Watched Marco Bellocchio's The Traitor (2019). What an incredible achievement in filmmaking! Pity, I didn't see it at the cinema.
Need to check how it did in our Best of 2019 poll.
Last Watched
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St. Gloede
- Posts: 712
- Joined: Sat Feb 09, 2019 5:50 pm
Some reviews from my recent 2020 viewings:
Maryjki / Marygoround (2020, Daria Woszek)
Half oversaturated, artificial depresso-realism - half neon nightmare, Marygoround is a visually stunning and mad trip into a menopausal woman's psyche. We follow Maria, a 50-year old, highly religious virgin working in a small grocery shop - that could easily be mistaken as a set from a Paul Vecchiali film from the 80s, with a pinch of Kaurismaki dryness. Life seems a lull, but things start to unravel and breakthrough mundanity with menopause hits, and she not only starts to get urges she never felt before.
The result is utter fantasy, mood swings, hallucinations and rasher and rasher acts - played for both comedy and horror - but never without sympathy. This 80-minute film won't fly by - rather it will click you down with utter unease as you start to feel every second - and wonder just what will happen next. It is dynamic enough to genuinely leave you surprised, and to somehow, in all its deranged madness maintain a sense of, erm, charm? This is a balancing act unlike most you've seen, and frankly, regardless of some pulpier elements, it succeeds in both styles - and marvellously well. 8/10.
Shirley (2020, Josephine Decker)
Few active directors have built up a career of semi-experimental unnerving breakdowns of reality, and what we indeed see than Josephine Decker. This is a director who knows how to build visual tension, play with form and make the conventional feel harrowing, unstable and just a little terrifying. These final three attributes also describe Elisabeth Moss's performance as real-life novelist Shirley Jackson - and it is frankly, the first time Decker has been blessed with such a magnificent performance - holding all else together. In fact, she has not just one phenomenal performance, she has two. The excellent Michael Stuhlbarg plays her husband, and together the two of them build up a degree of sick joy in torment comparable to Who's Afraid of Virginia Woolf on the unsuspecting couple coming into their home.
You genuinely never know where you have them, what they will do next, what their goals are. Moss' Shirley is sickly, yet biting. Barely able to move, torturing herself, but finding utter delight in torturing others. Stuhlberg's Stanley on the other hand is far more deceptive. The life of the party, filled with charisma, but ready to stab you in the gut at any time. In fact, he can shift from charming to enabling to the real-devil at any point in time - and the two of them get so much material to work with. Moss performance is the main attraction, worthy of a best actress nomination, if not a win. She is thoroughly offputting, yet incredibly charismatic. She can be monstrous and yet inspire everything from empathy to pity to respect. Powerful, weak, genius - all attributes shine through as we get a dynamic and consistently powerful portrayal of the writer, her life and her obsessions.
The couple entering their home, played by Odessa Young and Logan Lerman leave far less of an impression - but then they also have far less material to work with. Still, the friendship that develops between Moss and Young would have been even stronger if the latter had just a little more to give. However, she is still perfectly solid in her role, as is Lerman, as mostly unsuspecting foils that slowly get taken in. There are also other slighter or less explored areas within the film, such as the creation of Shirley's new book, which often gets centre stage, as does the case it is based on - but drown out in the rest of the intrigue. These elements could easily have been magnified or dropped - though the final flashes are still rewatched - and as a whole this may both be Moss' best performance and Decker's greatest work to date. 8/10.
Atarrabi & Mikelats (2020, Eugène Green)
Huillet-Straub in a tracksuit? Pretty much, and with a moderate supply of jokes thrown in as well. At one point, our hero, Atarrabi, enters the devil's office, as he sits on his computer, complete with red suit (no tracksuit for him), and of course, red headphones. Atarrabi must speak up to get noticed, at which point the devil removes his headphones and says (something akin to): "I like to listen to RAP MUSIC when I work. We are on the edge of hipness here".
