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But why all the love now? It's seems like everybody's watching it at the moment...

I saw it a year ago or so. Not that it matters when you watched it, but it was just a thought. I think I'll rewatch it soon - it's just my type of film!



A system of cells interlinked
I don't have Netflix, so I didn't see it there. After seeing Upstream Color over the weekend, I looked up lists of films that were along the same lines (lower budget, sci-fi-ish etc.) and Coherence appeared on a list or two. I would have watched it sooner, but I simply didn't know about it.
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Care for some gopher?
Adaption. (Spike Jonze, 2002) -

Solyaris Solaris (Andrei Tarkovsky, 1972) -
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You Only Live Twice (Lewis Gilbert, 1967) -

That Uncertain Feeling (Ernst Lubitsch, 1941) -

Masculin féminin (Jean-Luc Godard, 1966) -
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I don't have Netflix, so I didn't see it there. After seeing Upstream Color over the weekend, I looked up lists of films that were along the same lines (lower budget, sci-fi-ish etc.) and Coherence appeared on a list or two. I would have watched it sooner, but I simply didn't know about it.
Did it fit the bill? I've always wanted something similar to Upstream Color but could never find anything that was. It's so singular in it's identity, even Carruth's other film Primer is very different.



A system of cells interlinked
Did it fit the bill? I've always wanted something similar to Upstream Color but could never find anything that was. It's so singular in it's identity, even Carruth's other film Primer is very different.
I guess I would say it doesn't fit the bill. I loved both films, but as you said, Upstream Color is very unique.



Bright light. Bright light. Uh oh.

Revenge of the Nerds III: The Next Generation (Roland Mesa, 1992)
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Promise (Glenn Jordan, 1986)
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Robinson Crusoe of Mystery Island (Mack V. Wright & Ray Taylor, 1966)
– edited from serial Robinson Crusoe on Clipper Island (1936)
George Wallace (John Frankenheimer, 1997)


During his 1972 Presidential campaign, Alabama Governor George Wallace (Gary Sinese) is shot five times by an assassin in front of his wife Cornelia (Angelina Jolie) and left paralyzed below the waist.
Occidente (Ana Vaz, 2016)

The China Shop (Wilfred Jackson, 1934)

The Man from Monterey (Mack V. Wright, 1933)

Viy (Konstantin Ershov & Georgiy Kropachyov, 1967)
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A young monk (Leonid Kuravlyov) must withstand assaults from evil forces for three days when he attends alone the wake of a possible witch (Natalya Varley).
Robinson Crusoe on Mars (Byron Haskin, 1964)
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The Two Sights (Katherin McInnis, 2015)

Freetown (Garrett Batty, 2015)

The Man Who Could Work Miracles (Lothar Mendes, 1936)


At the whim of the gods, ordinary Englishman Roland Young finds he can perform all sorts of miracles – to the point that he could rule the world.
Dug's Special Mission (Ronnie Del Carmen, 2009)

Different Fortunes (Lonid Lukov, 1956)

Neither God Nor Santa Maria (Samuel M. Delgado & Helena Girón, 2015)

Signs (M. Night Shyamalan, 2002)


Preacher Mel Gibson, who has lost his faith, is concerned for his family when crop circles, and then someone or something, shows up in his corn fields.
This Christmas (Preston A. Whitmore II, 2007)

The Horn Blows at Midnight (Raoul Walsh, 1945)

A Distant Episode (Ben Rivers, 2015)
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Farewell (Elem Klimov, 1983)
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A Russian island is going to be flooded to make way for a hydroelectric dam, and the inhabitants must choose to move or disappear with their homes and customs. Here, in this Russian variation on Kazan’s Wild River, a local spiritual landmark is symbolically burned.
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page



A few more to add to my tally for this year. I'll probably wind up seeing three or four more this holiday weekend (though zero of them will be X-Men or Alice), but from last weekend...



The Nice Guys was probably my most anticipated movie of the year, and I enjoyed the heck out of it, even though by the time the sixth trailer was released there was very little left that felt like I hadn't seen. Shane Black returns to similar territory as Kiss Kiss Bang Bang with a mismatched pair of detectives bumbling their way through Los Angeles trying to unravel a conspiracy leaving bodies in its wake, this time being a period piece set in 1977. I'm not really that big a Russell Crowe fan, but he was effective enough as a sort of funhouse mirror version of his character in L.A. Confidential (Kim Basinger is along again, too), but this movie is really all about winding up Ryan Gosling and watching him go as a drunken, incompetent, cowardly private eye who screams like a girl but somehow manages to brush himself off and keep going.

The period details are fun and Gosling is a hoot and a half, but sadly the one ingredient that is lacking is an interesting plot. Here the story feels almost like an afterthought, a really bare genre construction, which is a shame because a tight, twisty plot would have made it all perfect. Still a lot of fun, and I wish this thing would make a ton of money so that we could see a sequel with these characters...but that ain't gonna happen. It could have been marvelous as TV series, a "Rockford Files" for the 21st century set in the same time period as the Jim Garner show, though then you wouldn't have had Gosling and Crowe. Oh, well. But I'm definitely going back before it leaves the theaters to see The Nice Guys again. Too much fun.




