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2022 Mofo Fantasy Football Champ
My Barry Lyndon review is missing from the OP (even though you've repped it).
Sorry about that, thank you for the catch!

Anyone else let me know if I've missed something on the page.



Which is yours?
Here are everybody's noms...

Here's who nominated what by the way. Forgot to post it:

Raul- Antwone Fisher
Citizen- La Dolce Vita
Sean- Shame
Thief- Aniara
Cricket- A Secret in Their Eyes
Pahak- In a Glass Cage
Suspect- Rudderless
Moviegal- A Sea Inside
Ed- Day of the Jackal
Siddon- Barry Lyndon
Neiba- Beasts of the Southern Wild
Torgo- Hard Times
Takoma- The Man from Nowhere
Spelingerror- Vampyr
Wyldesyde- The Whisperers
AgrippinaX- The Deer Hunter
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28 days...6 hours...42 minutes...12 seconds
I was afraid of that

I was hoping it was someone who isn't paying attention to the thread
Ha, I saw your rating on Letterbox and came here to see what you said about it, but nothing yet. I'm ready for it.
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"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."

Suspect's Reviews



In a Glass Cage



My second time seeing this and I feel pretty much the same. This is probably the sickest movie that has been in a general HoF. For those who are concerned, it's more about disturbing subject matter than graphic content. Still, be careful who you watch it with.

I won't really touch on the story but I will say it doesn't go exactly how it seems it will go, and that's definitely a positive. I'm undecided as to how well made the movie is. It's pretty well made to me if I'm judging it on a curve, but it will come off as low budget to some. I think it suits the content well. The acting is pretty good, especially by the mother, and I don't know her name but I've seen her in other movies and she's a terrific actress. As for the content, it's not that shocking to me because I'm used to movies like that. For me to really love this I would have needed that shock. I mean I'm not sick, it is effective to a decent degree, just not to the degree where it stays with me. The part of it that make me the most queasy is the damn iron lung. Just the words "iron lung" are enough to make me ill. It's just a freaky thing, and the noise it makes reminds me of the noise from the spacecraft in Aniara, a natural noise that strongly adds to the tension and atmosphere. I'll be curious to how this does because it is out of some of your comfort zones. I like it.




Cross-posting from the "Rate the Last Film You Saw" thread.



Vampyr, 1932

It has been many years since I'd last seen Vampyr, and in my memory it was a silent film. Imagine my shock when there was dialogue!

Allan Gray (Julian West) stops for the evening at an inn in a small village. Through a series of bizarre encounters and visions he ends up in the manor home of a man, the man's two daughters, and the manor's servants. It soon becomes clear that one of the sisters, Leone, is under the thrall of a vampire. Allan and the servants must work to free her from the evil creature.

It may be true that this is not a silent film, but nor is it a "full" sound film. I read that this is because Dreyer, the director, had to record any dialogue in three different languages, and thus tried to limit the amount of speaking. But though the film's sparse dialogue may have been a pragmatic, logistical decision, the result is a film that feels like an eerie hybrid between two types of films. For a long stretch it will seem like a silent film, only to have someone suddenly speak. In other moments, a character will say something, only for it to be followed by an unnatural silence. This neither-here-nor-there aspect of the film is a perfect match for the otherworldly, dreamy atmosphere of the story.

The film's main selling point is its visuals, of course. There is a lot of impactful, memorable imagery crammed into the short runtime. A quick google search will reveal that a TON of people really like the fetishistic image of the young woman bound with black cord (I wonder why . . . ?), but I was largely impressed with the effects and the framing of the different sequences.

On the effects front, there are some really great moments. One of the film's visual themes is shadows, and they are used in pretty much every way possible. Often characters are preceded into the frame by their shadows. But in other moments, characters become disconnected from their shadows. In another scene, Allan spots shadow creatures slinking along the grass. The shadows are not only capable of looming ominously, it's never totally clear when they might take on a life of their own.

In terms of the framing, I was very struck on this viewing by the way that the characters, and especially Allan, so often seem to be cowering in the lower half of the frame. This forces their eyeline up (often looking at something that we, the viewer, cannot see), and gives an almost perpetual sense of fearfulness to the different scenes. There is a disorienting sense of unpredictability in terms of where characters are in relation to one another. A hand might suddenly intrude into the frame offering a cup of tea. In one scene, Leone's sister rushes to a window only for Allan to suddenly appear beside and behind her. People, or creatures, might emerge from anywhere, and it creates an effect that is unsettling.

Julian West, who plays Allan, is perfect casting. He hits just the right notes as someone who wants to do the right thing, but is in totally over his head. As he stares at one incomprehensible horror after another you can practically see the wheels turning. Allan is the film's hero, but in many scenes he is more a witness than anything else.

My complaints about this film are relatively minor. There is a lot of exposition delivered by characters reading a book about vampires, which is a bit dry. I also struggled at times to keep track of who certain characters were (various henchmen, I guess?) and the exact nature of the vampire's operation.

