24th Hall of Fame

[Citizen Rules]

OK, thanks. I liked Barry Lyndon, except for his treatment of his wife (as I already mentioned). His stepson seemed like the antagonist to me.

[Thief]

Or, to quote the person on the massage table for the first half of the film, "The whole movie is about him? This guy sucks."

This made me laugh :laugh:

[SpelingError]

Well, I think it's one of those things you notice without noticing. I mean, acting is obviously a main part of a film so it's there, we're watching it, so we're noticing it one way or the other. But it's like any other work. The ones that do "well enough" go more or less unnoticed, while the ones that are pretty bad or great are the ones that stick out.

For an analogy, you can eat at many restaurants and diners and not really "noticing" the food unless you come by a dish that's particularly bad or astonishingly great. Then you go like "Whoa! this was good! I have to eat here more often". But that doesn't mean the other places you had eaten at are bad. They do the work well enough, or even pretty good, but that's the expected standard, which means that they tend to pass unnoticed.

In my experiences, acting rarely, if ever, weighs into my opinion of a film though. When I said "incredibly small", I think the amount of films I've seen that I noticed and really liked an acting performance is somewhere between 5-10 films. The number of acting performances I didn't like are higher, but even that rarely weighs into my overall opinion of the films when rating them. When thinking of things I liked and disliked, I rarely consider acting as a major factor which can influence my rating. It generally disappears from my overall thoughts on a film.

As for restaurants, if the food is just good enough in the sense it does the job fine, but contains nothing special for it to stick out, that can weigh in on the chances of me finishing the food or not finishing the food due to getting tired of it, or it can influence my decision in whether I'll return to the restaurant. Also, tbh, I'm kind of a picky eater in general. I try to only seek out food I love. Not food I think is merely passable as I get bored with that food easily.

[Thief]

In my experiences, acting rarely, if ever, weighs into my opinion of a film though. When I said "incredibly small", I think the amount of films I've seen that I noticed and really liked an acting performance is somewhere between 5-10 films. The number of acting performances I didn't like are higher, but even that rarely weighs into my overall opinion of the films when rating them. When thinking of things I liked and disliked, I rarely consider acting as a major factor which can influence my rating. It generally disappears from my overall thoughts on a film.



But that's my point. Even though you might think you're not "noticing" it, unconsciously you are. The fact that you're not throwing the remote at the TV every time you watch a film means that the actors are competent enough to present a credible narrative that's allowing you to enjoy the film. So even if you don't end up thinking "that's one helluva performance!", the quality of the acting does amount to the overall quality and enjoyment of the film. It might not be its most notable trait, which is what I think you're referring to, but its still a key trait that's ultimately influencing many of the other most notable traits; whether its the dialogue, the plot, or how well a certain twist or climax works.

[SpelingError]

But that's my point. Even though you might think you're not "noticing" it, unconsciously you are. The fact that you're not throwing the remote at the TV every time you watch a film means that the actors are competent enough to present a credible narrative that's allowing you to enjoy the film. So even if you don't end up thinking "that's one helluva performance!", the quality of the acting does amount to the overall quality and enjoyment of the film. It might not be its most notable trait, which is what I think you're referring to, but its still a key trait that's ultimately influencing many of the other most notable traits; whether its the dialogue, the plot, or how well a certain twist or climax works.

Okay, fair. Perhaps, saying I typically don't pay attention to acting when I watch films would be a better way to describe my reaction to acting.

[Wyldesyde19]

Question: Am I the only person who liked the character of Barry Lyndon? (well except for his behavior towards his wife which was bad), but other than that I seen the character as someone I could root for.
I didn’t care for him, but I didn’t think the movie suffered for it.

[Citizen Rules]

I didn’t care for him, but I didn’t think the movie suffered for it.I'm glad you said that, as I was wondering if people's dislike for Barry was coloring their viewpoint of the movie. For me I liked the first half much better than the second half.

[Wyldesyde19]

I'm glad you said that, as I was wondering if people's dislike for Barry was coloring their viewpoint of the movie. For me I liked the first half much better than the second half.
I do think it has, and that happens. I had a similar reaction to Who’s Afraid of Virginia Woolf? But I just found them unpleasant.

With Lyndon, it was a fascinating movie about a very unilkable man motivated by his own selfish needs. I can’t wait to rewatch it. For the third time.

[Takoma11]

OK, thanks. I liked Barry Lyndon, except for his treatment of his wife (as I already mentioned). His stepson seemed like the antagonist to me.

Barry regularly physically abuses his stepson from when the kid is like 9 years old. If you abuse and humiliate someone for 10 years (while at the same time flaunting your mistreatment of that person's mother), you get what's coming to you if you made an enemy. And that's not even going into the absurd favoritism of the "real son".

I was not without my sympathies for him at times. But he was not a good person, nor was he an interesting bad person. He was mediocre through and through. If that was the point of the film, fine. But I found that his whitebread lameness left the film without an emotional anchor.

This made me laugh :laugh:

As I believe I reported in the original write-up, she then said "Oh, no! You're only halfway done." When I asked if she wanted me to wait for the next time we were together to finish it she was like "HAHAHAHAH NOPE!".

[Citizen Rules]

Barry regularly physically abuses his stepson from when the kid is like 9 years old. If you abuse and humiliate someone for 10 years (while at the same time flaunting your mistreatment of that person's mother), you get what's coming to you if you made an enemy. And that's not even going into the absurd favoritism of the "real son".

I was not without my sympathies for him at times. But he was not a good person, nor was he an interesting bad person. He was mediocre through and through. If that was the point of the film, fine. But I found that his whitebread lameness left the film without an emotional anchor.



As I believe I reported in the original write-up, she then said "Oh, no! You're only halfway done." When I asked if she wanted me to wait for the next time we were together to finish it she was like "HAHAHAHAH NOPE!".whitebread lameness? Whitebread is an offensive term and you seem to be using it in the negative.

[Wyldesyde19]

Ok, guys. Before this goes any further, let’s please take a few minutes to think before responding. Let’s not let a poor choice of words derail an otherwise fine discussion.
I’d hate to see this devolve.

[Citizen Rules]

Ok, guys. Before this goes any further, let’s please take a few minutes to think before responding. Let’s not let a poor choice of words derail an otherwise fine discussion.
I’d hate to see this devolve.Believe me I chose my words carefully, and read the definition of white bread, before posting.

[Wyldesyde19]

Believe me I chose my words carefully, and read the definition of white bread, before posting.
I’m Aware. I just don’t want it to detail this thread 🙂

[Citizen Rules]

I’m Aware. I just don’t want it to detail this thread 🙂It's cool🙂 and I know what you mean.

[Takoma11]

whitebread lameness? Whitebread is an offensive term and you seem to be using it in the negative.

I'm not sure what culturally that term means to you, but I am using it in this sense:

Though whitebread individuals are usually white, the term is not necessarily racial in meaning - the implication lies more with the blandness, predictability, and banality of plain white bread. Accordingly, "wonderbread" is often used as a synonym.

I'm using it as a synonym for blandness--his race has nothing to do with why I think he's an uninteresting character.

Barry is a flour tortilla you get home and realize you got the bag that says "no salt added". He has no zest.

[Wyldesyde19]

I'm not sure what culturally that term means to you, but I am using it in this sense:

Though whitebread individuals are usually white, the term is not necessarily racial in meaning - the implication lies more with the blandness, predictability, and banality of plain white bread. Accordingly, "wonderbread" is often used as a synonym.

I'm using it as a synonym for blandness--his race has nothing to do with why I think he's an uninteresting character.

Barry is a flour tortilla you get home and realize you got the bag that says "no salt added". He has no zest.

Understood, it has been a word used in my youth as a perjorative towards me in the past, so there is that. It’s somewhat triggering.
But in this context I get your point you were aiming for.

[Citizen Rules]

Understood, it has been a word used in my youth as a perjorative towards me in the past, so there is that. It’s somewhat triggering.
But in this context I get your point you were aiming for.That sums it up for me too.

Anyway...so back to the movies!🙂 Oh I'm suppose to be watching one right now:p

[Takoma11]

Understood, it has been a word used in my youth as a perjorative towards me in the past, so there is that. It’s somewhat triggering.
But in this context I get your point you were aiming for.

I have literally never heard it used as a perjorative, and wouldn't use it in casual discussion if I had. The meaning I (for 30+ years) have always heard it used to mean and have always meant it myself is as a synonym for bland, describing both people and non-people. Like "the book was fine, but the plot was kind of whitebread."

I'm happy to refrain from using the term in the future, and from now on will refer to characters like Barry Lyndon as "low sodium pea soup," which I think captures the same vibe.

[Wyldesyde19]

I have literally never heard it used as a perjorative, and wouldn't use it in casual discussion if I had. The meaning I (for 30+ years) have always heard it used to mean and have always meant it myself is as a synonym for bland, describing both people and non-people. Like "the book was fine, but the plot was kind of whitebread."

I'm happy to refrain from using the term in the future, and from now on will refer to characters like Barry Lyndon as "low sodium pea soup," which I think captures the same vibe.

*shrugs*
In my 40+ years of existence I have.
I’m glad you’re willing to refrain from it, sarcasm notwithstanding.

[Takoma11]

*shrugs*
In my 40+ years of existence I have.
I’m glad you’re willing to refrain from it, sarcasm notwithstanding.

I am not being sarcastic.

I hear that it makes you uncomfortable and I'm happy to adjust my language in the future.

Any attempted humor in the former post is just me pushing the line that Barry is the worst, not a jab at people asking for sensitivity around the language.

[Wyldesyde19]

I am not being sarcastic.

I hear that it makes you uncomfortable and I'm happy to adjust my language in the future.

Any attempted humor in the former post is just me pushing the line that Barry is the worst, not a jab at people asking for sensitivity around the language.

Understood. Sorry for the misunderstanding

[Takoma11]

Understood. Sorry for the misunderstanding

No worries at all.

Like I said, I would never intentionally use language that I thought would be offensive or hurtful to someone else. It didn't even enter my brain that using the term would be taken as a racial critique in any way.

And I probably should have separated the apology and the continued Barry-bashing into two separate posts.

[cricket]

Without reading the back and forth yet, I like the character of Barry Lyndon because I don't like him. If I didn't dislike him, I would be indifferent.

[Wyldesyde19]

No worries at all.

Like I said, I would never intentionally use language that I thought would be offensive or hurtful to someone else. It didn't even enter my brain that using the term would be taken as a racial critique in any way.

And I probably should have separated the apology and the continued Barry-bashing into two separate posts.

No worries. It is rather easy for me to misread a message haha.

[Takoma11]

Without reading the back and forth yet, I like the character of Barry Lyndon because I don't like him. If I didn't dislike him, I would be indifferent.

I almost wish that he was more of a scoundrel. I just felt like there was nothing to get my teeth into with his character.

[cricket]

I almost wish that he was more of a scoundrel. I just felt like there was nothing to get my teeth into with his character.

That's right and that's probably why the movie leaves me a little cold.

[Citizen Rules]

I thought Barry Lyndon was a rather sad person who suffered a lot of misfortunes. Then when fortune went his way he behaved badly and stupidly towards his wife. I mean she was hot, so why cheat on her, it could've been her hairdo;)

The duel scene at the end of the movie was so masterfully done, Kubrick's best scene. Lots of palatable tension and it wasn't rushed or made out to be anything but another one of life's long list of tragedies. Come to think of it that's the meaning of this movie for me, it's about trials and tribulations. The more I think about it, the more I like the movie.

[seanc]

The Sea Inside: Well done movie. and I love Bardem as I always do. I thought this movie was pretty morally bankrupt. I don't feel that way about movies often. Maybe this is wrong, but I am often able to project my morality onto the art I engage with. I really felt very strongly that this film was putting a extremely shiny sheen on suicide. The main characters approach to his death put me off as well. He is obviously supposed to be the smartest guy in the room, but his quips to the people who love him just came off as selfishness to me. I don't say that lightly. He obviously has drawn the short straw in a lot of ways, and it is hard for me to call someone in his condition selfish. I definitely felt that throughout though.

I have harped on my negative thoughts. I didn't dislike this film. It's an easy watch despite the themes. Well acted. and there are some interesting scenes. Overall not a great one for me though.

[rauldc14]

I thought you would have liked it more but I can see the criticisms.

[cricket]

The Sea Inside: Well done movie. and I love Bardem as I always do. I thought this movie was pretty morally bankrupt. I don't feel that way about movies often. Maybe this is wrong, but I am often able to project my morality onto the art I engage with. I really felt very strongly that this film was putting a extremely shiny sheen on suicide. The main characters approach to his death put me off as well. He is obviously supposed to be the smartest guy in the room, but his quips to the people who love him just came off as selfishness to me. I don't say that lightly. He obviously has drawn the short straw in a lot of ways, and it is hard for me to call someone in his condition selfish. I definitely felt that throughout though.

I have harped on my negative thoughts. I didn't dislike this film. It's an easy watch despite the themes. Well acted. and there are some interesting scenes. Overall not a great one for me though.

I totally agree with the selfish part. This is a guy that brings a lot of joy to other people, and you would think that would be reason enough to live.

[seanc]

I totally agree with the selfish part. This is a guy that brings a lot of joy to other people, and you would think that would be reason enough to live.

I do want to be clear that the way I feel about the character wasn't my criticism. My favorite movies are littered with sociopaths, crimi also, and killers. To me the way the movie is constructed doesn't allow for the viewer to engage with the complexity of the themes in a meaningful way. This movie is 100% on his side 100% of the time. For me that stripped the film of empathy.

[Takoma11]

This movie is 100% on his side 100% of the time. For me that stripped the film of empathy.

I don't entirely agree with that.

We frequently see the way that the desire to end his life impacts his friends and family, especially his brother. At one point he even has a panic attack and is like "How could I do this?"

Isn't it equally selfish to demand that someone continue to suffer because you don't want to lose them?

[rauldc14]

I don't entirely agree with that.

We frequently see the way that the desire to end his life impacts his friends and family, especially his brother. At one point he even has a panic attack and is like "How could I do this?"

Isn't it equally selfish to demand that someone continue to suffer because you don't want to lose them?

I think I saw this way of thinking too Takoma. Good call out.

[Takoma11]

I think I saw this way of thinking too Takoma. Good call out.

It is obviously a really challenging issue. As I said, I am still shaken with my personal experience of a loved one contemplating suicide as a way to have a peaceful end of life.

I do agree that the movie is on his side. Clearly the filmmakers believe that he is correct that the right to die--for someone who is of sound mind--is something that should exist. But I also thought that they were very sympathetic to the ripples of such an action. It was a horrible situation for everyone. There was pain to be had if he lived and pain to be had if he died.

Ultimately I do come down on the side of the film, which asserts that since it is his life, he should be the one to have the final say.

[cricket]

I think it's reasonable to see both sides, and I could see either side depending on the circumstance. With this character, I thought the happiness he gave others was more convincing than his own personal suffering.

[seanc]

I don't entirely agree with that.

We frequently see the way that the desire to end his life impacts his friends and family, especially his brother. At one point he even has a panic attack and is like "How could I do this?"

Isn't it equally selfish to demand that someone continue to suffer because you don't want to lose them?

I watched it last night and don't remember the panic attack. Lol I really thought the movie went out of its way to always make his point much stronger than the families. The scene towards the end where his brother finally lets loose a little is a perfect example. After he gets to let loose he immediately says some very cruel things that place us back squarely in the protagonists corner.

We can definitely veer off into a quality of life conversation, but that's an almost impossible nut to crack. Do you think this man has more reason to end his life than someone growing up in extreme poverty or an abusive home? I don't love slippery slopes but legal euthanasia is a slope of pure ice.

[Takoma11]

We can definitely veer off into a quality of life conversation, but that's an almost impossible nut to crack. Do you think this man has more reason to end his life than someone growing up in extreme poverty or an abusive home? I don't love slippery slopes but legal euthanasia is a slope of pure ice.

I think that his situation is different because unlike someone who lives in poverty or is in an abusive situation, he has a condition that will not change and cannot change. And he has been living with this unchangable, unfixable situation for 25 years.

Should people put down animals who are suffering? Is it more ethical to demand that a creature in pain should have to endure that pain until a "natural" death?

I think that it was actually really bold of the film to show that he was smart and funny. I think that part of the point is that someone can be both of those things but still be dealing with a degree of pain that is unbearable. It would have been easy to show him as depressed and despairing. Instead he explains the way that his separation from the world around him (his inability to even reach out and touch someone's hand) is torture.

I agree that emotional pain is more abstract. And I think it is hard to portray in a film without going into an area that could be read as histrionics. And there are people whose desire to die can be directly tied to chemical imbalances. I'm not saying it's not complicated. But I also find it horrifying that my desire to do what I want with my own life and my own body should be limited by the government.

[edarsenal]

Just finished The Secret in their Eyes and thoroughly enjoyed it. Will get a review up tomorrow.

[Citizen Rules]

https://www.movieforums.com/community/attachment.php?attachmentid=72737
The Secret in Their Eyes (2009)

Sorry to say this one didn't do anything for me. I didn't hate it or object to it, I just found it dry and flawed. The writing for the spoken dialogue was banal and sounded all the same regardless of the character speaking it. I didn't believe these people talked this way, hell I don't believe anyone talks that way. It seemed like a case of a poorly written film as far as the dialogue goes. The plot too was half backed and hard to buy into.

The film looked like it was all shot in three or four different rooms and at no time did I feel like I was in Argentina...And for the flash back scenes I certainly didn't feel like it was 1974. The romance part was a wash and the notion that 'love is in the eyes', pfft! I mean the husband of the murdered woman had revenge in his eyes. The twist ending was daft like something out of Tales from the Crypt. And the whole idea that the killer was found by an old photograph were he was glaring at the murdered woman years earlier seemed like a plot point from Murder She Wrote.

The only time the film got interesting was at the 1 hour 20 minute mark when it was revealed that the corrupt officials had employed the murderer as an anti-leftist rebel buster, or whatever he was called. But we never really see any of this, were just told about it.

I much preferred State of Siege (Costa-Gavras 1972).

[seanc]

I think that his situation is different because unlike someone who lives in poverty or is in an abusive situation, he has a condition that will not change and cannot change. And he has been living with this unchangable, unfixable situation for 25 years.

Should people put down animals who are suffering? Is it more ethical to demand that a creature in pain should have to endure that pain until a "natural" death?

I think that it was actually really bold of the film to show that he was smart and funny. I think that part of the point is that someone can be both of those things but still be dealing with a degree of pain that is unbearable. It would have been easy to show him as depressed and despairing. Instead he explains the way that his separation from the world around him (his inability to even reach out and touch someone's hand) is torture.

I agree that emotional pain is more abstract. And I think it is hard to portray in a film without going into an area that could be read as histrionics. And there are people whose desire to die can be directly tied to chemical imbalances. I'm not saying it's not complicated. But I also find it horrifying that my desire to do what I want with my own life and my own body should be limited by the government.

I fully agree with the bolded part. In response to your last paragraph. I mean, ultimately it's not. If I decide to put a gun in my mouth tomorrow, it's done, no matter what anyone says. I don't think the state should be sponsoring such things though.

