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RE: Top 100 Films I've Wathced This Year: 2009 - 1/9/2009 9:22:18 PM   
Rinc


Posts: 12841
Joined: 2/10/2005
From: A park bench, with a newspaper quilt
Here's my August list. I've been rewatching a lot of my favourites for the top 1000, now up to 256 for the year which is 6 more than my total last year:

1. Groundhog Day (Ramis, 1993) - 9
2. My Darling Clementine (Ford, 1946) - 9
3. Seven Samurai (Kurosawa, 1954) - 9
4. Jaws (Spielberg, 1975) - 9
11. Batman Returns (Burton, 1992) - 8
12. The Matrix (Wachowskis, 1999) - 8
13. Blade Runner (Scott, 1982) - 8
20. Batman (Burton, 1989) - 8
21. High Noon (Zinnemann, 1952) - 8
22. The Lives of Others (Donnersmarck, 2006) - 8
23. Battle Royale (Fukasaku, 2000) - 8
26. The Thin Red Line (Malick, 1998) - 8
31. Edward Scissorhands (Burton, 1990) - 8
32. Three Colors: Red (Kieslowski, 1994) - 8
33. Three Colors: White (Kieslowski, 1994) - 8
34. Airplane (Abrahams/Zucker/Zucker, 1980) - 8
35. Zodiac (Fincher, 2007) - 8
38. Gladiator (Scott, 2000) - 8
47. Once Upon A Time In The West (Leone, 1968) - 7
48. *The Damned United (Hooper, 2009) - 7
52. The Player (Altman, 1992) - 7
53. Ran (Kurosawa, 1985) - 7
60. The Public Enemy (Wellman, 1931) - 7
61. *Wild Strawberries (Bergman, 1957) - 7
70. The Thing (Carpenter, 1982) - 7
78. Into The Wild (Penn, 2007) - 7
105. Pan’s Labyrinth (del Toro, 2006) - 7
113. *Rushmore (Anderson, 1998) - 7
127. *Lifeboat (Hitchcock, 1944) - 6
131. Snatch (Ritchie, 2000) - 6
132. Superbad (Mottola, 2007) - 6
133. In Bruges (McDonagh, 2008) - 6
138. *In The Loop (Iannucci, 2009) - 6
140. Chinatown (Polanski, 1974) - 6
144. *Gran Torino (Eastwood, 2008) - 6
148. Mulholland Dr. (Lynch, 2001) - 6
151. Boyz n The Hood (Singleton, 1991) - 6
161. *Triumph Of The Will (Riefenstahl, 1935) - 6
168. Field of Dreams (Robinson, 1989) - 6
174. *Murder, My Sweet (Dmytryk, 1944) - 6
176. *Rome, Open City (Rossellini, 1945) - 6
182. *Hail The Conquering Hero (Sturges, 1944) - 6
193. *Anvil! The Story of Anvil (Gervasi, 2008) - 6
195. *Il Divo (Sorrentino, 2008) - 6
198. The 400 Blows (Truffaut, 1959) - 6
220. *Spellbound (Hitchcock, 1945) - 5
223. *La Strada (Fellini, 1954) - 5
234. School of Rock (Linklater, 2003) - 5
250. *Meet The Fockers (Roach, 2004) - 5
252. *Distant Voices, Still Lives (Davies, 1988) - 5
254. *Poseidon (Petersen, 2006) - 4


Decades

20's: 0
30's: 2
40's: 6
50's: 5
60's: 1
70's: 2
80's: 7
90's: 10
00's: 18

New Viewings: 35
Repeat Viewings: 16

< Message edited by Rinc -- 1/9/2009 9:23:22 PM >


_____________________________

No spoilers please:

Invisiotext:
[ color=#F1F1F1 ]text[ /color ]

(in reply to Rinc)
Post #: 5791
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 12:28:30 AM   
TheManWithNoShame


Posts: 6767
Joined: 1/8/2006
The 400 Blows: Part 1 (1982)

http://www.youtube.com/watch?v=LKeMOz6PR94

Better than the original. 10/10

< Message edited by TheManWithNoShame -- 2/9/2009 12:30:51 AM >


_____________________________

sorry jbg :( i promise to stop being such a silly boy.

(in reply to Rinc)
Post #: 5792
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 1:13:39 AM   
Deviation


Posts: 27284
Joined: 2/6/2006
From: Enemies of Film HQ
quote:

ORIGINAL: TheManWithNoShame

The 400 Blows: Part 1 (1982)

http://www.youtube.com/watch?v=LKeMOz6PR94

Better than the original. 10/10


Please tell em they did a Bergman one. Or a Godard. PLEEEEEAAAAAAASSSSSSSSSEEEEEEEEEEE. That was brilliant.

_____________________________

quote:

ORIGINAL: Dpp1978
There are certainly times where calling a person a cunt is not only reasonable, it is a gross understatement.

quote:


ORIGINAL: elab49
I really wish I could go down to see Privates

(in reply to TheManWithNoShame)
Post #: 5793
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 1:21:54 AM   
Gimli The Dwarf


Posts: 78128
Joined: 30/9/2005
From: Central Park Zoo
All this talk of view counts make me sad. I'm never gonna reach 768 again . Damn the internet and damn TV boxsets!


quote:

ORIGINAL: rick_7

I think that might be the only movie I actually hate.



Even more than A Walk To Remember?

< Message edited by Gimli The Dwarf -- 2/9/2009 1:27:49 AM >


_____________________________

So, sir, we let him have it right up! And I have to report, sir, he did not like it, sir.

Fellow scientists, poindexters, geeks.

Yeah, Mr. White! Yeah, science!

Much more better!

(in reply to Deviation)
Post #: 5794
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 2:02:24 AM   
Deviation


Posts: 27284
Joined: 2/6/2006
From: Enemies of Film HQ
Shame (1968)- 8/10
 
 
Tad unsure about this one though. I was engaged throughout but some things I am not sure about.

_____________________________

quote:

ORIGINAL: Dpp1978
There are certainly times where calling a person a cunt is not only reasonable, it is a gross understatement.

quote:


ORIGINAL: elab49
I really wish I could go down to see Privates

(in reply to Gimli The Dwarf)
Post #: 5795
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 3:34:43 AM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
Stats for August!

01.    Cidade de Deus (City of God) (2002, Meirelles & Lund) – 5/5*
02.    Gwoemul (The Host) (2006, Bong) – 4.5/5**
03.    The Princess Bride (1987, Reiner) – 4.5/5*
04.    Pickup on South Street (1953, Fuller) – 4.5/5
05.    Choyonghan kajok (The Quiet Family) (1998, Kim) – 4.5/5
06.    His Girl Friday (1940, Hawks) – 4.5/5
07.    The Thin Blue Line (1988, Morris) – 4.5/5
08.    Qian xi man po (Millenium Mambo) (2001, Hou) – 4.5/5
09.    King Kong (2005, Jackson) – 4/5*
10.    District 9 (2009, Blomkamp) – 4/5

11.    Smash Palace (1981, Donaldson) – 4/5
12.    Boksuneun naui geot (Sympathy for Mr Vengeance) (2002, Park) – 4/5
13.    Inglourious Basterds (2009, Tarantino) – 4/5
14.    Ying hung boon sik (A Better Tomorrow) (1986, Woo) – 4/5
15.    Drag Me To Hell (2009, Raimi) – 4/5
16.    Scarface (1932, Hawks) – 4/5
17.    Kairo (Pulse) (2001, Kurosawa) – 4/5
18.    Peeping Tom (1960, Powell) – 4/5
19.    Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped) (1956, Bresson) – 4/5
20.    M (1931, Lang) – 4/5

21.    Kill Bill: Vol. 1 (2003, Tarantino) – 3.5/5*
22.    Seua khaap dapp (The Tiger Blade) (2005, Siriphunvaraporn) – 3.5/5
23.    Kill Bill: Vol. 2 (2004, Tarantino) – 3.5/5
24.    Brother (2000, Kitano) – 3.5/5
25.    G.I. Joe: The Rise of Cobra (2009, Sommers) – 3.5/5
26.    Swiri (Shiri) (1999, Kang) – 3/5
27.    King Kong (1933, Cooper & Schoedsack) – 3/5
28.    Gaslight (1944, Cukor) – 3/5
29.    Public Enemies (2009, Mann) – 3/5
30.    Death Proof (2007, Tarantino) – 2.5/5

