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Moon was my favorite genre movie of 2009. I thought it blew District 9 out of the water.
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Is 'the hurt locker' worth buying
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Bought 'The Hurt Locker' hearing its a must own....
I also heard Moon was good but its in my netflix que |
Hurt Locker is really good.
I've got moon in my queue as well. |
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Just forget that you know the moon has 1/6th gravity of the earth. Apparently that wasn't in the budget. |
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Although you should be slapped for saying this even in jest. :grr: |
I've got to see Hurt Locker
Posted via Mobile Device |
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I can't really differentiate why I liked Kill Bill but hated this one. The revenge is there, the flashy violence is there, the borrowed music is there, etc. I suppose it's more because of my own changing thoughts on art, rather than something Tarantino has done. But I do think it being a historical movie, dealing with the Holocaust, World War II, Nazis, Jews, American soldiers, had a lot to do with it, as well. I think his "talent" for writing dialogue is completely unwarranted. Royale with cheese, tipping, good milk. It's pointless. When you strip away his fanboy enthusiasm for movies, you get nothing. "Paying homage" to previous movies is the curtain of Tarantino. |
Tarantino is like Seinfeld meets Scorsese. It's not going to be high minded, but it will entertain the shit out of you.
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Except Inglorious Basterds IS high-minded. It may be the most intellectual movie to come out in 2009.
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I'm looking forward to seeing it at home when it's out. |
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Ferris Buller to be remade?
http://movies.msn.com/movies/article...1447>1=28101 |
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I'm sure it's been mentioned in here but I watched Up In The Air and thought it was remarkably good. I heard it's a front runner for best picture and I wouldn't be at all surprised. The handling of the whole crappy economy/layoffs was handled with just the right touch, well directed IMHO.
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Sooo Halloween 2 came out on DVD last night, rented it....holy ****, where to even begin with this shitfest.
I was thoroughly disappointed with RZ's Halloween but I wanted to give H2 a chance...wish I wouldn't have. A beyond convoluted plot with stupid sidebars that make no sense, plotholes galore, gore and violence that was so over the top it was cheesy, paper thin characters, and a lot of scenes that had me either scratching my head or saying mumbling WTF as I watched it. Zombie just doesn't get it...never has, never will. He doesn't get what made the original Halloween movies so great and why the characters of Michael, Loomis, etc. were awesome and how they integrated so well together. I won't even go into what Zombie did to the Loomis character...pathetic and ridiculous. I will say this, Brad Douriff is the man and will always be the man...he's the only redeemable item from this waste of celluloid. Hopefully Zombie and more importantly the Akkad's stay the hell away from the Halloween franchise. Ugh. |
(500) Days of Summer? More like "(500) Things Stolen From the Hit CBS Sitcom 'How I Met Your Mother.'"
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Watched The Hurt Locker. That shit was good.
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Tonight, I got...
Julie & Julia Wolverine The Soloist |
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A recently watched movie.
Paranormal Activity - What. A. Turd. Sandwich. 2 hours of my life wasted, yep thats the review. |
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Anybody seen Book of Eli yet? It looks interesting, but has got mixed reviews.
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I saw "Rachel Getting Married" tonight.
I'd ignored it, because it sounded like a "chick flick". But Reaper loved it, so I was intrigued. It's certainly not for the masses... but it was fantastic. Hathaway has some acting chops. |
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Yes, it's nice to have an acerbic female to play off of, but don't make them caricatures. |
What came from Netflix today? Why, a new Blu-ray of my favorite movie of 2009 -- In the Loop
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I recently watched an indy film called "Adam". Love story about a guy who has Asperger's syndrome.
It's alright. Nothing spectacular. 6/10. Watched a documentary called Stolen about the Gardner art theft in Boston in 1990. Less informative than a Wiki article and the cinematography was awful (impressive, given that they only really needed to use standard close shots). 3/10. |
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Sad but so true! :D |
Watched "Pan's Labyrinth" the other night off of the Planet's recommend. Very good movie!
I filled my Netflix que from the "Best movies of the decade thread". |
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I can be objective too; I follow that old line of Ebert's: "It's not what a movie is about, it is how a movie is about." Biases against social conservatism aside, the characters here are poor. Because they are poorly written. In Diablo Cody's zeal to create the most whip-smart script ever written she forgot that characters are supposed to be well-rounded, real people. These characters sound "scripted" all of the time. Moreover there isn't any depth. Our girl Juno, once she leaves the clinic, has gone as far emotionally as she ever will even though there is a lot of movie left. The soundtrack is grating, so much so that I'd like to put this sentence here in the objective paragraph. On the plus side, it is competently directed. I would truly hate to see how a lesser director would have treated this terrible piece of writing known as the Juno screenplay. |
The Hangover was alright. The first half hour was really funny. Then it just kind of went stale. Bringing in Mike Tyson, a tiger waking up in the back of the car, the exaggerated Asian, etc. were either not funny or something already done multiple times or better.
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Funny that, of all critics, you quote Ebert since he gave Juno a glowing review, calling the screenplay "uncommonly intelligent". After three viewings, Ebert concludes that the "film has no wrong scenes and no extra scenes, and flows like running water". I also agree with Ebert's positive review of the soundtrack. I thought it fit the movie perfectly and set it apart from so many other movies of it's genre that tend to be filled with more mainstream pop music. Anyway, you're entitled to your own opinion of course, but it seems pretty coincidental to me that your extreme negativity happens to coincide with your perception that the movie "celebrates social conservatism". |
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As for your first paragraph, if art is to say anything substantive then it should talk about issues with honesty. Juno wants to be light-hearted and positive with respect to teen pregnancy but it does so without being honest. I don't think that it is impossible to make a positive case for a teen keeping a child even if the numerous negative factors are weighed. Juno doesn't bother to weigh them, it obfuscates them with shallowness and more-mainstream-than-you-realize indie-pop. |
Again, IMO, the worst part of Juno isn't the political message, it's the completely ridiculous screenplay. Human beings don't interact like that, ever.