The entire film is however still done with stripped-down minimalist monotone delivery and settings as it adapts the Basque legend of Atarrabi & Mikelats. Non-professional actors are used, and despite being a French production it is shot entirely in the Basque language. The "stripped down" nature, also removes the pretence of sets. The traditional settings and themes are brought to life - in a, well, modern setting. The intro is literally on a motorway - through the sense of old runs through its very fabric. In fact, if Eugène Green was not exclusively listed as the author, I would have assumed he had simply modernised an ancient play. The dialogue is intentionally jarring with the clothing - and the lighting and look for innocence and simplicity is almost reminiscent of Rohmer's fairly faithful adaptation of The Romance of Astrée and Céladon.
Apparently, merging old and new this is nothing new for Eugène Green, and I am intrigued by what he has done before (of which I have seen none). He displays a great deal of talent here - and the film is often stunning - at other times pretty fun - but the mixture feels uneven and off. The deadpan purity and delivery mixes very poorly with a campy humour - and the end result of this being that it feels like it is trying to be too many things. 80% minimalist drama, 20% campy comedy - and the parts don't play too well - in fact they can even feel a little tacky. However, it is never dull, harnesses a lot of cinematic power and is certainly creative and even charismatic - to the point that its weaker scenes are quite forgivable. All in all a mild delight. 7/10.
Notturno (2020, Gianfranco Rosi)
Nottorno is a biting, contemplative travelogue from the middle east - giving you images of war, devastation and grief - as well as intimacy, mundanity and continuation. Brooding and atmospheric, we move from country to country, never with title cards, but occasionally with clear hints - such as uniforms and flags.
The one constant is a play being arranged at a clinic for refugees, where people with traumas from the ongoing wars seek to take back a form of dignity.
The film has fluctuation power, with certain scenes being genuinely genius, either in their unnerving or tragic nature - or beautiful by contrast - especially certain nocturnal scenes - and a haunting scene of widows and mothers near the beginning - while others feel like they are overstaying their welcome. While consistently good, the quiet nature of fleeting images lacks a degree of structure, and while the intentions behind the play and its presentation are sweet - and interesting ideas are pushed - it can really form the "narrative" on its own. As such, it falls short of greatness for me. 7/10.
Dating Amber (2020, David Freyne)
Caught in hyper-conservative Ireland, two closeted teenagers, tired of being bullied over their assumed sexuality, decide to participate in a deceptive act of self-preservation: to pretend to be a couple. Set in the midst of the 90s, with a backdrop in everything from militarism and Blur, it takes on all the standard high school tropes, but in a fairly charming and empathetic way - lead forth by the reasonably charismatic and likeable leads.
It does have the cinematography and sense of form of a high production Irish TV show, ala Derry Girls (though the exposition in the opening scene itself is very well done) - and as such is entirely dependent on plot, dialogue, narrative - and I suppose also a sense of 90s nostalgia - to carry through - and in this, it manages perfectly well. It is nothing unique, beyond perhaps the central premise, but it plays well and is a charming and frequently funny film. 6.5/10.
Antoinette dans les Cévennes / My Donkey, My Lover & I (2020, Caroline Vignal)
A light comical farce so stereotypically French you'd think it was made explicitly for export. A school teacher, with a "slightly" unhealthy attachment to her married lover (also the father of one of her pupils) decides to catch up with their family vacation as they trek through the countryside on a donkey. The result is more cute and quirky than downright hilarious, but it is a charming enough romp. 6/10.
Silence and Sunset (2020, Kazufumi Umemura)
The most breathtaking images from Kazufumi Umemura slow, contemplative and almost dialogue-free feature debut, are the shots of and in nature. The way he shoots light on greenery is absolutely sublime - and the long takes of cityscapes are well-composed as well. The main weakness is however in the handling of the actors, especially certain scenes that may or may not be intended for comedic effect. It is also a rather slight film, without a clear purpose or goal beyond being a well-made contemplative film - but what it does well is done beautifully well - and consistently so. 6/10.
