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Author Topic: Rate The Last Movie You Saw  (Read 1839560 times)
Groggy
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« Reply #10155 on: January 30, 2012, 01:42:55 PM »

Goodfellas - 9/10 - 3rd viewing. I might have to revise my view of Casino being better, because this film improves with each viewing while Casino doesn't.

The Four Feathers (2002) - 5/10 - Another useless remake of a classic. I give it respectable marks for the gob-smacking (if inaccurate) Abu Klea battle, which achieves real spectacle with no obvious computer effects, a decent score and really beautiful mis en scene. But my God they made a mess of the story: the ludicrously somber tone, British army officers circa 1885 acting like 21st Century frat boys, the pointless Man Friday native sidekick, and worst of all no sense of time, space or ugency. This Harry Faversham basically blunders into his mission and achieves little beyond somehow surviving; the Brits lose anyway, rendering it moot. Limp acting from no-talents like Wes Bentley and Kate Hudson doesn't help, though Heath Ledger is tolerable. Even the good actors onhand (Djimon Hounsou, Michael Sheen, Tim Piggot-Smith) don't have much to do. What a stinker.

« Last Edit: January 30, 2012, 05:29:52 PM by Groggy » Logged


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« Reply #10156 on: January 30, 2012, 01:53:04 PM »



I'd be interested to hear what y'all think of this? Do you prefer one method over the other? Or do you appreciate both viewpoints, and are content with the belief that there is more than one way to do things great?


There are always many ways. It depends on the film and how a director uses a certain style.
That's why I don't care for film theories. They mostly say that there are only a few ways to heaven. Sometimes only one.

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« Reply #10157 on: January 30, 2012, 01:56:31 PM »

Are you referring to the fact that during the therapy sessions, he often framed Firth in the corner of the screen? Wasn't that as a means of showing the king's insecurities, or something like that?

-----------------------------------------------------------------

This discussion of camera angles reminds me of something I once heard Billy Wilder say; but rather than transcribe it, I'll just provide the link here: watch this video from 4:04 - 5:20 http://www.youtube.com/watch?v=953TcU5JgiM&feature=related


What do you think of Wilder's opinion RE: camera shots/angles? I find it interesting, cuz there were obviously many other great directors whose views on this issue were precisely the opposite of Wilder's, (including Leone, who employed a self-conscious use of the camera in his films [I believe I borrowed that term from Frayling]).

I'd be interested to hear what y'all think of this? Do you prefer one method over the other? Or do you appreciate both viewpoints, and are content with the belief that there is more than one way to do things great?

p.s. this video is on the special features dvd of Ace in the Hole. If you are a Wilder fan -- whether or not you are a fan of Ace in the Hole --  I highly recommend that you watch Disc Two of Ace in the Hole, ie. the separate disc of special features; I rented it on Netflix. It has some awesome stuff on Wilder  Afro
 
Well he pretty much explained it: "In my language of celluloid, I expect somebody to be watching from there." If that's his principle, fine. He has one of the most impressive filmograhies ever and if it was achieved by following this rule, I can't see any reason why he should have broken it. But you can't really set any general rules for film making; even the most basic "rules" can be broken in an expressive manner. What you can set are dogmas - and those can be really useful for the one who sets them but they are not the word of God. There is not a single rule that would apply to every good movie ever made.   

BTW, what's funny is how people say something is badly directed. As if it was the director's personal fault. Since every single film is different to make, the responsibilities for different aspects of film making can be quite different in different productions. Some directors don't know rat's ass about framing and stuff like that - whereas some directors practically shoot their films themselves. So the irritating style of a film may be actually the DP's fault. Or the editor's fault if he has decided to use every single shot where there's a tilt in order to express something he has considered significant.

I'm only using Groggy's review of The King's Speech as an example. I have not seen the film and don't know anything about it's visual style. His expression: "the direction in The King's Speech irritated me" just caught my attention and reminded me of what I have noted many times before. So I'm not questioning Groggy's account on that particular film or even his use of the word "directing/direction" regarding this film; merely calling attention to the fact that we cannot know where directing ends and where cinematography/editing/sound design/acting begins. Of course the director is responsible for the film but in big Hollywood  productions (although The King's Speech is British) his power is limited.

