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Yep that's what I thought, but how can Richard Burton kill it then?
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I do not speak english perfectly so expect some mistakes here and there in my messages



Bright light. Bright light. Uh oh.
Virginia Woolf was a famous writer who committed suicide due to mental illness and depression. George and Martha were battling their own mental illness and depression by inventing an imaginary child they could watch grow up and love, but only when they were alone. George decided to exorcise their delusions/demons by killing off the child when Martha told Honey about "him". Have you heard the children's song "Who's Afraid of the Big Bad Wolf?" It was in a Disney short called The Three Little Pigs. The song sung in WAoVW? was a play on the lyrics of that song, and originally Martha thought it was hilarious while George thought it was only amusing. George was perhaps readier to try to start their life together over, so he performs the "exorcism" so they'll have to live together by themselves from now on. Martha says she's afraid of that - she's afraid of Virginia Woolf - because she doesn't want what happened to VW to happen to her. Hopefully really together now, after all the drinking and the exorcism of their demons, they can get ahold of themselves with some treatment for their problems. Anyhow, that's my explanation of your questions. Pussy.
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page



Bright light. Bright light. Uh oh.

Rise: Blood Hunter (Sebastian Gutierrez, 2007)

Home Early (Roy Rowland, 1939)

High Pressure (Mervyn LeRoy, 1932)

CBGB (Randall Miller, 2013)


Hilly Kristal (Alan Rickman), owner of NYC’s CBGB (country/bluegrass/blues) nightclub, opened his doors to literally thousands of punk bands, including Talking Heads, Ramones, Iggy Pop, Blondie and Television
In Name Only (John Cromwell, 1939)

Cimarron (Anthony Mann, 1960)

All Is Bright (Phil Morrison, 2013)
(ending is best part)
Noah (Darren Aranovsky, 2014)


Noah relates a reason to his family why the Creator must bring a great flood to destroy Mankind – his constant love of war.
The Gay Bride (Jack Conway, 1934)

Kill Your Darlings (John Krokidas, 2013)

Virtue (Edward Buzzell, 1932)

The Bible: In the Beginning... (John Huston, 1966)
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Dueling Noah/Ark movies, although Huston (who plays Noah) takes on a much larger part of the book, including the Garden of Eden, Cain/Abel, The Tower of Babel, Sodom/Gomorrah and Abraham/Isaac.
At Middleton (Adam Rodgers, 2013)

Parkland (Peter Landesman, 2013)

Inspector Bellamy (Claude Chabrol, 2009)

Wadjda (Haifaa Al Mansour, 2012)
+ (last 20 minutes the best)

In the first film directed by a female in Saudi Arabia, Wadjda (Waad Mohammed) and her mother (Reem Abdullah) are constantly arguing over the former’s inappropriate behavior for a girl, but they really are each other’s best friends.
Underworld: Evolution (Len Wiseman, 2006)

Fools for Scandal (Mervyn LeRoy & Bobby Connolly, 1938)
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The Scout (Michael Ritchie, 1994)
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Kill List (Ben Wheatley, 2011)
+

Hitmen Neil Maskell and Michael Smiley take an assignment that turns out completely unexpected.



Mark, I'm happy with your rating on Kill List. I didn't think you'd especially like it and I thought you may possibly dislike it. Would you mind expanding a little?



Bright light. Bright light. Uh oh.
I've seen two of Ben Wheatley's films so far, and all I can say is that he's a madman. A Field in England was a magic-mushroom-suffused B&W 17th century freakout with only a semblance of plot or meaning but it was mesmerizing. Kill List starts out as a boring, but-strangely-edited kitchen-sink drama before it turns into something so violent that it makes Tarantino and Refn look like pre-schoolers. Then it gets really weird. It also creates a lot of suspense along with all the WTF moments in the final section, but it ends with the ultimate WTF? After the fact, there were earlier hints as to what actually happened, but I can't for the life of me understand why and what it all means, and if I did, I probably would think less of both movies. Right now I'm happy to just go for the ride, which is certainly muddled but also original and thrilling. I have to show both films to my brother because I'm sure he'd like them even more.



