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That's just it though, people say the same thing about Avatar (oh it looks great on IMAX) but don't you feel like that's just masking the fact that it's actually a really bad movie? I do anyway. I mean half those spinning in space shots in Gravity just made me nauseated. So in a sense, even the visuals failed!![]()
Because Avatar is just pretty, but it has no substance.
In Gravity, the expression of the terrifying silence and hopelessness of space is well realized just through the atmosphere created by the sound and visuals. This is in spite of the poor story and acting. In fact, I would have preferred Gravity more if its narrative leaned slightly towards the abstract and didn't really try to tell a story. If it was just a film that let the atmosphere it created wash over the viewer, I think it would have been a genuinely more affecting experience.
Yeah I just saw it on a tv in my house so I don't really care about the visuals. Otherwise, it failed at everything a movie is supposed to do.
They couldn't get me to care about Sandra Bullock's character, George Clooney just had stock Clooney suave guy lines, and yeah it really had nothing going for it. Probably the most pathetic part was where they had to shoehorn in the fact that she has a dead daughter in an attempt to get you to sympathize with her. ****ing amateurish.
Much like every other film that is nothing but a polished turd, it looks nice, but beyond that, it's shit. Very similar to 'Avatar'.
"Everything a movie is supposed to do" doesn't just include story and characters. If it did, then there would be no need for people to hone their skills is such things as cinematography, production design, editing and stuff like that.
A movie is also supposed to communicate in terms of sound and visuals. In a film like Gravity, the visuals and sound are the point.
what's so laughable about a wonderful technical achievement?
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The story is poor, yet serviceable, as well as the acting. But the visuals and audio of the film are superb, and particularly breathtaking if viewed in 3D in an IMAX theater (and this is coming from someone who is not a fan of 3D).
The story is poor, yet serviceable, as well as the acting. But the visuals and audio of the film are superb, and particularly breathtaking if viewed in 3D in an IMAX theater (and this is coming from someone who is not a fan of 3D).
oh, that's a different one. I was thinking of the supposed El Topo sequel ![]()
yup this year iirc. Forgot the title tho.
wow this is coming out next week:
http://en.wikipedia.org/wiki/Jodorowsky's_Dune
14-hour Dune adaptation by Jodorowsky with music by Pink Floyd, sets by H. R. Giger and starring Salvador Dalí, Orson Welles & Gloria Swanson???
/thread
http://en.wikipedia.org/wiki/Jodorowsky's_Dune
In 1973, film producer Arthur P. Jacobs optioned the film rights to Dune but died before a film could be developed. The option was then taken over two years later by director Alejandro Jodorowsky, who proceeded to approach, among others, Peter Gabriel, the prog rock groups Pink Floyd and Magma for some of the music, artists H. R. Giger and Jean Giraud for set and character design, Dan O'Bannon for special effects, and Salvador Dalí, Orson Welles, Gloria Swanson, David Carradine and others for the cast.
Frank Herbert traveled to Europe in 1976 to find that $2 million of the $9.5 million budget had already been spent in pre-production, and that Jodorowsky's script would result in a 14-hour movie ("It was the size of a phonebook", Herbert later recalled). Jodorowsky took creative liberties with the source material, but Herbert said that he and Jodorowsky had an amicable relationship. The project ultimately stalled for financial reasons.
14-hour Dune adaptation by Jodorowsky with music by Pink Floyd, sets by H. R. Giger and starring Salvador Dalí, Orson Welles & Gloria Swanson???
/thread
I've finished watching five (5) Paul W.S. Anderson films and I've come to the conclusion that he's not nearly as bad as his reputation suggests. That was actually a fun and entertaining marathon for the most part.
Here's a part of a review for Death Race that I've drafted where I note some positive points about Anderson:
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Yet, for all of Death Race‘s shortcomings, Paul W.S. Anderson is not at all a bad director. Unlike Michael Bay, who always has everything turned up to 11, Anderson still has a setting that goes down a few notches. The pacing in this film is not perfect, but it’s not a mind-numbing attack on all the senses either. The best thing about it is that even though Anderson is a terrible writer who never goes beyond an elementary treatment of his screenplay, he knows how to put together a visually cohesive film.
Everything about the look of Death Race – from the sets to the props and the costumes – all serve to enhance the film’s dark, cold, steely and worn-out industrial aesthetic. Even the muted colour tones (contrast this to the vibrant palette in his 2011 film Three Musketeers) also conform to the film’s overall atmosphere. He knows how to work the camera and there are a lot of visually engaging shots that play with light and shadow and silhouettes. Anderson also shows the capability to come up with interesting camera angles and well-framed images; but most intriguingly, his fast-paced editing, quick cuts and shaky camera work play out like a poor man’s Paul Greengrass. It’s a more indulgent technique that results in a superficial grittiness compared to the raw and visceral work of Greengrass, but nonetheless works excellently for Anderson’s style.
Death Race is not nearly as bad as the reputation of its director suggests. In fact, I enjoyed it, was entertained and am now looking for a potential marathon topic where I could squeeze in the original it was based on. The film is cheesy, campy and comes from the same school of filmmaking as Michael Bay, but unlike Bay, Anderson shows skill and restraint. This film is still best experienced if you leave your brain at the door, but if for some reason you want to bring it in, rest assured the experience will not leave you feeling like your brain was mashed and eviscerated once you step out.
