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Eros (Wong Kar Wai et al., 2004)
Peeples (Tina Gordon Chism, 2013) +
Drive Me Crazy (John Schultz, 1999)
Peeples (Tina Gordon Chism, 2013) +
Drive Me Crazy (John Schultz, 1999)
Movie Tab II
→ in Games and Tabs
Good Morning (Ozu, 1959)
The only other Ozu film I've seen was released in the same year as this charming comedy- Floating Weeds. I actually found it rather weak and myself unattached to the characters. The experience for Good Morning was the opposite. One of the most soothing film viewings I could ask for. From the start I became completely absorbed in this world of a middle class Japanese suburb. Nothing dramatic happens, no turning points, just the simple life of a handful of families. And I couldn't ask for anything else. Many characters I would often find annoying didn't bother me here, and in fact I liked all of them. The whiny children, the gossipy neighbors, these are usually qualities that make a character a nuisance. In Good Morning I loved all the characters. Especially the grandmother, who was an absolute badass.
Despite being an immature comedy with most the humor based off farts- which was rather funny- Ozu creates an important simple statement on communications and understanding. There's nothing to profound in what is being said but it's simply humanist and adds a great charm to this film. The film has a perfect balance between showing the trivial conflicts of the children and of the adults. Despite it being clear that the characters have greater problems in their lives Ozu points the camera at two petty ones. Simple, calming, absorbing, meaningful, and beautiful. A truly great film.
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The only other Ozu film I've seen was released in the same year as this charming comedy- Floating Weeds. I actually found it rather weak and myself unattached to the characters. The experience for Good Morning was the opposite. One of the most soothing film viewings I could ask for. From the start I became completely absorbed in this world of a middle class Japanese suburb. Nothing dramatic happens, no turning points, just the simple life of a handful of families. And I couldn't ask for anything else. Many characters I would often find annoying didn't bother me here, and in fact I liked all of them. The whiny children, the gossipy neighbors, these are usually qualities that make a character a nuisance. In Good Morning I loved all the characters. Especially the grandmother, who was an absolute badass.
Despite being an immature comedy with most the humor based off farts- which was rather funny- Ozu creates an important simple statement on communications and understanding. There's nothing to profound in what is being said but it's simply humanist and adds a great charm to this film. The film has a perfect balance between showing the trivial conflicts of the children and of the adults. Despite it being clear that the characters have greater problems in their lives Ozu points the camera at two petty ones. Simple, calming, absorbing, meaningful, and beautiful. A truly great film.
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Yeah, there's no body mutilation in it
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Also thank you Cobpyth for giving this film acclaim in the Rate the last movie thread, or I would not have gotten to it anytime soon
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The Amazing Spider Man II
(Webb, 2014)
Restraint. The best comic films exercise restraint, and this one failed in that regard. I did like some aspects of this one, but too many times, it slipped into cartoon land, failing to stay grounded in its characters. Either embrace the camp and run with it, or go gritty and post-modern: combining the two rarely works. The Gwen Stacy stuff was a bright spot (not thematically, but in regards to execution), so I enjoyed the character play there. Neither villain was fleshed out enough or developed enough to work for me.
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I pretty much agree with you that the Amazing Spider-Man 2 is lame and definitely that the villains aren't well developed (also The Spider-man backstory is just sort of played out for me), but cartoonyness per se doesn't bother me in superhero films (I'm in the minority on the third Raimi film, for example). Also, I'm pretty sure camp is post-modern.
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Fish Tank (Andrea Arnold, 2009)
Goodbye Solo (Ramin Bahrani, 2009)
A Lady Without Passport (Joseph H. Lewis, 1950)
Conflict (Curtis Bernhardt, 1945)
Humphrey Bogart crashes his car when he learns his wife knows he’s in love with her sister. After he recovers, he murders his wife but goes psycho when he thinks she’s still alive.
Nowhere to Run (Robert Harmon, 1993)
Iceberg Slim: Portrait of a Pimp (Jorge Hinojosa, 2013)
The Final (Joey Stewart, 2010)
Mermaids (Richard Benjamin, 1990) +
In 1963, single mom Cher tries her best to raise her daughters Christina Ricci and Winona Ryder.
B.U.S.T.E.D aka Everybody Loves Sunshine (Andrew Goth, 1999) +
Religulous (Larry Charles, 2008)
Barking Dogs Never Bite (Bong Joon-ho, 2000)
The Real Buddy Holly Story (Richard Spence, 1985)
Interviews with the Crickets and other contemporaries of Buddy Holly are interspersed with those of later musicians influenced by him and some of his live footage, such as he and the Crickets’ appearance on “The Ed Sullivan Show”.
La Bare (Joe Manganiello, 2014)
Horrible Bosses (Seth Gordon, 2011) +
Invitation (Gottfried Reinhardt, 1952)
Ishtar (Elaine May, 1987)
Two lousy American singers (Dustin Hoffman & Warren Beatty) play a gig in Morocco, become “spies” and end up lost in the desert with a blind camel.
