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What MOVIE(s) have you been....seeing? watching?
So I have been tormenting her by suggesting we watch other Children of the Corn movies, but just randomly making up their names. Like, let's watch Children of the Corn: The Drying Paint, and Children of the Corn: The Final Ear. I get a strong feeling that this may evolve into a long running family shtick.
jason10mm wrote: What is the deleted scene? I love CitW but I don't think I've ever had it on Blu-ray to see cut scenes.
The deleted scene reveals that Marty has a hidden compartment inside his fancy bong, and that's where he keeps his special premium stash. His regular dope was tampered with, but he was unaffected because he was smoking the primo. That's why he kept noticing things and proposing rational courses of action.
Ah. I think there was enough dialogue in the film to convey that idea. Amy Ackers lab character I think explicitly mentions it.
Nothing but respect for the people who made the film, I think they did an incredible work and pushed the medium foward. I just don't think it's a very entertaining film today. I'm not sure how it holds up when compared to other silent films, it might have been my first, but I've liked some very old films. In fact, I actually liked some dated aspects. I thought the acting was great, the main actor is hilarious.
jeb wrote: Films from that era are notoriously baroque. As a medium, the "rules" were still very ill-defined, and the actual intent of the filmmakers can be easily misplaced by modern audiences. Nowadays, we can tell within a few minutes if a film is to be a narrative tale, a slice-of-life, an artpiece, &c. Murnau was using film as an expressive medium, evoking moods, but he also wanted to sell some tickets, hence ~adapting~ a popular novel (it is lifted wholesale from DRACULA, and he got the shit sued out of him). He still gets a lot of things amazingly right, and set a tone for horror films for the next 100 years, so let's give him some credit. Orlok is really creepy, and some of the shots are still really impressive. Murnau went on to make SUNRISE, and was probably a good 15 years ahead of his peers in moviemaking-as-art.
I think Murnau and other people who push a medium foward are still great artists, even if their work hasn't held up as well as others. They are like Adam Smith and Galileo: Their actual work might be "obsolete" but their footprint is massive.
Regarding The Shadow of the Vampire, it was fun. I think people who like cinema will get a good kick about it. It's one of those films about films. It's certainly not just about Nosferatu, there's a lot of stuff about Hollywood and the moviemaking industry. I'm told Herzog made a remake of Nosferatu and I wouldn't be surprised if that's in this film.
I also don't know if the filmakers dressing like scientists and wearing these weird red glasses is historical or not.
I also saw Satoshi Kon's Perfect Blue. It's not as good as Paprika but it's good and it has become more and more relevant over time. The story about how a pop idol struggles to change her infantile image and become an actor and how her, her fans and her managers react to that change has only grown in importance. You can see a lot of details of the modern anime industry, of youtubers and influencers.
One of the great things about the film is how it plays with the medium. As the main character's sanity becomes more fragile, so does the difference between reality and fiction. We, as the audience, start being unable to tell how many layers of fiction separates us from the fictional world we see on the screen. If a screen is a window, Perfect Blue is one after the other and, as the windows change, so does our point of view and how we approach the film.
There's a great scene in which the main character acts out a rape scene. But we don't see the cameras or the TV crew. Rather, once the scene starts, we see as we would see an actual rape scene. There are no indicators that what we are seeing is fiction within fiction. And that raises a lot of questions about the nature of art, of us as viewers and the people involved. How does fiction shape the reality of the people we see in film?
The ending might be a bit off but I think the medium blurr was utterly fantastic in this film.
Perfect Blue was the first anime that felt like a real actual film versus a hyperkinetic action technomecha sword slasher crazy experience to me. Folks only watching modern anime really should go back and watch those classics. Anyway, it is a good call!
Man, talking about hyperkinetic action technomecha. I went to cinemas to see Promare and I couldn't help but think of that time Roger Ebery called Armaggedon "the first 90 minute trailer". Because, as well animated as it is, that's what Promare was. Just constant, non-stop action for 2-hours. It was like watching a battle in Kill la Kill or the final fight in One Punch Man for two hours. It just doesn't work, it was constant barrage of going-over-the-top and I felt bad for taking my friends to see it.
jason10mm wrote: Perfect Blue was the first anime that felt like a real actual film versus a hyperkinetic action technomecha sword slasher crazy experience to me. Folks only watching modern anime really should go back and watch those classics. Anyway, it is a good call!
I expected a dumb, hyperkinetic action technomecha nonsense but there was nothing else. No characters, nor plot. Half of the stuff was cribbed from previous works by the artists and felt tired. Kill La Kill might have been dumb well-animated fanservice, but the characters were funny and did not repeat the same line over and over.
I admit that the initial action scene with the stylized firefighting engines is great, though. It was just too long for a glorified videoclip. You can't have 2 hours of explosions and NANIIIII???
Hey: who's under 25 and going to make it big? Who is Natalie Portman circa THE PROFESSIONAL/BEAUTIFUL GIRLS? My guesses: