tomelce wrote:Transformers: Revenge of the Fallen - I'm definitely in the minority on this one, but I thought this was pretty demonstrative either of the old saying about a broken clock being right twice a day, or that even the sloppiest of directors can provide something worthwhile when they focus in on whatever aspect of filmmaking it is that they're good at. The breadth of Michael Bay's images and the spectacle of the robots and effects he designs finally overshadows those inane attempts at human drama (as seen in Armageddon, one of the worst movies ever made). The editing's still questionable, and the story is lax, but everything else seemed to just work for me.
It is good to know that Rufflesack and the guy with the Bill Murray avatar(forgot the name) gets to read this.
A broken clock may be right twice a day, but it's still a shitty clock. I don't... have anything further. So what? Someone enjoyed Transformers? Ooh, I'm so angry.
remake/inspired by/ -- For me it's often underdog films. I felt under so much pressure to enjoy Casablanca (for example). Even the poster--no, especially the poster--had become sort of heavy with expectation. Then I watched To Have and Have Not, which had a Tier 8 PSI. Instead of being all 95ish and "omgomg this will change you forever", it was Tier 8, and more, "you'll like this. probably. whatever." and I respond favourably to louche. I watched it, sank into it. It was breezy. No Ingrid Bergman Swedishing up the place.
The same sort of thing happened with In The Mood For Love. Couldn't get into it. But 2046 is a cloud film, for cosy floating bliss.
12 Monkeys is not dissimilar in the context of Gilliam's filmography. Not to ruffle feathers but I say Brazil is objectively better while 12 Monkeys gets the higher score. It's just off-kilter enough to click with me, and without all the winged armour angelness and plumber Robert De Niro. And then there's tango.
JooJoo wrote:I really should check out 5 Centimeters per Second again. It's stayed with me, but not really to an amount that craves a re-watch.
I get the low/mediocre reviews for films like 5 Centimeters and Borderline. But they're both special. I want to separate films with yellow PSIs that are at least idiosyncratic or innovative from the just plain old mediocre. This is why I love the Kumpel feature, but there ought to be more. It terrifies me that I wouldn't normally watch these films because of average ratings on the internet.
btw, my 5 Centimeters score is based on a youtube viewing, and basically just the first part.
Fred Astaire -- I go into the John Coffey, puddle-eyed trance of wonder when I watch Fred. Angelina Jolie could be right there, in front of me, sucking on a twister, wearing one sock and a top hat, and I would say, "get out of the fucking way, Angelina Jolie, I am watching Fred Astaire." I was thinking about how I abhor this sort of thing in colour. I think it's like classical statues. Have you seen those? The ones that are painted? I don't want life-like, I want to marvel in established abstraction. In HD.
Carrington (1995) A biographical drama about the unusual relationship between an old gay writer and a young tomboy artist. I'd have ignored this (PSI:68) but the Collections read like the antithesis of Hollywood. Just thoughtful, and human, and personal, and honest. I liked it a lot.
Deni - I wouldn't have watched District 9. I'll give it a go. dougie - Have you seen In The Bedroom?
paulofilmo wrote:12 Monkeys is not dissimilar in the context of Gilliam's filmography. Not to ruffle feathers but I say Brazil is objectively better while 12 Monkeys gets the higher score. It's just off-kilter enough to click with me, and without all the winged armour angelness and plumber Robert De Niro.
I think Brazil is a way better movie too, although both are excellent. In fact Brazil is my second favorite movie of all time, I can't get enough of that winged armour angelness.
paulofilmo wrote:Deni - I wouldn't have watched District 9. I'll give it a go.
It's not going to blow your mind or anything, but it had a hell of a lot more substance than I was expecting out of a flick that started life as an adaptation of the Halo video game.