[Takoma11]

I fully agree with the bolded part. In response to your last paragraph. I mean, ultimately it's not. If I decide to put a gun in my mouth tomorrow, it's done, no matter what anyone says. I don't think the state should be sponsoring such things though.

But it is. And that is what the film is about.

The main character can't put a gun in his mouth. His death would require the assistance of another person or persons.

What they are asking in the film is that people who provide assistance to someone ending their own life not be charged with murder or other crimes.

There is a big difference between sponsoring something and regulating it.

[Torgo]

The Day of the Jackal

This is as solid as political assassination thrillers get. Don't let the "political" dissuade you because it's neither complicated nor boring; in fact, it's simply a cat and mouse game between the titular identity thief, master of disguise and would-be French president killer and British and French law enforcement. It's an exceptionally good-looking movie thanks to cinematography that makes its European locales appear as big, lively and as beautiful as they actually are and in a way that made me wish I was watching the movie in a theater. Also, from the way the camera follows the Jackal's inconspicuous journey to his target to making you feel like a fly on the wall during the police's conferences, DP Jean Tournier's work is appropriately voyeuristic and oddly empowering. Edward Fox's performance as the Jackal is another highlight for how he makes him plain enough to not stand out yet charismatic and charming enough to always succeed at fulfilling his...umm...human needs (however, another quality of his performance is how he makes you question if that's what he's doing or if it's all part of his plan). Again, I was never bored even though the movie is all about the boring stuff, i.e. the details and how the good guys or the Jackals of the world's success comes down to noticing and accounting for them. The movie explores this in obvious ways like an inspector deciphering the Jackal code name, in subtle ways like the minute calibrations he makes to his rifle's sight scope and - most importantly - always entertainingly. In short, I’m an enthusiast of 20th century history, confidence trickery and good old-fashioned genre entertainment and this movie pleased me very much on all those fronts. Oh, it's also bound to please those who enjoy spotting 'that guys" and "that gals." Keep your eyes peeled for Delphine Seyrig, Michael Lonsdale and Derek Jacobi.

[seanc]

But it is. And that is what the film is about.

The main character can't put a gun in his mouth. His death would require the assistance of another person or persons.

What they are asking in the film is that people who provide assistance to someone ending their own life not be charged with murder or other crimes.

There is a big difference between sponsoring something and regulating it.

What comes to mind is the scene where the lawyer is saying technically suicide is against the law but people who attempt it and fail aren't prosecuted. He went to great lengths to make sure no one would be culpable for his suicide. The fact that it wasn't mentioned leads me to believe no one was probably held responsible for his. Also, if your main focus was the taking of your life, and not being a soldier for the cause, you wouldn't record it.

I agree there is a difference between sponsoring and regulating. I would call it a fine line and not a canyon though.

[Takoma11]

What comes to mind is the scene where the lawyer is saying technically suicide is against the law but people who attempt it and fail aren't prosecuted. He went to great lengths to make sure no one would be culpable for his suicide. The fact that it wasn't mentioned leads me to believe no one was probably held responsible for his. Also, if your main focus was the taking of your life, and not being a soldier for the cause, you wouldn't record it.

I strongly disagree.

He cares a lot about the people he is leaving behind. By recording his death and explicitly stating that he broke the task apart so that no one person was the one to "help him", he is doing his best to keep them from going to jail for helping him.

Consider that, for example, if he were just found dead with a poisoned glass of water, someone whose fingerprints were on that glass could be charged not just with assisting a suicide, but with murder. There would be no one there to say whether he knowingly drank the poison.

If you read about the real case, there was one of his friends in the room with him when he died. She came forward about it when the statute of limitations on charging her had run out.

And after 20+ years of suffering, his wanting to die and being a "soldier for the cause" are deeply connected. He doesn't only care about his own death--he cares about other people who might be in his position.

I think the question, "Is it possible to morally/ethically allow people to take their own lives?" is a tricky one. I think that it is easier to accept when you are talking about someone who is terminally ill and/or dealing with an untreatable condition that causes severe pain and degeneration.

[seanc]

I strongly disagree.

He cares a lot about the people he is leaving behind. By recording his death and explicitly stating that he broke the task apart so that no one person was the one to "help him", he is doing his best to keep them from going to jail for helping him.

Consider that, for example, if he were just found dead with a poisoned glass of water, someone whose fingerprints were on that glass could be charged not just with assisting a suicide, but with murder. There would be no one there to say whether he knowingly drank the poison.

If you read about the real case, there was one of his friends in the room with him when he died. She came forward about it when the statute of limitations on charging her had run out.

And after 20+ years of suffering, his wanting to die and being a "soldier for the cause" are deeply connected. He doesn't only care about his own death--he cares about other people who might be in his position.

I think the question, "Is it possible to morally/ethically allow people to take their own lives?" is a tricky one. I think that it is easier to accept when you are talking about someone who is terminally ill and/or dealing with an untreatable condition that causes severe pain and degeneration.

Really good point about him recording himself. Kind of embarrassed I didn't think of that.

I am enjoying this conversation, but kind of wished we weren't having it because it is making me concentrate on the stuff I didn't like and think less of the movie. :)

[cricket]

https://www.movieforums.com/community/attachment.php?attachmentid=72737
The Secret in Their Eyes (2009)

Sorry to say this one didn't do anything for me. I didn't hate it or object to it, I just found it dry and flawed. The writing for the spoken dialogue was banal and sounded all the same regardless of the character speaking it. I didn't believe these people talked this way, hell I don't believe anyone talks that way. It seemed like a case of a poorly written film as far as the dialogue goes. The plot too was half backed and hard to buy into.

The film looked like it was all shot in three or four different rooms and at no time did I feel like I was in Argentina...And for the flash back scenes I certainly didn't feel like it was 1974. The romance part was a wash and the notion that 'love is in the eyes', pfft! I mean the husband of the murdered woman had revenge in his eyes. The twist ending was daft like something out of Tales from the Crypt. And the whole idea that the killer was found by an old photograph were he was glaring at the murdered woman years earlier seemed like a plot point from Murder She Wrote.

The only time the film got interesting was at the 1 hour 20 minute mark when it was revealed that the corrupt officials had employed the murderer as an anti-leftist rebel buster, or whatever he was called. But we never really see any of this, were just told about it.

I much preferred State of Siege (Costa-Gavras 1972).






Sorry you didn't like it more as it seems you missed everything that fans of it love. Not that you missed it but it's more about feeling.

[Citizen Rules]

Sorry you didn't like it more as it seems you missed everything that fans of it love. Not that you missed it but it's more about feeling.It seemed like I should've liked it, I expected to. I didn't pick up on any stirring feelings. I'm not saying they are not there, but I didn't feel any romance or remorse over missed romance. Even though I do know there was some dialogue about the missed romance opportunity. Usually I'm a sucker for romance too.

Can you tell me what the film means to you? And why you chose it? ( I haven't read your review yet so if you say there I'll catch it later).

I'll post back later I have to get back to work.

[cricket]

It seemed like I should've liked it, I expected to. I didn't pick up on any stirring feelings. I'm not saying they are not there, but I didn't feel any romance or remorse over missed romance. Even though I do know there was some dialogue about the missed romance opportunity. Usually I'm a sucker for romance too.

Can you tell me what the film means to you? And why you chose it? ( I haven't read your review yet so if you say there I'll catch it later).

I'll post back later I have to get back to work.

I chose it because I do think it's incredible, and for me it's very unique in that it's basically a thriller but it effects me emotionally.

[Takoma11]

I chose it because I do think it's incredible, and for me it's very unique in that it's basically a thriller but it effects me emotionally.

To elaborate on this a bit, I really appreciated that the plot was that of a thriller, but a lot of the film's focus was on the emotional state of the characters and the tragedy of miscommunication and regret.

[cricket]

To elaborate on this a bit, I really appreciated that the plot was that of a thriller, but a lot of the film's focus was on the emotional state of the characters and the tragedy of miscommunication and regret.

You say elaborate, I think, "wording it much better than I can":)

[Citizen Rules]

To elaborate on this a bit, I really appreciated that the plot was that of a thriller, but a lot of the film's focus was on the emotional state of the characters and the tragedy of miscommunication and regret.

I chose it because I do think it's incredible, and for me it's very unique in that it's basically a thriller but it effects me emotionally.

Thanks Cricket and Tacoma.

I had a hard time with some of the subtitles as they were white font and in some scenes they were overlayed across a desk with white paper, which made me miss some of the words or even sentences.

[edarsenal]

The Day of the Jackal

This is as solid as political assassination thrillers get. Don't let the "political" dissuade you because it's neither complicated nor boring; in fact, it's simply a cat and mouse game between the titular identity thief, master of disguise and would-be French president killer and British and French law enforcement. It's an exceptionally good-looking movie thanks to cinematography that makes its European locales appear as big, lively and as beautiful as they actually are and in a way that made me wish I was watching the movie in a theater. Also, from the way the camera follows the Jackal's inconspicuous journey to his target to making you feel like a fly on the wall during the police's conferences, DP Jean Tournier's work is appropriately voyeuristic and oddly empowering. Edward Fox's performance as the Jackal is another highlight for how he makes him plain enough to not stand out yet charismatic and charming enough to always succeed at fulfilling his...umm...human needs (however, another quality of his performance is how he makes you question if that's what he's doing or if it's all part of his plan). Again, I was never bored even though the movie is all about the boring stuff, i.e. the details and how the good guys or the Jackals of the world's success comes down to noticing and accounting for them. The movie explores this in obvious ways like an inspector deciphering the Jackal code name, in subtle ways like the minute calibrations he makes to his rifle's sight scope and - most importantly - always entertainingly. In short, I’m an enthusiast of 20th century history, confidence trickery and good old-fashioned genre entertainment and this movie pleased me very much on all those fronts. Oh, it's also bound to please those who enjoy spotting 'that guys" and "that gals." Keep your eyes peeled for Delphine Seyrig, Michael Lonsdale and Derek Jacobi.
You hit quite a number of points that I love about this film: how it goes about the "boring stuff" and yet it is NEVER boring. That's a helluva trick to pull off. Keeping you caught up in the mundane details. I was very impressed and pleased by that.

[cricket]

Hard Times

https://i2.wp.com/projectedfigures.com/wp-content/uploads/2018/04/iu-14-2.jpeg?fit=1920%2C1080&ssl=1

It's been so long since I've seen this that the most I can say is that some parts were vaguely familiar. I knew I liked it, and I loved the similar Every Which Way but Loose as a kid as well.

Not to sound sexist, but I see this as a guy movie. Walter Hill is just that kind of director. There's not a lot of juicy female roles in his filmography. I'm a fan and I've seen 17 of his films, including bigtime and longtime favorite, The Warriors. He has some duds, but more often than not he hits, and the beginning of his career was his best stretch.

They shouldn't have even bothered with the female roles in this film because the end result wasn't worth it. That's not why anyone watches this movie anyway, it's for the boys and the fights. What I really appreciate about the fights is that we don't get the silly and over dramatic come back from the brink of death to win scenes. They are done in a very believable fashion. I got a kick out of Sean saying he doesn't like violence but he wishes there was more in the movie, because I'm the complete opposite in both regards. As always, it was a pleasure to watch Bronson, Coburn, and Strothers, and there are several other familiar faces that I was glad to see. This is not a great movie, yet it is kind of awesome.

3.5

[edarsenal]

https://i.pinimg.com/originals/4e/8f/c2/4e8fc2a25b8ff05958e87117feebe2a0.jpg


The Secret in Their Eyes aka El secreto de sus ojos

I wish I had read Takoma's review regarding the "things not there" before watching this, and thereby enjoying that aspect as well. But, since I'll most likely watch this again in the future, it'll be an additional layer of enjoyment to my eventual rewatch.
Something I found intriguing and thereby stuck with me, regarded how they figured out who the killer was by how intently he would stare at the victim in old photographs. And then, later on, looking through old photos, you seeing Esposito doing the exact same thing with Irene. It wasn't creepy, per se, but added to the nuance of the title to this film. Something that I found myself doing even more consciously than what is my wont when watching any given mystery/thriller. Studying people's reactions as things occur. This film did some wonderful "red herrings" in the eyes of everyone. Finding so much more going on beyond what is said and how things came about.

What I also found intriguing was that the investigation into the murder and rape was almost secondary to the interconnections of those in the story. Something that is normally added filler to draw us into a story, I found it holding its own on an equal plane to the investigation.

Surprisingly, I wasn't as emotionally choked up with the departing train scene (which I did enjoy) as I think I should have been. But, I did find the phone call of the husband looking for the killer and conversing with the killer's mother definitely did affect me greatly.
https://4.bp.blogspot.com/-yh9fpvmzs44/V3cYsC96RuI/AAAAAAAAXYk/65JQfVSTK5oG-3jvx-rXn7plmLiIniqowCLcB/s1600/The-Secret-in-Their-Eyes-2009-Pablo-Rago.png

As did the twist. Even more so, HOW it played out in silence. Which, again, played upon the title and all that occurs within the eyes. A VERY effective scene.

D@mn Fine Nom, cricket!

[edarsenal]

Hard Times

https://i2.wp.com/projectedfigures.com/wp-content/uploads/2018/04/iu-14-2.jpeg?fit=1920%2C1080&ssl=1

It's been so long since I've seen this that the most I can say is that some parts were vaguely familiar. I knew I liked it, and I loved the similar Every Which Way but Loose as a kid as well.

Not to sound sexist, but I see this as a guy movie. Walter Hill is just that kind of director. There's not a lot of juicy female roles in his filmography. I'm a fan and I've seen 17 of his films, including bigtime and longtime favorite, The Warriors. He has some duds, but more often than not he hits, and the beginning of his career was his best stretch.

They shouldn't have even bothered with the female roles in this film because the end result wasn't worth it. That's not why anyone watches this movie anyway, it's for the boys and the fights. What I really appreciate about the fights is that we don't get the silly and over dramatic come back from the brink of death to win scenes. They are done in a very believable fashion. I got a kick out of Sean saying he doesn't like violence but he wishes there was more in the movie, because I'm the complete opposite in both regards. As always, it was a pleasure to watch Bronson, Coburn, and Strothers, and there are several other familiar faces that I was glad to see. This is not a great movie, yet it is kind of awesome.

3.5

Exactly.

[pahaK]

I just watched The Whisperers. It was one of the films I expected the least in this HoF so it being perfectly OK was a positive surprise. As usual, a proper review in distant near future.

[SpelingError]

In a Glass Cage (1986) - 3

This is definitely the most controversial film to be nominated in this thread. There's already been a lot of discussion on this film. Both positive and exceedingly negative. I wasn't looking forward to this film going into it, but while it was definitely a hard watch, I did enjoy a decent bit about it.

To get it out of the way, yes, this film is a hard watch. While I don't think certain things should be off-limits from being portrayed in movies (pedophilia is a real thing which goes on in the world, so I think it's completely fine for media to portray it), the way the film handled this was nauseating. During the pedophilia scenes, the film didn't use stunt doubles, camera techniques, etc. so that the child actors wouldn't actually experience the pedophilia. The young actors were, in fact, disrobed and sexually touched onscreen by an older man. These scenes were disturbing and I ended up looking away from the screen during those scenes. After researching it, I saw that a child psychiatrist authorized the film during production, but this didn't make those scenes any easier to watch for me.

Given this, I don't think I'll rewatch this film. However, there are some genuine strengths I'll like to address which I think the film deserves credit for.

For one, the film offers a compelling dynamic between abuser and abused, specifically how an abuser's behavior can be contagious for their victims. This dynamic largely applied to Angelo as, due to the abuse Klaus treated him with many years prior, Klaus's personality transferred over to him. Angelo then attempted to replicate the same behavior that Klaus treated him with. While the pedophilia scenes were hard to watch, this undercurrent of cyclical abuse made them disturbing for thematic reasons, not solely for visceral reasons. This dynamic also applied to Rena as she acted naïve throughout the film, occasionally treating Angelo as her lover and underreacting to the heinous acts he committed around her. The ending was a compelling culmination to her arc, in particular.

I also appreciated the visuals and production design of the film. The entire film was shot with a blue tint. While colored filters normally don't do much for me, I think this look worked since it contrasted with the blood in the film, making Angelo's murders, while hard to watch for reasons mentioned above, all the more shocking. I also liked the gothic look of the house, especially when Angelo modified it in the latter portions of the film to make it more creepy (starting a bonfire inside the house or putting up a wire fence around the staircase). Regardless of what one thinks of the objectionable elements of the film, there's still this aspect to enjoy, at the very least.

Overall, this film was incredibly disturbing and it's unlikely I'll watch it again due to the pedophilia scenes, but I also don't think it was a waste of time by any means. Its themes on the cyclical pattern of abuse and its visuals and production design impressed me quite a lot.

Next up: La Dolce Vita

[Torgo]

Good review. I also don't want to watch In a Glass Cage again, which is why I put the used DVD in the local BetterBooks donation bin...which, unfortunately, is at the local YMCA. :shifty:
Hopefully, it doesn't actually go to the YMCA.

[rauldc14]

I will NEVER watch that again.

I did just finish rewatching Barry Lyndon though. Review a bit later coming.

[cricket]

I never thought I'd watch it a 2nd time but then it got nominated for the HoF.

[Takoma11]

I never thought I'd watch it a 2nd time but then it got nominated for the HoF.

I watched it probably about 16 years ago. I have thought about it a lot since then, despite not really anticipating watching it again.

I feel like watching it again, especially after such a long time, was an interesting experience. Mostly it feels like it cemented the feelings I remember having about it. I was surprised to find that it was more graphic than I remembered (for example I had completely forgotten about him killing the boy with the syringe. That was totally absent from my memory. I always remembered the killing of the singing boy.)

I both appreciated the artistry and themes of it more, and had stronger objections to the content involving child actors.

[rauldc14]

Barry Lyndon

http://images.amcnetworks.com/ifccenter.com/wp-content/uploads/2018/12/barry_lyndon_1280_2.jpg

Kubrick's films often are greater on a technical scale than a personal scale, which has always made an overall rating for a lot of his films hard to rate. I feel with a second go around on this I feel about the same. It's a really good looking film, the cinematography is great and the costumes give it a nice historical feel. The score is really good too. Ryan O'Neal did a good job in the lead role and most of the supporting pieces were pretty good too.

Although I don't necessarily feel the length for the most part, I feel like the film is hurt for me by not really investing in O'Neals character. He just doesn't seem all that interesting or a character to me. Yes, a lot happens, but it doesn't seem to have any sort of emotional connection or a wow factor to me. It's like seeing the evolution of a Weedle to a Butterfree, we don't get very far from point A to point B to me.

Anyways, yeah, maybe a piss poor reference because I do like the film. But it doesn't reach any kind of a favorite status. It remains a mid tier Kubrick, which should be seen as a good thing because those bottom films of his I really really don't like at all.

3.5

[edarsenal]

what are the bottom Kubrick's that you 'really, really don't like at all', rauldc14? If ya don't mind me asking.

[pahaK]

The Whisperers (1967)

I didn't know what to expect from a film about an elderly woman's life on welfare. Early on, the film didn't seem to have much going on for it. I didn't feel sympathy for Mrs. Ross (probably for having lived as a neighbor of a similar paranoid-schizophrenic elder woman for years). Her behavior isn't malicious by choice, but she's deemed fit to live alone, and her actions need to be judged from that point of view.