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« Reply #10158 on: January 30, 2012, 02:20:52 PM »

Of course the director is responsible for the film

1) Hang him high.

but in big Hollywood  productions (although The King's Speech is British) his power is limited.

2) Cool! (1) will be easier.

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« Reply #10159 on: January 30, 2012, 02:23:59 PM »

Hooper did the same asinine camera tricks on John Adams, where he used a different photographer and crew. Ergo I'm inclined to blame the director.

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« Reply #10160 on: January 30, 2012, 02:24:59 PM »

There are always many ways. It depends on the film and how a director uses a certain style.
That's why I don't care for film theories. They mostly say that there are only a few ways to heaven. Sometimes only one.

What I like about film theories is this:
Of course, they're all wrong, because we have all seen great movies following very different "rules". Yes DJ, there is even a couple masterpieces that have a terrible score.
On the other hand, a people who strongly follow some strict rules tend to be more radical, leading to better films (or at least avoiding the average film).

So I'm all for strong film theories, even if (or should I say because?) they're only crap.

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Groggy
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« Reply #10161 on: January 30, 2012, 02:44:25 PM »

There are always many ways. It depends on the film and how a director uses a certain style.
That's why I don't care for film theories. They mostly say that there are only a few ways to heaven. Sometimes only one.

Hear hear. Afro

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drinkanddestroy
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« Reply #10162 on: January 30, 2012, 03:46:58 PM »

Secretariat (2010) 3/10

What a piece of crap. I can hardly find anything redeeming about this movie. Just a load of cliches (one speech after another about how I BELIEVE IN HIM and WE CAN DO IT and HE IS A FIGHTER and NEVER GIVE UP blah blah blah.

The one part of the movie I liked was The Belmont Stakes, which I believe was handled well... until that final turn where Diane Lane's voice takes over; from there till the end, the movie is terrible again.

Maybe if you love horses you'd have a different opinion. I've pretty much never even been near a horse and had no expectations at all for this film, but it somehow managed to be even worse than that.

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« Reply #10163 on: January 30, 2012, 05:02:51 PM »

It's a Disney flick about horses, what did you expect?

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« Reply #10164 on: January 30, 2012, 07:20:57 PM »

What I like about film theories is this:
Yes DJ, there is even a couple masterpieces that have a terrible score.
More than a couple, I'd say. Ozu films are all masterpieces, and all have terrible, terrible music. And then there are masterpieces (Bresson's films come to mind) that have no or hardly no music at all. But the fact that there are exceptions to a "rule" doesn't mean that the "rule" is generally untrue. I go by observation: 90 of my 100 favorite films have great music; the music is a large part of the reason I like the films I do.

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« Reply #10165 on: January 30, 2012, 11:37:32 PM »

90 of my 100 favorite films have great music

Let's see your list, dj  Smiley

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« Reply #10166 on: January 30, 2012, 11:39:28 PM »

It's a Disney flick about horses, what did you expect?

Absolutely nothing. But what I got was even worse than that Wink

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« Reply #10167 on: January 31, 2012, 03:38:13 AM »

Hear hear. Afro

Means what?
That this is inconsistent with things I said in another thread?

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« Reply #10168 on: January 31, 2012, 04:06:38 AM »

getting boosebumps watching footage of the real Secretariat's historic run at the Belmont http://www.youtube.com/watch?v=cS4f6wiQJh4 what an amazing call by Chic Anderson. How do you not cry when watching "SECRETARIAT IS WIDENING NOW! HE IS MOVING LIKE A TREMENDOUS MACHINE!"
On that day, Anderson declared that Secreteriat's amazing time of 2:24 may stand forever, and 38 years later, it still stands  Smiley

« Last Edit: January 31, 2012, 04:21:23 AM by drinkanddestroy » Logged

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« Reply #10169 on: January 31, 2012, 04:48:08 AM »

Means what?
That this is inconsistent with things I said in another thread?

I suppose I can't agree with you now?

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