31.    Tunnel Rats (2008, Boll) – 2/5

SHORT FILMS

01.    King-Size Canary (1947, Avery) – 4.5/5
02.    For the Birds (2000, Eggleston) – 4.5/5*
03.    Vincent (1982, Burton) – 4/5
04.    Fast Film (2003, Widrich) – 4/5
05.    Bambi Meets Godzilla (1969, Newland) – 3.5/5
06.    Son of Bambi Meets Gozilla (1999, Fernandes) – 3.5/5
07.    M. le maudit (1982, Chabrol) – 3.5/5
08.    One Got Fat (1963, Jennings) -2/5

Decade Breakdown
2000s - 19
90s - 03
80s - 06
70s - 00
60s - 03
50s - 02
40s - 03
30s - 03
20s - 00
10s - 00
1900s - 00

Top 10 Performances of August
01.    Christoph Waltz as Col. Hans Landa (Inglourious Basterds, 2009)
02.    Rosalind Russell as Hildy Johnson (His Girl Friday, 1940)
03.    Leandro Firmino da Hora as Zé Pequeno/Li’l Zé (City of God, 2002)
04.    Shu Qi as Vicky (Millennium Mambo, 2001)
05.    Song Kang-ho as Park Dong-jin (Sympathy for Mr. Vengeance, 2002)
06.    Bruno Lawrence as Al Shaw (Smash Palace, 1981)
07.    Chow Yun-Fat as Mark (A Better Tomorrow, 1986)
08.    Cary Grant as Walter Burns (His Girl Friday, 1940)
09.    Sharlto Copey as Wikus van der Merwe (District 9, 2009)
10.    Richard Widmark as Skip McCoy (Pickup on South Street, 1953)


< Message edited by Pigeon Army -- 2/9/2009 3:46:40 AM >


_____________________________

quote:

ORIGINAL: Rinc
She's supposed to be 13! I'd want her to be very attractive though


quote:

ORIGINAL: MonsterCat
quote:

ORIGINAL: Pigeon Army
Stop being mean to Deviation

No.

(in reply to Deviation)
Post #: 5796
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 4:00:33 AM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
Sacre bleu! JBG responding to criticism of Godard in a civil and non-aggressive fashion? How can this be?!

quote:

ORIGINAL: jamesbondguy
Belmondo-Brialy's double-act


That's probably the thing I like most about the film, that and the music. Brialy and Belmondo are great together.

quote:

quote:


a 'musical number' that only serves to show how weak a singing voice Karina has


What a closing-shot that sequence has, though. Brilliant close-up.


This is true, but the sequence itself is kind of naff.

quote:

quote:


music that cuts in and out for seemingly no purpose other than to piss me off,


At first I felt the same, but with re-watches not only have I become more sympathetic to the formal experiments with the music, but also the fact that the film has sound design which is close to a more aggresive Tati, in some ways- watch the scenes where people are outside multiple times (particularly the scenes in daytime) and the inter-play and repeating of sound-effects, voices and snatches of music become much clearer. Indeed, what you called the 'misjudgement of placing' when it comes to music could be seen as explicit commentary on the form's lack of ability to accurately add to or create emotional moods or turns. Godard called it 'a Bazinian musical', but the sound design counters such in some ways- it's highly manipulated and adds to the humour of the film.


I don't think it's entirely consistent in its use in such a manner, however, though I do see where you're coming from. When the music intrudes between parts of dialogue, it's great, particularly when Belmondo's exchanging insults with the proprietor of the Hotel Bikini ("Fascist!" "Wandering Jew!"). But, at the start mainly, but sometimes throughout the film, it just seems to operate that way for no real purpose, highlighting or emphasising nothing in particular except how great Legrand's music is and how much better that moment would be with the music.

quote:

quote:


However, as an ode to and interrogation of Hollywood musicals, it falls a little flat,


Also, I don't think it's fair to treat this element so flippantly. I'm not sure how in-depth of your experience of Hollywood Musical-Comedies, Lubitsch etc is, but I think it works very well in it's complete taking apart of the format, or if you prefer, the blurring of the genre. The use of music is just one part of this, but the film, along with it's formal experiments, feels very much like a Hollywood musical comedy transported into the real world, or rather a constant clashing of the two forms- almost neo-realism and frothy Donen-Fosse-Lubitsch film-making.


I think a viewing of Lubitsch's musicals would probably need to be in order to get the whole idea, but aside from the not revealing parts of the character's backstory and character until they're relevant in the plot, a la The Million or Top Hat, which A Woman does very knowingly and quite well, I didn't feel like it was particularly prominent, and that it was just Godard retreading the same themes he always does in the guise of paying homage to Hollywood.

quote:

Also, no mention of the sublime Aznavour-record/ Karina-close-up sequence?


I initially thought it was another Shoot the Piano Player reference, which pissed me off because it reminded me of the previous, horrible reference to StPP. After I got over that, however, it was a very good sequence, though not as affecting as I'd like it to have been.


_____________________________

quote:

ORIGINAL: Rinc
She's supposed to be 13! I'd want her to be very attractive though


quote:

ORIGINAL: MonsterCat
quote:

ORIGINAL: Pigeon Army
Stop being mean to Deviation

No.

(in reply to jamesbondguy)
Post #: 5797
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 9:02:11 AM   
elab49


Posts: 54677
Joined: 1/10/2005
quote:

ORIGINAL: Gimli The Dwarf

Damn the internet and damn TV boxsets!



Also the problem I'm having at the moment - a TV list and a film list don't quite go together!

_____________________________

Lips Together and Blow - blogtasticness and Glasgow Film Festival GFF13!

quote:

ORIGINAL: Deviation] LIKE AMERICA'S SWEETHEARTS TOO. IT MADE ME LAUGH A LOT AND THOUGHT IT WAS WITTY. ALSO I FEEL SLOWLY DYING INSIDE. I KEEP AGREEING WITH ELAB.


Annual Poll 2013 - All Lists Welcome

(in reply to Gimli The Dwarf)
Post #: 5798
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 9:54:21 AM   
Gimli The Dwarf


Posts: 78128
Joined: 30/9/2005
From: Central Park Zoo
quote:

ORIGINAL: elab49

quote:

ORIGINAL: Gimli The Dwarf

Damn the internet and damn TV boxsets!



Also the problem I'm having at the moment - a TV list and a film list don't quite go together!


I can pinpoint my decrease in film watching to a specific day, Oscars night 2006. The desire to see if Wallace and Gromit won kept me up all night, and changing my internet meant I could stay around as long as I wanted, As such, Empire forum post shot up and my film watching went down and this year and last, I've been cramming in loads of TV as well. Not enough hours in the day!


_____________________________

So, sir, we let him have it right up! And I have to report, sir, he did not like it, sir.

Fellow scientists, poindexters, geeks.

Yeah, Mr. White! Yeah, science!

Much more better!

(in reply to elab49)
Post #: 5799
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 12:32:42 PM   
Gram123

 

Posts: 5537
Joined: 19/1/2006
From: Reino Unido
013) Let the Right One In  (Tomas Alfredson, Sweden, 2008) - 7.5
 
Review here.

< Message edited by Gram123 -- 2/9/2009 12:33:11 PM >


_____________________________

Gram123's Top Songs Project

(in reply to Gimli The Dwarf)
Post #: 5800
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 12:57:39 PM   
jamesbondguy


Posts: 6238
Joined: 6/1/2007
From: The Village Green
quote:


quote:


a 'musical number' that only serves to show how weak a singing voice Karina has



What a closing-shot that sequence has, though. Brilliant close-up.


This is true, but the sequence itself is kind of naff.


That's kind of the point, though. To show how naff the club itself is.

quote:


quote:


music that cuts in and out for seemingly no purpose other than to piss me off,


quote:


At first I felt the same, but with re-watches not only have I become more sympathetic to the formal experiments with the music, but also the fact that the film has sound design which is close to a more aggresive Tati, in some ways- watch the scenes where people are outside multiple times (particularly the scenes in daytime) and the inter-play and repeating of sound-effects, voices and snatches of music become much clearer. Indeed, what you called the 'misjudgement of placing' when it comes to music could be seen as explicit commentary on the form's lack of ability to accurately add to or create emotional moods or turns. Godard called it 'a Bazinian musical', but the sound design counters such in some ways- it's highly manipulated and adds to the humour of the film.


I don't think it's entirely consistent in its use in such a manner, however, though I do see where you're coming from. When the music intrudes between parts of dialogue, it's great, particularly when Belmondo's exchanging insults with the proprietor of the Hotel Bikini ("Fascist!" "Wandering Jew!"). But, at the start mainly, but sometimes throughout the film, it just seems to operate that way for no real purpose, highlighting or emphasising nothing in particular except how great Legrand's music is and how much better that moment would be with the music.