Sightseers is OK. Far more 'normal' than either A Field In England or The Kill List. It does have 3 or 4 genuinely lol moments, though. Far more than I get from most comedies.
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5-time MoFo Award winner.



A system of cells interlinked
King Kong (Guillerman, 1976)




This was better than I expected it to be... For 1976, the ape was brought to life and infused with emotion fairly well. I know everyone raves about Jackson's 2005 remake, but that flick has pacing issues, and a bunch of tacked on material (the bug ditch etc.) that tend to take away from the main thrust of the story for me. That said, this film also has issues, but mostly due to the period of time it was made in. While the creature effects work for the most part, there are a couple of segments where it all comes apart due to poor effects. Still, those are few and far between, so this worked for me overall. I have always been a Jeff Bridges fan, and I am pretty much over the moon for 1976 Jessica Lange.

After watching both the original 1933 film and this remake, it seems like Peter Jackson was aiming to remake this film in 2005 more than the classic original, although Jackson did set his remake in the 30s, as he was more able to recreate the period with advanced CGI. Watts is perhaps a better actress than Lange, but Lange is perfect for the role, without any of the post-modern characterization that was injected into the 2005 version my Watts. King Kong works better without post-modern concepts, IMO. The 1976 makes no claims at being the definitive version of Kong, which is of course reserved for the 1933 classic, but it's not as bad as its reputation would lead you to believe. I think it is just as entertaining as the 2005 remake, anyway. Also - the finale features the Twin Towers of the World Trade Center, now also a relic of the past.
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"There’s absolutely no doubt you can be slightly better tomorrow than you are today." - JBP



Setsuko Hara is my co-pilot

That moment almost broke the fourth wall for me.

铁西区 [Tie Xi Qu: West of Tracks]
(2003) -
(557 min of Chinese workers, how they live and go by in direct cinema style. The first hour was extremely powerful. Almost like a descent to hell. It was about smelter workers and all them drab ashy locations were extremely hypnotic. Then, the other three hours of this part were just as great, only the initial 'descent' feel vanished. Then, the second 3-hour part was the worst. It was a three star one. The last only two hour long part was almost as good as the first, but slightly worse. I give it four stars as well. It was more focused on particular family than the whole society, so it helped to make an emotional impact. An impressive documentary.)
Matka Królów [Mother of the Kings] (1982) -
(A Polish movie that shows a mother in Poland from 1930s to 1950s. The ending felt like somebody slapped me with a pancake. But damn, it was a heavy pancake.)
Die Büchse der Pandora [Pandora's Box] (1929) -
(Louise Brooks is a cute femme fatale sort of character, who brings every man to ruin. Her amazing charm would tame any beast. But beasts are wayward. I found the cinematography very alluring and Brooks engaging. Or maybe it's the other way around.)


Badass!

The Searchers (1956) -
(I don't remember much and I've seen it the 4th. The cinematography was good and I liked the scene, in which cowboys are flanked by Indians, but that's about it. The white actor playing Indian chief was hilarious. Blue-eyed Indian FTW! But seriously, it's such a classic and it's mediocre. )
Faces (1968) -
(Oh my! <creepy Asian guy smile> It's completely nuts in the beginning. People behave strangely like they are high or children, but I didn't find it annoying and were just observing them. Then, the movie gets more and more serious with a totally groundbreaking finale. It's not the plot that's most important, though. It's cinematography and particulary the zooms on faces. Many faces. Many emotions. Gotta watch more Cassavates.)
The Invisible Man (1933) -
(How did they do it back then?! Don't tell me how, I read about it, so I know, but still.. how!? An amazingly executed movie that probably couldn't have been made better technically. And Gloria Stuart is a total babe.)


You said kinky?

怪談昇り竜 [Blind Woman's Curse] (1970) -
(Meiko Kaji in Ninkyo Eiga flick! You don't know what does it mean? No worries, I didn't before I'd seen the movie neither. It's amazing, tho, the movie. It's exploitation with chambara themes and it's based on Japanese legend as well.)
The Vampire Lovers (1970) -
(How come I rated it four stars?! Oh, must've been them b00bies, but seriously it's quite appealing with nice ladies, cool vampire themes and vivid colours.)
三匹の侍 [Three Outlaw Samurai] (1964) -
(It's cliche to say, but it's like Kurosawa movie not directed by Kurosawa. There's a dose of humanism and also some samurai fights. Nothing to hate.)


Clothes always are an unnecessary ballast in a fight. ALWAYS!

Village of the Damned (1960) -
(These kids. There's something wrong with them. These eyes. Crappy & kitschy as hell, but it does work!)
やさぐれ姐御伝 総括リンチ [Female Yakuza Tale: Inquisition and Torture] (1973) -
(For Reiko Ike it wasn't enough to kick ass topless in Sex and Fury, now in this film there's a whole gang of such ladies at the end! And everybody's naked. Haha. And there's a gangsta smug with bare butt and hookers smuggling coke in their private parts. The humour in this is the lowest you can imagine, but still it's such a guilty pleasure gem you can't ignore if you're into them exploitation flicks.)
Singin' in the Rain (1952) -
(At first I didn't like the idea of them singing without any reason. Like they just have a casual conversation and out of nothing they decide to sing, but later I stopped payin attention to this detail. Also, the final scenes when that screeching lady was p0wn3d were amazing. And I'm sure she was an inspiration for Lynch to make that dumb policewoman secretary in Twin Peaks.)


Wow!

Vtáèkovia, siroty a blázni [Birds, Orphans and Fools] (1969) -
(I watch movies to have moments like these. Madness. Madness is the movie. And mad are the characters. And everything is so beautiful visually. But then you realise that madness is the only way to keep your sanity and liberty. No matter what you do, though, you're going down anyways.)
The Hound of the Baskervilles (1959) -
(Weakest Hammer so far. It's cool to have both Cushing and Lee in one flic, but I prefered the Soviet take on this story in that amazing Sherlock Holmes series I've been watching some time ago.)
Final Cut: Hölgyeim és uraim [Final Cut: Ladies and Gentlemen] (2012) -
(The idea is impressive and it took a lot of time, making it, for sure, but all in all, the final output is just your usual romance flick, isn't it?)


It's not easy to be crazy.

Berg-Ejvind och hans hustru [The Outlaw and His Wife] (1918) -
(Sjöström on his way to masterpieces. The ending is very powerful.)
The Other Side of the Underneath (1972) -
(Asylum. Everyone's mad and has some visions & speaks with therapist and then has a good time with some Scotch hippies!)
Аэлита [Aelita: Queen of Mars] (1924) -
(freakin' amazing for what it is. And it's a sci-fi flick with a lot of underlying themes. Too bad the Earth scenes outnumber the Mars scenes by so much. The costumes and scenography are impressive. The idea of Red Revolution on Mars made my laugh, though. Red revolution on red planet. Kinda fits. )


That's how the Queen of Mars looks like. In case you're wondering.

Regi Andrej Tarkovskij [Directed by Andrei Tarkovsky] (1988) -
(Tarkovsky works on his last movie and we observe him. How much control he has over everything. He doesn't compromise, neither. You have to shoot the scene once again, because you f*cked up? Let's do it! You have to rebuild the freakin' villa? Then do it! So many great quotes from the master director as well. So wise. Now I love him even more.)
L'étrange couleur des larmes de ton corps [The Strange Color of Your Body's Tears] (2013) -
(And I thought Amer was awesome... Total audiovisual orgy with a nice mystery YOU have to solve. A lot of leads to be found in VISUAL side of this pic.)
Zabiæ bobra [To Kill a Beaver] (2012) -
(Probably the worst Kolski movie. It wasn't as bad as people made it to be, though. LOL @ comments of sex scenes and how the parents of the girl would be ashamed. She's 24 but plays 16 and has a nice body. The movie was underwhelming and nothing new.)


Them Belgians are modern giallo masters!

Angst [Fear] (1983) -
(More disturbing than all Saw movies together. This stuff f*cks with your brain, man. When I was watching it I started to think what I would do if I was a killer. How would I do in the victims. God, it made me realise I'm a psychopath. OK, I'm kidding, but it still gets under your skin. Amazing movie. Colder than polar bear's butthole.)
乾いた花 [Pale Flower] (1964) -
(Underwhelming Japanese New Wave flick. I didn't even feel like one. It's about gambling and I didn't find it particulary great. The cinematography is good. )
Thriller - en grym film [They Call Her One Eye] (1974) -
(I really wanted to rate it higher, but I can't. LOL @ porno scenes that are too short to do anything and too long to not notice them. I'm indifferent to them, though, so I'm not like decreasing my rating because of 'em. The movie just didn't feel like a great one, though, but it actually had a lot of potential seen in the first scene, the last one with the horse and the one with two policemen getting their ass kicked in slowmo. Hell, there's even some kind of perversed beauty to it.)


