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« #19200 : July 27, 2020, 11:14:16 PM »

Soylent Green 6.5/10.

I hadn't seen this before, was on TCM.  The look of the future 2022 was sure depressing.  Leigh Taylor-Young was pretty fetching.
The 70's is probably, objectively speaking, the greatest decade in the history of movies, but it did not earn that distinction because of its sci-fi output. It's almost as if nearly every sci-fi movie from that era tried harder than the next to look like a murky and dreary John G. Avildsen flick.



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« #19201 : July 29, 2020, 06:54:58 PM »

125 rue Montmartre (1959) - 5/10. Lino Ventura, getting it together again for the first time! This time Lino is Pascal, a humble hawker of newspapers. One day, a couple elect to make him Patsy #1, then proceed to Gaslight him. When this becomes apparent, half way through the film, all the air goes out of the adventure. The rest of the film is just Lino piecing it all together while the police stand by and cheer. Having seen the movie once, no one need ever watch it again. I never did figure out the significance of the title, though. Yeah, it's an address, but to what?



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« #19202 : July 30, 2020, 08:05:44 AM »

Fitzcarraldo (1982) - 6.5/10
I like the idea (and the fact that they actually did it) way more than the actual film. But for Klaus, Claudia and the boat on the hill, the whole thing is worth it.

Also, for those who like the movie and its legend, the following short is a most see:

KILLING KLAUS KINSKI
BY SPIROS STATHOULOPOULOS
Clermont-Ferrand Competition
A Stathoulopoulos-style revision of the infamous myth of cinema history when, during filming Fitzcarraldo, Werner Herzog fantasized about killing Klaus Kinski.
https://vimeo.com/274979390


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« #19203 : July 31, 2020, 06:24:13 AM »

Spaceballs, late 1980s, Mel Brooks spoof of Star Wars films.  Amusing, and some cute references to other films too such as Wizard of Oz, Planet of the Apes. 

Had several jokes that seemed to be like "Things you'd like to see" from Mad Magazine.

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« #19204 : July 31, 2020, 05:34:02 PM »

Spaceballs, late 1980s, Mel Brooks spoof of Star Wars films.  Amusing, and some cute references to other films too such as Wizard of Oz, Planet of the Apes. 

Had several jokes that seemed to be like "Things you'd like to see" from Mad Magazine.

You ever watch The Ice Pirates? That space opera spoof is a hoot also

« : August 01, 2020, 05:45:03 AM cigar joe »

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« #19205 : August 01, 2020, 11:24:04 AM »

Hard Eight (1996) - There's a stoic, nuanced maturity here that's lacking in Magnolia, and Boogie Nights to a lesser extent - even if the latter is a personal favorite. While the second half doesn't quite hold up to the first half, the visuals, performances and beautifully tacky mid 90s Reno atmosphere carry this to the finish line - though it probably could have used another plotline later on. But anything inspired by Bob the Gambler is good in my book. I wish Anderson would make another full blown crime film. B+



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« #19206 : August 02, 2020, 08:00:22 AM »

Hard Eight (1996) - There's a stoic, nuanced maturity here that's lacking in Magnolia, and Boogie Nights to a lesser extent - even if the latter is a personal favorite. While the second half doesn't quite hold up to the first half, the visuals, performances and beautifully tacky mid 90s Reno atmosphere carry this to the finish line - though it probably could have used another plotline later on. But anything inspired by Bob the Gambler is good in my book. I wish Anderson would make another full blown crime film. B+

Do you think there is a nuanced maturity that isn?t in the following films or Is it just that one of the main characters is older than most PTA?s characters from the 90?s and has these qualities?


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« #19207 : August 02, 2020, 08:25:46 AM »

The maturity comes from the fact PTA leans so hard on Melville's earlier film. Phillip Baker Hall is a great actor, but he has to have a character to inhabit, and the filmmakers write him a very good one.

Good analysis, T. H. As you usual, you know what you're talking about.



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« #19208 : August 02, 2020, 08:56:11 PM »

Swingers (1996) - A personal favorite, so it's hard to rate. It's not perfect, but this still feels fresh over two decades later when so many of the slice of life indie movies are way too afraid to ever poke fun at themselves (or the characters) and often feature young characters that foolishly think they're smarter than everyone else -- Trent and Mikey of Swingers are relatable, likable idiots and people that actually exist in real life. I would have loved to see more of 90's LA, but the budget was severely limited and it's a minor miracle that it came out looking so professional for the most part. B+


The maturity comes from the fact PTA leans so hard on Melville's earlier film. Phillip Baker Hall is a great actor, but he has to have a character to inhabit, and the filmmakers write him a very good one.