I thought the original sequence was there to point out, quite explicitly, how the film is going to be blurring or combining neo-realism and the Hollywood Musical cinema- thus the switching between the music and the street sounds, and showing the changing effect each has on the scene. It's kind of a manifesto for the whole film, in it's way. Godard called it a Bazinian musical, but it's much closer to Brechtian musical.

It's not just the music I was referring to, anyway. If you listen to the street scenes, you start to notice certain patterns and tricks that reoccur.

quote:


quote:


However, as an ode to and interrogation of Hollywood musicals, it falls a little flat,


quote:


Also, I don't think it's fair to treat this element so flippantly. I'm not sure how in-depth of your experience of Hollywood Musical-Comedies, Lubitsch etc is, but I think it works very well in it's complete taking apart of the format, or if you prefer, the blurring of the genre. The use of music is just one part of this, but the film, along with it's formal experiments, feels very much like a Hollywood musical comedy transported into the real world, or rather a constant clashing of the two forms- almost neo-realism and frothy Donen-Fosse-Lubitsch film-making.


I think a viewing of Lubitsch's musicals would probably need to be in order to get the whole idea, but aside from the not revealing parts of the character's backstory and character until they're relevant in the plot, a la The Million or Top Hat, which A Woman does very knowingly and quite well, I didn't feel like it was particularly prominent, and that it was just Godard retreading the same themes he always does in the guise of paying homage to Hollywood.



Yeah, you really need to be much more familiar with the genre to really get it. I think it's a really strong piece of deconstruction. You can't really say it's not very strong, though, when basically the whole film, in itself, is a deconstruction-reconstruction of the genre.

quote:


quote:

Also, no mention of the sublime Aznavour-record/ Karina-close-up sequence?


I initially thought it was another Shoot the Piano Player reference, which pissed me off because it reminded me of the previous, horrible reference to StPP. After I got over that, however, it was a very good sequence, though not as affecting as I'd like it to have been.



Really? It's one of my favourite Godard-Karina moments.

< Message edited by jamesbondguy -- 2/9/2009 1:01:47 PM >


_____________________________

Just like Geoffrey Ingram.

(in reply to Pigeon Army)
Post #: 5801
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 1:45:54 PM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
quote:

ORIGINAL: jamesbondguy

I don't think it's entirely consistent in its use in such a manner, however, though I do see where you're coming from. When the music intrudes between parts of dialogue, it's great, particularly when Belmondo's exchanging insults with the proprietor of the Hotel Bikini ("Fascist!" "Wandering Jew!"). But, at the start mainly, but sometimes throughout the film, it just seems to operate that way for no real purpose, highlighting or emphasising nothing in particular except how great Legrand's music is and how much better that moment would be with the music.


I thought the original sequence was there to point out, quite explicitly, how the film is going to be blurring or combining neo-realism and the Hollywood Musical cinema- thus the switching between the music and the street sounds, and showing the changing effect each has on the scene. It's kind of a manifesto for the whole film, in it's way. Godard called it a Bazinian musical, but it's much closer to Brechtian musical.

It's not just the music I was referring to, anyway. If you listen to the street scenes, you start to notice certain patterns and tricks that reoccur.

The original scene didn't work for me regardless, though, so that's kind of redundant. I have heard it referred to as a 'neorealist musical', but I think Godard could've gotten away with doing it later in the film pretty successfully without trying to assert his stance so thoroughly and so annoyingly at the start.

quote:

Yeah, you really need to be much more familiar with the genre to really get it. I think it's a really strong piece of deconstruction. You can't really say it's not very strong, though, when basically the whole film, in itself, is a deconstruction-reconstruction of the genre.


Watch me.

I don't think it's very strong.

There we go. Guess you're a liar, then.

I'll revisit it in a few years, though, when I've got a wider experience of the genre, because I do see where you're coming from.

quote:

quote:


quote:

Also, no mention of the sublime Aznavour-record/ Karina-close-up sequence?


I initially thought it was another Shoot the Piano Player reference, which pissed me off because it reminded me of the previous, horrible reference to StPP. After I got over that, however, it was a very good sequence, though not as affecting as I'd like it to have been.