73042

Fortunately, the appearance of the stolen money allows Mrs. Ross to seem a little more likable. It's obviously due to other characters being far more disgusting and consciously vile by comparison. The Whisperers ends up being a series of ordeals for her, as most of the people she meets seek to exploit her. In the end, it feels like she finally accepts her lot and is almost happy in her solitary poverty.

cricket called this kitchen sink, but I somewhat disagree (though I'm not a pro in the genre and rely on Wikipedia article about it). I'd rather say it romanticizes poverty (at least as much as Beasts of the Southern Wild) and is kitchen sink on the surface only. Here money and dreams of a better life only bring misfortune, and the only time Mrs. Ross is seemingly content is the end where she's back to where she began and can't even remember the money (possibly still in the drawer she left them). It's not a commentary about the working class living conditions but a cautionary tale about reaching beyond your place. I don't completely agree with what it's selling, but it's really well done and quite entertaining.

The Whisperers looks gorgeous. Skillfully done black-and-white filming is so beautiful, and it fits the old and crumbling environment perfectly. Acting is top-notch, too. Technically, I have no complaints, but the subject isn't exactly my thing. None the less, I found it quite entertaining and far from the drag I expected it to be.

[Torgo]

That is an interesting take. When you look at it that way, the movie has more in common with a movie like Fargo than it does with Umberto D. There's also something to be said about how the movie shows that there is institutional encouragement for lower to middle class people to reach beyond their place, or to put it another way, make them believe that what they have isn't good enough. After all, there's so much money in it. You can see this in the betting office or in the magazine advertisement for Bahama vacations.

[Takoma11]

I didn't think that The Whisperers romanticized poverty. Quite the opposite, in fact.

(SPOILERS BELOW AND THEY AREN'T TAGGED!!! BEWARE!!!!)

The other characters we encounter who are in the lower class are not nice people. There's the couple who live upstairs, have loud arguments, and the wife physically threatens the old woman. When they discover her possibly dead in the street, the debate whether they should even do anything.

Then there's the woman she meets who turns out to be totally predatory (along with the rest of her horrible family).

There are the other people in the church who are rude.

I think that the film makes a pointed commentary about the way that people will behave when they are in that situation. The main character is a weird outlier because she doesn't think of herself as being poor. She talks about hiring domestic workers. She writes letters to her social worker as if her were a personal lawyer or something.

What I think the ending nods to is the idea that people will go back to what is familiar, even if it is overall worse for them. As sad and lonely as her solitary habits might be, there is a comfort in them and she retreats to that after the trauma of her experiences. Her life of denial is ultimately more "home" to her than being with her manipulative family members. We aren't meant to see her impoverished life as "better". I think that we are more meant to understand that it is tragic that this woman has no real support structure (even the horrible couple have each other) and ultimately must retreat into a fantasy world.

[Citizen Rules]

https://www.movieforums.com/community/attachment.php?attachmentid=73143
Beasts of the Southern Wild (2012)

any day now...
...fabric of the universe
is coming unraveled.
Ice caps gonna melt,
water is gonna rise...
...and everything south of the levee
is going under.

I like it...especially the things Hush Puppy says about life and her journey through it. I liked the way her unfettered mind sees the truth, yet that truth is filtered through the youth of her eyes.

I guess for me it's the kind of movie that is visually rewarding on a 1st watch, but on a repeat watch I've already seen it all so there wasn't as much to captive my imagination visually.

This time around I was looking at the sets like a set designer and wondering what they used to make Hush Puppy's home and her father's shack too. Then I was wondering if the actors thought the sets looked a bit dirty, cause they looked pretty filthy to me.

But...with all that said I was impressed by one thought that I don't believe I pondered on before...Beasts of the Southern Wild is about the tragedy that was the Katrina hurricane.

When I was in New Orleans a few years after Katrina I took a driven tour of the worst flooded areas. The bus driver was a local who had spent the next day after the hurricane using his small boat to rescue trapped people. As we drove by the devastation it was clear to me just how bad the flooding had been. Whole blocks of houses were gone. On other blocks there would be several houses left standing but only one was being lived in. The whole area looked like some strange ghost town, a post apocalyptic waste zone.

[Takoma11]

I'm starting to think that La Dolce Vita is just a collective delusion harbored by everyone else but me. It was supposed to arrive in my mailbox on January 28th. I'm not sure this movie exists.

[pahaK]

I didn't think that The Whisperers romanticized poverty. Quite the opposite, in fact.

(SPOILERS BELOW AND THEY AREN'T TAGGED!!! BEWARE!!!!)

The other characters we encounter who are in the lower class are not nice people. There's the couple who live upstairs, have loud arguments, and the wife physically threatens the old woman. When they discover her possibly dead in the street, the debate whether they should even do anything.

Then there's the woman she meets who turns out to be totally predatory (along with the rest of her horrible family).

There are the other people in the church who are rude.

I don't think that romanticizing requires everyone to be nice and noble. Besides, it's easy to rationalize their behavior through the cautionary tale (or common) logic.

The couple upstairs has been harassed by Mrs. Ross for a long time, and her outspoken stance towards them is judgmental and condescending. It's very easy to imagine her as the instigator of their ongoing feud, and in that case, the cause is, at least partially, her imagined (and thus undeserved) position in the upper class.

The woman who robs her is just a standard cautionary tale ordeal. They're not even proper characters, but a pack of evildoers who are in the story to punish Mrs. Ross's aspirations for a wealthy life.

In the church, the "rude" people are just going through the hoops. Play pious, do as your told, and you get what you deserve. Mrs. Ross acts as if she doesn't understand how the system works and is ridiculed by the "congregation".

[Torgo]

Rudderless (contains spoilers)

This review will probably make you question my viewing comprehension abilities (even more):

This is an involving, honest and unique exploration of grief and fatherly love that comes close to greatness but does not quite stick the landing. Billy Crudup gives a strong performance as Sam for how he conveys the grieving process and his dilemma of whether performing his son Josh's songs and bonding with fellow wayward soul Quentin (Anton Yelchin) is the right way to do it. That Sam not only grieves, but also gets to know his son through his music also resonated with me because in my own experience, at least, it accurately represents how fathers and sons prefer to communicate and express love for one another. Anton Yelchin is also very good as Quentin for how he brings Sam out of his shell and copes with the fallout of the big revelation about the songs' author. Speaking of Quentin, his character arc pretty much represents my relationship with the movie, but without Sam's parting gift to him. In other words, my reaction to that other revelation about Josh was not unlike what happens when Josh's ex Kate (Selena Gomez) spills the beans. When I saw Sam and his ex-wife Emily (Felicity Huffman) cleaning graffiti from Josh's grave, I was thrown for a loop because I assumed that he was a victim of the campus shooting rather than the killer. In the first two acts, all we see about the attack's aftermath is a clip of a TV news segment and reporters hounding Sam for a statement. Director Macy and company may have believed that this was enough to identify Josh as the killer, but journalists are just as likely to stalk the parents of the victims of school shootings. Besides - and while you often never know what someone is really like until it's too late - isn't it safe to assume that based on what the movie lets us know about Josh and the tone of his songs that he would want nothing to do with guns? In short, the moment at the cemetery went against everything I had every right to believe up to that point, not to mention made me wonder if Sam's struggle is about grief or if it's about him coping with his son having been a murderer. Again, the performances are strong and my reactions to how the movie depicts grief, the father-son dynamic and the dangers of treating people as surrogates like Sam and Quentin did for each other felt genuine enough for me to give the movie a mild recommendation. Oh, and the songs aren't half bad either. It's just a shame that I'm still questioning if my reactions were the right ones to have.

[seanc]

I didn't realize he was the shooter till that moment, and I definitely think that's intentional. It's supposed to be a shock and question any sympathy you were feeling. I would say that's the point of the movie. For me, it just wasn't very effective in that goal because the characterizations and the script really didn't have me feeling anything.

[Takoma11]

I don't think that romanticizing requires everyone to be nice and noble. Besides, it's easy to rationalize their behavior through the cautionary tale (or common) logic.

The couple upstairs has been harassed by Mrs. Ross for a long time, and her outspoken stance towards them is judgmental and condescending. It's very easy to imagine her as the instigator of their ongoing feud, and in that case, the cause is, at least partially, her imagined (and thus undeserved) position in the upper class.

The woman who robs her is just a standard cautionary tale ordeal. They're not even proper characters, but a pack of evildoers who are in the story to punish Mrs. Ross's aspirations for a wealthy life.

In the church, the "rude" people are just going through the hoops. Play pious, do as your told, and you get what you deserve. Mrs. Ross acts as if she doesn't understand how the system works and is ridiculed by the "congregation".

But then what (or who) is being romanticized about poverty?

Honestly, I think that you could tell a very similar story about a rich woman living in a mansion all by herself. It was her isolation and alienation from her community that was the tragedy.

Aside from the characters I listed, what other characters were there to consider?

[Thief]

I'm starting to think that La Dolce Vita is just a collective delusion harbored by everyone else but me. It was supposed to arrive in my mailbox on January 28th. I'm not sure this movie exists.

I confess. We all chipped in to bribe your mailman in order to keep you from completing the challenge ahead of everybody.

[SpelingError]

I thought the reason though was that I stole it from her mailbox.

[Citizen Rules]

I didn't feel The Whispers romanticized poverty, though I don't feel it condemned it either.

The film maker went to great lengths to show poverty as a lonely existences, as evident by the scenes of the stray cats in the desolate streets.

However I do feel the old woman was content in her own delusions and was the safest when she was alone in her fortress of folded papers and misplaced items. Personally I felt the film was more of a character study than a moral commentary. Though I can see how a case could be made for it as a moral commentary.

[Thief]

Rudderless (contains spoilers)

This review will probably make you question my viewing comprehension abilities (even more):

This is an involving, honest and unique exploration of grief and fatherly love that comes close to greatness but does not quite stick the landing. Billy Crudup gives a strong performance as Sam for how he conveys the grieving process and his dilemma of whether performing his son Josh's songs and bonding with fellow wayward soul Quentin (Anton Yelchin) is the right way to do it. That Sam not only grieves, but also gets to know his son through his music also resonated with me because in my own experience, at least, it accurately represents how fathers and sons prefer to communicate and express love for one another. Anton Yelchin is also very good as Quentin for how he brings Sam out of his shell and copes with the fallout of the big revelation about the songs' author. Speaking of Quentin, his character arc pretty much represents my relationship with the movie, but without Sam's parting gift to him. In other words, my reaction to that other revelation about Josh was not unlike what happens when Josh's ex Kate (Selena Gomez) spills the beans. When I saw Sam and his ex-wife Emily (Felicity Huffman) cleaning graffiti from Josh's grave, I was thrown for a loop because I assumed that he was a victim of the campus shooting rather than the killer. In the first two acts, all we see about the attack's aftermath is a clip of a TV news segment and reporters hounding Sam for a statement. Director Macy and company may have believed that this was enough to identify Josh as the killer, but journalists are just as likely to stalk the parents of the victims of school shootings. Besides - and while you often never know what someone is really like until it's too late - isn't it safe to assume that based on what the movie lets us know about Josh and the tone of his songs that he would want nothing to do with guns? In short, the moment at the cemetery went against everything I had every right to believe up to that point, not to mention made me wonder if Sam's struggle is about grief or if it's about him coping with his son having been a murderer. Again, the performances are strong and my reactions to how the movie depicts grief, the father-son dynamic and the dangers of treating people as surrogates like Sam and Quentin did for each other felt genuine enough for me to give the movie a mild recommendation. Oh, and the songs aren't half bad either. It's just a shame that I'm still questioning if my reactions were the right ones to have.

Like seanc said, keeping the nature of Josh's involvement in the shooting under wraps is definitely intentional and is meant to confront us as much as it does the characters. Even though I don't think the film makes the most of it or executes it as well as it should, I do think it's a novel approach to a subject that is very sensitive. At the end of the day, the parents of a "shooter" have double or triple the grief to deal with (loss of a child, that child being the culprit, and the burden of those that he/she killed).

As for the content of his songs, I think they do give you a glimpse of a young man struggling. Some bits of lyric from the main songs...

"Well I'm trying to get home
but it feels like another life
Yeah im trying to stay strong
but sometimes i realise
that the further i go, the more that i know
That i wanna go home"

"The angel and the devil
Secretly they get along
Sitting up there
with me in the middle
From dusk till dawn
I get so confused by it
Which way to turn
They're looking at me like
"Decide which bridge to burn"
If I'm wrong or right
You stand by my side
The devil never knows
The devil never knows"

"Stuck in your confines chewin' it over.
Caught in your headlights. Stop staring.
Don't know what's on my mind. What am I thinking?
Whatever I say is a lie, so stop staring..."

...They really show an inner struggle, or an unhappiness. I also think the scene where he's stuck in the dorm while there seems to be a party outside; then he's interrupted, show that he wasn't really comfortable with his life, where he was, or how things where going for him. It's quite subtle, but I like that.

I also think it's interesting how Sam changes the "course" of that last song, so to speak... that's the one that Josh had left unfinished and close to the end of the film, he added the lyrics...

"Stuck in your confines chewin' it over.
Caught in your headlights. Stop staring.
Don't know what's on my mind. What am I thinking?
Whatever I say is a lie, so stop staring. Tread carefully

Take a breath and count the stars.
Let the world go round without you.
If you're somewhere you can hear this song
Sing along.

Close your eyes and count to ten.
Maybe love's the only answer.
I will find a way to sing your song
So sing along."

Those new lyrics complete his arc as they help to give him closure while also trying to pass forward a message to anyone that might be going through the same as Josh... "tread carefully... take a breath.. count to ten..."

[Torgo]

I didn't realize he was the shooter till that moment, and I definitely think that's intentional. It's supposed to be a shock and question any sympathy you were feeling. I would say that's the point of the movie. For me, it just wasn't very effective in that goal because the characterizations and the script really didn't have me feeling anything.I guess I didn't misinterpret the cemetery scene, then. Still, like I said, the movie had enough going for it until that point as an examination of grief, the ethics of treating someone else as a surrogate to cope with such feelings, etc. For those of you who have seen World's Greatest Dad, a movie which it reminded me of, it wouldn't be far off if that movie made a third act reveal that Robin Williams' character actually killed his son instead of him committing suicide. I don't mean to criticize Rudderless for being something that it's not, but that reveal was as if the movie changed horses in midstream.

[Torgo]

Like seanc said, keeping the nature of Josh's involvement in the shooting under wraps is definitely intentional and is meant to confront us as much as it does the characters. Even though I don't think the film makes the most of it or executes it as well as it should, I do think it's a novel approach to a subject that is very sensitive. At the end of the day, the parents of a "shooter" have double or triple the grief to deal with (loss of a child, that child being the culprit, and the burden of those that he/she killed).

As for the content of his songs, I think they do give you a glimpse of a young man struggling. Some bits of lyric from the main songs...

"Well I'm trying to get home
but it feels like another life
Yeah im trying to stay strong
but sometimes i realise
that the further i go, the more that i know
That i wanna go home"

"The angel and the devil
Secretly they get along
Sitting up there
with me in the middle
From dusk till dawn
I get so confused by it
Which way to turn
They're looking at me like
"Decide which bridge to burn"
If I'm wrong or right
You stand by my side
The devil never knows
The devil never knows"

"Stuck in your confines chewin' it over.
Caught in your headlights. Stop staring.
Don't know what's on my mind. What am I thinking?
Whatever I say is a lie, so stop staring..."

...They really show an inner struggle, or an unhappiness. I also think the scene where he's stuck in the dorm while there seems to be a party outside; then he's interrupted, show that he wasn't really comfortable with his life, where he was, or how things where going for him. It's quite subtle, but I like that.

I also think it's interesting how Sam changes the "course" of that last song, so to speak... that's the one that Josh had left unfinished and close to the end of the film, he added the lyrics...

"Stuck in your confines chewin' it over.
Caught in your headlights. Stop staring.
Don't know what's on my mind. What am I thinking?
Whatever I say is a lie, so stop staring. Tread carefully

Take a breath and count the stars.
Let the world go round without you.
If you're somewhere you can hear this song
Sing along.

Close your eyes and count to ten.
Maybe love's the only answer.
I will find a way to sing your song
So sing along."

Those new lyrics complete his arc as they help to give him closure while also trying to pass forward a message to anyone that might be going through the same as Josh... "tread carefully... take a breath.. count to ten..."All of that makes sense, especially the song lyrics. Good catch.

Oh well, good or not, the movie has generated some worthwhile discussion. In the end, isn't that the real truth?

[pahaK]

But then what (or who) is being romanticized about poverty?

I guess romanticizing may have been a wrong word. My idea was that the kitchen sink is about showing something as broken and in need of a change while The Whisperers appear to be the opposite; the change is bad, and it brings harm to either you or others or both. The status quo is moral, and moving up in society is wrong.

Also, if you focus only on Mrs. Ross's story arc it is actually romanticizing. And I don't know why you wouldn't do that. Everyone else in the film can be seen as a plot device to pave her way. If her finding out the happiness in her poor little life and forgetting the money and the mansion isn't romanticizing then what is? Or then I understand the word somehow wrong.

[Citizen Rules]

I guess romanticizing may have been a wrong word. My idea was that the kitchen sink is about showing something as broken and in need of a change while The Whisperers appear to be the opposite; the change is bad, and it brings harm to either you or others or both. The status quo is moral, and moving up in society is wrong.

Also, if you focus only on Mrs. Ross's story arc it is actually romanticizing. And I don't know why you wouldn't do that. Everyone else in the film can be seen as a plot device to pave her way. If her finding out the happiness in her poor little life and forgetting the money and the mansion isn't romanticizing then what is? Or then I understand the word somehow wrong.I see what you're saying. I found Mrs Ross's life in her cluttered old home, living by herself...to be a comfort to her. I mean she's surrounded by things she values, like old newspapers. Crazy as that might seem, she had her own world as was safe there, until she ventures outside of her house where she's prayed upon first by the grifter woman, then by the state that tries to help her by forcing her to live with her estranged, a**** husband. Oh and her encounter with her a**** son messes up her life too.

[Takoma11]

I guess romanticizing may have been a wrong word. My idea was that the kitchen sink is about showing something as broken and in need of a change while The Whisperers appear to be the opposite; the change is bad, and it brings harm to either you or others or both. The status quo is moral, and moving up in society is wrong.

Also, if you focus only on Mrs. Ross's story arc it is actually romanticizing. And I don't know why you wouldn't do that. Everyone else in the film can be seen as a plot device to pave her way. If her finding out the happiness in her poor little life and forgetting the money and the mansion isn't romanticizing then what is? Or then I understand the word somehow wrong.

I think that there is a difference between someone's way of life being comforting and someone's way of life being endorsed or romanticized by the film.

Mrs. Ross has, over the years, built up her routines and physical space on her own and has even extended this to include voices that only she hears. All of this---absent the voices--is really common with people who live on their own for a long period of time. You become your own world.

I agree that conflict happens when she ventures out of her flat, but the stuff outside her flat is also her impoverished environment. I don't see how her life is romanticized when she can't walk down her hallway without hearing an argument through the ceiling (and an argument that seems to trigger some of her own memories of abuse), she can't attend church without being mocked for her genuine belief, and she can't have a conversation with a stranger without being taken advantage of.

To me, this is as if a film began with someone drunk or using drugs and ended with them in the same state. Yes, it is what might make them comfortable. It is what they know. But is it really romantic? Is it what we want for the character? Is it what is best for the character?

I can see how you could say that her problems are connected to the money. And when the money is gone she goes back to where she was. But while the money might be a catalyst for her experiences with the horrible family or her estranged husband, the problem is not that the money brings issues on its own. Mrs. Ross doesn't know how to interact socially. She doesn't have children or nieces/nephews or younger people around to help her as she becomes more physically and mentally frail.

Also, I think it is significant that she isn't really happy before the money. Her neighbors are awful, she is mocked at church, her husband is gone.

Do you see the ending as being happy? To me it is tragic, even if Mrs. Ross is back in her comfort zone. I see a woman who is only going to become more isolated and more delusional. There is exactly one person in the world who seems to care about her well-being, and that's her social worker, and even he is not totally on the ball.

[Thief]

All of that makes sense, especially the song lyrics. Good catch.

Oh well, good or not, the movie has generated some worthwhile discussion. In the end, isn't that the real truth?

Definitely. It's weird because there are films that "disappoint" me, and that may sound harsh but I can't think of another word, but anyway... they "disappoint" me because I acknowledge that there's material for something great there, but it just doesn't click the way I was expecting, or it's just not executed in the best way. This film is an example of that... an Irish horror drama I saw last year called The Cured was another example. Films that you feel a couple of tweaks in the script or whatnot might've turned them into a great film, but it just didn't happen. And don't get me wrong, I still think the film is solid (I gave it 3/5 I think), but if they had made some fixes, this could've easily been a 4, or maybe even higher.

[Thief]

Just finished Antwone Fisher a couple of minutes ago, and I have thoughts. Maybe tomorrow as I let it stew a bit.

[Thief]

Definitely. It's weird because there are films that "disappoint" me, and that may sound harsh but I can't think of another word, but anyway... they "disappoint" me because I acknowledge that there's material for something great there, but it just doesn't click the way I was expecting, or it's just not executed in the best way. This film is an example of that... an Irish horror drama I saw last year called The Cured was another example. Films that you feel a couple of tweaks in the script or whatnot might've turned them into a great film, but it just didn't happen. And don't get me wrong, I still think the film is solid (I gave it 3/5 I think), but if they had made some fixes, this could've easily been a 4, or maybe even higher.

Although both words might apply, "frustrating" would've been a more appropriate word, instead of "disappointing".

[Torgo]

Although both words might apply, "frustrating" would've been a more appropriate word, instead of "disappointing".I get what you mean. All the same, if I was forced to choose between a movie that's considered frustrating and one that has universal acclaim, I'd choose the former. Movies labeled "frustrating" tend to have more of a human touch, leave more questions up to the audience and are more likely to have grit, be rough around the edges, etc. in a way that give it that human touch and, as this thread indicates, provide a good excuse to discuss and debate those flaws. No offense to whoever nominated Shame, which I'll review later, but it doesn't really have any flaws, and as you can see, not that many people are debating it. I did enjoy the movie, and while I rate it higher than Rudderless, I don't feel compelled to debate it and I doubt that my review will receive many replies.

This Nostalgia Critic video essay probably says what I'm trying to say better than I did:

https://www.youtube.com/watch?v=KJhGSRJhWcU&t=590s

[Thief]

Just finished Antwone Fisher a couple of minutes ago, and I have thoughts. Maybe tomorrow as I let it stew a bit.

I don't wanna get too personal, but I guess I'll get personal :shrug: as a relatively rookie parent of two adopted children, this was a somewhat tough watch for me. Most of my fellow RT/Corrie refugees know that my wife and I adopted two kids a couple of years ago, so knowing first-hand where they come from and the scars that they still carry, well, there came a point in the film where it got... rough for me. To make it more complicated, I saw the film a few hours after what was a particularly heated exchange with our older kid because, well, much like Antwone, he's prone to violent outbursts when things aren't done the way he wants.

So films like this become a double-edged sword in that it helps one to put things in perspective, while also adding to the constant questioning that I think every parent has: Am I messing things up? How are my actions AND reactions affecting this kid short-term AND long-term? I've always compared the adoption process to coming off the bench in the middle of a game, not necessarily knowing the score. You're never really sure where you're standing or how things are going. You have to figure out the path, and touch and feel your way through. But that questioning is always there...

And finally, to add up, there's that dread of what will happen in the future when these two kids start asking the same questions... where did I come from? why did my parents left me? and of course, the unavoidable quest to search and meet their real parents, which we know will come at one point. My wife and I have talked about it, but when added to the above questions, it just makes me wonder more and more "Am I doing things right? What will my sons think of me 5, 10, 20 years from now?"

I don't know. Like I said, it just hit me hard at one point.

[cricket]

Wow that's something else, Thief. God bless you.

[Takoma11]

I don't wanna get too personal, but I guess I'll get personal :shrug: as a relatively rookie parent of two adopted children, this was a somewhat tough watch for me. Most of my fellow RT/Corrie refugees know that my wife and I adopted two kids a couple of years ago, so knowing first-hand where they come from and the scars that they still carry, well, there came a point in the film where it got... rough for me.

Exactly. This is why this film was just as hard for me, if not harder, than In a Glass Cage. Because while I have never known anyone who fell victim to a sociopath seeking revenge on his ex-Nazi abuser, I have known many children like Antwone. And what is especially tragic is that many of them do not receive intervention in time and they end up on a path straight to prison.

Thinking about your questions, something I wish had been a little different in the film was the way that it offered a sense of closure at the end. The reality for most people who have endured childhood abuse is not that they confront it/deal with it and then are fine. Knowing why you behave a certain way, or even having a cathartic moment with the person who caused you pain does not magically erase the emotional and psychological damage. It is something many people continue to have to process and work through.

[rauldc14]

I look forward to your review Thief !

[seanc]

The Secret In Their Eyes: Really good thriller. Quite a few standout scenes. I like the aesthetic. I thought the dialogue was sharp, and often fun.

I wasn't in love with the romantic plot, and it becomes a big part of the second half of the film. I definitely would have traded that aspect in for more scenes with the judges and Pablo.

Good movie, just not great for me. Glad I finally saw it.

[pahaK]

I just watched The Man from Nowhere. Like Hard Times, it was a quite atypical HoF film, but I think films like this are a welcome change. Definitely above average Asian action film, but more about why in the forthcoming review.

[Wyldesyde19]

Heading over to the local rental. Plan to pick up La Dolce Vita and either Beasts of the Southern Wild or The Secrets in their Eyes.
Long weekend gives me plenty of time to hit a few here and start finishing up the personal recommendations HOF.

[seanc]

Shame: Realized not long into my second watch that I had no idea what war this movie takes place during. I assumed WWII, but I actually had no idea. That's because Bergman does what no director, in my opinion, does better. He makes the central aspect of the film a relationship that happens to take place during a war. Instead of the focus being on the war, where some peripheral relationships take place. Because of that the tension and the horror are even more impact full. Almost every Bergman I watch makes me feel like I really don't need to watch other directors. He so perfectly understands and conveys what makes us tick. Because that's where his movies start and end it doesn't matter the time, place, or circumstances. His themes resonate over them all.

In short, I thought this was okay. ;)

[Siddon]

Shame: Realized not long into my second watch that I had no idea what war this movie takes place during. I assumed WWII, but I actually had no idea. That's because Bergman does what no director, in my opinion, does better. He makes the central aspect of the film a relationship that happens to take place during a war. Instead of the focus being on the war, where some peripheral relationships take place. Because of that the tension and the horror are even more impact full. Almost every Bergman I watch makes me feel like I really don't need to watch other directors. He so perfectly understands and conveys what makes us tick. Because that's where his movies start and end it doesn't matter the time, place, or circumstances. His themes resonate over them all.

In short, I thought this was okay. ;)


Bergman was clearly influenced by civil wars in places like Vietnam and Cambodia

[seanc]

Bergman was clearly influenced by civil wars in places like Vietnam and Cambodia

I'm sure. That's probably why he kept it ambiguous here. The themes could work anywhere, don't you think?

[Thief]

Yeah, the intention was clearly to keep the war ambiguous, while also highlighting how both sides are responsible of reprehensible acts.

[Citizen Rules]

One of the aspects I most appreciated in Shame was that the war was non-defined. At first I wondered if there had been some such war. Then I realized from the tone of the movie that the story was about the couple and also the people who are caught up in such a war. I thought it was a good way to go having that war being 'any civil war'.

[cricket]

Antwone Fisher

https://yify-torrent.cc/yt/20170727/61834/screenshot5.png

It was interesting reading some of the comments here after I watched this. I didn't find it to be sad or disturbing at all, but rather inspirational and uplifting. Of course it's sad to see children enduring abuse, but unfortunately it's so damn common. What makes this story special is the conquering of the demons that comes with those experiences.

It's no surprise that Denzel directed this. He's a man who has been outspoken as to the problems in the black community. It's not any type of racism or oppression that's the driving force behind these poor people's struggles, but rather broken homes. Of course, it's a lot more complicated than that. It is interesting in the beginning that Antwone seems to believe he's a victim of racism from whites, and maybe he was, but it's never explored. Now, this poor kid got the double whammy; a broken home and abuse. If you look at his trajectory, the fact that he suddenly decided to join the Navy and then made something of himself is a minor miracle. And that is why the story is so uplifting.

This movie is quite standard in a lot of ways. There's nothing that's pleasing to the eyes or ears, there's no surprises, and it's cliched. But sometimes life is cliched, and what we have is a very human story. All you really need is strong lead performances and we get that. You know I'm not even sure how good of an actor Denzel really is. He doesn't show a lot of range. He seems like a charismatic and likable guy who plays himself. If that's true then that's enough for me because I love him in everything. The big key here is Derek Luke, an actor I'm not familiar with. He's the lead and there's plenty of times that he has to carry the movie by himself and he pulls it off. I thought everyone else was good too. I was surprised to see Viola Davis towards the end. She's one of my favorite actresses. She didn't get to do much but the important part for this story was how Antwone Fisher reacted to her, not the other way around. The only part of the movie that didn't interest me was the bits about the doctor and his wife. Maybe they threw it in there because it's part of the true story? Idk but it really didn't work for me. What interested me more was the backstory of the mother and the abusers, and why they did what they did. A lot of this is a cycle and they were most likely victims too. That's ok though because this movie's focus was on Antwone. Glad it was nominated because it wasn't on my radar.

4

[cricket]

And that's it for me. I've been thinking about it and I can't figure out how to rank 2-5. Those 4 movies are so different but I feel that I like them all the same. I might have to do some coin flipping.

[rauldc14]

And that's it for me. I've been thinking about it and I can't figure out how to rank 2-5. Those 4 movies are so different but I feel that I like them all the same. I might have to do some coin flipping.

Either way it's going to be interesting seeing these lists trickle in.

[cricket]

Either way it's going to be interesting seeing these lists trickle in.

I put it together and will send it now. I went by if I had to watch something again today, what order would I choose.

[cricket]

If it stayed in, The Deer Hunter would have been my #2. It's a long time favorite with one of my favorite De Niro performances, and probably Walken's best. There are people that hate the movie.

[rauldc14]

Deer Hunter is eliminated.

[Thief]

Ah well, I was looking forward to it. Haven't seen it in a looooong time so I was curious to see how it would fare now. Hope everything is well with Agrippina.

[seanc]

I saw Deer Hunter not long ago, so I may have skipped the rewatch anyway. I really enjoyed it but this HOF has some good flicks in it. I'm thinking it would have been between 5 and 7

[Citizen Rules]

73247
La Dolce Vita

Whoever nominated this owes me three hours;)


Nah, actually I watched this in one go...and the time flew by too. I've seen 90 minute movies that dragged, but with La Dolce Vita the visual sensory is on high and there's always something gorgeous to look at.

This was my first time watching it and I expected to be raving about Anita Ekberg. I mean whenever I see images from this movie, it's always of her. But I didn't find her or the scenes she was in to be all that fascinating. I didn't even really find her all that attractive. I mean she is of course, but just not my type. Probably nobodies type here! I actually found Marcello's wife Emma to be more attractive and interesting too. Well whenever she wasn't half dead from popping pills or screaming how much she loved Marcello.

Me, I loved the first 30 minutes of the movie, its kinetic energy and exploration of things common yet unseen, reminded me of another favorite Italian film L'Avventura.

I do however think Fellini is way over indulgent and actually a bit lazy. He gives us three nearly identical and long scenes showing Rome's well-to-do engaging in drunken shenanigans. The first of these at Steiner's house with all the bored to tears, rich intellectual types, made Fellini's point crystal clear.

But then Fellini duplicates that party scene twice more: The old villa castle scene and the last party scene in the house where the unhappy Marcello pours chicken feathers over a drunken young lady...If you tell me that's symbolism, then the pizza stains on my sweatshirt are freaking high art and surly must decipher the Da Vinci code just by looking at all that dried tomato sauce.

[cricket]

Anita Ekberg is exactly my type:D

[seanc]

It's always fun for me when the Welles guy tells us how over indulgent other directors are. ;)

Seriously though, I feel like I used to feel that way about a lot of movies. Somewhere along the line that just went away for me. I love how indulgent La Dolce and 8 1/2 feel. Give me more. Make them mini-series. I'm game, I just want to get lost in these auteurs worlds.

[Citizen Rules]

It's always fun for me when the Welles guy tells us how over indulgent other directors are. ;)

Seriously though, I feel like I used to feel that way about a lot of movies. Somewhere along the line that just went away for me. I love how indulgent La Dolce and 8 1/2 feel. Give me more. Make them mini-series. I'm game, I just want to get lost in these auteurs worlds.That's interesting as Matt once posted a link to a site that had interviews with directors and their opinions of other directors. I'll see if I can find that link.

[Citizen Rules]

https://web.archive.org/web/20160407222716/https://www.criterion.com/lists/178298-directors-talk-directors

That's one link but I'm sure there were others.

[Citizen Rules]

Check this out! A 'missing scene' from La Dolce Vita...I wish! This is awesome:)'

https://surprise.ly/v/?8rL7QF_lVOg:3:243:0:100

EDIT: that clip is under 4 minutes. I think it's pretty cool.

[seanc]

https://web.archive.org/web/20160407222716/https://www.criterion.com/lists/178298-directors-talk-directors

That's one link but I'm sure there were others.

Started it, but that's long. I will pick it up later. They seem interesting.

[Citizen Rules]

Started it, but that's long. I will pick it up later. They seem interesting.It's only 4 minutes long, I should've posted that as there's no way tell when the video plays, but just a quicky. I hadn't seen it in a long time, but gosh I love it.

[seanc]

It's only 4 minutes long, I should've posted that as there's no way tell when the video plays, but just a quicky. I hadn't seen it in a long time, but gosh I love it.

Thought it was an article. I will look at it again

[Thief]

ANTWONE FISHER
(2002, Washington)
A film with an African-American cast

https://www.spiritualityandpractice.com/uploads/film_reviews/images//antwone-fisher-hero.jpg

"Who will cry for the little boy, Antwone?"
"I will. I always do."


Crying, burning, trapped, hurt, dying, trying... those are some of the words that the titular character uses to describe his situation in this film. Antwone Fisher grew up with no parents, rejected by every level of society, including the ones that took him in. He came "from under a rock", he claims at one point. A retort used as much as a defense but also as a cry for help. Because as much of a front as these kids-turned-teens-turned-adults try to put up, they're ultimately alone and helpless.

This film follows the events that surround Fisher (Derek Luke), a Navy sailor that is sent for a psychiatric evaluation with Dr. Jerome Davenport (Denzel Washington) after yet another violent outburst against another sailor. But Fisher says there's nothing wrong with him, or at least that's the front he tries to put up with Davenport when we all know he's just a boy trapped inside a man. The film follows the typical motions of other similar films, with Davenport standing strong beside Fisher, as he eventually opens up to reveal his troubled past; a past that involves abuse of all kinds.

When my wife and I started the process to take in and eventually adopt our two sons, we were allowed to bring them home for a weekend; a weekend that went surprisingly well given the circumstances. Upon returning them to the foster home, this 6-year-old kid clung to my wife as we were about to leave as if there was no tomorrow. This kid, who barely knew us, who we had only met on 3 or 4 previous meetings was bawling, crying uncontrollably begging us not to leave him and his brother. I probably will never be able to get that image out of my mind because it perfectly captured how much absence of love and care, how much need is in this kids.

Fast-forward 2 years and we obviously have them with us, adopted and safe. I can listen to them playing, happily screaming and hollering in the room next door as I cry writing this. Has it been an easy road? Hell, no. I've seen them both crying, "burning", "trapped", hurt, "dying", trying... Much like Antwone, our older kid is prone to violent outbursts and there have been days where things have gotten... rough. Things that sometimes we haven't even shared with our families. But I like to think we've been able to join them in their pain, help them with their scars, and cry with them. I like to think that, unlike Antwone's real and foster family, they can count on us being there.

I struggled with writing this because the film obviously hit close to home. I tried to write from outside, but there's no escaping it. As is expected, Fisher and Davenport develop a bond, and they both help each other overcome their own issues. There are some script issues as far as Davenport's personal struggles go, but Fisher is able to find closure by reuniting with his real family. It's inspirational. It's uplifting. But the scars are there. I know. I've seen them and felt them. And for every Antwone that manages to find his Davenport, and find closure, there are hundreds, thousands of others that don't. For every I.J. and I.J. that finds us, there are many others that are still out there looking for someone to cling to, someone to love them. Who will cry for them?

Grade: 4

[Citizen Rules]

Thought it was an article. I will look at it againFirst one was an article. The second link was a video clip of a Fellini style sequence that was 4 minutes long.

[SpelingError]

https://web.archive.org/web/20160407222716/https://www.criterion.com/lists/178298-directors-talk-directors

That's one link but I'm sure there were others.

I stumbled upon that link before, but that's a great read. Thanks for linking it here!

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F4.bp.blogspot.com%2F-bUbPxjC_UNw%2FU9Y7Rnw1EuI%2FAAAAAAAAE6k%2FvHQT17qsGOk%2Fs1600%2FLa%2BDolce%2BVita%2B7.jpg&f=1&nofb=1

La Dolce Vita, 1960

In a series of sequences that take place through nights and days that have indeterminate gaps of time between them, we follow the exploits of a journalist/newsman named Marcello (Marcello Mastroianni) and especially his various interactions with and pursuits of different women, including his fiance, Emma (Yvonne Furneaux); a glamorous movie star, Sylvia (Anita Ekburg); and a wealthy heiress, Maddalena (Anouk Aimee).

This film, to me, was almost three hours of watching a man in the midst of a mid-life crisis. Marcello is not happy. And he cannot seem to figure out exactly what it is that he wants, often filtering his unhappiness through his relationships with the different women. The nature of his work seems to exacerbate this problem--everything is a performance, a play. People become objects to be photographed and followed.

The thing that struck me the most about this movie is the stark contrast between the absolute beauty of the imagery and the despairingly hollow nature of the lives of these beautiful people. Everything in this world is gorgeous--the people, the homes, the architecture. And there is a constant swarm of photographers who surround the various beautiful subjects. And yet there seems to be no meat, nothing real to it. The shot of Sylvia in the fountain is probably the most famous image from this film, and yet how does that sequence end? The paparazzi provoke Sylvia's boyfriend into confronting and hitting her (something that not a one of the men who watch it happen do or say anything about), then throwing a few punches at Marcello. And yet it all feels rehearsed and there is no genuine passion to be found anywhere. This dehumanization probably reaches its peak later in the film, when one of Marcello's friends kills his children and then himself. When Marcello goes to meet the man's wife and tell her about her husband and children, they are surrounded by the press. And the men giving her the news do not even bother to get her to a private place to tell her what has happened. Instead she must learn the heart-rending news of her children's deaths standing on a street with flash bulbs popping in her face.

It is interesting to watch the way that Marcello expresses his own frustrations through the relationships with the different women in the movie. After having a fling with Maddalena, he returns home to find that Emma has tried to kill herself. "Why would you do it?" he demands, you know, literally hours after he has slept with another woman. Sylvia's free-spirit vibe seems to offer some escape, but even this is eventually revealed to have a calculated element. The women in Marcello's orbit all seem to have something that he wants, and yet he is let down by all of them. I'm not entirely sure Marcello himself knows what he wants. A scene toward the end of the film, in which Marcello covers a woman with feathers and, when she doesn't do what he wants, looks genuinely angry and hits her in the head with a pillow in a way that is a bit too aggressive. He rails at Emma at one point that he cannot stand her oppressive, "maternal" love, and yet he is put off equally by the more frivolous behavior of other women. (A sequence in which a man describes the perfect wife as being like a "lover and a daughter all at once" is, I think, intentionally gross. I hope.)

The main downside of the film, for me, is also something that I think is intentional. The sequences of the characters partying and hanging out get repetitive at a point (maybe around the second full hour?). But, kind of like something like Jeanne Dielman, the repetition almost felt like part of the point. Marcello is in this cycle of attending these parties and events, seeking something that he doesn't seem to realize might not be romping around holding a glass of champagne. Marcello seems trapped by his idea of where he will find happiness, and cannot pull himself out of his narrow world-view. He gets angry at the people in this world (himself, the women), but cannot seem to break free of it. There was something kind of pathetic watching the way that Marcello was constantly hitting on any woman who came into his orbit, seemingly hoping that she will finally be "the one".

Between the gorgeous photography and the slightly dreamy way that the film moves through time, I can see why this is a classic. I'm not sure how often I would want to revisit it, but I enjoyed it.

4

[seanc]

Check this out! A 'missing scene' from La Dolce Vita...I wish! This is awesome:)'

https://surprise.ly/v/?8rL7QF_lVOg:3:243:0:100

EDIT: that clip is under 4 minutes. I think it's pretty cool.

That was funny

[rauldc14]

ANTWONE FISHER
(2002, Washington)
A film with an African-American cast

https://www.spiritualityandpractice.com/uploads/film_reviews/images//antwone-fisher-hero.jpg




Crying, burning, trapped, hurt, dying, trying... those are some of the words that the titular character uses to describe his situation in this film. Antwone Fisher grew up with no parents, rejected by every level of society, including the ones that took him in. He came "from under a rock", he claims at one point. A retort used as much as a defense but also as a cry for help. Because as much of a front as these kids-turned-teens-turned-adults try to put up, they're ultimately alone and helpless.

This film follows the events that surround Fisher (Derek Luke), a Navy sailor that is sent for a psychiatric evaluation with Dr. Jerome Davenport (Denzel Washington) after yet another violent outburst against another sailor. But Fisher says there's nothing wrong with him, or at least that's the front he tries to put up with Davenport when we all know he's just a boy trapped inside a man. The film follows the typical motions of other similar films, with Davenport standing strong beside Fisher, as he eventually opens up to reveal his troubled past; a past that involves abuse of all kinds.

When my wife and I started the process to take in and eventually adopt our two sons, we were allowed to bring them home for a weekend; a weekend that went surprisingly well given the circumstances. Upon returning them to the foster home, this 6-year-old kid clung to my wife as we were about to leave as if there was no tomorrow. This kid, who barely knew us, who we had only met on 3 or 4 previous meetings was bawling, crying uncontrollably begging us not to leave him and his brother. I probably will never be able to get that image out of my mind because it perfectly captured how much absence of love and care, how much need is in this kids.

Fast-forward 2 years and we obviously have them with us, adopted and safe. I can listen to them playing, happily screaming and hollering in the room next door as I cry writing this. Has it been an easy road? Hell, no. I've seen them both crying, "burning", "trapped", hurt, "dying", trying... Much like Antwone, our older kid is prone to violent outbursts and there have been days where things have gotten... rough. Things that sometimes we haven't even shared with our families. But I like to think we've been able to join them in their pain, help them with their scars, and cry with them. I like to think that, unlike Antwone's real and foster family, they can count on us being there.

I struggled with writing this because the film obviously hit close to home. I tried to write from outside, but there's no escaping it. As is expected, Fisher and Davenport develop a bond, and they both help each other overcome their own issues. There are some script issues as far as Davenport's personal struggles go, but Fisher is able to find closure by reuniting with his real family. It's inspirational. It's uplifting. But the scars are there. I know. I've seen them and felt them. And for every Antwone that manages to find his Davenport, and find closure, there are hundreds, thousands of others that don't. For every I.J. and I.J. that finds us, there are many others that are still out there looking for someone to cling to, someone to love them. Who will cry for them?

Grade: 4
I am so glad you could connect to the film. Even if it's not a "great" film, it's a very untalked about one.

[rauldc14]

73247
La Dolce Vita

Whoever nominated this owes me three hours;)


Nah, actually I watched this in one go...and the time flew by too. I've seen 90 minute movies that dragged, but with La Dolce Vita the visual sensory is on high and there's always something gorgeous to look at.

This was my first time watching it and I expected to be raving about Anita Ekberg. I mean whenever I see images from this movie, it's always of her. But I didn't find her or the scenes she was in to be all that fascinating. I didn't even really find her all that attractive. I mean she is of course, but just not my type. Probably nobodies type here! I actually found Marcello's wife Emma to be more attractive and interesting too. Well whenever she wasn't half dead from popping pills or screaming how much she loved Marcello.

Me, I loved the first 30 minutes of the movie, its kinetic energy and exploration of things common yet unseen, reminded me of another favorite Italian film L'Avventura.

I do however think Fellini is way over indulgent and actually a bit lazy. He gives us three nearly identical and long scenes showing Rome's well-to-do engaging in drunken shenanigans. The first of these at Steiner's house with all the bored to tears, rich intellectual types, made Fellini's point crystal clear.

But then Fellini duplicates that party scene twice more: The old villa castle scene and the last party scene in the house where the unhappy Marcello pours chicken feathers over a drunken young lady...If you tell me that's symbolism, then the pizza stains on my sweatshirt are freaking high art and surly must decipher the Da Vinci code just by looking at all that dried tomato sauce.




Really look forward to my rewatch. Fellini has been a tough guy for me to crack but I really liked this first go.

[Citizen Rules]

Really look forward to my rewatch. Fellini has been a tough guy for me to crack but I really liked this first go.I actually liked La Dolce Vita too. I just felt the two last party scenes went on for a really long time!

What's your thoughts on other Fellini films that you've seen?

[rauldc14]

I actually liked La Dolce Vita too. I just felt the two last party scenes went on for a really long time!

What's your thoughts on other Fellini films that you've seen?

Satyricon- Crazy, not my thing
8 1/2- seen twice, think it's overrated
I Vitelloni- it's just ok
La Strada- pretty good

La Dolce Vita is my favorite

[Wyldesyde19]

Watched The Secret in their Eyes.

Will have a review up once I get more thoughts straightened out

[Wyldesyde19]

I actually liked La Dolce Vita too. I just felt the two last party scenes went on for a really long time!

What's your thoughts on other Fellini films that you've seen?

Really looking forward to watching La Dolce Vita later tonight.
Of Fellini films that I have seen:

Satyricon: a mess of a film. Can’t believe it’s so highly acclaimed

La Strada: lived this when I watched it back in 2009, I think?

Nights of Cabiria: don’t remember much about it.

I, Clowns: didn’t care for this pseudo documentary either.

Need to see so many of his films yet, before I get a good grasp of him and his style. Vita is a good place to start.

[Wyldesyde19]

The Secret in Their Eyes


Benjamin Esposito has settled into middle aged life full of regret. Regret of a murder case he never closed. Regret of a unfulfilled promise for the victims husband. And regret over a lingering love that he never dared to admit of.
All three come to the fore front of this film, as he attempts to reconcile his past, seeking close through a novel he is writing about his experience with the case.
He’s never able to get past the beginning, because for him, the case never truly ended.
This films does a great job of telling the story with effective flashbacks, jumping back and forth between the present and the past. As a detective film, it’s great. But the heart of this film deals with Epositios unspoken love between him and his boss, Irene. The casual glances and looks of longing they give each other.
It’s all about their eyes. Most of their communication is delivered through how they look at each other. Irene looks at Benjamin with a sad, contemplative look as if she is still waiting for him to make his decision. Ben looks at her with regret, and curiosity. As if he wonders how only what if, but is it too late?
It mirrors his devotion to the case as well.
He notices the suspect always glancing at the victim in each photo, but failed to realize his own guilt of doing the precise thing in regards to Irene, until it is innocently pointed out to him. The difference is, of course, he does not care to possess Irene, such as the suspect did with his victim, but rather share his life with her.
It’s an effective film, one I had been wanting to see for ever, and now that I finally have I’m satisfied. It’s a sad film, but also one of hope.
Bonus points if you also get a lump in your throat when he flees town for his safety and Irene chases after the train.
For them, that was a defining moment in their relationship, such as it were, where she asks him years later “Why didn’t you ask me to go with you? Dimwit.”

[rauldc14]

Reviews in: 124/225

[Thief]

That's some uncalled pressure!

[Torgo]

https://i.postimg.cc/VNTpLR79/tenor.gif

Working on it!

[SpelingError]

La Dolce Vita (1960) - 4

I've talked about my relationship with Fellini in the past, but everything I've seen from him so far has left me cold. In addition to this film, I've also seen 8 1/2 and La Strada. While I don't have any issues with those films per se, I felt like they flew over my head. Given that, I wasn't so hot on rewatching this film concerning its 3 hour runtime, but to my surprise, I ended up liking it quite a lot. Though I'm not sure I loved it per se, it's definitely made me more eager to revisit 8 1/2 and La Strada.

On the surface, this film is lovely to look at. It largely consists of various parties Marcello goes to, where he's surrounded by his friends and various women he intends to start a successful relationship with. The deeper one delves into these scenes, however, Marcello's lifestyle feels less like a utopia and more like a prolonged mid-life crisis. The great tragedy of Marcello is that he desperately craves a change in scenery, yet every event he attends results in the same scenery and a similar outcome of winding up back at square one. Instead of abandoning this unfulfilling lifestyle though, he keeps on attending these parties, experiencing more and more failed relationships along the way. Though it's unclear what he wants, there seems to be something he intends to obtain from this lifestyle before he fades away from it altogether, except, one party after another, his attempts keep falling flat. On the surface, it could be said that his intention is to start a successful relationship, but I think his motives are more complex than this. He's already engaged to Emma, yet cheats on her and shows little interest in their relationship. However, if their relationship seems as if it's about to be destroyed, he attempts to prevent that from happening. This raises questions on whether he even knows what he wants. Whatever his intentions are, it's clear his desires won't be fulfilled in his current state.

The most commonly criticized aspect of this film is its length. While I'm not going to pretend the movie kept me fully engaged all throughout (I felt its length in a couple party scenes in the latter half), I think its length was part of the point. I love how Rotten Tomatoes has "...La Dolce Vita remains riveting in spite of -- or perhaps because of -- its sprawling length." in the film's Critical Consensus. Marcello seems trapped in a never ending cycle of attending parties and forming relationships, yet always ends up unfulfilled. His response to these failed attempts are to try again and again until something finally works out. In that sense, the repetition adds more layers to Marcello's characterization. I suspect that another rewatch will make this aspect more profound. As it currently stands, I struggled with the film somewhat (albeit, far less than I did when I first watched it), but the odds of me revisiting it are definitely much higher than they previously were.

Overall, I really liked this film. Brimming with bloat and repetition, it's not for everyone, but there's definitely a lot going on in the film beyond presenting a gorgeous portrait of nightlife in Rome interspersed with some drama. It's not quite a great film for me (again though, I suspect I'll like it more with another viewing), but it's grown on me to the point it's now my favorite of Fellini's films.

Next up; The Man From Nowhere

[rauldc14]

Hard Times

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This isn't a bad film, but it's one of those films that I could tell from the beginning just wouldn't really speak to me. A lot of that has to do with the characters as the only one that I really found to be interesting was Speed. It was also really the only character that I thought was brought to life real well with a good performance by James Coburn. While I didn't mind Charles Bronson, he really didn't do anything spectacular for me and was kind of just plain to me. There wasn't much of a character angle on him which affected my overall enjoyment of the entire film. If he had more of a personality or an edge maybe I would have felt different.

The film doesn't do anything extraordinary for me but there really isn't anything that is to weak to me either. So overall, a pretty middle of the road experience. The directing was ok but I would prefer Hills The Warriors pretty easily.

3-

[Torgo]

https://i.imgur.com/8tteemH.jpg

While this is an involving and powerful statement against war, it's one that applies to any other crisis whose instigators put their cause first and their humanity second. This is because one of Bergman's many wise decisions is to make the movie's war a fictional one and to leave its motivations up to the viewer. Not to mention, the locations and characters' names place the movie in Sweden, but it could easily take place anywhere. As for Von Sydow and Ullman as married couple Eva and Jan, how they portray their transition from neutral and hopeful to savage and nihilistic as the war goes from knocking at their door to kicking it open crept up on me in the best way. It's also a nice yet bleak touch that their family and professional plans that hinge on the war's resolution, i.e. having a child and returning to their orchestra, gradually fall by the wayside. Luckily, there are moments of levity that Bergman intersperses at just the right times, the standouts for me being when Jan and Eva drink wine with the shopkeeper, pick berries and tend to their farm. They reminded me of the "strawberries and milk" scene from The Seventh Seal for how they stress the importance of appreciating life's simple pleasures and made me wonder if there would be fewer wars if those who start them were better at doing this. All in all, the movie stands as a definitive piece of art about the horrors of absurdity of war from a neutral viewpoint. It should be required viewing for anyone who thinks wars are exciting, that we need another one to turn things around, etc. because most peoples' wartime experience resembles Jan and Eva's than they do those with the guns.

[Citizen Rules]

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The Man from Nowhere (2010)

The South Korean film industry really is hot! They're doing films that Hollywood wishes it could make. I've seen a few South Korean films and have been impressed with their dedication to cinema quality. And The Man From Nowhere is no exception. I mean it hits all the notes, delivers all the punches and does it with style and skill. So I can see how people love this movie. For me it falls into the category of: I appreciate the skill of the film making, but I'm not a fan of action films...Action-thriller-crime-violence films are just not my cup of tea.

The relationship between the quiet pawn store keeper with the dark past and the little girl who's in need of help was my favorite part. Their relationship had heart and I love movies with heart, but mostly this is a non stop action thriller with lots of violence and graphic torture scenes and it does that well...But that's not my thing.

[pahaK]

The Man from Nowhere (2010)

Most of the things I was planning to say about The Man from Nowhere have already been said by others. Because of that, I'll keep this short.

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So, this is a Korean mix of Taken and Léon. Its concept of a man of violence redeemed by a child is extremely common in Asian action movies. Sometimes it works, sometimes not, but The Man from Nowhere belongs to the first group. The relationship seems genuine enough, and while cliched, Tae's history gives him the reason to care for the girl.

This is basically a good action movie. There's nothing deep in it, but it's technically solid, good-looking, and entertaining. Action is brutal and bloody, and in old-school style, violence is a solution, and problems disappear when all the bad guys are dead. The Man from Nowhere is not a profound piece of art, but it's the kind of film I enjoy watching. I wonder why I hadn't seen it before.

[rauldc14]

Shame

I think this film is very important at portraying the problems of life in general and the fact that you just can't escape all turmoil. At the head of the movie is some masterful direction by Ingmar Bergman. It could also be one of his most beautiful looking films. Certainly one of the better screenplays of his too. I'm not sure though it could have been pulled off without the two great performances from Max Von Sydow and Liv Ullman. They are both 2 that don't get enough credit for how good they really were and this is a film that showcases that. It could be their best performances from both of them although I'd say probably Seventh Seal for Von Sydow. This is a film I can tell has a lot of repeatability and I'll want to watch it again. Lived up to the hype.

4

[edarsenal]

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Rudderless

Quentin: You know, I don't get the appeal of fishing.
Sam: Really. Well, I would imagine that most activities performed in silence don't make much sense to you.

SPOILERS

Life affirmation can be, ironically, found in some truly tragic times and for his Directing Debut, William H. Macy found, mastered and executed it with a simplistic beauty. Incorporating music making as a catharsis for a man who loses his son in a college shooting.
When it is discovered that his son was the shooter, I found that to be an excellent point of view in regards to delving into the father's loss and reconnection to his son via the music that the young man wrote. Instead of going the common road of storylines involving such situations, Macy takes the lesser road, and, as the old saying goes, for this film it really does make all the difference.

We follow Sam's (Billy Crudup) drunken grief, and then his reconnection to his son via the cd's that his son made. Taking him on the emotional journey along with Quentin (Anton Yelchin) who nudges Sam into playing more and more of the songs. Without knowing who was the original author of said songs.

This is not overly dramatic and it doesn't need to be. The emotional moments are melded into everyday life and the songs express what dialogue holds back. Giving a more realistic feel to Sam's and Quentin's state of mind and reluctance to talk about it.

I had been looking forward to this, and now, having seen it, I thoroughly get WHY I was and even more so, so glad that it was nominated.

[Takoma11]

The Man from Nowhere (2010)

This is basically a good action movie. There's nothing deep in it, but it's technically solid, good-looking, and entertaining. Action is brutal and bloody, and in old-school style, violence is a solution, and problems disappear when all the bad guys are dead. The Man from Nowhere is not a profound piece of art, but it's the kind of film I enjoy watching. I wonder why I hadn't seen it before.

I'm glad you liked it. Despite the violence and the kids in peril, this movie is kind of comfort food for me. It is exactly the kind of movie that I like in the winter.

[Wyldesyde19]

Ok, finally going to start up La Dolce Vita.
Rough week, haven’t watched many movies lately. Time to get back into it.
*cracks knuckles*

[Wyldesyde19]

I’ll have a review up for La Dolce Vita sometime tonight. I had to think about it some more, and what it means to me. Without reading other reviews and being influenced.
I will say I enjoyed it, even if it did drag at some points, most notably the party at the castle. Overall, I may push this just ahead of La Strada. Definitely ahead of Nights of Cabiria. I still need to see many of his films though.
A proper review will come later, however.

[Torgo]

The Man From Nowhere

This is another solid entry in the subgenre of action movies about veterans who have lost their humanity, reclaim it, have it stolen from them and seek vengeance such as John Wick and Man on Fire. Like Wick and Man on Fire's Creasy, Cha Tae-sik is as terrifying as he is sympathetic and provides a vehicle for a memorable performance, which we get from Won Bin. By emphasizing his desire to be left alone and touches like his shroud of a getup and unkempt hair, I first questioned why the movie diverted from the action to follow this nobody around, which made that instantaneous knife grab and the revelation of his back story shocking in the best way. Luckily, Tae-sik has a worthy cadre of rivals, my favorites being Thanayong Wongtrakul as requisite "quiet one" Ramrowan and Kim Sung-oh's sadistic Jong-seok. The movie is also a joy to simply look at thanks to camerawork that highlights the size and liveliness of Seoul and the vibrancy of its nightlife; plus, there's those magic tricks of shots during the action scenes. I'm still thinking about the awesomeness of Tae-sik's driving range plunge and the shot that follows his trip through a window to the ground and wondering how DP Tae-yun Lee pulled them off. Also, similar to how Man on Fire explored Mexico City's abduction and ransom plight, I like how the movie takes a look at Seoul's drug and organ trafficking problems. From the children who become orphans as a result of gang rivalries and the punishment they enact on thieves and betrayers to those like Tae-sik who lose the will to live while bringing the gangs to justice, the movie unflinchingly shows how the main product of their activities is discarded people. Besides these examples, I like how the movie presents this theme of being discarded in other ways both subtle and obvious (it's not a random choice that Tae-sik runs a pawn shop). The movie implies that Tae-sik and neighbor So-Mi have known each other for a long time, but it would have been nice to see them spend a little more time together. Other than that, there's little to complain or nitpick about in this movie and it's another reminder that South Korean action is on par with and often better than Western action.

[Wyldesyde19]

La Dolce Vita


Marcelo is a unhappy man. He hates his job as a gossip columnist. He isn’t happy in his current relationship, which causes him to pursue many women over the course of the film. He doesn’t seem satisfied where he is in life. He seems to think he is enjoying the nightlife of Rome. Deep down he knows he wants more.

There is a lot to be said about the life he has chosen. The women all represent an escape. An opportunity. He chases after them because of what they offer. Meanwhile he has a dedicated girlfriend at home he seems to resent but can never leave. Maybe he knows it’s because deep down, he knows he may never find one as dedicated. Maybe he doesn’t think he deserves to.

Speaking of the women, they are all well cast for their parts, and are all absolutely beautiful in this. Each one nails the scenes perfectly.

Marcello meets a friend who represents what he wants. The family, the lifestyle, the intelligence. But upon stating his admiration and desire for it, his friend, Steiner, gives a warning that his life isn’t as perfect as it seems. It is a moment of foreboding, one I won’t spoil, but it’s result will have a profound effect on Marcello and his decisions at the end.

Thematically, it’s well structured. The scenes with the press and crowd frenzied over the Madonna sends a clear message about the seedy side of journalism. It’s treatment of a “miracle” is something to sell the papers, and treated seriously by the press.

In a later scene, one involving a widow who ha don’t yet received the news, is confronted by photographers as the detective and Marcello try to give her the news. It’s almost prophetic.

We even get some idea about why Marcello is the way he is when we meet his father and get some insight on their relationship.

Sure there are some scenes that go on for too long, such as the party on the castle. But it’s necessary to show. In the end, Marcello seems unhappy with his decisions. He behaves badly at a party. Mistreats a young woman who happens to be drunk. And what’s worse, is he seems to recognize this. As he stands at a beach, a “monster fish” has been brought ashore on a net (really a manta ray of some sort). He seems to make eye contact with it and it almost judges him. As if to say, “I’m not the real monster here.”

[Citizen Rules]

@Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656) That's a well written review of La Dolce Vita, I like your analyze of it and how you gelled it all together. I wish I had wrote it! Glad to see people getting something from La Dolce Vita.

[Wyldesyde19]

@Wyldesyde19 (http://www.movieforums.com/community/member.php?u=104656) That's a well written review of La Dolce Vita, I like your analyze of it and how you gelled it all together. I wish I had wrote it! Glad to see people getting something from La Dolce Vita.

Thanks man. There is so much more to analyze from it, that requires repeated viewings. It’s such a great film! Really glad to have finally seen this

[Citizen Rules]

Thanks man. There is so much more to analyze from it, that requires repeated viewings. It’s such a great film! Really glad to have finally seen thisI once read that Roger Ebert had watched La Dolce Vita many, many times. Maybe even like 50! I guess he kept finding more in the film with each viewing. I need to see more Fellini.

[Wyldesyde19]

I once read that Roger Ebert had watched La Dolce Vita many, many times. Maybe even like 50! I guess he kept finding more in the film with each viewing. I need to see more Fellini.

Same. This is his 5th film I’ve seen now. Probably his best that I’ve seen.

[pahaK]

I watched Antwone Fisher today. I think it's holding the last place on my ballot at the moment. Why? Tune in for the full review later.

[neiba]

Hard Times (1975)

A rather enjoyable film, though far from extraordinary.

I like how straightforward it is, Bronson plays a character that speaks to all his strengths as an actor and none of his weaknesses so that is some fine casting. It's also nice to see Coburn!
The cinematography and soundtrack work exactly how they're supposed to and help construct a tight circular narrative. I guess for what it sets out to be, the film is almost perfect. The only thing I can say about it is that the female roles are close to useless and end up only hurting the pacing.

I was, however, waiting for something else to happen. We don't ever feel any threat, as it is quite clear that Chaney will win every fight as long as it's a fair game. The only moment where there's some tension is when his adversary has the opportunity to cheat, although that is quickly resolved. But again, that was not what the director had in mind and I respect he kept faithful to his vision.

3 +

[SpelingError]

Sorry for falling behind on this. I plan to write a review of The Man From Nowhere by this weekend.

[Thief]

I'm trying to catch up with my own challenge but might sneak in Beasts of the Southern Wild before the month ends.

[Torgo]

Hard Times (1975)

A rather enjoyable film, though far from extraordinary.

I like how straightforward it is, Bronson plays a character that speaks to all his strengths as an actor and none of his weaknesses so that is some fine casting. It's also nice to see Coburn!
The cinematography and soundtrack work exactly how they're supposed to and help construct a tight circular narrative. I guess for what it sets out to be, the film is almost perfect. The only thing I can say about it is that the female roles are close to useless and end up only hurting the pacing.

I was, however, waiting for something else to happen. We don't ever feel any threat, as it is quite clear that Chaney will win every fight as long as it's a fair game. The only moment where there's some tension is when his adversary has the opportunity to cheat, although that is quickly resolved. But again, that was not what the director had in mind and I respect he kept faithful to his vision.

3 +Glad you liked it. The drama of whether Chaney would get his fair share, which was at risk from Speed's gambling addiction and working with gangsters, was enough for me to make up for the rather one-sided boxing matches. Also, I sort of agree about the female roles being limited. Jill Ireland's character is pretty much only there to remind Chaney that it's hard to have a long-term relationship with a drifter like himself. I mentioned a few pages ago that the movie resonated with me because in this pandemic, we may all feel like Chaney right now (at least that's how it is in America, which doesn't have as generous or stable of a social safety net).

[Siddon]

https://4.bp.blogspot.com/-Dh-J13LcQ3E/UGELSeuTVHI/AAAAAAAAFSI/Wbv1NNkkYy8/s1600/Barry-Lyndon-2.jpg

Barry Lyndon (1975)


How does 3 hours fly by so quickly...well when every shot looks like a painting and every character is complex and the lead is the hero but also the villain fairly well. In my opinion Barry Lyndon is Kubricks best film, I like The Shining more but Lyndon is just such a well constructed, well written glorious film.



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To say the film is well shot is the understatement of understatements just look at the compositions. Your eyes go to the center of the film and then you can space out and enjoy the background which is almost it's own character.


One of other things I love about this film is the contrast of the characters. Ryan O'Neal is somewhat of a blank slate of a person(I think he has to be) but he's surrounded by all of these eccentrics who are living their own films. Certain characters would get one or two scenes and just make the most of it.

[Citizen Rules]

Nice review Torgo of Barry Lyndon. Each scene does indeed look like a painting.

[Citizen Rules]

I'm done with the movies, except The Sea Inside which is Moviegal's nom. She hasn't been on MoFo for a month. I hope she comes back.

Anyway I'm glad so many new people joined the HoF:) I'll be hosting the 25th HoF! and hope to see all of you there.

[cricket]

I'm done with the movies, except The Sea Inside which is Moviegal's nom. She hasn't been on MoFo for a month. I hope she comes back.

Anyway I'm glad so many new people joined the HoF:) I'll be hosting the 25th HoF! and hope to see all of you there.

Where the hell is she?

Either way I'm glad I watched her nom.

[rauldc14]

I'm done with the movies, except The Sea Inside which is Moviegal's nom. She hasn't been on MoFo for a month. I hope she comes back.

Anyway I'm glad so many new people joined the HoF:) I'll be hosting the 25th HoF! and hope to see all of you there.

Unfortunate it looks like she won't finish. I won't call it off 100% yet but it's looking that way obviously if she's not here.

[Wyldesyde19]

Where the hell is she?

Either way I'm glad I watched her nom.

She mentioned to me in a PM that she was taking a break. I would have thought she would have mentioned this to you 🙁

[cricket]

It always sucks when someone who loves your nomination doesn't finish:p

[pahaK]

Antwone Fisher (2002)

Not only is Antwone Fisher a terribly sentimental melodrama, but it also feels like an ad or icon for its titular character. It never forgets to tell us how great and wise the man is. At times, the superlatives are poured by the man himself, but also by those caught in his halo, like the psychiatrist. A less arrogant person would write an honestly fictional story based on his experiences, but that's apparently not enough for Fisher. It had to be about him.

73725

The same is true for his faults; there's always someone else to blame. It gets tiresome to watch this Gary Stu impress everyone, and tell everyone how impressive he is (like his meeting with his mom, which lacked any emotion and was basically him telling her how great and intelligent a man he is). And the most important thing to tell his shrink afterward is that he got laid.

Other than the annoying protagonist, the film is cliched. Washington proves that he has the technical understanding of how to direct a movie, but the film lacks vision and heart. The therapeutic sessions are especially bad, as they seem to last only a couple of minutes, even in the film time (like Fisher's first visit to the doctor's house). They don't feel real at all, but simply devices to get the few needed words out.

A biography that feels fake. A drama without emotion. A lackluster movie. Sorry, but not my thing.

[rauldc14]

A movie without heart? That doesn't make sense to me but oh well. I didn't see this being in your wheelhouse anyways.

[cricket]

I don't get some of the criticism either but I believe pahaK prefers fantasy. The cliche part makes me wonder, just the same as when he ripped apart Boys Don't Cry in roulette saying it was just like any other redneck terrorizes someone movie. No it's not, it's a true story, and often times life is cliched. I think when watching a biography the viewer would want things as close to accurate as possible? As far as when Antwone met his mother, I thought he acted very noble. Instead of going in there like a victim, blaming, and saying look what you did to me, he tells her it all came out ok.

[Citizen Rules]

I expected Antwone Fisher in the first few moments of the film after he beat up another Navy man, to be just another movie about some angry guy who overcomes prejudice and becomes an officer and a gentlemen...And that might have been cliched as we've had a lot of movies like that.

But instead we get a wonderfully nuanced character who is both shy and suffers from low self esteem and is a virgin...all of that because he was sexually abused as a child and it's scarred him as an adult. To me that is heart felt and original. And the real Antwone Fisher rose from being an abandoned and abused child living in poverty to writing a freaking movie! That's not fake or cliched, that's amazing.

[seanc]

Barry Lyndon: I am an easy sell with costume dramas. Add to that the fact that this movie is pretty much a black comedy, and I am all in. Great score and gorgeous cinematography. I also think O'Neal is great here. My favorite Kubrick. This was an overdue second watch.

[rauldc14]

Looks like a little bit of catch up for me in here again. We have two lists in and a few are closing in on finishing too.

[rauldc14]

edarsenal Thief MovieGal Siddon TheUsualSuspect neiba
Wyldesyde19
If you aren't over halfway by now you are technically behind. About a month and 20 days left.

[neiba]

How do we stand with Sea Inside and Deer Hunter? Are they still in?

[rauldc14]

How do we stand with Sea Inside and Deer Hunter? Are they still in?

Deer Hunter is an official out.

Sea Inside there's a good chance it won't stay since Moviegal hasn't posted. I won't officially eliminate it yet but I would definitely save for last if time strapped.

[Torgo]

I watched The Sea Inside last weekend. I'll post my review of in case it gets cut:

There are plenty of things in The Sea Inside that deserve praise. Ramon Sampedro's flashbacks to the incident that changed his life and his flights of fancy are visually interesting and help define who he is. I also like how the movie leaves the answer to whether Ramon has the right to end his life up to the viewer by presenting, but not weighing in on either side of the debate. I especially like the scene where Ramon argues with paraplegic euthanasia opponent Padre Francisco, the highlight being when Ramon's mother disputes the priest's claim that she and the rest of the Sampedro family are not doing enough to support Ramon. You also must give credit to Javier Bardem for not only being utterly convincing as a paraplegic, but also for how well he expresses Ramon's desire to live with dignity despite the role's physical limitations. With that said, a much different debate played out in my mind during the entirety of the movie about whether a dramatic film was the best way to tell Ramon's story. While watching his father speak his mind about his son's desire to die and the conversation with the priest, I couldn't help but think that I'd rather hear them do the same thing on a podcast or on one of the debate shows Ramon listened to on the radio. Also, whenever Ramon spoke about his philosophy on life and death, it made me wish that I was watching him or Bardem as him do the same thing in front of a camera in an Errol Morris documentary. In other words, Ramon's story and the euthanasia controversy at its core seem better suited for debate and discussion rather than dramatization. We spend a lot of time in Ramon’s bedroom, for instance, and while Bardem and director Amenabar do as much as they can to make these scenes compelling and have us empathize with how hopeless and bored Ramon is, my empathetical boredom eventually became actual boredom. Not to mention, the parts that allow for visual invention like the ones that take place inside Ramon's head are pleasing to the eye, but they only (and should only) compromise a small portion of the movie. In all fairness, Amenabar and company did the best they could in their chosen medium to warrant me giving the movie a mild recommendation. Nonetheless, I wish I had read Ramon's book Letters From Hell, which the movie mentions, instead.

[rauldc14]

I think it's worth mentioning I highly recommend watching The Sea Inside as I was really impressed with it.

[Thief]

edarsenal Thief MovieGal Siddon TheUsualSuspect neiba
Wyldesyde19
If you aren't over halfway by now you are technically behind. About a month and 20 days left.

https://media.giphy.com/media/UopWVFUibHVdhfVS1W/giphy.gif

[Thief]

Seriously though, I'm 5/15, so I'm decidedly *behind*. The ends of the month are usually tough for me cause I always end up catching up with my own challenge, but maybe now that March started I can sneak a couple of "freebies" before going all-in into my challenge again. Another good thing is that I've already seen Vampyr (last year), Barry Lyndon, and Beasts of Southern Wild, although the latter two were years ago so I wouldn't mind a rewatch of both. But anyway, I'll try to catch up with a few this week.

[Wyldesyde19]

Plenty of time. I’ll start getting more into this week though.

[edarsenal]

I had watched Aniara last Thursday and need to type out a review.

[rauldc14]

Beasts of the Southern Wild

https://kpbs.media.clients.ellingtoncms.com/img/croppedphotos/2012/07/17/original_14.jpg

This was my second watch but I basically remained the same on how I felt about the film. I do think the highlight of the film was the great performance by Wallis, and it was quite impressive to see her nominated for an Oscar. I wonder if she will have any more big gigs yet in her career. I think Zeitlin did a decent job directing, but the problem was that it was a screenplay that I really didn't care for. I didn't really feel any connection with Hushpuppy's father, which I think hurt how connected I was to the film. I wasn't even sure that the guy was a good father. Had he been maybe I would have felt differently. I think the film would work better without the fantasy elements being in the film too, they kind of take away from the emotional aspect of the story in my opinion. It's just an ok film to me.

3

[SpelingError]

I need to get back into the swing of this thread. I'll try my hardest to finish my review of The Man From Nowhere soon.

[Thief]

Beasts of the Southern Wild

https://kpbs.media.clients.ellingtoncms.com/img/croppedphotos/2012/07/17/original_14.jpg

This was my second watch but I basically remained the same on how I felt about the film. I do think the highlight of the film was the great performance by Wallis, and it was quite impressive to see her nominated for an Oscar. I wonder if she will have any more big gigs yet in her career. I think Zeitlin did a decent job directing, but the problem was that it was a screenplay that I really didn't care for. I didn't really feel any connection with Hushpuppy's father, which I think hurt how connected I was to the film. I wasn't even sure that the guy was a good father. Had he been maybe I would have felt differently. I think the film would work better without the fantasy elements being in the film too, they kind of take away from the emotional aspect of the story in my opinion. It's just an ok film to me.

3

Like I said earlier today, I haven't seen it since its release, but this two things is more or less how I remember feeling about it.

[seanc]

Beasts of the Southern Wild

https://kpbs.media.clients.ellingtoncms.com/img/croppedphotos/2012/07/17/original_14.jpg

This was my second watch but I basically remained the same on how I felt about the film. I do think the highlight of the film was the great performance by Wallis, and it was quite impressive to see her nominated for an Oscar. I wonder if she will have any more big gigs yet in her career. I think Zeitlin did a decent job directing, but the problem was that it was a screenplay that I really didn't care for. I didn't really feel any connection with Hushpuppy's father, which I think hurt how connected I was to the film. I wasn't even sure that the guy was a good father. Had he been maybe I would have felt differently. I think the film would work better without the fantasy elements being in the film too, they kind of take away from the emotional aspect of the story in my opinion. It's just an ok film to me.

3

I definitely think you are supposed to feel the way you did about the father. In fact I would call neglect abusive. I think part of the heartache of the film is that coupled with the fact that they obviously love each other a lot. Hishpuppy needs more, that's what makes the riverboat scene so astounding for me. One of my favorite scenes.

[rauldc14]

Riverboat scene was good Sean. I don't know something about the father daughter relationship just doesn't click with me affecting how I feel about the movie overall quite a bit.

[SpelingError]

The Man From Nowhere (2010) - 3.5

Overall, this is a solid action film. My opinion on it was slightly tinged by the awful dubbing in the version I watched (specifically in regards to the young girl), but fortunately, I was able to adjust to it after a while and, though I still would've preferred watching a non-dubbed version of the film, I found enough to enjoy about it.

To get it out of the way, yes, the action was definitely the main highlight for me. The various action scenes in the film were diverse and inventive enough so that the film didn't feel like it was repeating itself as it rolled along. The fight in the bathroom, the terrific window jump where the camera follows the protagonist out the window, or the final fight all had great choreography and I can see myself revisiting those scenes in the future. In fact, some moments were so jaw-dropping, I found myself rewinding the film on several different occasions to watch them again. Nowadays, it's rare for action scenes to impress me since I've seen so many of them, but this film was an exception to that.