Overall, a great film and incredibly engaging visually.




Barry Lyndon (1975) -


WARNING: spoilers below
I was surprised by how much I loved this film. I know it's a Kubrick film, but since I'm not a fan of historical dramas and given that Barry Lyndon is a middle child between four Kubrick films which are more well-known (2001: A Space Odyssey, A Clockwork Orange, The Shining, and Full Metal Jacket), I was wondering if this would be one of his weaker films. But nope, Kubrick blew me away once again.

A major theme of this film is the death of existentialism. Barry's attempts to use his wit and skills to secure a good outcome outside of the system make him an existentialist. These efforts are constantly undermined though. For example, though it initially seems like he kills John Quin in a duel, it's later learned that Quin didn't die and that the duel was a ruse to get rid of him. Also, his efforts of escaping to Dublin are undermined by being robbed. In addition, his plan to join the Seven Years' War to get a pension that will enable him to return home are undermined by his friend dying and, of course, never receiving the pension. Finally, his efforts of deserting the war are undermined by him being drafted into the Prussian Army. Since Barry was unable to change his fate and avoid becoming part of the system, his existentialist ideals fell flat.

The latter parts of the first half are where Barry loses his existentialist ideals and becomes part of the system he attempted to avoid. Saving a Prussian soldier's life in the Seven Years' War is his first turning point. While he initially attempted to create a good outcome for himself by operating outside of the system (again, with no luck), he's now operating from inside the system and doing what those above him would want him to do. Except, he isn't quite ready to be a part of the system. Though he's operating from inside it now, he's yet to master the act of deception. While many people in the film deceived Barry up to this point, he's yet to do the same as Prussian Captain Potzdorf caught on to his last attempt. Eventually though, Barry and Chevalier successfully deceive the Prussians by escaping the country. Marrying Lady Lyndon serves as the final nail in the coffin to his existentialism, causing him to be a member of the system. He's now a deceiver who marries for class and uses violence to settle disputes, just like those around him. He wasn't able to escape this fate.

Now is a good time to mention the cinematography. Most shots in the film are constructed to look like paintings, largely due to the abundance of wide angle shots and how the film was shot only in natural light. While this style is visually outstanding, it also adds to the film's themes. Of course, paintings never move regardless of how long or how many times you view them. They will always tell the same story. I think this aesthetic shows how Barry's story is neither special nor unique. Rather, the character traits we see of him are part of a pattern. Many other people had, have, and will have the same fate as Barry. For instance, though little is known about Barry's father, the first shot shows that he also used violence to settle disputes. In fact, a common camera movement in the film shows a close-up of Barry, only to pull back and reveal more and more of the setting he occupies. These shots show that Barry is less important to these frames than the scenery surrounding him is.

The second half expands upon this generational pattern by detailing how Bullington becomes a faceless member of the system, just as Barry, Barry's father, and everyone else around them did. Much like Barry uses violence to solve conflicts with Bullington in the second half, Bullington uses violence to solve his own conflicts later on. Bullington also upholds the same existentialist ideals Barry had in the early stretches of the film, shown by how Bullington constantly defies Barry with the belief he can save his mother from him or how he later leaves the family estate. Like Barry though, Bullington's efforts are undermined. Defying Barry doesn't save his mother: it only results in him getting beaten. Leaving the family estate doesn't allow for him to operate outside the system: he later returns to the estate. Given this, Barry and Bullington are one and the same as they both end up operating inside the system, despite their efforts to avoid it. Just like a character in a painting, they have no free will and will always live in the same scene.

In conclusion, this is another impressive addition to Kubrick's large body of films. I'm not sure where I'd rank it amongst his other films, but it's definitely a great film. If you haven't seen this film yet, I highly recommend doing so.


Next up: Beasts of the Southern Wild
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Cross-posting from "Rate the Last Film . . ."



The Whisperers, 1967

Mrs Ross (Edith Evans, fantastic) is a woman in her 70s who lives alone in an apartment. Lonely and often only kept company by the shouting from the younger couple who live upstairs, Mrs. Ross is convinced that she is being spied on and that unknown persons are going through her things while she is out. All though the course of the film, those around her are only after what they can take from her. Even an act intended as a kindness has unfortunate, harmful results.

This film is, as they say, a downer. It has a certain bleakness baked into every scene. And at the center of that bleakness is the main character's utterly dysfunctional relationship with the world around her.

Something that is keenly observed in the film is the way that Mrs. Ross's alienation from everyone else isn't entirely a case of the world being cruel to her. Don't get me wrong--she is certainly mistreated by most of the people she encounters. But there is also a degree to which Mrs. Ross dehumanizes or looks down on other people. She refers to her upstairs neighbor as "that Indian." She explains her home by saying that she "married down." When she does get talking to a woman (and, yes, to be fair the woman is clearly trying to scam her, but Mrs. Ross doesn't know that), she extends kindness . . . in the form of offering to hire her as a maid. Mrs. Ross hasn't cultivated positive relationships in her community, and she is effectively stranded in the middle of people who regard her only as a soft target.

