hell yeah
just left the movie theatre. looked like Helldivers 2 to me
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finally saw “perfect days” as it was playing at the art museum.
what a movie. every scene was nourishing. deeply resonant and contemplative, but honest and tactile. i don’t know if life really is that beautiful, but the film makes you think it can be.
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Tonight am showing “LEFTOVERS”. Cuz it’s that time again, for movies that I had planned on showing at one point or another but did not, because of “reasons” (technically it’s “MORE LEFTOVERS” cuz I did this before, during the previous Thanksgiving season)
Anyhow, first is a movie that was originally earmarked for “LAW & (DIS)ORDER”…
Second is a movie that was originally intended for “LOST IN TIME”, by the same director of Beyond The Infinite Two Minutes, which some may calling seen via FUTURE IMPERFECT"…
Third is a movie that I was going to play during both “MIND OVER MATTER” and “THE KIDS ARE NOT ALRIGHT” (those familiar with both themes will understand why)…
And last but not least was something originally scheduled for “ROAD RAGE”…
The stream will again be via the alt account, starting around 8PM-ish EST…
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I watched Porco Rosso for the second time last night, haven’t seen it since like 2013. I’ve since maintained it’s a movie I don’t like very much.
Well I was pretty wrong about that turns out! I think I was just very young without a lot of life experience or an understanding of how to watch something that is a little challenging, and a sensitive reactionary streak honestly. That’s not to say it or any Ghibli flick are like deeply complex in general but there was definitely some stuff in there(misogynistic pig man, effects of war, self-inflicted exile) that I was a little too ready to react to at face value when they made me feel a bit gross inside. Now I’m almost to my mid-30s and I feel like I was able to really understand the movie for the first time. It’s pretty amazing, and has a good amount to chew on across a lot of different subjects.
Also how amazing is it that the American in the movie is some spoiled hot shot who only wants to be famous in Hollywood and then the President. Bleak.
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I also rewatched it a couple days ago and had a similar experience! I love how fluid and elegant everything is. How silly the bad guys are. That it is not concerned to explain or resolve itself in any major way. How did he turn into a pig? How normal is that in this world? What is going on in his heart and mind? Who knows, who cares, enjoy the breeze. I miss that in later Ghiblis that sort of beat you over the head with the message, Pixar style. While the animation reached amazing heights later on, for me the best storytelling is undoubtedly the Nausicaa-Totoro-Porco Rosso era, perhaps culminating in Whisper Of The Heart.
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Catherine Hardwick, director of lords of dogtown, sent someone to contact me about renting my van for their next film in Venice
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I’ve been thinking about Robot Dreams for a while. It’s streaming now and ended up being a solid holiday watch. I cried. A wordless animated movie marathon would probably hit the spot.
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Yesterday was less Thanksgiving and more Judd Nelson’s birthday for me, so I decided to watch a Judd Nelson movie I had never seen and ended up watching the 1987 film From The Hip. This movie really felt like two different movies sorta smashed together as it tries pretty hard to be witty and funny in the first half and takes a pretty dark turn almost exactly halfway through. My favorite part about the film is John Hurt’s performance by far. He delivers this really cold and calculated monologue during the 2nd half and watching his movements and mannerisms genuinely gave me the heebie jeebies. I doubt I will ever watch it again, but I’d definitely watch that monologue another time or two.
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i saw that wicked that everyone’s been talking about. as an ex-theatre kid who grew up in the wicked/glee era, believe me when i say that it was… fine. meaning that it was slop, but i had a very nice time enjoying my slop. and it is, at least, slop in a way that is inherent to wicked the musical, and not solely because it is a modern cgi-heavy hollywood blockbuster. and there are some nice practical sets in there beneath all the green screen!
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Some assorted movie watching because i’m off my job and on vacation for the week, and it’s 30 degrees and windy here on beautiful martha’s vineyard massachusetts.
unforgiven
rocks. totally rocks. other westerns ask this, but in simply asking the question, hey cowboys were probably cold blooded murderers, Clint makes a much more compelling look at the old west than any of these revisionist westerns we’ve been getting the last few years trying to touch what he did (true grit innocent)
taste of cherry
pure form here by kiarostami, unreal how bold it is to basically have half the movie play out in this shot reverse from his car, and then those vistas! feels almost like stalker in a weird way, where our premise basically allows us to just expound on life for 90 mins.
the witch
i’m in new england for the first time in a long long time. not my favorite eggers, but it is incredible how he just rips you down into the time period his stories take place in, better than anyone else at what he is doing for sure.
nowhere
Gregg Araki is in such sicko mode all the time. he has probably the best production designers working in 1995, it is amazing the craft that goes into his movies. that said, i get what he’s going for with his dialogue but i don’t necessarily love it. in saying i get it, i feel like he is going for ironic detachment that boils into the horrible metamorphoses at the end.
out of the blue
my favorite of all of these. what an amazing picture. Dennis Hopper lays out bleakness in a way sean baker could only dream of. man linda manz is so good in this.
to whoever runs the movie theater here, can we get something more than moana and wicked please and thank you
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scrolling the internet archive for Sonatine and somehow only finding the italian dub?
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Seen several movies, but I can confirm Eugène Green is the one whose appeal invites me to watch more Bresson films. He’s like Bresson, but with some jokes and tenderness embedded into it, and this, with its minimalism in the mise en scène, is nuts specially on Toutes les nuits.
There’s no trailer, but I think you get the gist of how he films there:
Also, while there are some good films he made in the 2000s, I feel Hong Sang-Soo’s films from that epoch are… not good for the most part. Watched Night and Day, which is quite revered from the people I know watched it, and it was insufferable to me at times, specially thanks to the main character.
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I’ve only seen one movie by Green, La Sapienza, which I liked quite a bit when I saw it. I mainly remember some of the humor (there wasn’t a ton of it but what was there was good) and a particular way it shot scenes taking place in the distant past that really conveyed the strangeness of looking back into history for truth. I don’t know that I remember a whole lot else about it, but I remember a general elegance and aww to it, and I like your Bresson comparison.
Maybe more than anything, I’m interested in the idea of Eugene Green as a person, an American who pretty much forfeits being American to become French.