Maryjki / Marygoround (2020, Daria Woszek)
Half oversaturated, artificial depresso-realism - half neon nightmare, Marygoround is a visually stunning and mad trip into a menopausal woman's psyche. We follow Maria, a 50-year old, highly religious virgin working in a small grocery shop - that could easily be mistaken as a set from a Paul Vecchiali film from the 80s, with a pinch of Kaurismaki dryness. Life seems a lull, but things start to unravel and breakthrough mundanity with menopause hits, and she not only starts to get urges she never felt before.
The result is utter fantasy, mood swings, hallucinations and rasher and rasher acts - played for both comedy and horror - but never without sympathy. This 80-minute film won't fly by - rather it will click you down with utter unease as you start to feel every second - and wonder just what will happen next. It is dynamic enough to genuinely leave you surprised, and to somehow, in all its deranged madness maintain a sense of, erm, charm? This is a balancing act unlike most you've seen, and frankly, regardless of some pulpier elements, it succeeds in both styles - and marvellously well. 8/10.
Shirley (2020, Josephine Decker)
Few active directors have built up a career of semi-experimental unnerving breakdowns of reality, and what we indeed see than Josephine Decker. This is a director who knows how to build visual tension, play with form and make the conventional feel harrowing, unstable and just a little terrifying. These final three attributes also describe Elisabeth Moss's performance as real-life novelist Shirley Jackson - and it is frankly, the first time Decker has been blessed with such a magnificent performance - holding all else together. In fact, she has not just one phenomenal performance, she has two. The excellent Michael Stuhlbarg plays her husband, and together the two of them build up a degree of sick joy in torment comparable to Who's Afraid of Virginia Woolf on the unsuspecting couple coming into their home.
You genuinely never know where you have them, what they will do next, what their goals are. Moss' Shirley is sickly, yet biting. Barely able to move, torturing herself, but finding utter delight in torturing others. Stuhlberg's Stanley on the other hand is far more deceptive. The life of the party, filled with charisma, but ready to stab you in the gut at any time. In fact, he can shift from charming to enabling to the real-devil at any point in time - and the two of them get so much material to work with. Moss performance is the main attraction, worthy of a best actress nomination, if not a win. She is thoroughly offputting, yet incredibly charismatic. She can be monstrous and yet inspire everything from empathy to pity to respect. Powerful, weak, genius - all attributes shine through as we get a dynamic and consistently powerful portrayal of the writer, her life and her obsessions.
The couple entering their home, played by Odessa Young and Logan Lerman leave far less of an impression - but then they also have far less material to work with. Still, the friendship that develops between Moss and Young would have been even stronger if the latter had just a little more to give. However, she is still perfectly solid in her role, as is Lerman, as mostly unsuspecting foils that slowly get taken in. There are also other slighter or less explored areas within the film, such as the creation of Shirley's new book, which often gets centre stage, as does the case it is based on - but drown out in the rest of the intrigue. These elements could easily have been magnified or dropped - though the final flashes are still rewatched - and as a whole this may both be Moss' best performance and Decker's greatest work to date. 8/10.
Atarrabi & Mikelats (2020, Eugène Green)
Huillet-Straub in a tracksuit? Pretty much, and with a moderate supply of jokes thrown in as well. At one point, our hero, Atarrabi, enters the devil's office, as he sits on his computer, complete with red suit (no tracksuit for him), and of course, red headphones. Atarrabi must speak up to get noticed, at which point the devil removes his headphones and says (something akin to): "I like to listen to RAP MUSIC when I work. We are on the edge of hipness here".
The entire film is however still done with stripped-down minimalist monotone delivery and settings as it adapts the Basque legend of Atarrabi & Mikelats. Non-professional actors are used, and despite being a French production it is shot entirely in the Basque language. The "stripped down" nature, also removes the pretence of sets. The traditional settings and themes are brought to life - in a, well, modern setting. The intro is literally on a motorway - through the sense of old runs through its very fabric. In fact, if Eugène Green was not exclusively listed as the author, I would have assumed he had simply modernised an ancient play. The dialogue is intentionally jarring with the clothing - and the lighting and look for innocence and simplicity is almost reminiscent of Rohmer's fairly faithful adaptation of The Romance of Astrée and Céladon.