Despite Mrs. Ross's occasional snobbery, however, she is certainly not deserving of the arbitrary and unnecessary cruelties she encounters day to day. When she is too enthusiastic at a church service, she is called a cow. Her own son calls her a "stupid mare". Finally, her estranged husband called her a "daft b*tch". She is constantly dehumanized and threatened, and she is so perplexed, humiliated, and flustered by these encounters that she seems unable course correct.

The one, small glimpse of kindness that she receives is the attentions paid her by her welfare agent, Mr. Conrad (Gerald Sim). Mrs. Ross writes Mr. Conrad long, borderline personal letters, and you get the sense that this is one of her most (if not the most) genuinely caring relationships she has with anyone. But even this relationship has its limits. Without really understanding Mrs. Ross, Mr. Conrad makes a decision for her that has the potential to be incredibly devastating--attempting to track down her long-absent husband.

Appearing in probably 95% of the movie, Edith Evans gives an absolutely amazing performance as Mrs. Ross. This is a woman who has been driven to a place of extreme loneliness and isolation. Her conversations with voices that aren't really there (voices that apparently raise her different doubts) seems a natural extension of someone who has been without any intimate or caring interaction for years, and possibly decades. Not only is she alone but the world around her has changed and her notions of proper behavior make her come across as condescending or crazy to anyone younger than 40.

Solid and well-acted, but be ready for rough emotional waters.




Rudderless: I knew I was in trouble with this one from the first frame. It has the look of a cable TV show. Everything is much too clean. It just has that digital sterilized feel. The dialogue is very bland as well. Every character action is meant to serve the plot. The protagonist is the best example of this. Even now with the film behind me I am not sure if I am supposed to hate him, love him. or be inspired by him. I have been surprised to hear people liked the music here. I really didn't think it was very good at all. I am not required to like the style of music to enjoy music in a movie either. Llewyn Davis is a great example of me loving the music on a film despite it being a style of music I would never listen to in my life.

That's really enough. I want to convey what this style of filmmaking reminds me of though. Probably a lot of people here never watch Christian film like God's Not Dead. I tend to watch a couple of them a year, despite not liking them, for various reasons. The most important being I hope it can grow and get better. Anyway, that's very much what this film reminded me of. It was Christian film with F bombs. The look reflects that and the music reflects that. Most importantly the storytelling reflects that. Every piece of dialogue and exposition only exists to serve the plot and theme. Every character only exists to serve that. Because of that the characters are never fully formed or three dimensional. it's a shame.

Sorry Suspect



Rudderless: I knew I was in trouble with this one from the first frame. It has the look of a cable TV show. Everything is much too clean. It just has that digital sterilized feel. The dialogue is very bland as well. Every character action is meant to serve the plot. The protagonist is the best example of this. Even now with the film behind me I am not sure if I am supposed to hate him, love him. or be inspired by him. I have been surprised to hear people liked the music here. I really didn't think it was very good at all. I am not required to like the style of music to enjoy music in a movie either. Llewyn Davis is a great example of me loving the music on a film despite it being a style of music I would never listen to in my life.

That's really enough. I want to convey what this style of filmmaking reminds me of though. Probably a lot of people here never watch Christian film like God's Not Dead. I tend to watch a couple of them a year, despite not liking them, for various reasons. The most important being I hope it can grow and get better. Anyway, that's very much what this film reminded me of. It was Christian film with F bombs. The look reflects that and the music reflects that. Most importantly the storytelling reflects that. Every piece of dialogue and exposition only exists to serve the plot and theme. Every character only exists to serve that. Because of that the characters are never fully formed or three dimensional. it's a shame.

Sorry Suspect
You stole some of what I'm writing, but I'll post it anyway.



Rudderless



+

Totally blind watch. First impression is that it's a made for TV movie. That's not the worst thing in the world as it's something I could picture my wife watching with myself joining in. Only difference is the occasional profanity, except as it turns out it's probably not even as edgy overall as a Lifetime movie. None of that is really a complaint.

Spoilerish

Since I didn't know what it was about, what happens after about 5 minutes caught me by surprise. The direction the movie goes in I thought was fresh and interesting. Normally I would have expected this guy to find a new love and adopt a kid and all that good sappy crap. As it turned out, I may have preferred that, but I did enjoy the movie a reasonable amount as I'm a sucker for this kind of thing. There's a twist that comes that I saw coming a mile away, although I wasn't certain. I would have preferred this movie to be more emotionally manipulative. There's no real emotion shown until late in the movie and I would've liked more and sooner. With a movie like this why not go for it. Billy Crudrup was fine as the lead but that's about it. All of the other characters were lame. It's a Made for TV cast. The music was ok for original stuff. It was ok. I wasn't bored and had positive feelings when it was over. I think for someone to love it they'd need to relate to some part of it. Interesting choice.