PhantomKnight
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Post by PhantomKnight on May 8, 2024 9:12:39 GMT -5
Since the only ones on that list I haven't seen are Auto Focus and Leo...guess I'm going with Auto Focus.
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PhantomKnight
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Post by PhantomKnight on May 8, 2024 9:56:48 GMT -5
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PG Cooper
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Post by PG Cooper on May 8, 2024 11:08:06 GMT -5
Hmmm. Definitely not doing Late Night with the Devil. Abstaining given its use of AI generated imagery. American Animals and Brawn in Cell Block 99 are the most likely contenders, unless I get Disney+ again, in which case I'll probably do Pretty Woman. Edit: looks like Pretty Woman is also on Netflix. Might go with that then.
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PhantomKnight
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Post by PhantomKnight on May 8, 2024 11:24:38 GMT -5
Hmmm. Definitely not doing Late Night with the Devil. Abstaining given its use of AI generated imagery. I'm personally okay with what they used it for here...but I won't argue much with those who are. Shame, though, cause I loved the movie.
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PG Cooper
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Post by PG Cooper on May 8, 2024 12:12:38 GMT -5
Hmmm. Definitely not doing Late Night with the Devil. Abstaining given its use of AI generated imagery. I'm personally okay with what they used it for here...but I won't argue much with those who are. Shame, though, cause I loved the movie. It looks up right up my alley and I was excited until that news broke.
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Doomsday
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Post by Doomsday on May 8, 2024 12:26:31 GMT -5
The Wrong Guy seems to be doing the rounds around here, I'll try and see if I can get a copy of that. IanTheCool will enjoy the sound of this. BTW, this is the 30th time we've been paired for this thing which finally ties the number of times I was paired with Jibbs Eat it, Jibbs!
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Doomsday
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Post by Doomsday on May 8, 2024 12:30:02 GMT -5
A few of these have been on my list for a long time and Killing of a Chinese Bookie was one of the only film club recs that I've missed as it was assigned during the jump from the original boards to here. Options indeed. For Fanny and Alexander, which cut do you recommend?
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Doomsday
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Post by Doomsday on May 8, 2024 12:31:28 GMT -5
Hmmm. Definitely not doing Late Night with the Devil. Abstaining given its use of AI generated imagery. I haven't heard this story, is there a ton of AI utilized?
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PhantomKnight
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Post by PhantomKnight on May 8, 2024 12:56:42 GMT -5
Hmmm. Definitely not doing Late Night with the Devil. Abstaining given its use of AI generated imagery. I haven't heard this story, is there a ton of AI utilized? Just for two (I think) of the title cards/images used to go to commercial breaks within the late night show format of the movie.
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PhantomKnight
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Post by PhantomKnight on May 8, 2024 12:57:20 GMT -5
I'm personally okay with what they used it for here...but I won't argue much with those who are. Shame, though, cause I loved the movie. It looks up right up my alley and I was excited until that news broke. I think you would've liked it.
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Doomsday
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Post by Doomsday on May 8, 2024 13:02:23 GMT -5
I haven't heard this story, is there a ton of AI utilized? Just for two (I think) of the title cards/images used to go to commercial breaks within the late night show format of the movie. Ah, well I know that AI is going to be a subject of conversation in these latest IATSE talks that will hopefully fend off yet another strike.
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PG Cooper
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Post by PG Cooper on May 8, 2024 13:09:36 GMT -5
A few of these have been on my list for a long time and Killing of a Chinese Bookie was one of the only film club recs that I've missed as it was assigned during the jump from the original boards to here. Options indeed. For Fanny and Alexander, which cut do you recommend? The long as fuck one. Theatrical is for pussies.
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Doomsday
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Post by Doomsday on May 8, 2024 13:39:01 GMT -5
Got it, Fanny & Alexander: The LAF Cut
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Doomsday
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Post by Doomsday on May 8, 2024 14:24:23 GMT -5
The Wrong Guy seems to be doing the rounds around here, I'll try and see if I can get a copy of that.
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Neverending
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Post by Neverending on May 8, 2024 17:41:31 GMT -5
I'm going with Auto Focus. Don’t take too long. X-Men ‘97 awaits.