The Numberlys (William Joyce & Brandon Oldenburg, 2013) -
The Toy (Richard Donner, 1982)
Think Like a Man Too (Tim Story, 2014) +
Young Torless (Volker Schlöndorff, 1966)
Shortly after arriving at an Austrian military academy, young Torless (Mathieu Carrière) visits local prostitute Barbara Steele.
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page
It's what you learn after you know it all that counts. - John Wooden
My IMDb page
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Wanderlust (David Wain, 2012)
Snowpiercer (Bong Joon-ho, 2013)
My Blueberry Nights (Wong Kar-wai, 2007)
Underworld (Len Wiseman, 2003) -
Underworld: Evolution (Len Wiseman, 2006)
Snowpiercer (Bong Joon-ho, 2013)
My Blueberry Nights (Wong Kar-wai, 2007)
Underworld (Len Wiseman, 2003) -
Underworld: Evolution (Len Wiseman, 2006)
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Two O'Clock Courage (Anthony Mann, 1945)
The Invention of Lying (Ricky Gervais & Matthew Robinson, 2009)
Arizona Raiders (William Witney, 1965)
Conversation Piece (Luchino Visconti, 1974)
The relationship between retired professor Burt Lancaster and his anarchistic tenant (Helmet Berger), the lover of noblewoman Silvana Mangano, is slowly revealed.
Blue Denim (Philip Dunne, 1959)
Call McCall (Joseph Pevney, 1960)
Jeremy Fink and the Meaning of Life (Tamar Halpern, 2011) +
Peeping Tom (Michael Powell, 1960) +
Shy film technician Carl Boehm also takes photos for girlie magazines and is making his own film about fear by recording the reactions while murdering various women.
Between Heaven and Hell (Richard Fleischer, 1956)
House of the Dead (Uwe Boll, 2003)
The Devil at 4 O'Clock (Mervyn LeRoy, 1961) +
Scaramouche (George Sidney, 1952) +
The bastard son (Stewart Granger) of a nobleman seeks revenge when his friend is murdered but first he hides out as an actor with a luscious lover (Eleanor Parker) while he trains to become an expert swordsman.
Made in Paris (Boris Sagal, 1966)
One Day in Auschwitz (Steve Purcell, 2015)
The Man Who Shook the Hand of Vicente Fernandez (Elia Petridis, 2012) +
Da Sweet Blood of Jesus (Spike Lee, 2015)
Lee’s Kickstarter-financed, shot-on-the-run remake of the cult film Ganja and Hess has Zaraah Abrahams and Stephen Tyrone Williams in the former title roles in a story combining addiction, romance and class satire.
Are You Here (Matthew Weiner, 2014)
Starring Adam West (James R. Toomey, 2013) +
Tale of the Mummy (Russell Mulcahy, 1999) -
Lady Snowblood (Toshiya Fujita, 1973) +
The introduction of the vengeance and the umbrella of Lady Snowblood (Meiko Kaji).
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Has your rating for Peeping Tom fallen slightly, mark? I thought it was a half or so more. Anyway, rep for Peeping Tom and Lady Snowblood. 
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5-time MoFo Award winner.
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Hell, I'll give him +rep for watching House of the Dead.
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Iro's Top 100 Movies v3.0
I really just want you all angry and confused the whole time.
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No, here's what I wrote about it six years ago.
Peeping Tom (1960) +
Visual storytelling genius Michael Powell teamed up with scripter Leo Marks to make this audacious film which predated Psycho by months and was lambasted by the British critics as a "sexual snuff" film at the time of its release. In fact, after making one more film in England, this film's notoriety basically exiled the Master to Australia. Today, many of those same critics call it a masterpiece, and whatever you think about it, it's one of the most original and bizarre flicks ever made. Peeping Tom almost ranks up there with The Red Shoes as Powell's most-all-encompassing fever dream. When I say fever, I mean that the entire film is embued with red lights and it undoubtedly inspired such directors as Mario Bava and Dario Argento in the use of their color pallette and their subjective camerawork.
The thing about this Powell movie which got him into so much trouble was that no matter how cinematic his images were, the critics only saw prostitutes, murder, sick-and-twisted father/son relationships, unhealthy preoccupation with sex and death, and here's the kicker: the fact that Powell himself played the twisted scientist father and had his own son play his son at an early age as a victim of his father's abuse. The psychological underpinnings of the main character's actions, which are far more developed than those of Norman Bates, didn't count for much for the lynch mob critical community, even though Hitch came along a few months later and made them come up with excuses for him. The problem is that no matter what Powell accomplished in his film, he didn't film the flourishes that Hitch did with a far-more unexplainable story (even though some "psychiatrist" tries to explain Norman's motivations at the end of Psycho). Norman Bates is a sympathetic character, but there's no way he's more sympathetic than Mark Lewis in Peeping Tom. Even so, it's quite an accomplishment for both Powell and Hitch to put out such films so close together in the prehistoric year of 1960. It's just sad that the proven genius Powell was turned into a pariah while the proven genius Hitchcock became a millionaire.