So yeah... the PWSA marathon was a good idea.
Here's a part of a review for Death Race that I've drafted where I note some positive points about Anderson:
Yet, for all of Death Race‘s shortcomings, Paul W.S. Anderson is not at all a bad director. Unlike Michael Bay, who always has everything turned up to 11, Anderson still has a setting that goes down a few notches. The pacing in this film is not perfect, but it’s not a mind-numbing attack on all the senses either. The best thing about it is that even though Anderson is a terrible writer who never goes beyond an elementary treatment of his screenplay, he knows how to put together a visually cohesive film.
Everything about the look of Death Race – from the sets to the props and the costumes – all serve to enhance the film’s dark, cold, steely and worn-out industrial aesthetic. Even the muted colour tones (contrast this to the vibrant palette in his 2011 film Three Musketeers) also conform to the film’s overall atmosphere. He knows how to work the camera and there are a lot of visually engaging shots that play with light and shadow and silhouettes. Anderson also shows the capability to come up with interesting camera angles and well-framed images; but most intriguingly, his fast-paced editing, quick cuts and shaky camera work play out like a poor man’s Paul Greengrass. It’s a more indulgent technique that results in a superficial grittiness compared to the raw and visceral work of Greengrass, but nonetheless works excellently for Anderson’s style.
Death Race is not nearly as bad as the reputation of its director suggests. In fact, I enjoyed it, was entertained and am now looking for a potential marathon topic where I could squeeze in the original it was based on. The film is cheesy, campy and comes from the same school of filmmaking as Michael Bay, but unlike Bay, Anderson shows skill and restraint. This film is still best experienced if you leave your brain at the door, but if for some reason you want to bring it in, rest assured the experience will not leave you feeling like your brain was mashed and eviscerated once you step out.
So yeah... the PWSA marathon was a good idea.
Whoever said Mullholland Dr. is the best of the century is on the right track, yeah.
Also, kudos to those that mentioned There Will Be Blood, No Country for Old Men & Eternal Sunshine of the Spotless Mind.
I should add though: Cidade de Deus (City of God) & Memento
Most importantly, you guys are forgetting one of the greatest animated films: Spirited Away is way up there as well.
Also, kudos to those that mentioned There Will Be Blood, No Country for Old Men & Eternal Sunshine of the Spotless Mind.
I should add though: Cidade de Deus (City of God) & Memento
Most importantly, you guys are forgetting one of the greatest animated films: Spirited Away is way up there as well.
I'm two films into a Paul W.S. Anderson marathon and things are not nearly as bad as I expected.
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Event Horizon is poor, but not bad. Even has its moments at times.
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Soldier has laughably cheesy and campy moments, but surprisingly has a lot to say. It says it with the finesse of a monster truck in a demolition derby, but gets the message across nonetheless. Kurt Russell has like what, 100 words in this I think, but his internalized performance is actually effective. He has his bad scenes and a few terrible ones, but most of those fall under the stereotypical so-bad-it's-good performance that it works. I can see myself rating this well.
The other three films I have lined up are: AVP: Alien vs. Predator, Death Race & The Three Musketeers
Event Horizon is poor, but not bad. Even has its moments at times.
Soldier has laughably cheesy and campy moments, but surprisingly has a lot to say. It says it with the finesse of a monster truck in a demolition derby, but gets the message across nonetheless. Kurt Russell has like what, 100 words in this I think, but his internalized performance is actually effective. He has his bad scenes and a few terrible ones, but most of those fall under the stereotypical so-bad-it's-good performance that it works. I can see myself rating this well.
The other three films I have lined up are: AVP: Alien vs. Predator, Death Race & The Three Musketeers
Guys watch this:
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Legitimately one of the best satires/comedies I've seen.
If that satisfies you, move on to other Ernst Lubitsch films, continuing with this:
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Which is, like, what You've Got Mail would be if it was actually good and not overlong.
Legitimately one of the best satires/comedies I've seen.
If that satisfies you, move on to other Ernst Lubitsch films, continuing with this:
Which is, like, what You've Got Mail would be if it was actually good and not overlong.
That's a weird way of wording that sentence
I literally have no idea what you're referring to.
wait a beautiful mind won an oscar
lmao
Yes, that was in a year when Mulholland Dr. and The Royal Tenenbaums came out
I think there's honour in never getting an Oscar - provided you're universally loved, that is. Think of all the great filmmakers who never won.
...and of all the great actors who've never cared of winning.
Note to anyone who doesn't care about the Oscars: The last 200 or so posts of this thread have been all about the Oscars ![]()
holy shit oscars came and went without any surprises
He makes the best films about loneliness, he has no friends. Neither do we. This is as close as we get.
best post in this thread.
lol what did Travolta call Idina Menzel? :p
Not ready for the PSH part of this
+1
in memoriam so gut-wrenching.
not sure we needed bette midler.
Is it really surprising Gravity is winning all of the technical awards?