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Neverending
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Post by Neverending on May 8, 2024 17:45:18 GMT -5
in which case I'll probably do Pretty Woman. Edit: looks like Pretty Woman is also on Netflix. Might go with that then.
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Dracula
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Post by Dracula on May 8, 2024 18:45:24 GMT -5
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Neverending
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Post by Neverending on May 9, 2024 1:17:01 GMT -5
The Class (2008)Movies about white teachers dealing with inner city students is a tired genre. You've seen one, you've seen them all. But... it's also a genre we can all pretty much relate to. We all went to school. We all dealt with administrators, educators and peers. So on a movie-by-movie basis, there's something that might resonate with the viewer. In the case of the Class, I was intrigued by its depiction of what goes on behind closed doors. A good chunk of the movie is spent on teachers and administrators sitting around and evaluating their students and ultimately deciding on their fate. A major plot point revolves around whether or not to expel a troubled student and the consequences that'll have on him. This isn't a Hollywood movie. It's a French film. So this is depicted very bluntly and realistically. It isn't a spoiler to say that things turn out how you expect them to -- and that's kinda the point of the movie. Whether you're in America or France, it's safe to say that the system doesn't care about these kids and the teachers are just trying to get through their day.
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PG Cooper
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Post by PG Cooper on May 9, 2024 20:47:15 GMT -5
Man with a Movie Camera (1929)
The opening titles of Man with a Movie Camera describe the film as "an experiment in the cinematic communication," declaring Dziga Vertov's intent is not to tell a story or explore characters, but build and develop the language of film as a medium. Lofty ambitions if ever there were anyway, but Vertov rises to the occasion. The film is something of an extreme expression of the Kuleshov effect, linking disparate images not just across a scene, but across sequences and throughout the film as a whole. Sometimes the meaning produced is fairly intuitive with clear links between images, others are more abstract. A lot of the fun of the film is simply allowing the ideas expressed cinematically to flow freely. Complimenting the ambitious editing is the film's vast visual imagination. Vertov employs a trove of visual tricks, from split screens and multiple exposures to Dutch angles and tracking shots, from altering film speeds to full-blown stop-motion animation; at times many of these techniques are applied in the same shot.
In a conventional narrative, that array of styles would be overwhelming, but Man with a Movie Camera proves a perfect playground for such experimentation. The film is something of a compendium of cinematic experience. Man with a Movie Camera is a documentary, a surreal fantasy, a social document, action movie, athletics display, concert film, hell it's technically even a cartoon. Just about the only genres not encompassed here are horror and pornography and I'm pretty sure you could make an argument for those too. Vertov even turns the film into a commentary on its own making, the cameraman and editor two of the closest things the movie has to characters and referring to what are (arguably) the most essential components of filmmaking. Certainly sets the tone for how self-obsessed film has been as a medium. The film on the whole is a fascinating and very exciting viewing experience, one that still feels innovative despite being almost 100 years old.
A
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Doomsday
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Post by Doomsday on May 10, 2024 14:13:02 GMT -5
Phantom of the Paradise
I'm just gonna say I've never been particularly fond of Brian de Palma. I don't dislike him, I like some of his movies, I'm not a huge fan of others but I can't think of any that really made me go 'Wow!' People talk of that group of young filmmakers from the late 60s and early 70s who helped change Hollywood, namely de Palma, Coppola, Spielberg, Scorsese and Lucas. Of all those filmmakers, de Palma is the one who just hasn't hit with me in one way or another. With the other filmmakers I can name at least one movie from each of them that I love but it's hard for me to pinpoint a de Palma movie that holds that special place in my heart. I think in the case of Phantom of the Paradise it might be a good thing that I'm rather neutral on de Palma as my expectations certainly weren't high but not exactly low either. While I didn't expect to watch an unseen cinematic masterpiece I knew I wouldn't be watching something completely incompetent, either. While I may not entirely gravitate towards his filmography as a whole, I still respect de Palma as a skilled filmmaker which meant that Phantom of the Paradise was worth seeing at the very least.
On paper, Phantom of the Paradise should not be a movie that I would typically enjoy. I love 70s music almost as much as I love 70s cinema but a contemporary send-off of Phantom of the Opera just doesn't feel like something I would rush out to see. Immediately though one of the things that stood out to me was that this seemed to very much be in the same vein as Rocky Horror Picture show albeit released one year earlier. It's a highly stylized movie against a 'horror' backdrop but also with very offbeat humor anchored by its musical numbers. The main difference is that I found Phantom of the Paradise much less annoying than Rocky Horror Picture Show. In fact I found a lot of Phantom of the Paradise to be rather charming and oftentimes catchy. It starts out with songwriter Winslow Leach being betrayed by the conniving producer Swan, getting all his teeth yanked out in prison, being horribly scarred in a freak vinyl pressing accident then taking his revenge on Swan who also happens to be immortal after making a deal with the devil, all the while pining for the beautiful and talented Phoenix. Part of the charm comes from the dated and sometimes seedy looking sets combined with de Palma's knack for long takes and split screens which would definitely feel out of place today but feels very at home in a 70s de Palma movie. It's funny that I would mostly enjoy this film while finding a similar film like Rocky Horror Picture Show so irritating but this movie at least had some sort of structure and didn't feel like it was trying to be totally different. I think drama kids would serve themselves and their overall image better if they dumped their Rocky Horror DVDs and picked up Phantom of the Paradise for a change. At least they would be watching something weird but also entertaining and of decent quality. It would be a win-win for everybody.
B+ so says Doomsday
And I'll try to squeeze in Fanny and Alexander for this round as well. I think I'll start with the theatrical cut and if I like it I'll add the 5 hour cut to the list.
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Neverending
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Post by Neverending on May 10, 2024 17:32:32 GMT -5
I'm just gonna say I've never been particularly fond of Brian de Palma. I don't dislike him, I like some of his movies, I'm not a huge fan of others but I can't think of any that really made me go 'Wow!' Folks, it is official. Dooms has gone senile. Obsession (1976) Of the major filmmaking talent that established themselves in the 1970s, Brian DePalma is probably the one I'm least familiar with. Sure I've see Untouchables and Scarface and Mission: Impossible and he also has more than his fair share of stinkers but I'm very unfamiliar with his earlier work that came out in a time when Hollywood was in a huge state of flux. DePalma was never a commercial household name like Steven Spielberg or George Lucas nor was he really considered a popular auteur like Martin Scorsese or Francis Ford Coppola. His entire body of work seems to greatly range between hitting it out of the park and going way, way off the mark. I think that can be a really good thing though because it's often the sign of an artist pushing their craft and themselves forward. I like someone with some balls and as far as I'm concerned it takes balls to remake a movie like Vertigo. To keep it short and sweet, Obsession is a very engrossing movie and is a great example of a movie whose slow pace and established atmosphere greatly serve the building tension and suspense. Speaking of Hitchcock, Bernard Hermann's score is also a fantastic addition. My only major gripe with the movie is the predictable twist with Lasalle. Not only do you see his backstabbing coming, his plan didn't make a whole lot of sense. Fortunately that's all overshadowed by Cliff Robertson's great performance and the steady buildup to the very end. A- so says Doomsday
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Doomsday
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Post by Doomsday on May 11, 2024 11:06:28 GMT -5
Obsession might be my favorite de Palma so far, I just don't know if I loved it. It's been 5 years (good lord), I think I might give it a rewatch after posting this.
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PG Cooper
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Post by PG Cooper on May 11, 2024 16:30:57 GMT -5
Obsession might be my favorite de Palma so far, I just don't know if I loved it. It's been 5 years (good lord), I think I might give it a rewatch after posting this. Glad you liked Phantom of the Paradise. It's my favourite De Palma. And the comparison to Rocky Horror is apt. Phantom is like that movie with a much more talented director and (hot take) better songs.
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Neverending
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Post by Neverending on May 12, 2024 8:09:01 GMT -5
Obsession might be my favorite de Palma so far, I just don't know if I loved it. It's been 5 years (good lord), I think I might give it a rewatch after posting this. Perfect Mother’s Day movie. Glad you liked Phantom of the Paradise. It's my favourite De Palma. Has been in my Halloween playlist for years now. Even converted thebtskink
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thebtskink
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Post by thebtskink on May 12, 2024 9:29:54 GMT -5
That song rules. But I'm also a huge Warren Zevon guy, and Paul Williams is right on my wavelength here
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