Visual storytelling genius Michael Powell teamed up with scripter Leo Marks to make this audacious film which predated Psycho by months and was lambasted by the British critics as a "sexual snuff" film at the time of its release. In fact, after making one more film in England, this film's notoriety basically exiled the Master to Australia. Today, many of those same critics call it a masterpiece, and whatever you think about it, it's one of the most original and bizarre flicks ever made. Peeping Tom almost ranks up there with The Red Shoes as Powell's most-all-encompassing fever dream. When I say fever, I mean that the entire film is embued with red lights and it undoubtedly inspired such directors as Mario Bava and Dario Argento in the use of their color pallette and their subjective camerawork.
The thing about this Powell movie which got him into so much trouble was that no matter how cinematic his images were, the critics only saw prostitutes, murder, sick-and-twisted father/son relationships, unhealthy preoccupation with sex and death, and here's the kicker: the fact that Powell himself played the twisted scientist father and had his own son play his son at an early age as a victim of his father's abuse. The psychological underpinnings of the main character's actions, which are far more developed than those of Norman Bates, didn't count for much for the lynch mob critical community, even though Hitch came along a few months later and made them come up with excuses for him. The problem is that no matter what Powell accomplished in his film, he didn't film the flourishes that Hitch did with a far-more unexplainable story (even though some "psychiatrist" tries to explain Norman's motivations at the end of Psycho). Norman Bates is a sympathetic character, but there's no way he's more sympathetic than Mark Lewis in Peeping Tom. Even so, it's quite an accomplishment for both Powell and Hitch to put out such films so close together in the prehistoric year of 1960. It's just sad that the proven genius Powell was turned into a pariah while the proven genius Hitchcock became a millionaire.
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The Week of 7/16/15-7/23/15
Jurassic World (Colin Trevorrow, 2015) -
Dog Day Afternoon (Sydney Lumet, 1975)
Singin' in the Rain (Stanley Donen, 1952)
Animal House (John Landis, 1978) +
Bonnie and Clyde (Arthur Penn, 1967)
Pinocchio (Norman Ferguson, 1940)
Jurassic World (Colin Trevorrow, 2015) -
Dog Day Afternoon (Sydney Lumet, 1975)
Singin' in the Rain (Stanley Donen, 1952)
Animal House (John Landis, 1978) +
Bonnie and Clyde (Arthur Penn, 1967)
Pinocchio (Norman Ferguson, 1940)
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Rush (Ron Howard, 2013) (Rewatch)
Trainwreck (Judd Apatow, 2015) -
Mary and Max. (Adam Elliot, 2009) (Rewatch)
The Jungle Book (Wolfgang Reitherman, 1967) (Rewatch) +
Fantasia (Norman Ferguson, James Algar, et. al., 1940) (Rewatch)
Trainwreck (Judd Apatow, 2015) -
Mary and Max. (Adam Elliot, 2009) (Rewatch)
The Jungle Book (Wolfgang Reitherman, 1967) (Rewatch) +
Fantasia (Norman Ferguson, James Algar, et. al., 1940) (Rewatch)
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Some thoughts on Trainwreck, MV?
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I really didn't know what to expect, since I'd heard almost nothing about it going in. (I saw it because Funny Face wanted to see it.) I guess it was supposed to be something of a raunchy comedy, but it was actually shockingly tame. I don't recall a single frontal nude scene and the language wasn't all that bad either. Except for Amy's promiscuity, it viewed to me pretty much like a standard Rom Com. Not bad, but not something that's going to end up in my personal collection.
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"Vladislav The Poker" does some household chores in [i]What We Do in the Shadows).
Ashes of Time Redux (Wong, 2008) +
What We Do in the Shadows (Clement & Waititi, 2014)
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Karin starts sinking back into an abyss of insanity in the best film from Bergmans faith trilogy, Through a Glass Darkly
Recent Watches:
The Taking of Deborah Logan (Robitel, 2014)- -
[SHORT, DOCUMENTARY) Grandad of Races (1950)-
The Vanishing (Sluizer, 1988)-
Through a Glass Darkly (Bergman, 1961)- +
Winter Light (Bergman, 1963)-
Arnold feels like he's having sex all day in Pumping Iron
Inside Llewyn Davis (Coen Brothers, 2013)- +
Love is Colder than Death (Fassbinder, 1969)-
[DOCUMENTARY] Pumping Iron (1977)-
[SHORT] Ruka (1965)-
An Autumn Afternoon (Ozu, 1962)-
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@donnie
Did mark f hack your account or are you just usually this harsh with your ratings?
Did mark f hack your account or are you just usually this harsh with your ratings?
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