Last edited by derek; 01-01-2002 at 01:35 PM.
VT - yes, please include Four Rooms if you can. I'm nearly certain I haven't seen it yet, and my girlfriend says she heard it was good.
"We have enough youth. We need a fountain of SMART!"
to the pair of you for New Year
I haven't watched any films apart from Tomb Raider since I last saw you(r avatars) both. It was nothing new, but fun nonetheless, especially Ingenue Jolie's clipped Paltrowsh. I do like the way these new movie babes are speaking the lingo. She also happens to be another of my favourites. Where've I seen her love interest before? (and does Gul Dukat voice the Naboo Jedi Masters in SW Battlegrounds game?)
Will be watching the classic Suspiria in a min (Dario Argento's much lauded horror flick.....we'll see.)
gotta jam, need a shingle and grit
chipped beef on toast?Originally posted by jeddah
gotta jam, need a shingle and grit
0 /// /// F=MA~~~~~~~~~~~~
what's so funny 'bout peace love and understanding
...It was rhyming slang for something nasty.
Happy New Year to you, GSJ. You been hiding away from all the festivities (or lack thereof)?
Needless to say Suspiria was rather hard work but I can see why it/he (Dario) was hailed as groundbreaking. From the opening scene I felt cut off, awkward (no, I won't say 'claustrophobic' as that's lazy) and the score was hellishly intense; really jangly with the main music-box theme repeated over and over with a bass note plucked with the fingers sliding down the fret (altho' it sounded like a Moog or Minimoog). The witch at the end was very scarey because you couldn't see her altho' she did materialise when she was killed. But what an original premise; an isolated dance school in the middle of nowhere where the script is less relevant than the photography. I don't think I'll have him over for dinner. Far removed from the spontaneous promptings of the heart of this lot
"g", derek, with a mug like that there's no need to "B" shy
confirming swaffy's Four Rooms request alas, library's copy of Wigstock is currently MIA, so may not be available
jdah: so far i've seen jolie in Girl Interrupted, Foxfire, Playing By Heart and Pushing Tin (the best of the 4), & she's a-ok
for aesthetic reasons explained in my most recent mm fashreports (posts 70 & 71), some VinTage flix oughta be just the ticket for kickin off Hump '02:
the little rascals (aka Our Gang)- on gray weekend mornings over the last 3 months i've gotten thru 11 volumes (4 15-minute shorts per vol.) of these '30s hal roach comedies. some i saw long timeago on tv, others new2me. gotta smile at the shameless hammin up of the kid naturals (the gleam in spanky's eye inexplicably recalls cary grant's, buh-weet's zen charisma defies analysis, and alfalfa's crooner stylings were a clear inspiration for New Order's vocals but don't forget weezer or stymie!), over-the-top villains & rinkytink-exuberant, unforgettably catchy soundtrack
the thin man ('34) and
after the thin man ('36) - first two (of six) installments of the urbane, wisecrackin private dick/rich socialite husband & wife team nick & nora (william powell & myrna loy) that typified the screwball genre: chic, hilarious rides first one features maureen o'sullivan and william axton's buck-rogersesque opening theme; greenhorn jimmy stewart co-stars in the second.
above suspicion ('43; joan crawford, fred macmurray)- pre-noirish ww2 intrigue of a professor & his new bride spying for the allies during a honeymoon thru germany fun, but both leads have been better-used elsewhere (fred in the CLASSIC Double Indemnity, joan in lotsa stuff).
valley of the dolls ('67, based on susann novel; patty duke, yummy, late sharon tate )- dated, high-pitched but VibranT gay/camp cult classic of 3 gals' dizzyin, pill-poppin odyssey into celebrity
paris when it sizzles ('64; audrey hepburn)- a blocked, procrastinating screenwriter's fanciful, deadline-pressed collaboration with a just-arrived secretary/muse (with writing ambitions of her own). a clever, keep-you guessing premise but executed without the needed cosmopolitan flair of audrey's also-set-in-paris Charade, substituting a too-american, obvious touristy sensibility. likewise, instead of Charade's suave cary grant we get avuncular, boy-man cornball william holden who ends up trying too hard opposite half-his-age audrey, a la gary cooper opposite her in Love In The Afternoon ).
two english girls ('71; truffaut dir.)- engaging Jules&Jimesque love triangle, only w/the genders reversed (2 gals & 1 guy here) and set in the 1900s. gentle & forboding score by georges delerue, who also has a cameo.
juliet of the spirits ('65; fellini dir.)- a woman's extravagant, kaliedoscopic, Dolce-Vita-esque social wanderings upon learning of her husband's infidelity
amarcord ('74)- fellini's boisterous, generous, non-sequitur-segueing, semi-autobio recollections of his youth in fascist italy. features nino rota's famous, bittersweet waltz theme and several fart jokes
aparajito ('56)- director satyajit ray's engaging, understated, second "apu trilogy" installment in which a rare opportunity for success demands a young indian student distance himself from his family & poverty-stricken background. wide emotional range conveyed by ravi shankar's sitar/raga score-
np: serge gainsbourg, "bonnie & clyde"
Last edited by vulcantouch; 01-05-2002 at 12:52 PM.
The only 2 films that have really impressed me over the Xmas period have been:
BASEketball - being a major South Park fan, I pretty much laughed my head off all the way through this film. Rude & very crude, but very funny.
PLEASANTVILLE - this is an absolute CLASSIC. An absolute joy from beginning to end with the use of some really clever metaphors throughout the movie.
Also watched the Mummy Returns on DVD - turned it off half way through due to boredom (it was hired, thank God).