Apparently, merging old and new this is nothing new for Eugène Green, and I am intrigued by what he has done before (of which I have seen none). He displays a great deal of talent here - and the film is often stunning - at other times pretty fun - but the mixture feels uneven and off. The deadpan purity and delivery mixes very poorly with a campy humour - and the end result of this being that it feels like it is trying to be too many things. 80% minimalist drama, 20% campy comedy - and the parts don't play too well - in fact they can even feel a little tacky. However, it is never dull, harnesses a lot of cinematic power and is certainly creative and even charismatic - to the point that its weaker scenes are quite forgivable. All in all a mild delight. 7/10.
Notturno (2020, Gianfranco Rosi)
Nottorno is a biting, contemplative travelogue from the middle east - giving you images of war, devastation and grief - as well as intimacy, mundanity and continuation. Brooding and atmospheric, we move from country to country, never with title cards, but occasionally with clear hints - such as uniforms and flags.
The one constant is a play being arranged at a clinic for refugees, where people with traumas from the ongoing wars seek to take back a form of dignity.
The film has fluctuation power, with certain scenes being genuinely genius, either in their unnerving or tragic nature - or beautiful by contrast - especially certain nocturnal scenes - and a haunting scene of widows and mothers near the beginning - while others feel like they are overstaying their welcome. While consistently good, the quiet nature of fleeting images lacks a degree of structure, and while the intentions behind the play and its presentation are sweet - and interesting ideas are pushed - it can really form the "narrative" on its own. As such, it falls short of greatness for me. 7/10.
Dating Amber (2020, David Freyne)
Caught in hyper-conservative Ireland, two closeted teenagers, tired of being bullied over their assumed sexuality, decide to participate in a deceptive act of self-preservation: to pretend to be a couple. Set in the midst of the 90s, with a backdrop in everything from militarism and Blur, it takes on all the standard high school tropes, but in a fairly charming and empathetic way - lead forth by the reasonably charismatic and likeable leads.
It does have the cinematography and sense of form of a high production Irish TV show, ala Derry Girls (though the exposition in the opening scene itself is very well done) - and as such is entirely dependent on plot, dialogue, narrative - and I suppose also a sense of 90s nostalgia - to carry through - and in this, it manages perfectly well. It is nothing unique, beyond perhaps the central premise, but it plays well and is a charming and frequently funny film. 6.5/10.
Antoinette dans les Cévennes / My Donkey, My Lover & I (2020, Caroline Vignal)
A light comical farce so stereotypically French you'd think it was made explicitly for export. A school teacher, with a "slightly" unhealthy attachment to her married lover (also the father of one of her pupils) decides to catch up with their family vacation as they trek through the countryside on a donkey. The result is more cute and quirky than downright hilarious, but it is a charming enough romp. 6/10.
Silence and Sunset (2020, Kazufumi Umemura)
The most breathtaking images from Kazufumi Umemura slow, contemplative and almost dialogue-free feature debut, are the shots of and in nature. The way he shoots light on greenery is absolutely sublime - and the long takes of cityscapes are well-composed as well. The main weakness is however in the handling of the actors, especially certain scenes that may or may not be intended for comedic effect. It is also a rather slight film, without a clear purpose or goal beyond being a well-made contemplative film - but what it does well is done beautifully well - and consistently so. 6/10.
THE NUISANCE -- a slick little pre-Code movie with Lee Tracy as a fast-talking shyster lawyer, an actual ambulance chaser, who has made a fine living sticking it to big corporations for their mistreatment of little people, making damn sure that the local transit company pays through the nose for striking pedestrians with their big streetcars, as well as other less savory dealings. The local transit company gets a bit fed up of paying through the nose, and decides to take some less than savory steps of their own against him.