Lookin' for ya to kick your ass!

Letter From an Unknown Woman (1948) -
(Such an insipid rom flick, but Ophüls really squeezes off everything he can out of it and actually makes it a beautifully shot and EMOTIONALLY ENGAGING story.)
Tempo di viaggio [Voyage in Time] (1983) -
(Another Tarkovsky doc, directed by him and one of the best screenwriters in history. Sadly, it's much shorter than the other one. It's less interesting and powerful too, but it was nice to hear who are Tarkovsky's favourite filmmakers.)
The Man Who Knew Too Much (1956) -
(I can't believe how much I actually liked that one. It's in my Hitchcock Top 5 outrunning films like Rear Window and Dial M for Murder. The Albert Hall scene is one of the best things Hitch has ever directed and I liked all these pastel colours and sense of humour as well.)


Love that moment!

Obsession (1976) -
(Another good De Palma flick. It heavily borrows from Hitchcock, namely Vertigo, but also somehow doesn't feel like a rip-off. The cinematography and music are top notch and the usual De Palma over-the-top love moments are amazing. The solution is obvious and the weakest part of the movie.)
Хрусталёв, машину! [Khrustalyov, My Car!] (1998) -
(Wow! What a disappointment. The movie is a very chaotic and annoying mish-mash of everything you can possibly think of. There's some film noir atmosphere and outstanding cinematography (that's a good thing) and a lot of annoying characters and unfunny scenes, anal rape being one of them.)
Casualties of War (1989) -
(The worst De Palma. His style doesn't fit war flicks at all. His over-the-top kitschy soppy moments really fit them crime/romance flicks and make them guilty pleasures/feel goods, but in a war movie it just turns out to be PATHOS. And pathos in a war movie is bad.)

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In the strictest sense lesbians can't have sex at all period.



Been years since I saw either, but I remember Casualties Of War being so much better than Obsession, which is a total snorefest. Nice to see you are watching some decent stuff, though. When i say that, I'm guessing I don't mean the ones others will think are decent.





The Holy Mountain (1973) -
So brilliant. El Topo I didn't like, but this one I could watch over and over again, and I'm sure I would never get tired of it. I want more of this kind of cinema. Minio, suggestions please.

McCabe & Mrs. Miller (1971) -
Great scenery, I liked Beatty's character, and just very enjoyable overall. I take back what I said regarding Altman. He really takes his time here, and in the end it pays off.

The Insider (1999) -
It never gets slow and there isn't a dull moment despite its runtime, and the leads bring their A-game. Pretty good thriller from Mann. "Wipe that smirk off your face!"

Synecdoche, New York (2008) -
Some very good acting from Hoffman. I've never really been a fan of Kaufman and his quirk, but this is by far his best work. Pretty much a film that every human can relate to, in one way or another.

Repulsion (1965) -
Deneuve loosens her screws completely.

Autumn Sonata (1978) -
And for the first time, Bergman disappoints. The acting is solid, but I look for so much more in a film. And call me a heartless bastard but I couldn't care less for the characters. Honestly.

Lilya 4-Ever (2002) -
Eh.



Friends wasn't funny either.

Autumn Sonata (1978) -
And for the first time, Bergman disappoints. The acting is solid, but I look for so much more in a film. And call me a heartless bastard but I couldn't care less for the characters. Honestly.
Heartless bastard!



Registered User


The Holy Mountain (1973) -
So brilliant. El Topo I didn't like, but this one I could watch over and over again, and I'm sure I would never get tired of it. I want more of this kind of cinema. Minio, suggestions please.
There isn't much like The Holy Mountain, maybe Minio knows some I don't, but I do recommend checking out Jodorowsky's debut, Fando y Lis, and another film he did called Santa Sangre.