Xard wrote:Watch this
MY BRAIN IS FULL OF FUCK
I thought it was surprisingly good.
If you're watching Bond for the cinematography then you're doing it wrong. The whole submarine facility part is one of the few things from the Bond series permanently imprinted into my brain.Oz wrote:The Spy Who Loved Me: With the great hype for it (and having no memories of it) I was expecting more from this flick. Certainly it's a solid Bond film, but fairly unremarkable after the extraordinary bit in Egypt. Pretty much everything from cinematography to writing became more generic right after they left Egypt.
My list (number on the left is its place on my Top 250 film list):
I assume you read my TSN review. TWBB is a visual marvel, I think. It's PTA channeling Kubrick, and even the music and the equivocal ending is a giveaway. Firstly, I think it's one of the 5 best character studies of the 20th century. I think if you're looking for sympathetic characters or a lot of plot then neither TSN or TWBB really applies, but they are similar in that they present fascinating, unlikable characters that have quite a bit of depth, certainly more than simply what's on the surface. Both are also very nuanced in its visual language, like the close/distant or framing editing in TSN or the parallels/echoes in TWBB.
It's the greatest film of the 20th century, that's what the hype is about. All I can suggest is to go to Lost on Mulholland Drive and do some reading. That's a brilliant, brilliant, genius, brilliant, mind-bogglingly amazing film. #6 on my all-time list and one of those that, when I'm watching it, I feel I could easily justify it being #1 (well, at least #2 since NGE will likely always be 1).
I call it a Top 250 because it hasn't hit 300. Those outside the 250 are those most likely to crack the list whenever I eventually redo it. It's basically a collection of all the films I've rated 9.0 or higher, roughly 5% of the total films I've watched.
The Fountain is SOOOOOOOOO much better (it was Aronofsky's next film).
Eva Yojimbo wrote:It's the greatest film of the 20th century, that's what the hype is about. All I can suggest is to go to Lost on Mulholland Drive and do some reading. That's a brilliant, brilliant, genius, brilliant, mind-bogglingly amazing film. #6 on my all-time list and one of those that, when I'm watching it, I feel I could easily justify it being #1 (well, at least #2 since NGE will likely always be 1).
I first saw MD at 16. It was my first experience with Lynch and it blew my adolescent mind. I mean, I had seen some rather weird cinema up to then, but never anything quite like that. I devoured Lynch's filmography soon after, but I always come back to MD as having the exactly quality you describe, that mix between classic narrative and his more surrealistic, WTF, Lynchisms. It helps that Club Silencio is one of the 2 or 3 best scenes EVER.
Yeah, I rather agree. I've always said MD was an Ulysses to IE's Finnegans Wake. I mean, I love IE, but I agree it goes too far off the deep-end and doesn't have even close to the pristine construction of MD.
I certainly agree about The Fountain's OST. Probably the best of the 21st century and it's certainly one of the major reasons why that film never fails to make me cry. That ending is just incredibly poignant. As for Requiem, I just never have liked it much. The best reason I can give is that it's so darn predictable, even right from the beginning. I didn't care a lot for Moon either, honestly.Jessemon wrote:Ugh, idk. I am INCREDIBLY torn between the two films. Since I find them about on par, it's safe to assume that you are probably correct about The Fountain being better, since I am naturally attracted to dark, visceral films. I do think that The Fountain is amazing though.
Perhaps we can both agree that Clint Mansell is one of the best movie composers in the business. Lux Aeterna is one of my favorite pieces of all time, but The Fountain's overall ST was simply beautiful. He did an amazing job with the movie Moon too (which is an incredibly underrated film).
You can read my review on either FPS or Cinelogue. Jesse Eisenberg's Zuckerberg is at least a pretty ambiguous and provocative character, one that I think is quite a bit deeper than most give him credit for. It's hard to pull of playing an "asshole", and I think he does it with a pathos that's really overlooked by most reviews.NemZ wrote:No Jimbo, I didn't read your review. The idea that TSN had deep characters is hilarious though.
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