It's good fun, mainly. The main attraction is Lee Tracy's faster than lightning delivery, but I found myself most taken with the great Frank Morgan as a soused doctor in Tracy's orbit who has a ready stash of fake x-rays that he'll produce at a moment's notice. Morgan's very funny, of course, diagnosing someone with "displaced vertebra putting pressure on the optic nerve" in one scene and then breaking your heart in the next because that's what Frank Morgan can do.
It's good fun, mainly. The main attraction is Lee Tracy's faster than lightning delivery, but I found myself most taken with the great Frank Morgan as a soused doctor in Tracy's orbit who has a ready stash of fake x-rays that he'll produce at a moment's notice. Morgan's very funny, of course, diagnosing someone with "displaced vertebra putting pressure on the optic nerve" in one scene and then breaking your heart in the next because that's what Frank Morgan can do.
These matters are best disposed of from a great height. Over water.
still not a favorite but
any writing on this remarkably red sequence early in she wore a yellow ribbon. seemed kind of explicit blood/fire/hell imagery but could just be me
couldn't miss this though
also the native 'theme' music is embarrassing
any writing on this remarkably red sequence early in she wore a yellow ribbon. seemed kind of explicit blood/fire/hell imagery but could just be me
couldn't miss this though
also the native 'theme' music is embarrassing
Man on the Roof (Bo Widerberg, 1976) - Rewatch. Widerberg wanted to do French Connection in Sweden and smashed it out of the park. A terrific combo of mundane realism and gritty action, first half being a meticulous procedural with Lindstedt and Serner as the two most tired police detectives ever and the second half a giant, absorbing action set piece.
MAN ON THE ROOF sounds interesting. I liked the book it is based on a good deal, THE ABOMINABLE MAN.
These matters are best disposed of from a great height. Over water.
was gonna watch a ton of 29s this weekend but a government minister has resigned. actually resigned. so am occupied with news in case something else happens in this new fairy land of an actual consequence from a despicable action...
anyway just catching up on new EYE uploads & feuillade's 1914 le gendarme est sans culotte is so meta/reflexive my head hurts - main authentic character is the worst hammy actor and keeps looking into the camera (as his trousers are taken by the movie people, exposing his vulnerables and putting the character as character in peril) people do the hand-crank movie motion sign that magically excuses them of trouble, there's a classic chase scene straight out of the 1900s and then fantomas comes into it. also, it's hilarious.
(also up on EYE are some great talks about old film as archive)
https://www.youtube.com/watch?v=aKlwFr-xO5s
anyway just catching up on new EYE uploads & feuillade's 1914 le gendarme est sans culotte is so meta/reflexive my head hurts - main authentic character is the worst hammy actor and keeps looking into the camera (as his trousers are taken by the movie people, exposing his vulnerables and putting the character as character in peril) people do the hand-crank movie motion sign that magically excuses them of trouble, there's a classic chase scene straight out of the 1900s and then fantomas comes into it. also, it's hilarious.
(also up on EYE are some great talks about old film as archive)
https://www.youtube.com/watch?v=aKlwFr-xO5s
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Lencho of the Apes
- Posts: 1896
- Joined: Tue Dec 11, 2018 4:38 am
Thanks for the heads up -- a new Feuillade is always a thrill.
The opposite of 'reify' is... ?
there is a story about pedro costa watching this movie incredibly stoned and trying to match these colors in casa de lava. he has since disavowed that but the man talks a lot, figure it's at least half true.
i always took that sequence literally - it's the end of wayne's life, he has one last chance to make up for the losses in his life and the damage he's caused, you need the sunset to be that intense to make that the emotional center of a film that is light on plot (and i think ford was not sold on wayne as lead, in which case he was wrong).
this is actually one of my favorite fords. it feels like (outside of 3 godfathers i guess?) the only one of the westerns that really rests in that weird area that long gray line/donovan's reef/7 women lie. sorry if that's kind of incoherent...
Lol I love casa de lava. I think it's suggested that Wayne's wife and daughters were killed by Indians, and it's soon after custers last stand, and the Buffalo etc. A lot of blood...