Really? It's one of my favourite Godard-Karina moments.


Apparently, it's not one of mine. There you go.


_____________________________

quote:

ORIGINAL: Rinc
She's supposed to be 13! I'd want her to be very attractive though


quote:

ORIGINAL: MonsterCat
quote:

ORIGINAL: Pigeon Army
Stop being mean to Deviation

No.

(in reply to jamesbondguy)
Post #: 5802
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 2:00:30 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
I have no idea what Une Femme was deconstructing as I hate musicals, but I loved the film. The colours! Karina! Legrand! Brialy! Belmondo! Shiiiit...



_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to Pigeon Army)
Post #: 5803
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 2:12:54 PM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
46. 2001: A Space Odyssey (1968, Kubrick) - 4.5/5
Quite possibly one of the most baffling and excellent films I've seen, 2001 is a film that is both astounding, thoughtful and thrilling. While I won't even pretend to admit that I understood everything, Kubrick's film is an intriguing look into the human condition, our propensities for violence and our at-times self-destructive desire to discover all that there is to discover. Almost criticising our innate need to leave no stone unturned and leave no mystery un-mystified in our search for the meaning of life, death and everything in between, Kubrick constructs a film that is a visual marvel and a constantly exciting, breathtaking experience. The film's four chapters tell three (and a half) interweaving stories, each one more fascinating and beautiful than the last. Kubrick's visual realisation of space is simply outstanding, with ship movements and zero-gravity walking elevated to some kind of aesthetically-pure ballet, set as they are to magnificent orchestra pieces like Thus Spake Zarathustra and the The Blue Danube. The atmosphere these visuals set is one of awe, one of constant amazement, and it perfectly suits the tone of the film's apparent themes and the stories it tells. On top of that, Kubrick doesn't skimp on the story, either. The brief stories involving The Dawn of Man and Dr. Heywood are fantastically told, filled with humour and intrigue, and the monolith's presence is made terrifying and ominous, an unlocker of exactly what man strives to keep repressed. The Jupiter Trip, which makes up the meat and potatoes of the film, is also well-told, and while it does occasionally taper off a bit here and there, particularly at the start, HAL is a creation of genius and he cuts a sufficiently threatening presence through his segment, infusing it with a morbid humour and a malice that the film would lack with human villains in the conventional sense. When the film finally reaches the last chapter, we're subjected to a philosophically impenetrable, yet captivating and magnificent series of images and scenes that never cease to stun. While it may take me a few more watches to utterly cement my appreciation of the film, and while there are some aspects of the film that drag it down a little (Keir Dullea's performance isn't exactly riveting, and while the majority of the special effects are amazing, there are still some failures), 2001 is a unique film, and one that will definitely improve with age.


_____________________________

quote:

ORIGINAL: Rinc
She's supposed to be 13! I'd want her to be very attractive though


quote:

ORIGINAL: MonsterCat
quote:

ORIGINAL: Pigeon Army
Stop being mean to Deviation

No.

(in reply to Pigeon Army)
Post #: 5804
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 2:30:59 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
Am I the only one here who doesn't like it?

_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to Pigeon Army)
Post #: 5805
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 2:41:11 PM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
quote:

ORIGINAL: Miles Messervy 007

I have no idea what Une Femme was deconstructing as I hate musicals, but[...]the film[?][...]Shiiiit.



You heard it here first, ladies and gents. Miles hates Une Femme.


_____________________________

quote:

ORIGINAL: Rinc
She's supposed to be 13! I'd want her to be very attractive though


quote:

ORIGINAL: MonsterCat
quote:

ORIGINAL: Pigeon Army
Stop being mean to Deviation

No.

(in reply to Miles Messervy 007)
Post #: 5806
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 3:39:45 PM   
Epiphany Demon