No not really
tbh, with the exception of the short film awards that no one really cares for, the winners have been pretty much exactly as expected.
Whatever wins Best Editing will probably win Best Picture, just saying
Not this year.
Of course Murray was going to give a shoutout to Ramis ![]()
lol American Hustle can actually go 0/10 tonight.
Its only chance left is Original Screenplay![]()
Its only chance left is Original Screenplay
standing o for n'yongo!!!!!
*breathes sigh of relief*
*breathes sigh of relief*
I'm getting tired of these hero montages.
Ellen #killingit
Ellen is already eleventyhundredthousand times better than Seth McFarlane.
(DEAKINS NEEDS A MAKE UP WIN THOUGH YOU ACADEMY ****ERS BETTER GIVE HIM ONE SOON)
Deakins does make-up too!?!?!?
lol.
but srsly, he's gonna win for that war drama he's doing directed by Angeline Jolie which is coming out on Christmas this year.
but srsly, he's gonna win for that war drama he's doing directed by Angeline Jolie which is coming out on Christmas this year.
Oscars 2014 should win vs will win:
I left out the short films because I haven't seen any of them.
Best Picture
Will: 12 Years a Slave
Should: The Wolf of Wall Street
Best Director
Will: Cuaron
Should: Cuaron
Best Actress
Will: Blanchett
Should: Blanchett
Best Actor
Will: McConaughey
Should: DiCaprio
Best Supporting Actress
Will: N'yongo (I have this dreadful sinking feeling that Lawrence might snag this though)
Should: Hawkins (or N'yongo, idk, very tight category)
Best Supporting Actor
Will: Leto
Should: Leto
Best Original Screenplay
Will: Her (please no Hustle, please no Hustle, please no Hustle, please no Hustle...)
Should: Her
Best Adapted Screenplay
Will: 12 Years a Slave
Should: Before Midnight
Best Animated Feature
Will: Frozen
Should: Frozen (I haven't seen The Wind Rises or Ernest et Celestine though)
Best Foreign Language Film
Will: The Great Beauty
Should: The Hunt
Best Documentary
Will: 20 Feet From Stardom
Should: The Act of Killing (I guess... it's the only one I've seen)
Best Film Editing
Will: Gravity
Should: Captain Phillips
Best Original Score
Will: Gravity
Should: Her
Best Original Song
Will: "Let It Go"
Should: "Let It Go"
Best Cinematography
Will: Gravity
Should: Inside Llewyn Davis or Prisoners
Best Visual Effects
Will: Gravity
Should: Gravity
Best Sound Editing
Will: Gravity
Should: Gravity
Best Sound Mixing
Will: Gravity
Should: Inside Llewyn Davis
Best Production Design
Will: The Great Gatsby
Should: Her
Best Makeup and Hairstyling
Will: Dallas Buyers Club
Should: Dallas Buyers Club
Best Costume Design
Will: The Great Gatsby
Should: The Great Gatsby
Will: 12 Years a Slave
Should: The Wolf of Wall Street
Best Director
Will: Cuaron
Should: Cuaron
Best Actress
Will: Blanchett
Should: Blanchett
Best Actor
Will: McConaughey
Should: DiCaprio
Best Supporting Actress
Will: N'yongo (I have this dreadful sinking feeling that Lawrence might snag this though)
Should: Hawkins (or N'yongo, idk, very tight category)
Best Supporting Actor
Will: Leto
Should: Leto
Best Original Screenplay
Will: Her (please no Hustle, please no Hustle, please no Hustle, please no Hustle...)
Should: Her
Best Adapted Screenplay
Will: 12 Years a Slave
Should: Before Midnight
Best Animated Feature
Will: Frozen
Should: Frozen (I haven't seen The Wind Rises or Ernest et Celestine though)
Best Foreign Language Film
Will: The Great Beauty
Should: The Hunt
Best Documentary
Will: 20 Feet From Stardom
Should: The Act of Killing (I guess... it's the only one I've seen)
Best Film Editing
Will: Gravity
Should: Captain Phillips
Best Original Score
Will: Gravity
Should: Her
Best Original Song
Will: "Let It Go"
Should: "Let It Go"
Best Cinematography
Will: Gravity
Should: Inside Llewyn Davis or Prisoners
Best Visual Effects
Will: Gravity
Should: Gravity
Best Sound Editing
Will: Gravity
Should: Gravity
Best Sound Mixing
Will: Gravity
Should: Inside Llewyn Davis
Best Production Design
Will: The Great Gatsby
Should: Her
Best Makeup and Hairstyling
Will: Dallas Buyers Club
Should: Dallas Buyers Club
Best Costume Design
Will: The Great Gatsby
Should: The Great Gatsby
I left out the short films because I haven't seen any of them.
I'll do should win-will win in a while.
It's okay to like the Oscars! It's okay!!!
So, I decided now is the perfect time to actually watch some Resnais. I have Marienbad and Hiroshima, any others I should get?
Marienbad + Hiroshima + Night & Fog (short film) seem to be the essential Resnais, but I've also seen a lot of love for Providence (1977) and Mon oncle d'Amérique [My American Uncle] (1980).
