[!@#$%!]

alright but felixson doesn't "wanna be" a filmmaker, he is one already. as for influences, we all grow up in our ow time & place and-- buffy rules man!! haha. plus there are some great comic books. look, chaplin came out of vaudeville

okay, the game is ON! gotta go pursue moar hi culture on tv

[evollove]

Originally Posted by Murmer99

Watch god bless america or kill yourself.

--I'll give you a hug because a few pages back I recommended that very movie.

--Chaplin was a preachy ballerina. Keaton was the real genius.

--I don't care about culture, critics, Criterion or the cults that have classics.

[!@#$%!]

Originally Posted by evollove

--I don't care about culture, critics, Criterion or the cults that have classics.

i meant the fútbol game! i didn't even get to finish my post cuz transmission had started.

modern times = teh win

[Pelle]

 

Never seen this one before actually, and I'm a bit a shamed for it, but I saw it the other day and I think it was fuckin super!
4/5.

[stu666]

 

[truncated]

Originally Posted by Dr. Eugene Felikson

 

"
I've never understood why so many people hate this movie. The jokes are funny, Howard is convincing, the cast is wonderful (Lea Thompson, Jeffrey Jones, and Tim Robbins), the crude 80's CGI is great, and the stop-motion animation towards the end is even more impressive.

Every time I watch this movie, I enjoy it. No matter how old I am. This has the same amount of charm as the first Teenage Mutant Ninja Turtle movie, except with a raunchier sense of humor.

9/10

One of the most disturbing fucking movies EVER.

[demonrail666]

 

Accattone

I've probably already given my views about this elsewhere on the thread, as I tend to watch it quite a lot. It's increasingly becoming the film I go to first when I feel like wallowing in that whole romanticised low-life thing for a bit. It's pure cultural tourism on my part, and highly dubious if I reflect on it but, whether it's Accattone, Mean Streets (which is really Accattone's American equivalent) or some uber deadbeat Paul Morrissey movie, I just can't help myself.

And Franco Citti really did have one of the best, most beautiful faces in all of cinema.

 

It's a shame that so many people only know Pasolini through Salo - a film that I really don't like at all.

[Dr. Eugene Felikson]

Originally Posted by demonrail666

I don't think there's anything particularly personal behind the ending, besides Lucas likely having had schoolfriends who graduated and then went straight off to Vietnam. In that sense I took it as one of those 'end of innocence' stories, and was maybe the key film in ushering in a kind of teen nostalgia (people like Corman had always focused on contemporary youth cults). It seemed to solidify a kind of cult-of-innocence around that whole early RnR era, that obviously inspired later films like Grease, Peggy Sue Got Married, Porky's and the first Back to the Future or TV shows like Happy Days and The Wonder Years.

It also gets a lot of credit for its innovative approach to soundtracks, using nothing but pre-recorded pop music. That was apparently a big influence on Scorsese (although Scorsese argues it was Kenneth Anger's Scorpio Rising), as well as the way scenes were kind of synchronised to the music, without the film being a bona fide musical. (Again, Scorpio Rising did it first but more people obviously saw American Graffiti.)

I think AG is a massive film on so many levels: ushering in an entire 50s nostalgia industry that still remains; translating previously 'underground' ideas into viable mainstream ones; etc.

About the ending - Oh. I guess that makes sense. I still don't really like that part though. It was off-putting and distracted me from the feelings the narration was supposed to provide.

Either way, I loved the film in a big, bad way. It was one of those rides where I felt like EVERYONE must be able to enjoy this. Sorta like The Breakfast Club, or A Christmas Story.

I was mainly surprised by just how modern the film felt. I think that's why I kept drawing the big Linklater comparison. (Am I alone on that one?) The use of pop music helped, I didn't even really think about that, I've grown so accustomed. Funny theory about Scorsese; Anger is much hipper to reference than Lucas, after all.

Still have to watch THX 1138. Maybe tonight or tomorrow. That looks astonishing. I wsh Lucas would step out of his shell and try something fresh again for a change. He's super-talented behind the scenes.

Originally Posted by Murmer99

it's also kind of cool how your favorite filmmaker of all time apparently is John Waters... and mine is David Lynch. The story is that Eraserhead received a larger audience when John Waters persistently told people to go see it, instead of promoting his own film at the time. Great guy, even if at times he makes me want to puke.

Ha! I'd never heard that before. That's pretty neat. Eraserhead's great - easily my favorite from Lynch. One of my favorite films of all time, actually. I don't think he'll ever be able to top it.

Originally Posted by !@#$%!

but anyway, hm, the problem i think you have relating is that the world where marcello ends is the world where you begin-- the world of kim kardashian and jerry springer and nihilism. fellini saw this era coming on and his vision turned out pretty prophetic, but looking back with no reference to a world that had meaning you might not get a sense of anything lost and therefore not see the tragedy.