I was really struck by it
I was really struck by it
not sure i managed to watch a single feature length film in the month of june 2021 but i kept coming back to vecchiali's very early short les roses de la vie.
HE WALKED BY NIGHT -- tasty 1948 noir with Richard Basehart as a particularly cold-blooded criminal on the loose in Los Angeles, with gorgeous black and white cinematography from John Alton, and a climactic chase that will be familiar to anyone who saw that other movie with a similar climactic chase released about a year later.
These matters are best disposed of from a great height. Over water.
Need to get myself a striped bathing suit.
As far as experimental films about hands go this might be my fav:
¨
https://www.filmarkivet.se/movies/de-vi ... -utan-ord/
As far as experimental films about hands go this might be my fav:
¨
https://www.filmarkivet.se/movies/de-vi ... -utan-ord/
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Searchlike
- Posts: 105
- Joined: Mon Feb 08, 2021 5:21 pm
As far as experimental films about hands go this might be my fav:
I love this place. I also love Yvonne Rainer's dancing hand, I'll have to check these two, eh four?my favorite experimental film about hands -
aka FGNRSY
I like the way it fades out with waves crashing against rocks. This was some fairly scandalous footage btw. Mölle became notorious in Northern Europe as a seaside resort of "moral decay", where men and women bathed together! The film was censored and given a x-rating when it was shown at cinemas.twodeadmagpies wrote: ↑Mon Jun 28, 2021 9:37 pm adorable happy swedes at the seaside!
https://www.filmarkivet.se/movies/badlif-vid-molle/
some of those kids looked like teenagers do today...altho not sure about the mens stripy shorts that bulged out at the crotch
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Joks Trois
- Posts: 361
- Joined: Sun Dec 16, 2018 9:51 am
The Hands of Orlac: anyone who feels that this film is too long at 110 minutes, which appears to be the most commonly found version online until now, should check out the 93 min version released by Eureka. It is much better at a more compact length as both a genre piece and as a psychological thriller. The score is intense and Veidt is brilliant. No other actor could have pulled off this role. The spare sets are wonderfully gloomy and atmospheric too. 7.5/10.
when you've not paid attention to who is in the cast and then this pale face is gazing out at you ♥♥♥
(le bercail - l'herbier 1919)
(also, how did the decay know all the perfect places to rot the film? magic)
(le bercail - l'herbier 1919)
(also, how did the decay know all the perfect places to rot the film? magic)
summer of soul is all right but plz stop interrupting sly stone and nina simone. their outfits are awesome. don't know if this is only on hulu but it's (pieces of) a free concert held in a harlem park in 1969. lots of gospel, motown, jazz and blues. and lots and lots of soul. and history. but far too many talking heads come on. listen to the woman
SONGS FROM THE SECOND FLOOR, Roy Andersson's masterwork about things just generally collapsing, seen on the big screen for the first time at Film Forum as a sidebar to an engagement of BEING A HUMAN PERSON, the documentary about Andersson in general and the production of ABOUT ENDLESSNESS in particular. It seems that ENDLESSNESS was a difficult production, with Andersson's drinking being an issue. Still, you gotta love a guy who wins the Best Director prize at the Venice Film Festival and puts the handsome trophy on display at his favorite local pizza joint. At least I gotta love the guy. And I've gotta check out those pre-SONGS films at some point.
SONGS was conspicuously well-attended, which I'd hope would inspire the Film Forum folks to bring it back for more than a two-screening engagement.
And the Criterion Blu-Ray of Tarkovsky's MIRROR arrived, and it looks great. New subtitle translation, gorgeous restoration and transfer. Worth every penny.
SONGS was conspicuously well-attended, which I'd hope would inspire the Film Forum folks to bring it back for more than a two-screening engagement.
And the Criterion Blu-Ray of Tarkovsky's MIRROR arrived, and it looks great. New subtitle translation, gorgeous restoration and transfer. Worth every penny.
These matters are best disposed of from a great height. Over water.