Good analysis, T. H. As you usual, you know what you're talking about.
It takes a lot to overlook my love of sleaze and B movies, I appreciate it haha.

You answered the question, and to go into specifics, examine how the hotel kidnapping scene is handled in Hard Eight vs any dramatic scene in Boogie Nights or Magnolia (Julianne Moore's overacting stands out).  Hard Eight is naturally reserved and cool while Boogie Nights and (especially) Magnolia are incredibly ambitious and melodramatic. I say that with Boogie Nights firmly in my top 50 favorite movies.

« : August 02, 2020, 08:58:02 PM T.H. »


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« #19209 : August 03, 2020, 01:36:47 PM »

Local PTA defender and obsessive here. Of course I love all his work. Hard Eight is definitely much more subtle and wwaaaayy waaay less melodramatic than especially Magnolia. But of course there's a ton of fun in melodrama and theatricality and I think that's one of the reasons his films are adored so much. His characters tread the line, if not cross the line, of cartoon characters (Barry Egan in PDL literally wears the same outfit every day). But the performances are so good that they work, and are generally career-best performances by the actors.

But I've also heard criticisms here (I think TH and maybe DJ?) of wanting PTA to go back to his early, more stylistic, poppier years rather than his quieter Ophuls-inspired films of late. To me, Hard Eight is much more in tune with the quieter post-TWBB movies. Yet TWBB and beyond are generally hated on this board, while Hard Eight is adored. What gives? What does SLWB really want from PTA? I suppose Hard Eight is a bit less theatrical and more simple than his other recent movies, but not by a ton.

There's nothing I personally want more than to have no fucking idea what the style of his next movie is. Which, since I've been watching, I haven't been let down with.

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« #19210 : August 04, 2020, 02:00:23 AM »

@DJ: good point about Melville.

@Roy: This board loves noir films. End of story.


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« #19211 : August 04, 2020, 10:24:16 AM »

Local PTA defender and obsessive here. Of course I love all his work. Hard Eight is definitely much more subtle and wwaaaayy waaay less melodramatic than especially Magnolia. But of course there's a ton of fun in melodrama and theatricality and I think that's one of the reasons his films are adored so much. His characters tread the line, if not cross the line, of cartoon characters (Barry Egan in PDL literally wears the same outfit every day). But the performances are so good that they work, and are generally career-best performances by the actors.

But I've also heard criticisms here (I think TH and maybe DJ?) of wanting PTA to go back to his early, more stylistic, poppier years rather than his quieter Ophuls-inspired films of late. To me, Hard Eight is much more in tune with the quieter post-TWBB movies. Yet TWBB and beyond are generally hated on this board, while Hard Eight is adored. What gives? What does SLWB really want from PTA? I suppose Hard Eight is a bit less theatrical and more simple than his other recent movies, but not by a ton.

There's nothing I personally want more than to have no fucking idea what the style of his next movie is. Which, since I've been watching, I haven't been let down with.
The only reason why I haven't completely turned on Magnolia is due to the visuals - it's an unintentional modern day Sirk movie disguised as Short Cuts. With that said, modern melodrama feels unnatural unless it's of the satiric Verhoeven variety. Magnolia left me a bit cold the last time I saw it and it was on the big screen.

A cool, reserved neo noir is the polar opposite of the tepid costume drama. Would you also compare The Irishman to Kundun? I personally would not.

I'd love for PT Anderson to go back to something like Boogie Nights sans the Julianne Moore overacting bullshit. I also wouldn't mind a quiet neo noir movie. Really, I'd just love if he made a movie that appealed to more people than those who are still sad that Filmstruck was future endeavored.

This board loves noir films. End of story.
As we should. Noir is cinema at its most natural and pure.

« : August 04, 2020, 10:26:06 AM T.H. »


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« #19212 : August 04, 2020, 10:43:46 AM »

I'd love for PT Anderson to go back to something like Boogie Nights sans the Julianne Moore overacting bullshit. I also wouldn't mind a quiet neo noir movie. Really, I'd just love if he made a movie that appealed to more people than those who are still sad that Filmstruck was future endeavored.

I'm pretty sure PTA has a soft spot for overacting. To me, he uses it perfectly. DDL and PD both "overact" in TWBB, PSH "overacts" in everything he did with Paul... and we could mention Tom Cruise. It doesn't bother me. He manages to get all these people to overact in a very mature and true way. I wouldn't know how to put it, but it really works for me... and you'll probably find it everywhere in future PTA movies because it's always been the case (post hard eight).