Yeah, I must've missed the boat on that one. I'm definitely one who embraces pop culture though. Maybe not so much - modern pop culture - but I still don't think the message of this film is for me. I'm materialistic as fuck, and I like it that way. Your wording with that post was serene, though.

Originally Posted by demonrail666

Don't worry about it. Have you seen Chris Morris' Nathan Barley? There's a scene in it where the hero, a journalist for a style mag, finally sees this empty self congratulating hipster world that he's a part of, for what it is. He then announces that 'the idiots are winning' and has a kind of nervous breakdown. You think he's gonna rebel against it all but he ultimately just joins them. That's pretty much La Dolce Vita's message.

And in a way, that's why La Dolce Vita, more than almost any other art movie I can think of, has endured so well. Marcello Mastroianni's character remains a kind of contemporary archetype: relateable to anyone who's ever found themselves in a scene they think is drowning their true potential but who lacks the drive or sense of purpose to move beyond it. It's two and a half hours of someone on SYG announcing that this place is a waste of time and that they're leaving, only to come back a week later feeling a little bit disgusted with themselves. Read el symbols response again and apply it to this place. Almost uncanny. But where's the girl on the beach?

 

Maybe I'll give this one another shot with new eyes. Thanks guys.

[Genteel Death]

Originally Posted by demonrail666

Yeah, I've also got a thing for 70s urban dereliction. And I know what you mean when you talk about them as sort of 'landscape films'. There's a specific atmosphere to those settings.

I remember as a teenager going to the Scala in Kings Cross, when that area was still really sleazy. I'd never seen a prostitute or a junky before I went to Kings Cross and I'd always love coming out of the cinema after watching something like Maniac or Vigilante to see my own equivalent on the walk back to the station. It's criminal how clean Kings Cross now looks. Along with Soho it used to be my favourite part of London. (Soho's another area that's had much of its soul polished out of it now. Vegetarian options at the Coach & Horses?!?)

I was in Kings Cross recently and it's progressively being turned into John Carpenter's worst nightmare. I like the interiors of The Guardian's building, which contain a pretty sweet auditorium and art gallery, but you're right, no respectable low-life would hang around in that area now. Plus, I got this feeling that parts of the scenery have been bitten off by an enormous entrepreneurial mouth.

I re-watched Gary Oldman’s ‘’Nil by Mouth’’ in honour of your earlier mention of it on this thread. This movie is a perennial 10/10 movie for me and it gets better with every watch. I rank it alongside Larry Peerce’s ‘’The Incident’’ as one of my favourite dealing with the more unpleasant things in life. I’ve also found an old Gary Oldman interview, recently, where he talks about the film and explains how it’s one he had to make, particularly because you have movies like ‘’Leaving Las Vegas’’ where the alcoholic seems like he’s been pampered too much to really represent the real effects of rampant alcohol abuse on your body and your relationships with others. In the same interview I was happy to find out that he seems to feel the same sort of irritation for Tarantino’s work as me. You see, I don’t have a problem watching ‘’Pulp Fiction’’ or ‘’Kill Bill’’ for pure entertainment, it’s the sort of geekery they transude that gets me going. I am aware his work is meant to be viewed as a cartoonish regurgitation of his film-watching habits, and with that in mind I can agree that he’s alright as a director. When you hear clueless bloke after clueless bloke proclaiming him the biggest thing that happened to cinema for the umpteenth time though, that’s when you wish he didn’t get the sort of recognition and success he normally gets. This also explains my snide remark towards him when I mentioned Mario Bava’s ‘’Rabid Dogs’’, who’s one of his favourite directors, it seems.

Other movies I watched recently include Mark L. Lester’s ‘’Class of 1984’’. I always liked this film and it was good re-watching it for the first time in years. Timothy Van Patten is excellent as the psychotic kid who leads the gang of little shits making the school a dump to work in for teacher Mr Norris. For some reason I remembered it being filmed in a much grittier style. I think that is probably because the first time I’ve seen it I was 11 or 12 years old, so it must have had a more dramatic impact on me then.

[EVOLghost]

500 free full length movies you can stream


http://gizmodo.com/5917304/here-are-...ompletely-free

[truncated]

And, to bring down the level of intellect:

 

I was addicted to these films as a kid. And as cheesy as this was, I am still terrified by it even now. Dead kids on tricycles ~shivers~

[truncated]

I can't recall if it's 3 or 4 in which puppet strings are ripped out of this suicidal kid's arms. Awesome.

[floatingslowly]

Prometheus was a let-down.

At least Howard the Duck had Lea Thompson's panties. So....soft. so....pink.

[LifeDistortion]

Originally Posted by truncated

I can't recall if it's 3 or 4 in which puppet strings are ripped out of this suicidal kid's arms. Awesome.

Its NOES 3, and I watched that on tv this weekend as well. I remember it fondly for being the one with breasts in it. Although, I think there is a topless girl in "Freddy's Revenge" but that movie is awful.