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FWIW, patteeu, there are plenty of films with overt Right Wing messages that I thoroughly enjoy.
The Rambo quadrilogy, for one. |
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The art of it is creating a world where you are INTERESTED in how these particular people are interacting. And I think you shortchange the 'art' of the creation of those situations in Juno where people might not be performing cinema verite, but they are interacting in worlds that spark your imagination and resonate nontheless. The obvious follow up to further explore the space patteau has hypothesized, though, is to ask you and Reaper's opinion of 'Knocked Up.' |
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Edit: I just saw that you liked Rambo. I hate to burst your bubble, but... |
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Obviously, Knocked Up does the same kind of skirting of the issue, as the only counterveiling voice comes from Jonah Hill's character, and he's treated as monstrous. That said, the marginalization of his views doesn't really bother me, because that film is only operating as a comedy that morphs into a chick flick at the 100 minute mark (just like all other Apatow movies). Knocked Up isn't subversive, it isn't trying to be. Most of the time, it's just trying to be a funny vehicle for its stars and for the director's wife. Juno postulates itself as having a deeper societal message. It broaches these subjects head on with scenes that clearly have an intentional message on the audience (visiting the clinic), not just the flippant remarks of a ne'erdoell stoner. Both treat pregnancy as a part of the mise en scene, which is reductive, but IMO, Juno's transgressions are worse for the genre it attempts to place itself in. YMMV. |
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I doubt that the filmmakers were trying to suggest that real people interact in the same ways the Juno characters do. I think it's both odd and unfair to hold them to that standard. |
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Knocked Up was, similarly to Juno, a right wing movie (and obviously so, though curiously afraid to say the word "abortion"). I think it is a funnier film than Juno despite having many of the same problems with characters who speak only in pop-culture references. At least Knocked Up's characters talk about pop culture in the ways that I do with my friends -- easily, casually, with humor. Juno's lines felt so damn scripted, so artificial. Helping to save Knocked Up is the checks-and-balances so sorely lacking from Juno -- represented by Leslie Mann and Paul Rudd. That relationship shows the inevitable doom that will befall many relationships. Having even a glimpse of that other side of the fence, where the grass is brown, helps the film feel more authentic and honest. |
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If so I wouldn't mind your assessment, seeing as it is 'the perfect storm' of what it seems your own 'quirks' are. It's simultaneously very liberal AND very conservative, and thrives on unrealistic, but very witty and entertaining scripting, precisely because it's unrealistic, yet aspirant and resonant. |
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Gilmore Girls sounds like a play script when they deliver the lines. Like, bap- bap-bap-bap-bap, if that makes any sense. Not the way people speak in real life. Too quick, too witty, too sharp. Sort of like a Mamet play. For whatever reason, that syle of writing seems to be fine when it's done for the stage, but when I see it on TV or film it doesn't work. I don't really know why.
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Film can take an audience different places and on top of that is less immidiate (the film not being shot and broadcast in front of a live audience). With the intimacy and precise control of the camera often comes an expectation of honesty. |
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j/k, so you know it's a drama about a mother daughter team in small town NE. It's conservative in the sense that the mom not only gave birth to her daughter as a teen but, rejected by her old-money parents for her sin [for the effect it had on the Ivy League track they pictured for her, not for religious reasons], strikes out on her own working at an inn and living with her daughter in a closet at said inn. But the story takes up when the daughter is a teen, they have a home and the mom is the inn's manager [bootstraps]. They are in the process of reconciliation the mother's parents because the daughter is gifted and desires to attend a prestigious private prep school the parents [and her mom] are legacy [though the mom is a disgraced legacy]. OTOH, it's quite liberal in a 'it takes a village' sense, as the town is one big family who meet regularly in the town square to come to consensus on how issues of the day will be addressed collectively. There are no town failures, but a series of town projects that just need a helping hand or a few shifts as bushboy at the local diner. Also, the mother/daughter relationship is all adult and cosmospolitan, with the sex lives on mom and daughter discussed the 'right' way. What's quirky and unrealistic, yet aspirant and resonant revolves around the 'banter' between mom and daughter, which is Sturges-esque in it's pop and sends viewer to Wikipedia with regularity [see, Miller, Dennis]. Kind of assumes that the two have devoted their entire existence to watching and rewatching every pop culture touchstone ever and reading every important work of literature ever, while they also put in the work to be an inn manager and child prodigy, respectively. What sparked my interest in your exposure is the juxtaposition of your opinions herein, and your love of discussions of music and literature, which I think you would eat up. to kind of give a generalized flavor, they'd show someone acting quirky in a particular way, and the mom would roll her eyes at the daughter and say 'who does he think he is Blah diddle blah-blah?' And if you read the cliff notes of the book in which Blah diddle blah-blah was a character, he indeed acted with the same quirks as that character in that situation. Or the daughter would come home from hijinks at school and whine 'mom I've got a real flippity floop situation going on,' and indeed the hijinks at school mirror the plot of the obscure French novel flippity floop. |
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