Whew... I thought the only one who found Fast Times to be overpraised. The direction feels more than a little tone-deaf, which results in an uneasy mix between the comedic and dramatic aspects of the screenplay. As a result, the Jennifer Jason Leigh storyline sort of clangs around in the middle of the teenage comedy, rather than seeming like a logical extension of the hornball shenanigans that are happening around her.
I didn't necessarily mean the "um, what?" in a negative way, understand. This thing is sort of awesome, although it got immediately upstaged by the sublime Framing (I actually prefer the German title of that short, Bildfenster/Fensterbilder, but whatcha gonna do?).
I believe he's touring with it, but I don't know how to find out for sure. You could probably just Google the name to find out. But I have a feeling it'd be right up your alley.
And I'd imagine that it would be hard to find a better movie out there than No Country, but Brakhage is a fine alternative.
OK, now you've convinced me to find The Cellar and The Beetle Leg at my local library. But as it is, the one I'd be most stoked for would have to be the Fleetwood Mac movie. What makes it sound awesome isn't just the music, although that certainly doesn't hurt. No, what I dig is that unlike most musical bios, this isn't about one larger-than-life person, but about five people who were a volatile combination personality-wise while creating a whole bunch of awesome tunes. And I don't think the two can be separated- the music is a product of that volatility.
Their saga could even be seen as microcosm of how our society progressed/regressed during the seventies, from an uneasy society on the brink of revolution at the end of the sixties, to the greed-is-good, every-man-for-himself world of the Reagan 80s. Which brings me to my only suggestion- I mostly agree with confining the story to the years you've suggested, but I think a bittersweet footnote to the story would be their briefly reuniting onstage at the '92 Democratic convention, playing "Don't Stop" for Clinton. Could work either at the beginning or the end, but I prefer the end, to contrast with the true last hurrah of the "Tusk" video.
But what would the title be? One thing's for sure- the only choice for a tagline would have to be "someone oughta tell you what it's really all about."
Affleck's directing skills won't blow anybody away, but they're not distracting. Plus he's smart enough to stay out of the way of the material, which is wicked awesome, as they say up there. The thematic richness of Gone Baby Gone really clinched the film for me, turning a solid crime drama into one of the year's most pleasant surprises.
We FORGE on, even.
>Does from Death to Birth mean ordered from end of year to beginning of year?
Right. Figured people would be most curious in the movies I saw most recently, so I list those at the top.
>Also, you are in Columbus, Ohio? So am I!
Cool. It's hard to be a cinephile here sometimes, especially with what's happened with the Drexel recently. Still, we forget on.
Re: the White Elephant Blogathon... wait until you see what I got. I'll say no more.
Yeah, I'm pretty sure that a lot of these won't be serious contenders, but I might as well exhaust a number of options, right?
The only problem I have with Muriel cramming is that I have to keep up my quota of posts on Screengrab during this time. Could be interesting.
I agree. I don't think One, Two, Three is necessarily Wilder's best, but it's almost certainly his funniest.
Whew... I thought the only one who found Fast Times to be overpraised. The direction feels more than a little tone-deaf, which results in an uneasy mix between the comedic and dramatic aspects of the screenplay. As a result, the Jennifer Jason Leigh storyline sort of clangs around in the middle of the teenage comedy, rather than seeming like a logical extension of the hornball shenanigans that are happening around her.
I didn't necessarily mean the "um, what?" in a negative way, understand. This thing is sort of awesome, although it got immediately upstaged by the sublime Framing (I actually prefer the German title of that short, Bildfenster/Fensterbilder, but whatcha gonna do?).
I believe he's touring with it, but I don't know how to find out for sure. You could probably just Google the name to find out. But I have a feeling it'd be right up your alley.
And I'd imagine that it would be hard to find a better movie out there than No Country, but Brakhage is a fine alternative.
OK, now you've convinced me to find The Cellar and The Beetle Leg at my local library. But as it is, the one I'd be most stoked for would have to be the Fleetwood Mac movie. What makes it sound awesome isn't just the music, although that certainly doesn't hurt. No, what I dig is that unlike most musical bios, this isn't about one larger-than-life person, but about five people who were a volatile combination personality-wise while creating a whole bunch of awesome tunes. And I don't think the two can be separated- the music is a product of that volatility.
Their saga could even be seen as microcosm of how our society progressed/regressed during the seventies, from an uneasy society on the brink of revolution at the end of the sixties, to the greed-is-good, every-man-for-himself world of the Reagan 80s. Which brings me to my only suggestion- I mostly agree with confining the story to the years you've suggested, but I think a bittersweet footnote to the story would be their briefly reuniting onstage at the '92 Democratic convention, playing "Don't Stop" for Clinton. Could work either at the beginning or the end, but I prefer the end, to contrast with the true last hurrah of the "Tusk" video.
But what would the title be? One thing's for sure- the only choice for a tagline would have to be "someone oughta tell you what it's really all about."
I recently signed back up with Netflix, so that's in the queue.
Affleck's directing skills won't blow anybody away, but they're not distracting. Plus he's smart enough to stay out of the way of the material, which is wicked awesome, as they say up there. The thematic richness of Gone Baby Gone really clinched the film for me, turning a solid crime drama into one of the year's most pleasant surprises.
I'd say that the one to beat at this point is Carice Van Houten in BLACK BOOK, who's amazing and super hot to boot. Just my two cents.