Posts: 6497
Joined: 14/11/2007
Round up for August

002. The Assassination Of Jesse James By The Coward Robert Ford (Dominik, 2007) Aug *
013. Sweeney Todd: The Demon Barber Of Fleet Street (Burton, 2007) Aug *
018. Mesrine: Killer Instinct (Richet, 2008) Aug
020. The 40 Year Old Virgin (Apatow, 2005) Aug *
021. Superbad (Mottola, 2007) Aug ***
022. Requiem For A Dream (Aronofsky, 2000) Aug
024. Chinatown (Polanski, 1974) Aug
025. Moon (Jones, 2009) Aug
026. Aladdin (Clements & Musker, 1992) Aug *****
035. Groundhog Day (Ramis, 1993) Aug
037. Evil Dead II (Raimi, 1987) Aug *
038. American Gangster (Scott, 2007) Aug
046. Planet Of The Apes (Schaffner,1968) Aug
054. Midnight Run (Brest, 1988) Aug *
055. Annie Hall (Allen, 1977) Aug
061. Zack And Miri Make A Porno (Smith, 2008) Aug
064. True Romance (Scott, 1993) Aug
065. American History X (Kaye, 1998) Aug
071. Ghost World (Zwigoff, 2001) Aug
076. The Taking Of Pelham 1 2 3 (Scott, 2009) Aug
077. Brüno (Charles, 2009) Aug
084. Sleepy Hollow (Burton, 1999) Aug *
088. Frankenstein (Whale, 1931) Aug
112. Employee Of The Month (Coolidge, 2006) Aug ***
113. You Don't Mess With The Zohan (Dugan, 2008) Aug
135. The Last House On The Left (Iliadis, 2009) Aug
136. Gothika (Kassovitz, 2003) Aug *


_____________________________

THE ALTERNATIVE LOOK AT BOB DYLAN'S DISCOGRAPHY - ONE DAY MAYBE I'LL FINISH IT

(in reply to Epiphany Demon)
Post #: 5807
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:22:03 PM   
jamesbondguy


Posts: 6238
Joined: 6/1/2007
From: The Village Green

Freaks
Director: Tod Browning

I returned to Freaks with a new interest in the work of Browning, an interest which basically arose out of nowhere, except for maybe recent luck with certain early Horror films (most obviously, Edgar Ulmer’s The Black Cat). I’ve seen it once before, and it has a certain nostalgic value in some ways, particularly towards the beginning (I remember having quite long discussions with the friend who lent me the DVD back then about exactly how the Freaks managed to carry out their revenge). That first time around I saw nothing particularly special about the film, outside of the much-commented upon siding with the sideshow freaks rather than the murderous ‘normal couple’, and promptly put it aside in favour of other films I was discovering around the time.
I can be exceptionally irritating sometimes. Watching Freaks in improved circumstances and it’s intensity grows. The film features some of the most intricate, atmospheric mise-en-scene in American cinema. The maze-like design of the rows of caravans housing the circus people, and the fact that the film rarely leaves it’s confines (except for an interlude at the start which is like Bunuel transported to the setting of Renoir’s Rules of The Game), and leaps betweens the inter-secting stories of each minor character, means that the film has a rare claustrophobic feel, and even the beautifully-lit close-ups serve only to increase the constant feeling of the world closing in on the story (should I say story or extended metaphor?), a feeling which culminates in the Wedding party sequence, where Browning displays a rare (particularly in the Horror genre) talent to create a scene which is subtly powerful and even upsetting in it’s conscious mixing and switching between frivolity, menace and outright humiliation.
I expect I’ll remember the film most for such small touches, rather than any grand ones. Here the aesthetics are only helped, the film only helped, by a collection of small things which may be accidental or the result of necessity, but feel right in the film. Examples- the wobbly tracking shots and close-ups, where one can feel the physical movement of the camera-man, are superior because they add to the human feel of the story, rather than offer something mechanical which would be unfitting of the circumstances.
What’s more it has the feel of poetry, albeit a dark kind with more complex morality than it might originally appear (the reconciliation and semi-apology at the end of the film was tacked on by the studio, after all.) As such, it makes for a surprisingly intense experience, where everything is conducted with grace by Browning, making sure that everything from the interior of the caravans (always homely, and each one unique) to the weather is utilised to Browning’s advantage in the establishing of mood and narrative. What we have is the subtle creation of a world which, while seeming limited to the settings and land we see, paradoxically becomes all the more stronger in it’s metaphor for such limitations. Indeed, it manages to be both a cry of sympathy for the outsider, and a cautionary tale warning such outsider not to become inhuman if they take their revenge (either way, it’s still an attack on conformity). Indeed, it’s possible to read this created town of sorts of the circus people’s as a metaphor for a universal town or city, simplified, of course, but interesting in it’s possible suggestion to read such subtext in to every place people call home.
Would the film still be as strong if we had the 30 missing minutes restored?
Of course, it’s impossible to tell, but one shouldn’t treat the film we have now as a trivial cult work. It’s a true example of the power of Faber’s beloved termite art, something worthy of immense praise found in the limited and economic form of the cheap, Hollywood studio horror movie, which nonetheless, thanks to the cruel-tenderness of Browning’s method, outwits and outmanoeuvres more famous and expensive counterparts.