EYES WIDE SHUT -- Stanley Kubrick's little comedy about the utter clueless naivety of a specific class of whitely privileged folks who occupy large apartments on Central Park West and get deeply deeply DEEPLY shaken to their very foundations over some pretty trivial stuff.
Full disclosure here -- when this was first released I was in what I didn't realize was the final stage of a long-term relationship, and I thought very clearly that if Kubrick's Bill and Alice are so deeply affected over the couple days traffic in the film, they'd have been strapped into strait-jackets over what my now ex-partner and I had been through. I just can't take their little agonies as seriously as they seem to take them. In fact, their very innocence made me feel downright debauched in comparison.
There's stuff to unpack here, I guess. That little ugly surprise of a character's positive HIV diagnosis comes off more nastily than it used to, almost like the character is being punished for promiscuity and prostitution, and that really nightmarish nightmare that Alice awakens from comes off in the same way, as a punishment for her daring to have actual desires about hot naval officers that she's not married to. The idea that fucking might actually be fun is nowhere on the movie's radar. It's almost Republican in its depiction of heterosexual white sex panic.
Full disclosure here -- when this was first released I was in what I didn't realize was the final stage of a long-term relationship, and I thought very clearly that if Kubrick's Bill and Alice are so deeply affected over the couple days traffic in the film, they'd have been strapped into strait-jackets over what my now ex-partner and I had been through. I just can't take their little agonies as seriously as they seem to take them. In fact, their very innocence made me feel downright debauched in comparison.
Spoiler!
These matters are best disposed of from a great height. Over water.
der skorpion was good fun, very gritty. kid actor's strange face really helped in building his character. i liked the father-son relationship. and then dominik graf did some magic tricks.
https://twitter.com/rbgscfz/status/1416 ... 15011?s=20
also watched james whale's man in the iron mask, very stylish with super entertaining louis hayward playing twins! i loved la famille dumas as a kid; my favorite was count of monte cristo which i read 4 or 5 times. was i even then plotting my escape and elaborate revenge?
https://twitter.com/rbgscfz/status/1416 ... 47872?s=20
https://twitter.com/rbgscfz/status/1416 ... 15011?s=20
also watched james whale's man in the iron mask, very stylish with super entertaining louis hayward playing twins! i loved la famille dumas as a kid; my favorite was count of monte cristo which i read 4 or 5 times. was i even then plotting my escape and elaborate revenge?
https://twitter.com/rbgscfz/status/1416 ... 47872?s=20
I am still watching some movies. I saw pig before I left and tenet on the plane. Confusing af therefore a good plane movie. Sort of in a horror mood now- A quiet day on the country followed by Shyamalan's split and possibly glass too
We'll see how it goes
We'll see how it goes
split seems to me a generic multiple personalities horror -- not getting the love. mental illness as plot device. how many times have we seen this
i will watch glass as i have fond memories of unbreakable (this is apparently a trilogy?) but shyamalan isn't bowling me over here
edit: ok that was better even if i saw the twist coming from afar has anyone seen old yet
i will watch glass as i have fond memories of unbreakable (this is apparently a trilogy?) but shyamalan isn't bowling me over here
edit: ok that was better even if i saw the twist coming from afar
has anyone seen old yetSIEGFRIED -- the first half of Lang's megamyth DIE NIBELUNGEN. Always a good watch. It struck me that this film ends with one woman completing her revenge against the men who have wronged her, and moments later another woman swears revenge against the same men who have also wronged her.
These matters are best disposed of from a great height. Over water.
the house of an angel (leopoldo torre nilsson, 1957)
really cool. i think my first argentianian movie from the 20th century. bit of an allan king camera. bit if a robert weine composition. i liked it
really cool. i think my first argentianian movie from the 20th century. bit of an allan king camera. bit if a robert weine composition. i liked it
im finally back at the desert lair. watched godzilla vs kong - a good plane watch! there was turbulence during the big smackdown which improved the special effects
spoilers : godzilla should've won easily
spoilers : godzilla should've won easily
i'm 2/3 the way through alexanderplatz