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Posted: Tue Sep 15, 2009 11:48 am
by Damien
Greg wrote:Damien wrote:And as things worked out, Kubrick's last movie was his one great film.
You really don't consider
Paths Of Glory, Dr. Strangelove, or
2001 to be great films?
Ummm, no.
Posted: Tue Sep 15, 2009 11:42 am
by Reza
Cheri (Stephen Frears, 2009) 3/10
What crap. Lovely costumes which should get a nod. Rupert Friend is such an insipid leading man. Kathy Bates is amusing.....but the film is another misfire for Michelle Pfeiffer on her quest for an Oscar..
Edited By Reza on 1253033083
Posted: Tue Sep 15, 2009 10:20 am
by anonymous1980
Near Dark (Kathryn Bigelow) - 9/10
Easily better than The Lost Boys.
Posted: Tue Sep 15, 2009 10:08 am
by OscarGuy
Watched Phoebe in Wonderland last night.
It was a bit uneven, trying to be too many things at once, but it has firmed up my belief that Elle Fanning is the true talent of the Fanning Family. She is incredibly natural and enchanting. She certainly made up for many of the movie's failures. Patricia Clarkson was also nicely used in the film, though Bill Pullman was awful and Felicity Huffman was severely disappointing.
Posted: Mon Sep 14, 2009 5:36 pm
by Sabin
I think Kubrick is a pretty great director but A.I. (while being the best film of Spielberg's career, albeit one with a too bluntly-realized brilliant ending) is better than quite a few of his films.
Posted: Mon Sep 14, 2009 4:10 pm
by Zahveed
Greg wrote:Damien wrote:And as things worked out, Kubrick's last movie was his one great film.
You really don't consider
Paths Of Glory, Dr. Strangelove, or
2001 to be great films?
or A Clockwork Orange for that matter.
Posted: Mon Sep 14, 2009 4:09 pm
by Zahveed
I think it would have been good, but it wouldn't be the polished film we have today. It's not nearly as mainstream as Spielberg could have made it though, and that's a good thing. There would probably be a lot more silence or classical music in Kubrick's version too.
Just generalizing.
Posted: Mon Sep 14, 2009 3:20 pm
by Greg
Damien wrote:And as things worked out, Kubrick's last movie was his one great film.
You really don't consider Paths Of Glory, Dr. Strangelove, or 2001 to be great films?
Posted: Mon Sep 14, 2009 2:58 pm
by Damien
It's a near perfect movie, so a Kubrick version would not have been as good.
And as things worked out, Kubrick's last movie was his one great film.
Posted: Mon Sep 14, 2009 2:46 pm
by OscarGuy
Easily better.
Posted: Mon Sep 14, 2009 12:57 pm
by Sabin
Not as good.
Edited By Sabin on 1252951297
Posted: Mon Sep 14, 2009 12:48 pm
by Zahveed
I wonder how much different Kubrick's film would have been if he lived to complete it.
Posted: Mon Sep 14, 2009 12:08 pm
by Sabin
/A.I. Artificial Intelligence/ (Spielberg) - 11/10
This goes on the All-Time list for me. Just as Blade Runner meshed science-fiction with noir, Spielberg creates the science-fiction fairy tale. This film is perverse in its challenging the nature of man/child vs. God, man/child vs. child, man/child vs. father (and not mother), man/Oedipal child vs. mother, man/child vs. spouse, man/child vs. creations, man/child vs. self; every scene asks something else devoid of conventional platitudes. Through David, Spielberg does something ostensibly spiritual in positing that we are all children in the face of God and self, and therefore trembling. This is a sad vision of the future touched by magical imagery. If not asked outright, then conveyed through the most imaginative and mature visual filmmaking of the director's career, with frames that haunt the mind. This is gorgeous myth-making visual cinema that would survive as silent cinema.
Which brings us to the ending. As Rosenbaum states: "It sounds like typical Spielberg goo–for better and for worse–and when you’re watching the film it feels that way. But the minute you start thinking about it, it’s at least as grim as any other future in Kubrick’s work. Humankind’s final gasp belongs to a fucked-up boy robot with an Oedipus complex who’s in bed with his adopted mother and who finally becomes a real boy at the very moment that he seemingly autodestructs–assuming he vanishes along with her, though if he survives her, it could only be to look back in perpetual longing at their one day together. Real boy or dead robot? Whatever he is, his apotheosis with mommy seems to exhaust his reason for existing. As Richard Pryor once described the death of his father while having sex, “He came and went at the same time.” Like the death of 2001’s HAL, which might be regarded as David’s grandfather, it’s the film’s most sentimental moment, yet it’s questionable whether it involves any real people at all." To end in the risen seas with the Blue Fairy would be ironic and nihilist. The epilogue works. It's just a little blunt.
Edited By Sabin on 1252950265
Posted: Mon Sep 14, 2009 3:51 am
by Precious Doll
Three Monkeys (2008) Nuri Bilge Ceylan 6/10
Blessed (2009) Ana Kokkinos 6/10
(500) Days of Summer (2009) Marc Webb 4/10
Separation (1968) Jack Bond 7/10
Posted: Sun Sep 13, 2009 9:05 pm
by Penelope
Bay of Angels (1963; Jacques Demy) 8/10
Jeanne Moreau is in total glamor movie star mode as a divorcée/gambling addict who hooks up with neo-phyte gambler Claude Mann. Gorgeously photographed and so very moody, but the end doesn't ring true.