only a few minor ones that I easily skimmed past, understanding what you meant to say and enjoying the fact that you enjoyed it as much as you did to care
17th MoFo Hall of Fame
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We're doing pretty well so far, but we have a couple of people who are either due now for a check in or are very close. @TheUsualSuspect has not posted in 10 days. I've sent him a PM.
@neiba has not posted in 9 days. I'll send a PM tomorrow evening if he hasn't checked in by then.
@neiba has not posted in 9 days. I'll send a PM tomorrow evening if he hasn't checked in by then.
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We're doing pretty well so far, but we have a couple of people who are either due now for a check in or are very close. @TheUsualSuspect has not posted in 10 days. I've sent him a PM.
@neiba has not posted in 9 days. I'll send a PM tomorrow evening if he hasn't check in by then.
@neiba has not posted in 9 days. I'll send a PM tomorrow evening if he hasn't check in by then.
VERY cool, my dear
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What I actually said to win MovieGal's heart:
- I might not be a real King of Kinkiness, but I make good pancakes
What I actually said to win MovieGal's heart:
- I might not be a real King of Kinkiness, but I make good pancakes
~Mr Minio
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And, she's a good person who does good even when she's being naughty, and it has a romantic happy ending.
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I'm glad you've found another film you really enjoyed, but I'm not sure I agree with this - at least not entirely. I think Amelie's intentions were good, but I don't think she thought out the things she did. In particular, I found it incredibly unethical when she hooked up her coworker with her other coworker's stalker ex-boyfriend. No surprise that the girl then also became a target for his creepy behavior when they inevitably broke up. That bugged me so bad.
I'm sure Kate Winslet's behavior in my nom The Dressmaker would be very questionable in the real world. I mean she does commit arson when she burns down the town! But it seems justified in the movie, though of course in the real world she just commented a major crime. Both The Dressmaker and Amelie are made to be whimsical, so I readily aspect those behaviors as entertainment. If both movies were made to be serious dramas then the actions of both characters could be said to be unbelievable for the type of characters they were.
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I'm sure Kate Winslet's behavior in my nom The Dressmaker would be very questionable in the real world. I mean she does commit arson when she burns down the town!
In any case, I don't expect all characters to behave in a moral way - I think that's obvious by the sorts of films I enjoy and have nominated - but when we're presented with a character that we're expected to find charming and lovable, I do expect the behavior of that character to give me a reason to find them charming and lovable instead of just finding it creepy.
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In any case, I don't expect all characters to behave in a moral way - I think that's obvious by the sorts of films I enjoy and have nominated - but when we're presented with a character that we're expected to find charming and lovable, I do expect the behavior of that character to give me a reason to find them charming and lovable instead of just finding it creepy.
Which is why I used words like "pixie" when describing her and her actions.
She's impulsive, and while her plans are quite intricate, she does not think ahead to the results of her actions. Which, of course, by simple social courtesies are very bad behaviors. Still, for myself, such mischief that smacks so much of the dangerous pranks of "fairy folk" stories, and the way they are played out in Amelie does charm the living hell out of me. lol
So, yeah, the girl's crazy and creepy, but her kind of crazy - me like.
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Pixote (1981)
Generally, most mentions I've seen of this film prior to this are in reference to City of God. Hell, even the poster on Amazon mentions City of God. I suppose it's only natural due to that film's reputation, but they're barely alike. City of God feels more like a hyper stylised coming of age experience whereas Pixote is more neo-realist in its approach. With Buscapé, I always got the impression that he could achieve his dream despite the issues he faces. I did not get that impression with any of the characters in Pixote. Pixote is just so much more pessimistic about life as a whole.
Due to the City of God comparison the level of the pessimism definitely caught me off guard. Within the first ten minutes you're hit with something truly heinous and it rolls on from there. Like a grimy documentary, it made me want to take a shower when it ended. Credit to Babenco for making me feel that way but also keeping me engaged. The performances from a cast of mostly non actors added to the documentary vibe. Unique dialogue and character elements that I liked a lot. Kudos again to Babenco.
A profound film, and it will finish pretty high on my list.
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I just finished watching Ghostwatch and I have to ask...did "glory hole" mean something different in Britain in the early 90s than it does now?
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I just finished watching Ghostwatch and I have to ask...did "glory hole" mean something different in Britain in the early 90s than it does now?
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Ghostwatch (1992)
Directed By: Leslie Manning
Starring: Michael Parkinson, Sarah Greene, Gillian Bevan
Despite some flaws in its execution, Ghostwatch was an incredibly clever idea that makes for an interesting watch decades after its original air date. The use of real BBC reporters not known for dramatic roles gives the presentation an air of authenticity, however I think it works much better as a film if you try not to take it too seriously. Being in on the joke that the producers were playing on their audience makes the cheesier elements of the film a lot more fun to watch.
The tone and pacing of Ghostwatch is practically pitch perfect for the style of special report it is attempting to replicate, and I appreciated the intentional flaws, such as equipment and crew members being in frame, since those are the kinds of errors often seen in live broadcasts. Clearly a lot of work went into making this film appear convincing, however most of the key performances just weren't strong enough to be credible. Strangely, a lot of the more inconsequential roles, like the viewers calling in, and the live audience behind Craig Charles were really great. It makes me wonder if a few changes in casting would've made a significant difference.