I'd love another Boogie Nights, but i confess I'd be happier with another There Will Be Blood. It's still his masterpiece for me.

As we should. Noir is cinema at its most natural and pure.

As eveybody should.


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« #19213 : August 04, 2020, 10:54:43 AM »

A cool, reserved neo noir is the polar opposite of the tepid costume drama.
True, I get what you mean. I don't think I'd be excited by another Hard Eight personally - I'd rather a swing-and-a-miss on something more bizarre seeing as he's such a slow filmmaker. There's plenty of classic noir to discover, just look at CJ!

Quote
Would you also compare The Irishman to Kundun? I personally would not.
I don't get this. If Kundun is Phantom Thread here, then what does The Irishman represent - a random PTA future movie? Continuing the Scorsese/PTA comparison, I'm guessing you're insinuating that Hard Eight is more of a Mean Streets. If your argument is for PTA to go back to his Mean Streets by making an Irishman, that doesn't make much sense - because Irishman and Mean Streets can't be compared either. Irishman has a tremendous amount more depth than Mean Streets, a much more mature take on a Marty's smaller, more energetic youthful movie. It's not like Marty improved as a filmmaker by returning to his simpler roots, he's only matured and slooooowedd down.

Maybe a better comparison is Linklater returning to his "roots" with Everybody Wants Some, similar to Dazed, but with a slight bit more maturity. I'd love for PTA to do that - I think most people thought IV would be the case here, but it turned out to be more alienating than anything.

I might be overthinking or misunderstanding your analogy, but yeah, if you're talking about Phantom Thread - it's my least favorite PTA movie for reasons we probably share. I still like it a lot though, and in ways PTA pulled off a miracle for getting me to enjoy a British period drama, which is on paper my least favorite kind of movie. Gosford Park is my least favorite Altman.

Anyways, his next movie is a 70's high school movie in San Fernando valley. But I'd but it's closer in style to Inherent Vice than Boogie Nights. I'm sure I'll like it more than Phantom Thread.

Quote
The only reason why I haven't completely turned on Magnolia is due to the visuals - it's an unintentional modern day Sirk movie disguised as Short Cuts. With that said, modern melodrama feels unnatural unless it's of the satiric Verhoeven variety. Magnolia left me a bit cold the last time I saw it and it was on the big screen.

I'd love for PT Anderson to go back to something like Boogie Nights sans the Julianne Moore overacting bullshit.
Yeah, the older I get and more I rewatch Magnolia, the more I'd rather rewatch Short Cuts. The overacting doesn't necessarily bother me for the most part, though I agree the famous Moore scene ("HOW DARE YOU!!!!!") is a bit much. And Tom Cruise. And a lot of it is waaay overwritten. But there's something really enjoyable about the cocky indulgence in this movie. It's like he set out to make "one of the greatest films ever made" and somehow actually came close, but its biggest faults is how cocky and indulgent it is.

I can't agree with you on Moore in Boogie Nights, I don't think she overacts at all. The closest to it is the Heather Graham / "will you be my mom" scene. And maybe when she's crying after not regaining custody of her son? I personally don't think so there.

Quote
I also wouldn't mind a quiet neo noir movie. Really, I'd just love if he made a movie that appealed to more people than those who are still sad that Filmstruck was future endeavored.
I don't think you're objectively right here. PTA isn't quite at Tarantino / Wes Anderson level of modern auteurs beloved by the public, but I don't think his movies are alienating at all (other than Inherent Vice which should be the most appealing on paper). They generally make good money, get Oscar noms, etc. More mainstream than the Filmstruck crowd, closer to a semi-smart person browsing through Amazon Prime.

« : August 04, 2020, 11:04:24 AM PowerRR »
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« #19214 : August 04, 2020, 01:32:19 PM »

I'm pretty sure PTA has a soft spot for overacting. To me, he uses it perfectly. DDL and PD both "overact" in TWBB, PSH "overacts" in everything he did with Paul... and we could mention Tom Cruise. It doesn't bother me. He manages to get all these people to overact in a very mature and true way. I wouldn't know how to put it, but it really works for me... and you'll probably find it everywhere in future PTA movies because it's always been the case (post hard eight).

I'd love another Boogie Nights, but i confess I'd be happier with another There Will Be Blood. It's still his masterpiece for me.

As eveybody should.
You're in the majority with TWBB, and I wouldn't complain if he made another movie like TWBB - even if that's a movie that I respect more than I like.

You're also in the majority with your assumed appreciation of showy, theatrical and/or flamboyant acting. I'm someone that thinks 50s Brando, while clearly influential, was wildly overrated and couldn't shine Mitchum's (or even Glenn Ford's) shoes. I'm also not a big fan of DDL or Gary Oldman.