Love & Friendship. I am a huge Whit Stillman fan, and he's back with only his second movie of the 2000s, five years after Damsels in Distress. For the first time Whit adapts material that isn't his own, and also does a period piece that is set longer ago than a nebulous recent past as his Barcelona and The Last Days of Disco had been. Love & Friendship is a Jane Austen piece. Not one of the five novels she is most famous for and that have been adapted for the big screen, small screen, and stage seemingly dozens of times each but instead an early novella, Lady Susan. Yes, it is another comedy of manners and worrying about who should marry who, but especially when filtered through Stillman's own senses and sensibilities it has some sharper edges of wit and deadpan laughs than are sometimes wrought from Austen adaptations.

Kate Beckinsale is wonderful as the manipulative Lady Susan, who after her elderly husband has died is attaching herself to relatives with a scheme of marrying a rich and impressionable younger man. Her machinations are effective, even after some of the bewigged people in her wake begin to grow distrustful of her, but it is all thrown out of whack when her own daughter enters the picture and begins drawing affection naturally and without intent. Some big laughs throughout, and for material that might not have sounded suitable for Whit on first flush, it is a perfect marriage. How downright Austen.




The Lobster I have been wanting to see since it premiered at LAST YEAR'S Cannes Film Festival, where Yorgos Lanthimos won the Jury Prize. Greek filmmaker Lanthimos broke through a few years back with the twisted and mesmerizing Dogtooth. This time he has an all-star international cast, including Colin Farrell, John C. Reilly, Ben Whishaw, Léa Seydoux, and Rachel Weisz. Set in a slightly Sci-Fi-ish near future where society has taken speed dating to an extreme. Adults who are single, either by being widowed or simply being too weird to pair up with anybody, are taken to a resort type place where they are given thirty days to find a suitable match. If after the allotted time you have not found somebody to marry, you are taken to a special room and have your organs (at least the ones that will fit) transferred into an animal of your choosing. Sort of instant reincarnation, by way of Josef Mengele. If you pair up, you return to the city, and if you try to escape before you can be transformed you live in the woods and are hunted for sport.

That's the basic premise, and we follow Colin Ferrell's pudgy David through his journey. Very high concept, obviously, and very dark and funny. It's almost impossible not to compare such a movie to the work of Charlie Kaufman, and while mostly that comparison is a favorable one I would say that ultimately Yorgos Lanthimos is less hopeful a world view than Kaufman, which for me is the genius of Kaufman, that his dark, elaborate fantasies have a current of love and genuine affection running through them, no matter how convoluted and insane the narrative is. Those who have seen Dogtooth will not be surprised to find Yorgos is darker.



Three very good movies, all worth seeing. That was a good weekend.

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__________________
"Film is a disease. When it infects your bloodstream it takes over as the number one hormone. It bosses the enzymes, directs the pineal gland, plays Iago to your psyche. As with heroin, the antidote to Film is more Film." - Frank Capra



Care for some gopher?
Take Shelter (Jeff Nichols, 2011) -

Pusher (Nicolas Winding Refn, 1996) -

On Her Majesty's Secret Service (Peter R. Hunt, 1969) -
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The Steel Helmet (1951)


Margot At The Wedding (2007)


The Passion Of Joan Of Arc (1928)



Mr. Jealousy (1997)


I Am Road Comic (2014)


Wings Of Desire (1987)


8 1/2 (1963)



There Will Be Blood (2007)


Mea Maxima Culpa (2012)


Citizenfour (2014)



Been through all of Noah Baumbach's films now. Definitely a director I respond very positively to and will look forward to whatever he has coming next. He has that mixture of humor and brokenness in his characters that I absolutely love. Squid And The Whale Frances Ha and Mistress America would be my three favorite thus far.
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For some reason i thought you hated 8 1/2, so i was a bit taken aback by the avatar. Must have mixed you up with someone else. one of my favourite films, TWBB too of course.



For some reason i thought you hated 8 1/2, so i was a bit taken aback by the avatar. Must have mixed you up with someone else. one of my favourite films, TWBB too of course.
Wasn't me, Rauldc hates it. I gave it a 3.5 for the HOF, so it did go up quite a bit. Really never left my mind though so I knew I had underrated it.



You know, I enjoyed Joan of Arc much more then I expected to. It really is very good visually. Let's faces it though, the first half is dialogue driven and we are only getting 10% of the dialogue. Just one pleebs opinion.



Sorry if I'm rude but I'm right
You know, I enjoyed Joan of Arc much more then I expected to. It really is very good visually. Let's faces it though, the first half is dialogue driven and we are only getting 10% of the dialogue. Just one pleebs opinion.



@seanc

Noah Baumbach's 1997 Highball, was one of the most underrated comedies of the '90s, name replaced by a pseudonym (as Ernie Fusco)
Filmed over the course of six days, it has the rough-hewn feel of a student film. It's a brillIantly funny movie, with excellent music Dean Wareham's "Everybody Felix"

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A normal man? For me, a normal man is one who turns his head to see a beautiful woman's bottom. The point is not just to turn your head. There are five or six reasons. And he is glad to find people who are like him, his equals. That's why he likes crowded beaches, football, the bar downtown...