As for the story, it's fine, I suppose, but I definitely think this is a case of action over story. A number of plot elements (mysterious loner with a criminal past, kidnapped young girl, tragic backstory, villainous side kick who's more skilled than the main villain) are clichés which I've seen in other action films. For the most part, I didn't feel like the film was able to find a unique voice in tackling these plot elements for it to avoid these pitfalls. Of course, this isn't to say I disliked the story by any means. Again, I think it was fine. It just wasn't anything spectacular, in my opinion. If I rewatch the film, I'll likely skip to the second half where most of the action occurs.

Overall, in spite of my reservations towards the story, I did like this film quite a bit as I felt the action was strong enough to make up for the missteps in the narrative. I don't know if I'll watch this film from start to finish again, but I can definitely see myself rewatching the second half in the future.

Next up: Rudderless

[Wyldesyde19]

If all goes according to plan, I’ll have Vampyr and Rudderless watched this week.

[edarsenal]

https://fwcdn.pl/webv/24/26/52426/thumbnail.52426.2.jpg


Aniara

Strangely, I sort of bounced back and forth regarding being intrigued on how things pan out to an indifference to what was occurring; and that is not against the film itself. I do believe it was solely on me for no real concrete reasoning. It just sort of came to be.

I do know that I found the first third of the film very intriguing. How everyone reacted to being lost, adrift, and how it was dealt with by everyone involved. Including the Mima Host and it's eventual shutting down when it could no longer deal with the constant over-use/addiction by the passengers attempting to seek some sort of solace as time moved forward and hope faded.

The movie did an excellent job of the wide variety of expectations, hopes, disillusionment, denial, and the sense of pointlessness.
Though at some point, much like the inhabitants of the space craft, I did seem to meander off as the spotless interiors became trash-ridden and everyone searched for higher meaning in quasi-religions. Which is a solid route to follow, story-wise, but I still wandered off until time began to speed up in the final act as the population diminished. My interest perked up. Finding the final act quite rewarding.

[Thief]

Well, I saw In a Glass Cage and that was... interesting :shifty:


Review coming soon, maybe later today.

[edarsenal]

could someone please send me a link for La Dolce Vita w/ English subtitles, please and THANK YOU

[Wyldesyde19]

I’ll have my review of Vampyr up later today.

[Citizen Rules]

could someone please send me a link for La Dolce Vita w/ English subtitles, please and THANK YOUSure thing.

[edarsenal]

THANK YOU!!!
pretty excited about watching this--

[Wyldesyde19]

THANK YOU!!!
pretty excited about watching this--

Interested in your thoughts. For me, it’s right there with La Strada as his best so far.
Keep in mind I haven’t seen 8 1/2 or Amarcord yet.

[rauldc14]

La Dolce probably next week for me. Then The Secret in Their Eyes to wrap it all up.

[Thief]

With the deadline set at April 20, this is my tentative schedule to which I will not subject...

March, Week 1: In a Glass Cage *check*
March, Week 2: The Whisperers
March, Week 3: The Secret in Their Eyes
March, Week 4: Vampyr
March/April, Week 5/1: La Dolce Vita, Hard Times
April, Week 2: The Day of the Jackal
April, Week 3: Barry Lyndon, The Sea Inside
April, Week 4: Beasts of the Southern Wild

Like I said before, I'm leaving Barry Lyndon and Beasts of the Southern Wild for last cause I've seen them, even if it was a while ago. But if I find myself in a tight spot, I can always ditch them. Vampyr, I've seen as well, but since it fits my challenge for this month, I might check it out in the backend. I also put The Sea Inside towards the end, in case MovieGal drops out. The other 5, I can toss and swap around as wanted.

[edarsenal]

Interested in your thoughts. For me, it’s right there with La Strada as his best so far.
Keep in mind I haven’t seen 8 1/2 or Amarcord yet.

I just finished and quite enjoyed my very first Fellini film and considered it ideal for popping my cinematic cherry. I am curious to see more, now.

Should, hopefully, have a review up this weekend.

[Wyldesyde19]

Vampyr


This is a film with such style it makes you rewind to make sure your eyes didn’t play any tricks on you. Dreyers use of shadows and a foreboding sense of doom is prevalent, even if the story is pretty straightforward. I had read an earlier review where the claim was made that the plot made no sense. It’s actually the most simplest of all plots.
A stranger happens upon a family who’s daughter is being tormented by a Vampire. What follows is a dreamlike battle for her soul Pretty simple, right?
It’s meant to be, of course. It’s really all about the style.
I was constantly amazed at the shadows as they ran around freely, some playing a game almost with the star. Both sinister and playful. Doors open of their own accord, and it’s easy to see how much this has influenced future horror films.
I wasn’t crazy about some of the acting, particularly the older sister, and Allan Gray. Gray was at least effective. And some of the characters seemed to not really offer much else then to either be menacing (the vampires minions) or frightened (the family).
I was also confused by the ending, where the main star has a dreamlike vision. But those are minor quibbles. It was a very fine film, and one I aim to watch again sometime.

[Thief]

Well, I saw In a Glass Cage and that was... interesting :shifty:


Review coming soon, maybe later today.

One question about the film, spoiler-tagged just in case...

Did anybody get the notion that Klaus might've known who Angelo was when he convinced his wife to hire him? or was all that just about wanting a young man taking care of him?

[Wyldesyde19]

One question about the film, spoiler-tagged just in case...

Did anybody get the notion that Klaus might've known who Angelo was when he convinced his wife to hire him? or was all that just about wanting a young man taking care of him?

I think, in the private conversation, Angelo may have hinted he had known Klaus background. I can’t quite remember though.

[pahaK]

I think, in the private conversation, Angelo may have hinted he had known Klaus background. I can’t quite remember though.

That discussion between Klaus and Angelo isn't shown, for the most part, but Angelo says "After what I've told you, you should take me" which probably means he revealed him knowing Klaus's background (and possibly that he's intrigued by it). It's hard to imagine any other "what" he could have told.

[Thief]

Ugh... had been working on a review for In a Glass Cage for a couple of hours and a bad click pretty much vanished it into oblivion. Not that any of you were waiting for it, but... don't wait for it for now.

[Wyldesyde19]

Ugh... had been working on a review for In a Glass Cage for a couple of hours and a bad click pretty much vanished it into oblivion. Not that any of you were waiting for it, but... don't wait for it for now.

I’m waiting for it......

[SpelingError]

Ugh... had been working on a review for In a Glass Cage for a couple of hours and a bad click pretty much vanished it into oblivion. Not that any of you were waiting for it, but... don't wait for it for now.

That's always a soul crushing feeling. Sorry to hear that.

[Takoma11]

That discussion between Klaus and Angelo isn't shown, for the most part, but Angelo says "After what I've told you, you should take me" which probably means he revealed him knowing Klaus's background (and possibly that he's intrigued by it). It's hard to imagine any other "what" he could have told.

Yeah, my impression is that Angelo has blackmailed Klaus into hiring him, though we don't know the extent of what Angelo revealed in their first conversations.

[rauldc14]

Ugh... had been working on a review for In a Glass Cage for a couple of hours and a bad click pretty much vanished it into oblivion. Not that any of you were waiting for it, but... don't wait for it for now.

Well ..... we're waiting!

[edarsenal]

Ugh... had been working on a review for In a Glass Cage for a couple of hours and a bad click pretty much vanished it into oblivion. Not that any of you were waiting for it, but... don't wait for it for now.
Been there. Done that. It sucks. But sometimes ya gotta feed the Literary Gods by losing one to the cosmos, and sometimes, ya lose something because a better version is enroute. At least that's what I tell myself and a lot of times it actually does.

Meanwhile. . .
https://identity-mag.com/wp-content/uploads/2018/05/giphy-5.gif
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[edarsenal]

https://static.hollywoodreporter.com/sites/default/files/2019/11/ldv_aimee_mastroianni-h_2019-768x433.jpg


La Dolce Vita aka The Good Life

Poetess at Steiner's Party: [Le tre grandi evasioni -- fume, bere, letto.] The three great escapes -- smoking, drinking, bed.

Ahh, so this is Fellini. . . molto bello
I remember as a young adult seeing the occasional parody of starlets and emotionally dead older gents demanding both the attention of, and to be left alone by scurrying hives of photographers.
Dismissing, what I figured as European Arthouse and way above my meager intellect to comprehend and thereby, appreciate.
Some thirty odd years later, having experienced such similar escapades and those bored, aloof individuals dreading and yet insisting on attending every single soiree so that they may spew contempt on those who celebrated life, love and living in the moment.

Fellini brilliantly takes us along to witness without judgement (leaving that to us, the viewers) one of these individuals who is dead inside. Incapable of true celebration. Forever seeking pleasure and fulfillment. Or more specifically, the Pursuit of it. A dog chasing a car. After car. After car.
Marcello Rubini (Marcello Mastroianni) claims to seek out something that he, himself has no idea what. Not that he would bother if he did. Being far too intent in The Chase itself. An empty vessel that demands to be filled, but instantly casts it to the ground so that he may search out some other fluid to fill his, once more, empty glass.
My favorite was Maddalena (Anouk Aimée)
https://64.media.tumblr.com/177362b886b644067329c1f2a8b06961/tumblr_mveggxw0FT1rij4pzo2_500.gifv
who is of a similar ilk, though with a more worldly wisdom. Acknowledging the pain that seems to always accompany her momentary pleasures as meager debts to be paid.

What I found intriguing is that that Fellini never ever ends the party. It continues from one to the next. Intermixed with tragedy that seems almost trivial as the next party is happened upon. Till even years later, an older, still unfulfilled Marcello, continues to Chase and Release. The only arc of his character is that he is a little more callous in his demands for personal entertainment.
Perhaps, in the end, it is the continual pageant of the parties themselves, the immortality of the La Dolce Vita that is the true focus and everyone else is merely pretty dressing.

Having a taste, I do desire to explore more Fellini in the future.

[rauldc14]

I could use a La Dolce Vita link with subtitles if anybody has one.

[Citizen Rules]

I could use a La Dolce Vita link with subtitles if anybody has one.I got one.

[rauldc14]

Thank you

[Citizen Rules]

Happy viewing!

[pahaK]

I just watched Rudderless. Not my kind of movie but for something that I expected to suck balls it was surprisingly OK. More on a proper review.

[Torgo]

Antwone Fisher

There are plenty of moving moments and lines in this powerful yet glossy drama and directorial debut of Denzel Washington, the standout for me being when Antwone, while recounting a childhood friend's tragic demise, says "he's lucky cause he don't have to fight no more." It resonates because it defines how Antwone lives seemingly every moment of his life whether they're altercations with his fellow naval officers or internal ones with his personal demons. The way Antwone’s psychiatrist Dr. Davenport convinces him to reveal these demons and their accompanying flashbacks definitely struck a chord. They made me think about the pivotal moments in my life and thankfully in a way that is neither tasteless nor invasive. This was likely no small feat for Washington, especially considering the ugliness of Antwone's demons. The actor/director's decision to show the exterior of the basement during Antwone's time with his foster mother's daughter Nadine, for instance, is tasteful without discounting how traumatic the experience was for him. I also appreciated the natural and endearing performances of Derek Luke as Antwone and Joy Bryant as love interest Cheryl as well as the stylistic touches like the dream sequence and first-person perspective while Antwone walks into his mother's apartment. The movie falls short of greatness, however, mostly because of what happens during Antwone's third act search for his birth mother. While I applaud how the movie concludes Dr. Davenport's arc, the change we see in Antwone is a little too pat and complete. I don't mean to discount the real Antwone Fisher's life story, the value of facing your demons or of finding true love, but all these steps only seem like half the battle. Again, this is a strong directorial debut that deserves credit for its strong performances and for handling serious subjects like abuse and childhood trauma in mature and unique ways. I just wish the warm fuzzies I felt at the conclusion were more earned.

[rauldc14]

Hoping to get some more lists in here soon. If not, I'll finish the 2 films I have left myself and submit mine :)

Anyways I intended on getting to La Dolce Vita rewatch today anyways.

[Citizen Rules]

Hoping to get some more lists in here soon. If not, I'll finish the 2 films I have left myself and submit mine :)

Anyways I intended on getting to La Dolce Vita rewatch today anyways.My list has been done for awhile. I'd submit it as soon as we know if Moviegal's nom is in or out.

[rauldc14]

My list has been done for awhile. I'd submit it as soon as we know if Moviegal's nom is in or out.

It mine as well be out at this point.....

Unless anybody else has heard from her?

[rauldc14]

I also haven't heard from Suspect about this in awhile so I'm not sure about Rudderless

[Citizen Rules]

I just submitted my voting list. Yahoo:p

[pahaK]

I'll keep this short in case suspect doesn't finish (though I think he does, isn't he watching films on the last day for all of these).

Rudderless (2014)

I'm not a fan of tearjerker dramas (sometimes it feels like I'm not a fan of anything). Rudderless doesn't go over the top with its emotions, and I think it works to its advantage. The first act is probably the weakest (partially because it tries to fool the viewer, and that false sense of the tragedy is forced too hard on the audience). After that, the story moves better and leaves some room for the characters.

https://thumbs.gfycat.com/LeftCourageousBaiji-small.gif

I agree with most of you that Rudderless has a TV movie feel to it. The story doesn't flow naturally, and too many scenes feel forced; in other words, the film feels too scripted. It's like Quentin's ploy about the bass player. And the bar scenes have a way too enthusiastic audience (looks more like a bad MTV music video - if they'd still show music videos). The music isn't anything special either, but it never annoyed me, so I guess it did its job.

So, not my kind of movie, but I kinda liked the character. Sadly it didn't give them enough freedoms but forced them into too many scenes that only railroaded the story. Oh, and I liked how it basically asked whether art can be separated from the artist (yes, IMO).

[cricket]

I also haven't heard from Suspect about this in awhile so I'm not sure about Rudderless

I saw him mention a couple of days ago that he had to catch up.

[Thief]

Yeah, he posted today in the Movie Roulette thread, and a couple of days ago said that about "catching up".

[Thief]

IN A GLASS CAGE
(1986, Villaronga)

https://assets.mubicdn.net/images/notebook/post_images/20533/images-w1400.jpg?1454133508


"Rena, don't laugh. He's going mad."
"No, he isn't. He's fixing the house."



Set some years after World War II, In a Glass Cage follows Angelo (David Sust), a young man that seems to be set on taking revenge on Klaus (Günter Meisner), a former Nazi doctor and pedophile murderer. To do this, Angelo poses as a nurse interested in taking care of Klaus, who is bound to an "iron lung" after a suicide attempt. Despite the reluctance of Klaus' wife (Marisa Paredes), Klaus insists, which leads to Angelo taking control of the house while torturing and tormenting the doctor by reenacting his former crimes.

It is not clear why Klaus insists in hiring Angelo, it might've part blackmail, part intrigue from his part, but it is clear why Angelo wants to be there. After all, it's pretty obvious he's one of Klaus' former victims. The above exchange occurs at a point when Klaus realizes that Angelo is up to no good and that he and his family are actually in danger. However, Rena (Gisela Echevarría), his young and "naïve" daughter, who has taken a liking to Angelo, is more dismissive. After all, he's just changing things up and "fixing the house".

Pulling this curtain here... putting some wire fence there... burning this furniture here... getting rid of the housekeeper... and torturing the Nazi pedophile murderer in the "iron lung". Those are some of the items on Angelo's checklist to "fix the house". Rena, who is a victim of abuse from her mother, welcomes him because she sees it as an opportunity for things to change. But pretty soon she realizes that Angelo's goal is not to "fix" or change things, but to change himself, and as a result, those around him, for better or worse.

In a Glass Cage was controversial due to its themes of pedophilia, torture, and murder. But even though I agree that the content is disturbing, I was surprised to see that there's more under the surface. In a way, it reminded me of Martyrs, which is also a disturbing, tough-to-watch film that ultimately is much more than meets the eye. This film ends up being an interesting exploration of the effects of violence and abuse, and the resulting endless cycle it begets.

The budget does show from time to time, but overall, Villaronga's direction was clean and the performances were quite solid, particularly Sust. This is made more impressive by the fact that this is the first film for both of them. As for the story, I think it has a nice pace as things escalate gradually, and the ending packs a punch.

Grade: 3.5

[pahaK]

I watched The Secret in Their Eyes this morning and will write a review soonish. I more or less liked it but will need some time to gather my thoughts and form the final opinion.

Assuming moviegal is no longer with us, that leaves me with just one more film to see.

[rauldc14]

La Dolce Vita

https://media.vanityfair.com/photos/54b2b31198f2d00004acbce5/master/w_2560%2Cc_limit/anita-ekberg-138574426.jpg

There's a lot going on in this movie, yet it's not to chaotic. The movie is very open to interpretation and there's probably a lot of ways to look at it's meanings, and I can certainly dig that in a film. Marco Mastroianni does a terrific job in the lead role, and there's a very iconic performance from Anita Ekberg. I like how the movie jumps around with Mastroiannis character in different social situations. Often people who know people are never seen connected, but here we get a view of a plethora of people whom he knows. He kind of jumps from being a different person based off of who he's with. I think that's something that is realistic in life. And technically the movie is just pure beauty. The screenshots are awesome, that opening scene with the statue was just excellent filming. This is the movie that brings all of Fellini's strengths to the table, whereas I've often felt his other films are just fragments of film although there are more I still have to seek out. 1960 sure was a damn strong year. This is up there on my favorites list, and is a pretty good bet to show on my foreign list. For whatever reason it speaks to me far more than 8 1/2 ever has.

4+

[rauldc14]

The Secret in Their Eyes is all I've got left, and I'm going to watch that next week.

[Wyldesyde19]

Internet has been going off and out the last few days here, so I haven’t been able to watch anything. I have a review of Rudderless to type out, since I was able to watch it before the issues, so expect that soon.

[edarsenal]

https://iv1.lisimg.com/image/18966124/500full-the-whisperers-%281967%29-screenshot.jpg


The Whisperers

Mrs. Ross: Hello? Are you there?

A sad story filmed beautifully with truly amazing acting. Not only by Edith Evans, but by pretty much everyone. Not once did I feel like I was watching a film; (except when I was forever appreciating the cinematography) since everyone and everything felt very, very real. Including my worry and dread for Mrs. Ross. Even more so when she was in the care of the hospital. Those moments of being passed along through the system really struck a chord in me. Emphasizing her loneliness, even more than her walking alone on the streets of Manchester, to those times in her apartment.

While the whole stolen money scenario did seem, at first, out of place, considering where she lived, where crime and graft held more promise than sitting in line at the local welfare office, it was a necessary addition to the meager living of an elderly woman who believes she was, once upon a time, in a more promising way. But then, who amongst us haven't fantasized in some form or fashion?

I thoroughly appreciated that this wasn't a Statement about the elderly, the poor, humanity, the assistance via governmental institutes. . . It was something better.
We visited a Day in the Life of Mrs. Ross. Intimately. Through those amazingly expressive eyes and we experienced everything as she did. Not as we are wont to do by distancing ourselves or being unnecessarily callous because of our internal repulsions/fears of living such a life. Of being old.

The final statement is left blank for us to fill in.
Or, to be left blank all together. Depending on one's disposition.

[SpelingError]

Rudderless (2014) - 3

Initially, I was really impressed with this film. I found its story deeply compelling and I really liked the final act, in particular. While I still think it's a good movie, the more I thought about it, the less impressed I was with the whole affair.