[EVOLghost]

Originally Posted by floatingslowly

Prometheus was a let-down.

At least Howard the Duck had Lea Thompson's panties. So....soft. so....pink.

I was invited to go watch it tomorrow...but I might choose sleep instead.

[Dr. Eugene Felikson]

NOES 3 is easily my favorite in the series. Then the original, and then Wes Craven's New Nightmare - it was such a refreshing change of pace for the franchise, I thought.

I think NOES reached it's ultimate low in the one where Roseanne Barr and Tom Arnold make a not-so-subtle cameo. Part 6 I think? That was lame.

Will be seeing Prometheus with my dad, this father's day.

[E. Noisefield]

Originally Posted by Pelle

 

Never seen this one before actually, and I'm a bit a shamed for it, but I saw it the other day and I think it was fuckin super!
4/5.

Aha! Awesome!! I think Brad Pitt is my absolute favorite actor ever. And it's not because his pelvic muscles are cut from petrified canyon rock and his abs are as supple as a strip of bubble wrap - but because he's just a fan-fucking-tastic actor.

I just watched SNATCH last night. Third time through. This time I used the subtitle option on Netflix, and you know what? Pretty damn good movie if you know what the hell is being said! (I love how the Pikeys are "impossible to understand" to the main characters, who are impossible to understand to anyone watching, making the Pikeys doubly incomprehensible to us!)

[demonrail666]

Originally Posted by Genteel Death

I was in Kings Cross recently and it's progressively being turned into John Carpenter's worst nightmare. I like the interiors of The Guardian's building, which contain a pretty sweet auditorium and art gallery, but you're right, no respectable low-life would hang around in that area now. Plus, I got this feeling that parts of the scenery have been bitten off by an enormous entrepreneurial mouth.

I tend to think that big train stations in major cities have a duty to be as seedy as possible. They should always make anyone who's just arrived feel a bit apprehensive about what they're in for. Same as I think every major shopping area should have its little crowd of junkies, like the ones that used to hang around all day outside the Astoria or opposite, on the stairs going down to TCR station. They've gone now, too. I remember being particularly impressed by the quantity and quality of low life at the main station in Frankfurt a few years ago, and I always hear good things about the station at Naples, too. I've never been but Naples in general strikes me as a European city that really knows how to do seediness properly. Someone should do a series of guide books that concentrates on those kinds of factors, just for me.

I re-watched Gary Oldman’s ‘’Nil by Mouth’’ in honour of your earlier mention of it on this thread. This movie is a perennial 10/10 movie for me and it gets better with every watch.

Yeah, I sort of take Nil By Mouth film for granted now but it really is an astonishing piece of work. It's a different kind of seediness, though. More gritty and certainly less romantic than a film like Accattone. Although that might be because I've more experience of contemporary London than I have of 60s Rome. Nil By Mouth disturbs me in a way that few films ever have.

When you hear clueless bloke after clueless bloke proclaiming [Tarantino] the biggest thing that happened to cinema for the umpteenth time though, that’s when you wish he didn’t get the sort of recognition and success he normally gets.

Do people still think about him like that? I remember people talking in those terms around the time of Pulp Fiction but I tend to find mentioning his name nowadays is more likely to generate rolled eyes and dismissive sighs than anything else, even among those (like myself) who quite liked his earlier films.

[demonrail666]

 

Alice Doesn't Live Here Anymore

One of Scorsese's most underrated films, I think. Maybe because it's one of his least typical (besides Kundun, obviously (which I quite like) and New York New York (which I don't)). It feels more like something Cassavetes might've done. Very much an actors film I think, if that makes sense. One of those films where good acting takes precedent over everything else, like American Beauty, or anything that involves Meryl Streep. The story feels like it could've been adapted from a Dolly Parton or Reba McEntire song. It's Scorsese's most woman-centric film, which kept making me think of Jackie Brown (probably because of Genteel Death's post), which I also think is Tarantino''s most underrated movie.

Originally Posted by Murmer99

 

When I retire, I want to live in that film.

[E. Noisefield]

Originally Posted by demonrail666

Do people still think about him like that? I remember people talking in those terms around the time of Pulp Fiction but I tend to find mentioning his name nowadays is more likely to generate rolled eyes and dismissive sighs than anything else, even among those (like myself) who quite liked his earlier films.

I think Inglorious Bastards helped him quite a bit with the eye rollers, but it still didn't make up for the damage Kill Bill inflicted. I love Kill Bill, but it was too iconic and bombastic and kitschy for all the film school types, who would prefer iconoclastic and intentionally challenging films.

Bastards being 50% foreign language and 3+ hours long definitely helped, but it's nothing like it was in '94 with Pulp Fiction turning "Cannes" into a household word, and Reservoir Dogs being praised for its screenplay. I agree, those days are over. I love all of his films (Jackie Brown included, and Kill Bill possibly most of all!) but yeah name dropping Tarantino is always met with kind of a "oh, come on" look in most social situations.