenes truncated for the re-release were dance scenes. If that includes the scene where that waitress auditions then I would recommend seeing the original, I think that was by far the best scene in the film. (Unfortunately, I'm pretty sure Ben Gazzara actually did die recently.)

I'll have to check out Fishing With John. It sounds interesting.

Gazzara died over a year ago. I read an obituary that Ebert posted a few weeks ago for some reason, and without reading any dates, I thought he had died only then. I even made a thread about it, which shall remain buried.

Originally Posted by Trolloc

Interesting thread. I'll be reading.

[Master King Sexington]

Fishing with John is entertaining. It wholly depended on who the guest was though as the Matt Dillion episode is awful. Willem Dafoe's episode, however, is a masterpiece. The Tom Waits episode is also pretty entertaining because he was so displeased with the expedition he didn't talk to John for around 2 years.

[Captain Dills]

I watched Man Bites Dog and Pickpocket this weekend. Loved the former and was very indifferent on the latter.

[Master King Sexington]

While I can't attest to its validity, my friend claims to have watched the special features about Man Bites Dog (something I could do as I also own it but am lazy) and said that he was shocked that the filmmakers were adamant about the film not having anything to say about cinematic violence, at least intentionally, but were rather interested in dissecting the dynamic of making a film and how it is a form of audience engagement.

Or something along those lines.

When I saw the movie, if this is true, it also shocked me. Can anyone clarify so I can stay lazy?

[Wooley]

I hate to be redundant, but...

This forum will NOT tolerate film discussion.

Either start a poll, do a "versus" thread, or make lists. You may also troll.

We will not stand for anything else.

[Janson Jinnistan]

Originally Posted by Rock

I saw that one, but didn't like it. I liked it's construction but it didn't add up to a whole lot for me.

Win some, lose some.

[dreiser]

Originally Posted by Master King Sexington

While I can't attest to its validity, my friend claims to have watched the special features about Man Bites Dog (something I could do as I also own it but am lazy) and said that he was shocked that the filmmakers were adamant about the film not having anything to say about cinematic violence, at least intentionally, but were rather interested in dissecting the dynamic of making a film and how it is a form of audience engagement.

I can totally see the filmmakers' intent in the film.

[The Plan]

Will be reading.

Loved Zero Dark. I actually liked the fact that the film was sparse on visceral action until the end. It makes the raid that much more electrifying. I also enjoyed the slow deliberateness of the car bomb scene.

The only Jarmusch I've ever been exposed to was the Winona Rider segment of Night on Earth. Really liked what I saw, man's got a knack for interaction and dialogue.