Before I get into my issues with the film though, I'll talk about what I liked, which was mainly the emotional core involving Sam. It's hard to discuss this aspect without spoiling it, but I really loved the way it developed throughout the film. Though you may dislike Sam, I did understand why he did what he was doing and I found the idea of him performing his son's music to help him cope with his death really compelling. Also, without spoiling anything, what you learn in the third act complicates your feelings on Sam even more. The significance of the film's title is that, just as a boat without a rudder drifts aimlessly without no clear purpose, the same could be said for Sam. After the opening, he has an unstable position of living in a boat and he plans to perform only one of Josh's songs, but after meeting Quentin, he spirals off from there, with his band obtaining more popularity around the city he lives in as the film goes on. Yet, in spite of all this, he still shows a lack of interest in expanding the band's popularity at times.

There were also a couple minor things I enjoyed about this film. The first one was its portrayal of how Rudderless grew in popularity as the film went on. I generally like seeing artists grow in popularity and recognition in films and I think this movie gave a fine depiction of this. I also liked that Billy Crudup and Anton Yelchin were legitimately good singers as, nowadays, this can be hard to come by in Hollywood. Finally, I enjoyed some of the film's humor. Like, not all the humor worked (more on that in a bit), but I did appreciate the occasional humorous line or gag.

With that being said, I think the main problem with this film was that there was too much going on in it. While I found the emotional core compelling, I wasn't so hot on the conflict between Sam and Alaird, the agent of the boat harbor. Within this sub-plot lied a few scenes where Sam urinated into the lake in public (sometimes to the view of children) and another scene where he endangered the lives of multiple people on the lake. These actions culminated with Alaird asking for him to stop and threatening to kick him off the lake. Though this sub-plot would've still been unnecessary, these scenes could've worked decently enough if the film had remained firmly on Alaird's side, but instead, these scenes came off as humorous and if the movie was trying to get us to sympathize with Sam. This sub-plot clashed poorly against the main conflict, which didn't ask for us to sympathize with Sam. As a result, this kind of muddled the film's message, in my opinion. I was also left confused by the conflict with Kate, Josh's ex-girlfriend. While I'm not sure the story would've been improved if she was in the film more, I did find it weird that Selena Gomez, the most well-known celebrity in the film, was cast in the role. Given how little she was in the film, her scenes felt like cameos.

I was also surprised that Josh's music got as popular as it did. Like, don't get me wrong. I did like the music Rudderless performed, but Quentin and everybody else who listened to it reacted to the music as if it was one of the best things they ever listened to. I found this aspect kind of cheesy. To be honest though, I think it's really hard to get the "character is a great artist" premise to work. In Amadeus, for instance, this premise obviously worked given the source material. In World's Greatest Dad though, I had difficulties with believing that Lance's mediocre writing got as popular as it did. Really, if a film wants me to believe that a character is excellent at creating something (music, poetry, etc.) to the point that everybody appears to be blown away by it, their work better be that great for this premise to work. Unfortunately, that wasn't the case with this film.

Overall, even though I have more bad than good to say about this film, I did enjoy it quite a bit. I think the emotional core of the film is strong enough to shine through the narrative issues (which are admittedly a lot) and, in the end, I came away satisfied with the film. I'm not sure if it's something I'll revisit, but I definitely enjoyed my time with it.

Next up: The Secret in Their Eyes

[SpelingError]

Also, I'm glad I didn't know about Anton Yelchin's death while watching the film.

[Torgo]

Good review. I didn't have a problem with how much enthusiasm the audiences had for the band. Since they're a local band, much of that enthusiasm is prideful, especially since the movie takes place in a small town in Oklahoma that doesn't appear to have much to do for fun besides boating.

Not to spoil The Full Monty too much, but the extreme enthusiasm reminded me how much there was for the male strippers in it. They're not terribly handsome, but they're still the pride of a destitute small town desperate for something to cheer about.

[SpelingError]

Good review. I didn't have a problem with how much enthusiasm the audiences had for the band. Since they're a local band, much of that enthusiasm is prideful, especially since the movie takes place in a small town in Oklahoma that doesn't appear to have much to do for fun besides boating.

Not to spoil The Full Monty too much, but the extreme enthusiasm reminded me how much there was for the male strippers in it. They're not terribly handsome, but they're still the pride of a destitute small town desperate for something to cheer about.

I guess I can kinda get behind that. I was just surprised that their band appeared to be the only one which grew so popular out of all the other musicians who performed at the tavern (which I assume is a lot).

For what it's worth though, I think that World's Greatest Dad is a far worse offender to this criticism than this film was.

[Torgo]

Local pride or not, I think we can agree that the "Wheels on the Bus" scene should have been cut, however. Ugh.

[SpelingError]

Local pride or not, I think we can agree that the "Wheels on the Bus" scene should have been cut, however. Ugh.

Amen to that. That scene was really cringy.

[seanc]

In A Glass Cage: I watched it...and I'm sending in my list.

I will write a couple obligatory lines. To me this movie is about the holocaust in the same way the Rambo movies are about Vietnam. In my opinion they really aren't about them at all. WWII is the foundation upon which an exploitation film was built. I know that type of thing appeals to the more genre minded crowd, it just doesn't to me.

I have come to realize that as a Tarantino fan that opinion makes me seem like a hypocrite often, but I can live with that. This movie just crosses a line my brain doesn't want to go.

Done with the watches. On to the next thing.

[Takoma11]

Local pride or not, I think we can agree that the "Wheels on the Bus" scene should have been cut, however. Ugh.

But then we wouldn't have gotten to see a man in his 40s embarrass and manipulate two early 20-something women into doing something they weren't into.

To me, the issue with how popular the band gets is compounded by the fact that being wildly successful wasn't at all essential to the plot. They just needed to be popular enough that they would be welcome back at open mic nights and get a decent audience. Having them completely sell out the coffee house each night with rapturous fans was gilding the lily. I lived in a small town with a very talented and popular local band. They pulled good sized audiences, but not dozens and dozens of them.

There were quite a few moments where the film "went big" (like the regatta sequence) to the detriment of the effecting emotional center of the film. I wish someone with a firmer hand had edited those parts down (or out).

[Wyldesyde19]

To me, the issue with how popular the band gets is compounded by the fact that being wildly successful wasn't at all essential to the plot. They just needed to be popular enough that they would be welcome back at open mic nights and get a decent audience. Having them completely sell out the coffee house each night with rapturous fans was gilding the lily. I lived in a small town with a very talented and popular local band. They pulled good sized audiences, but not dozens and dozens of them.
I’ve seen the opposite. It is entirely possible. I haven’t written my review yet, but I will say I found their success totally believable. I’ve seen many local bands pull in dozens upon dozens of fans because of their popularity. And they were just cover bands. I’m not sure why it isn’t possible to believe that they were capable of doing the same.

[Wyldesyde19]

I’ll have a review of Rudderless tonight after work.

[Wyldesyde19]

Rudderless


William H. Macy’s (in his directing debut!) grabs you in the first ten minutes and never lets go. It is a descent into one mans sense of loss and despair, 2 years after a senseless tragedy.
Sam, played convincingly by Billy Crudup in a performance that is at times a tad too over dramatic, suffers the loss of his son, and aspiring musician, during a school shooting.
After finding a box of his music, he plays them one night at a local coffee shop during open mic night. There he meets Quentin (Anton Yelchin) and is convinced to start a band.
What follows is Sam building an ersatz father-son relationship to replace the one he lost. One complicated by a great twist I didn’t see coming.
I found myself tapping my feet to the music that, although not exactly amazing, was catchy, and reminded me of nights at local clubs in Reading, Pa to watch the local cover bands. Even more impressive as I’ve read that they performed their own music. (Please correct me if that’s isn’t true)
If there is one issue I have, it’s the script. Sams alcoholism isn’t given a serious treatment and is often glossed over, and his grief sometimes is pushed to the background rather then dealing with it. Some of his scenes involving his outbursts (showing up to work drunk and kissing his secretary, his drunken boat ride while playing his guitar to loss off the other boaters, his constant peeing in the lake in full view of a child) are slightly distracting, and too cute for such a serious film. It’s a tad manipulative at times, But overall, this is far better then I expected and is a rather pleasant surprise for me here.
Good pick. Really good pick.

Also, Regarding the “wheels on the bus” song, I found it funny and glad they kept it in. I don’t agree that the two 20 something year old girls weren’t “into it” as they clearly were having a fun time, even if they were reluctant at the beginning. If pressed, I’m quite sure they would agree that they had a fun time and would admit they were glad they stayed.

[Takoma11]

Rudderless

Also, Regarding the “wheels on the bus” song, I found it funny and glad they kept it in. I don’t agree that the two 20 something year old girls weren’t “into it” as they clearly were having a fun time, even if they were reluctant at the beginning. If pressed, I’m quite sure they would agree that they had a fun time and would admit they were glad they stayed.

It was a minor annoyance, but when you invite someone to do something and they politely decline and give an excuse, openly calling them out on it and forcing their hand (socially speaking) is gross behavior. In the context of teaching a shy young man how to behave toward women, I thought it was kind of skeevy.

If I were in my early 20s and some guy tried to hit on me with the aggressive help of his mid-40s/50s wingman, I would take that as a huge red flag. Especially if the behavior on display was "You said no, but I'm going to try and find a way to subvert that."

But then, requesting "The Wheels on the Bus" is kind of a tool move, so I wasn't super into their characters either. Everyone in that whole sequence annoyed me.

[Wyldesyde19]

It was a minor annoyance, but when you invite someone to do something and they politely decline and give an excuse, openly calling them out on it and forcing their hand (socially speaking) is gross behavior. In the context of teaching a shy young man how to behave toward women, I thought it was kind of skeevy.

If I were in my early 20s and some guy tried to hit on me with the aggressive help of his mid-40s/50s wingman, I would take that as a huge red flag. Especially if the behavior on display was "You said no, but I'm going to try and find a way to subvert that."

But then, requesting "The Wheels on the Bus" is kind of a tool move, so I wasn't super into their characters either. Everyone in that whole sequence annoyed me.

Yeah, I get your point of view. I can see how it would be off putting to some, even if I personally found it innocent.

[Torgo]

But then we wouldn't have gotten to see a man in his 40s embarrass and manipulate two early 20-something women into doing something they weren't into.Why did we have to bring Andrew Cuomo into this?
Sorry, couldn't resist.

I finished watching the last movie on the list, La Dolce Vita, today and will have my review ready next week.
It's been fun. I'll stick around to read the rest of your reviews and judge your opinions.

[Takoma11]

It's been fun. I'll stick around to read the rest of your reviews and judge your opinions.

The best thing about finishing early is that you get to sit back, loiter around the thread like a sulky 13 year old at a 7-Eleven, and judge. Sometimes writing multi-paragraph responses to a small, incidental thing others mention in their write-up.

At least, that's what SOME people might choose to do.

:D

[Torgo]

I can do that.

https://i.imgur.com/lz4mSSh.gif

"So the watermelon scene in Day of the Jackal was flawed, huh? Get a load of this guy."

[rauldc14]

TheUsualSuspect still with us?

[Thief]

Rudderless


William H. Macy’s (in his directing debut!) grabs you in the first ten minutes and never lets go. It is a descent into one mans sense of loss and despair, 2 years after a senseless tragedy.
Sam, played convincingly by Billy Crudup in a performance that is at times a tad too over dramatic, suffers the loss of his son, and aspiring musician, during a school shooting.
After finding a box of his music, he plays them one night at a local coffee shop during open mic night. There he meets Quentin (Anton Yelchin) and is convinced to start a band.
What follows is Sam building an ersatz father-son relationship to replace the one he lost. One complicated by a great twist I didn’t see coming.
I found myself tapping my feet to the music that, although not exactly amazing, was catchy, and reminded me of nights at local clubs in Reading, Pa to watch the local cover bands. Even more impressive as I’ve read that they performed their own music. (Please correct me if that’s isn’t true)
If there is one issue I have, it’s the script. Sams alcoholism isn’t given a serious treatment and is often glossed over, and his grief sometimes is pushed to the background rather then dealing with it. Some of his scenes involving his outbursts (showing up to work drunk and kissing his secretary, his drunken boat ride while playing his guitar to loss off the other boaters, his constant peeing in the lake in full view of a child) are slightly distracting, and too cute for such a serious film. It’s a tad manipulative at times, But overall, this is far better then I expected and is a rather pleasant surprise for me here.
Good pick. Really good pick.

Also, Regarding the “wheels on the bus” song, I found it funny and glad they kept it in. I don’t agree that the two 20 something year old girls weren’t “into it” as they clearly were having a fun time, even if they were reluctant at the beginning. If pressed, I’m quite sure they would agree that they had a fun time and would admit they were glad they stayed.

As far as I've read, Crudup and Yelchin do sing their parts, and Crudup does play the guitar. According to IMDb, he took up to playing while filming Almost Famous.

[Wyldesyde19]

As far as I've read, Crudup and Yelchin do sing their parts, and Crudup does play the guitar. According to IMDb, he took up to playing while filming Almost Famous.

Thank you. I had read that as well, but never hurts to have it double checked.
🙂

[rauldc14]

Seems like a good day to see some more reviews :)

[pahaK]

El secreto de sus ojos (2009)
aka The Secret in Their Eyes

There's lots of good in The Secret in Their Eyes, especially during the first half, but toward the end, it kinda loses its focus and gets lost in its predictable twists. I really liked the initial concept of this retired man working on a novel based on a case that's bothered him for decades (and reflecting on his past mistakes along the way). Somehow writing and detective work just goes so well together (like the miniseries Four Seasons in Havana).

74662

Little after the midpoint, the film takes a turn towards politics and conspiracies, and revenge. The characters and their interactions were the strength of the first part, and the shift toward a plot-centric thriller is unneeded. Especially as the last hour offers no surprises (and neither does the debate about death sentence vs life in prison). I do like how the film doesn't condemn taking justice into one's own hands in the situation, though.

The Secret in Their Eyes is a good-looking movie. The only issue in that department is that the 70s and 90s look exactly the same. The acting is the best thing in the film, especially the protagonist and his drunkard co-worker are excellent. The titular event or concept felt a bit forced and made the whole investigation seem gimmicky. I would have preferred if it was just about the characters and one (preferably unsolved) murder case haunting the protagonist after all these years.

So, in the beginning, I was prepared to love The Secret in Their Eyes. Sadly it faltered quite a bit along the way. It was still good (barely, but still) and definitely worth seeing.

[TheUsualSuspect]

Antwone Fisher

https://image.tmdb.org/t/p/w154/qnA1FeR3XpuBzL8czF47rxjtdgQ.jpg

3.5

I can't think of this movie and not have the Dave Chappelle skit enter my mind. He lampoons the fact that Antwone Fisher is writing his own story, I'm sure embellishing some aspects to make himself look tougher or sympathetic. Yet...who would be in the best position to tell this story if not him?

I found the story rather engaging. I went in knowing that it starred Washington and dealt with the Navy, that was about it. Seeing Fisher's progression from a shut-off tough kid to someone who learns to love and open his heart was heartwarming. The story elements from his life hit familiar beats so while there were no real surprises here, I didn't feel like the film needed any.

The small subplot involving Washington's own troubles with his wife felt shafted in the end and wrapped up with some quick lines of dialogue. That aspect aside, the film works and showcases some good performances. Derek Luke seems to have gotten small roles here and there but never broke out to star status. He holds his own against heavyweight Washington and a surprise role by Viola Davis has a lot of heartfelt emotion when very little is said.

Good nomination, a movie I would probably never have sought out.

[TheUsualSuspect]

Yes, I'm still alive.

[rauldc14]

Yes, I'm still alive.

Was worried about you bro.

[Torgo]

La Dolce Vita (contains spoilers)

This is the masterpiece I hoped it would be. What's surprising about it, though, is that the title is not so much a statement about the life of the tabloid journalist protagonist as it is a question: is La Dolce Vita one of freedom? One of stability? Somewhere in the middle? Speaking of Mastroianni's character, Marcello Rubini belongs in the ranks of Don Draper in Mad Men and Princess Margaret - well, the version of her in The Crown, anyway - of memorable characters who are unhappy and unfulfilled despite having astounding privilege. Even though he has a city like Rome as his playground and has affairs with the most beautiful women in the world, Marcello envies his longtime (and mutually envious) friend Steiner, who has a more respectable career, a nuclear family; in short, everything he claims to be against. What I love the most about how the movie depicts Marcello's dilemma is that the portal into the kind of life Steiner lives is so close (yet far away) in the form of his devoted yet long-suffering fiancée Emma and that it gets farther and farther away as the movie progresses until it closes completely with his failure to communicate with the sweet waitress Paola. Also, the way the movie hints that the life Marcello strives for is analogous with being dead is fascinating and fascinatingly presented. From the parties that are described as funerals to the journey through the castle's catacombs to that stare on the beached fish, the movie certainly has a much different attitude about the lives of the rich and famous than, well, the show of the same name does, and makes it a counterpart to another Italian masterpiece from the same year, L'Avventura. There is also that other form of death - one which may be the overarching elephant in the room - which is Rome succumbing to modernity. Besides all those shots of the soulless, boxy apartment complexes, this is best exemplified in the breathtaking opening scene of the helicopter transporting what may be the last vestige of the ancient city to the new one. I do have mixed feelings about the episodic structure of the movie, which, while clever, is a bit alienating and disorienting considering each one begins practically context free. I'm not asking to be spoon-fed or anything, but adding titles to the episodes would not have been an unwelcome touch. To be fair, this is a very minor complaint, especially since I'm still replaying scenes from the movie in my head days later, can see myself ranking it as one of the best movies I've ever seen and am still wondering just what La Dolce Vita could be. Thankfully, the movie leaves that question up to you.

[edarsenal]

Great review, Torgo. You hit on a lot of points that truly makes this film as great as it is.

[Torgo]

Great review, Torgo. You hit on a lot of points that truly makes this film as great as it is.Thanks! I just wish I could have found a place in it for Steiner's murder suicide scene. That really got to me. It's also interesting that Marcello reacted to it by not changing his ways, but becoming more like the person he was before.

[rauldc14]

The Secret in Their Eyes

One of those movies that I thought may be for me but it just didn't turn out that way. It wasn't a bad movie but I certainly felt the length and I wasn't engaged with the characters or the plot so I found it a chore at times. The overall story was one of interest though just the execution wasn't there on a personal level for me. I forgot who said it but I'll agree that I didn't really "believe" in a bunch of the acting as it felt a little too elementary for me. Unfortunately I don't have a lot to say. It sounds like I'm dogging the film but it wasn't bad it was just one of those that didn't click the personal check boxes on what I look for with this type of movie. Technically I had no issues.

3

And that's a wrap from me!

[Wyldesyde19]

Anyone know what’s the word is on MG? Was going to rent her film this weekend along with a few others, but if she hasn’t posted since January.

[edarsenal]

Thanks! I just wish I could have found a place in it for Steiner's murder suicide scene. That really got to me. It's also interesting that Marcello reacted to it by not changing his ways, but becoming more like the person he was before.
a shutting of a door to the hope of the grass is greener, that there was serenity/fulfillment to be found in a stable life. Almost sealing his fate to the merry go round world he was adrift in.