True, I get what you mean. I don't think I'd be excited by another Hard Eight personally - I'd rather a swing-and-a-miss on something more bizarre seeing as he's such a slow filmmaker. There's plenty of classic noir to discover, just look at CJ!

I don't get this. If Kundun is Phantom Thread here, then what does The Irishman represent - a random PTA future movie? Continuing the Scorsese/PTA comparison, I'm guessing you're insinuating that Hard Eight is more of a Mean Streets. If your argument is for PTA to go back to his Mean Streets by making an Irishman, that doesn't make much sense - because Irishman and Mean Streets can't be compared either. Irishman has a tremendous amount more depth than Mean Streets, a much more mature take on a Marty's smaller, more energetic youthful movie. It's not like Marty improved as a filmmaker by returning to his simpler roots, he's only matured and slooooowedd down.

Maybe a better comparison is Linklater returning to his "roots" with Everybody Wants Some, similar to Dazed, but with a slight bit more maturity. I'd love for PTA to do that - I think most people thought IV would be the case here, but it turned out to be more alienating than anything.

I might be overthinking or misunderstanding your analogy, but yeah, if you're talking about Phantom Thread - it's my least favorite PTA movie for reasons we probably share. I still like it a lot though, and in ways PTA pulled off a miracle for getting me to enjoy a British period drama, which is on paper my least favorite kind of movie. Gosford Park is my least favorite Altman.

Anyways, his next movie is a 70's high school movie in San Fernando valley. But I'd but it's closer in style to Inherent Vice than Boogie Nights. I'm sure I'll like it more than Phantom Thread.
Yeah, the older I get and more I rewatch Magnolia, the more I'd rather rewatch Short Cuts. The overacting doesn't necessarily bother me for the most part, though I agree the famous Moore scene ("HOW DARE YOU!!!!!") is a bit much. And Tom Cruise. And a lot of it is waaay overwritten. But there's something really enjoyable about the cocky indulgence in this movie. It's like he set out to make "one of the greatest films ever made" and somehow actually came close, but its biggest faults is how cocky and indulgent it is.

I can't agree with you on Moore in Boogie Nights, I don't think she overacts at all. The closest to it is the Heather Graham / "will you be my mom" scene. And maybe when she's crying after not regaining custody of her son? I personally don't think so there.
I don't think you're objectively right here. PTA isn't quite at Tarantino / Wes Anderson level of modern auteurs beloved by the public, but I don't think his movies are alienating at all (other than Inherent Vice which should be the most appealing on paper). They generally make good money, get Oscar noms, etc. More mainstream than the Filmstruck crowd, closer to a semi-smart person browsing through Amazon Prime.
You're overthinking the Kundun/Irishman comparison and I didn't do a very good job of explaining the point -- I was simply trying to say a quiet and/or mature crime film doesn't have anything in common with period pieces. For what it's worth, I consider Mean Streets much more of an anti coming-of-age film than a neo noir.

I haven't seen Phantom Thread because I couldn't find the subject matter any less appealing. I'm taking shots at that type of film in general and not Phantom Thread itself, because I haven't seen it. But if you don't really like it that much, I'm thinking I will hate it.

I like Inherent Vice and need to see it again. I found the journey or adventure in that movie entertaining, but the flaw of the film is inherent, pun unintended, with the source material. It's an anti PI movie that doesn't stick the landing. Night Moves, for as blandly directed and scored as it is (sorry Stanton), accomplishes what Inherent Vice tries to pull off. I do like the movie, I just don't know if Anderson should have wasted years of his life adapting that overrated novel, in my opinion. The 70's San Fernando Valley movie actually seems really intriguing.

We more or less agree on Magnolia. It has the look and feel of a great movie, and has that magical type of pace that all great 2.5+ hour movies need to have...but it's so up its ass, and there's a lot of janky writing, overacting and arrogance. But I also admire it's vulnerability and how much it puts itself out there, but that's also the problem with the movie too.

As for Boogie Nights, some of the acting can be a little much, and I've really grown to hate Julianne Moore's performance, but I also understand how others can tolerate it, or even enjoy it.

The Filmstruck jab may have been a little mean, but if we're going by the theory that a movie needs to double its budget to break even, all of his post TWBB movies have lost money and only Phantom Thread had a box office total that surpassed the reported budget, and it wasn't by a whole lot. I think it's fair to say that he's been appealing to a niche crowd in the last decade.

« : August 04, 2020, 02:31:23 PM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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