I did think that the film went a little too far during the final act, and I would've preferred if all of the paranormal occurrences were restricted to the on location portions of the broadcast. Having events bleed into the studio seemed too silly if it's intended to trick gullible viewers, though it's a little more acceptable when the film is removed from that context. I did like how the film ended without resolving everything, and despite its imperfections I did find it to be a fairly engaging watch, and I was entertained from start to finish.
The tone and pacing of Ghostwatch is practically pitch perfect for the style of special report it is attempting to replicate, and I appreciated the intentional flaws, such as equipment and crew members being in frame, since those are the kinds of errors often seen in live broadcasts. Clearly a lot of work went into making this film appear convincing, however most of the key performances just weren't strong enough to be credible. Strangely, a lot of the more inconsequential roles, like the viewers calling in, and the live audience behind Craig Charles were really great. It makes me wonder if a few changes in casting would've made a significant difference.
I did think that the film went a little too far during the final act, and I would've preferred if all of the paranormal occurrences were restricted to the on location portions of the broadcast. Having events bleed into the studio seemed too silly if it's intended to trick gullible viewers, though it's a little more acceptable when the film is removed from that context. I did like how the film ended without resolving everything, and despite its imperfections I did find it to be a fairly engaging watch, and I was entertained from start to finish.
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One of these days I'll remember to tag MV in my review before posting it.
@Miss Vicky I am tagging you here instead, and shall refer you to the above post for the actual review haha.
@Miss Vicky I am tagging you here instead, and shall refer you to the above post for the actual review haha.
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One of these days I'll remember to tag MV in my review before posting it.
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It's okay. I've kind of been obsessively checking this thread in the hopes of seeing a Libertine review from somebody so I don't think I've missed anything. So far only Mija has come through.
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That DVD is coming to me for next weekend.
But only because I know you're not generally fond of period films.
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You're on my list of people who I'm worried might hate it.
But only because I know you're not generally fond of period films.
But only because I know you're not generally fond of period films.
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It's okay. I've kind of been obsessively checking this thread in the hopes of seeing a Libertine review from somebody so I don't think I've missed anything. So far only Mija has come through.
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I am willing to bet cricket won't actually hate Libertine. And a slight chance he may enjoy it or bits of it, anyway. The end rating could be around a 3 popcorn, perhaps just below. Give or take depending on what he liked and would have liked to have seen more have, and giving props to what was presented.
It is unlikely he'll love, and knowing the subject matter as I do, he won't necessarily hate and may, possibly, bear no regret having viewed it.
It is unlikely he'll love, and knowing the subject matter as I do, he won't necessarily hate and may, possibly, bear no regret having viewed it.
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@Miss Vicky
The Libertine
Upon the end of his opening prologue, we, the viewers are plopped into the life, the debauchery, and the eventual death of this, our Libertine.
We are not granted the hidden truth, the why and cause of the moral fall of this literary giant, or, glean should there have been any at all or merely an acknowledgement of his inner self and the determination to see it through. We are but companions, willing or not, traversing the crags and rocky juts as he plows, full tilt, to the dregs of the bottle and the spilling of his pr#ck.
Owning a copy of this, I've seen it quite a number of times and revisit Wilmot's attempt to succor his drug, the experience of the theater. Finding himself incapable of feeling - anything for actual life. Creating quite the irony when it is by his declaration that he seeks the "truth" of things and speaks its thorny abrasions upon everyone and anyone who foolishly cares about him.
Rochester: How old are you, Mr Downs?
Billy Downs: Eighteen, my lord.
Rochester: Young man, you will die of this company. Do not laugh, I'm serious.
Elizabeth Malet: Is the fault mine? If I were a better wife would you not need the whorehouse and the inn?
Rochester: Every man needs the whorehouse and the inn.
Depp is ideal for this character and for the performance given. As is the rest of the cast, bringing us unabashedly into this world. The poetic dialogue and muddy environs of this film have both a sublime effect as well as a dark pleasure to the more primal nature of my creative self.
From my first viewing, til this most recent revist, I cannot help but smile, wickedly.
The Libertine
I am John Wilmot,
Second Earl of Rochester
and I
do not want you
to like me.
Second Earl of Rochester
and I
do not want you
to like me.
Upon the end of his opening prologue, we, the viewers are plopped into the life, the debauchery, and the eventual death of this, our Libertine.
We are not granted the hidden truth, the why and cause of the moral fall of this literary giant, or, glean should there have been any at all or merely an acknowledgement of his inner self and the determination to see it through. We are but companions, willing or not, traversing the crags and rocky juts as he plows, full tilt, to the dregs of the bottle and the spilling of his pr#ck.
Owning a copy of this, I've seen it quite a number of times and revisit Wilmot's attempt to succor his drug, the experience of the theater. Finding himself incapable of feeling - anything for actual life. Creating quite the irony when it is by his declaration that he seeks the "truth" of things and speaks its thorny abrasions upon everyone and anyone who foolishly cares about him.
Rochester: How old are you, Mr Downs?
Billy Downs: Eighteen, my lord.
Rochester: Young man, you will die of this company. Do not laugh, I'm serious.
Elizabeth Malet: Is the fault mine? If I were a better wife would you not need the whorehouse and the inn?
Rochester: Every man needs the whorehouse and the inn.
Depp is ideal for this character and for the performance given. As is the rest of the cast, bringing us unabashedly into this world. The poetic dialogue and muddy environs of this film have both a sublime effect as well as a dark pleasure to the more primal nature of my creative self.
From my first viewing, til this most recent revist, I cannot help but smile, wickedly.
Asking of you:
Talk to me of abduction.
Talk to me of abduction.
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