Other than that Brit TV was fairly dull over the hols.
. . .and one of these humps i'll prove it : ) meanwhile, from my apr '00 Hump:
pleasantville (william h. macy)- warm, allegorical, superfun ClashoftheDecades a la Blast From the Past (these 2 make a great double-feature) sucking present-day highschool students (tobey macguire & yummy reese witherspoon) into an idyllic, black&white '50s sitcom world. with jeff daniels, don knotts, elegant joan allen and heady, lyrical randy newman score (whose "political science" aka "let's drop the big one now" happens to accompany BFTP's end credits ; ) ).
a few cabin-fever-antidotes that work this timeoyear- let's see if i can do this with less than ten emoticons :rolleyes:
films of charles & ray eames vol. 2- fun, hour-long collection of mid-century, experimental/educational short films by the renowned hubby/wife american design team. featuring "toccata for toy trains", "house after five years of living", "lucia chase vignette", "the black ships" (about admiral perry's japan mission), "atlas" (graphic depiction of rome's territorial expansion & decay), and the visual abstractions "kaleidoscope jazz chair" and "blacktop". elmer "to kill a mockingbird" bernstein composed the scores for most of these.
american movie- funny, unsparing documentary about an icky midwest hack's intrepid pursuit of showbiz success by making a low-budget horror flick :P his stoner tagalong pal mike steals the show :p
the human face- fun, 4-hour bbc documentary hosted by john cleese & liz hurley ("the reason crocodiles don't star in soap operas is because they only have one facial expression- which is three less than michael palin" :D )
eating (henry jaglom dir.)- disingenuous (flik presents its intent as theraputic & cathartic, but let's face it, it was made for the same reason jaglom makes all his flix: to get 'im laid :evil: ) yet often-hilarious (cuz it's filled with accurate backbiting & dated psychobabble) film about upper-middle-class women's issues with food and weight.
deja vu (jaglom dir.)- mildly-entertaining romance about serendipitous connectons between an engaged l.a. woman and a married brit. features vanessa redgrave, a cheesy score by gaili schoen and occasionally-picturesque passages thru tel aviv, paris, dover and LA.
dr. t & the women- (gere, altman dir.)- mildly-amusing vignette of a saintly, hunky gynecologist & the high-maintenance chattering chickens (upper-class dallas wimmin) who flock around him. with janine turner, shelly long, helen hunt, liv tyler and delightful farrah fawcett :kiss: lyle lovett's score is predictable, trite, yet somehow fitting (?)
dancer in the dark (bjork, deneuve)- director/writer lars von trier's riveting, original update of a hoary genre: a czech immigrant lapses into daydreams of the musicals she loves during her grim, tragic efforts to spare her son from hereditary blindness. electronic-textured tunes by bjork.
girl interrupted ("sticky-fingers" wynona, jolie, whoopi)- mildly-engaging memoirs of an upper-class adolescent's 1960s psychiatric-treatment detour.
wonder boys (m-doug, mcdormand, tobey, downey jr, yummy katie holmes :kiss: ) director curtis hanson's vignette of an east-coast college prof's midlife crisis and misadventures w/his students. amusing while i watched it but damned if much about it sticks with me (which indicates undistinctiveness?).
the big lewinsky- i mean, lebowski ;) (j. bridges, j. goodman, julianne moore, buscemi, ps hoffman, coen bruddahs dir.)- a case of mistaken-identity ensnares a bowling layabout in criminal vendettas. striking individual scenes, as in coens' Fargo or Barton Fink; alas, as in those films these moments don't pull together into a grand, coherent sweep a la their Raising Arizona, Hudsucker Proxy or Blood Simple :(
the big kahuna (spacey, devito)- fun vignette about 3 salesmen's interactions in an anonymous hotel suite during a business trip. script's stage origins are apparent in both its weaknesses (cliched, telegraphed dramatic arc & character symbolism) and strengths (absorbing dialogue & character nuance).
the insider (pacino, crowe)- engaging real story of cig industry's efforts to prevent an ex-employee and a tv producer from revealing damning industry secrets. features director michael mann's gift for depicting graViTy, chris plummer's marvelous scene-chewing as 60minutes anchor mike wallace, and an intriguing score by lisa gerrard, peter bourke & graeme revell : )
traffic (m-doug, d-quaid, czj, miguel ferrer, soderbergh dir.) -mildly-engaging drug-war epic. with badass benecio, cool cliff martinez score, and e-z lens-filter color-coding guide: blue means powerful washington, yellow means dusty mexico ;P
np: vic flick (james bond guitar player), "zapata"
Last edited by vulcantouch; 01-12-2002 at 01:47 PM.
I must confess that I ain't even heard of alot of those last lot of movies, VT, but I will have to disagree with you on one of them:
THE BIG LEBOWSKI - one of my fave films of all time. Jeff Bridges and John Goodman are absolutely mental and the plot is great.
Also like the cinematography in some bits, like where JB is knocked out and goes for a "trip" through the bowling alley.
It was nice to see Goodman not doing his normal big fat tough guy with a heart of gold routine and see him play somebody who is genuinely psychotic (loved the bit in the alley where he draws a gun on one of his pals).
Also loved that wierd cowboy with the REALLY mellow voice who does the narration.
Personally think that it is THE best CBroths film - even better than Fink and Proxy.
But thats just me.
I think that was Sam Elliot - also was in "Mask" and one of the marlboro man-types who does the "Beef: It's what's for dinner." ad voiceovers.
"We have enough youth. We need a fountain of SMART!"