September-December 2009:

1) Freaks (1932, Browning)
2) Playtime (1967, Tati)
3) Pull My Daisy (1958, Frank, Leslie)
4) Simon Of The Desert (1965, Bunuel)

Huge gap in quality here :

5) Moonraker (1979, Gilbert)

_____________________________

Just like Geoffrey Ingram.

(in reply to Epiphany Demon)
Post #: 5808
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:27:30 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
Moonraker rocks, so you're wrong. Why did you watch it anyway?

_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to jamesbondguy)
Post #: 5809
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:32:20 PM   
jamesbondguy


Posts: 6238
Joined: 6/1/2007
From: The Village Green
quote:

ORIGINAL: Miles Messervy 007

Moonraker rocks, so you're wrong. Why did you watch it anyway?


I assume you mean that in an ironic way?

I watched it with my family, who aren't really up on their films of the Beat generation and Bunuel.

_____________________________

Just like Geoffrey Ingram.

(in reply to Miles Messervy 007)
Post #: 5810
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:34:26 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
No irony, see my Bond thread. Dumb fun, sure, but it's fun, unlike say *thinks of a boring film KGB likes that I've seen, draws a blank* umm...

_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to jamesbondguy)
Post #: 5811
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:37:13 PM   
jamesbondguy


Posts: 6238
Joined: 6/1/2007
From: The Village Green
quote:

ORIGINAL: Miles Messervy 007

No irony, see my Bond thread. Dumb fun, sure, but it's fun, unlike say *thinks of a boring film KGB likes that I've seen, draws a blank* umm...


I'd say it's more at 'so bad it's near unwatchable, apart from a few hilariously stupid moments' level.

_____________________________

Just like Geoffrey Ingram.

(in reply to Miles Messervy 007)
Post #: 5812
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 4:38:29 PM   
Deviation


Posts: 27284
Joined: 2/6/2006
From: Enemies of Film HQ
quote:

ORIGINAL: Miles Messervy 007

Am I the only one here who doesn't like it?


You like Moonraker so you cannot comment on 2001.

_____________________________

quote:

ORIGINAL: Dpp1978
There are certainly times where calling a person a cunt is not only reasonable, it is a gross understatement.

quote:


ORIGINAL: elab49
I really wish I could go down to see Privates

(in reply to Miles Messervy 007)
Post #: 5813
RE: Top 100 Films I've Wathced This Year: 2009 - 2/9/2009 4:39:44 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
Moonraker > 2001. There, I can and did comment on 2001. See you're wrong again.

_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to Deviation)
Post #: 5814
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:40:40 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Miles Messervy 007

No irony, see my Bond thread. Dumb fun, sure, but it's fun, unlike say *thinks of a boring film KGB likes that I've seen, draws a blank* umm...


I'd say it's more at 'so bad it's near unwatchable, apart from a few hilariously stupid moments' level.
Come on. The score is great, Lonsdale is great, brilliant use of locations. Sure, there is no plot as such, but who cares?

_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to jamesbondguy)
Post #: 5815
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:42:37 PM   
Deviation


Posts: 27284
Joined: 2/6/2006
From: Enemies of Film HQ
quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Miles Messervy 007

No irony, see my Bond thread. Dumb fun, sure, but it's fun, unlike say *thinks of a boring film KGB likes that I've seen, draws a blank* umm...


I'd say it's more at 'so bad it's near unwatchable, apart from a few hilariously stupid moments' level.


And you're still not giving a clear definition of how fucking awful it is, and it's not evevn the worst Bond.

_____________________________

quote:

ORIGINAL: Dpp1978
There are certainly times where calling a person a cunt is not only reasonable, it is a gross understatement.

quote:


ORIGINAL: elab49
I really wish I could go down to see Privates

(in reply to jamesbondguy)
Post #: 5816
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:50:49 PM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
It's not as awful as There Will Be Blood, that's for sure.

_____________________________

quote:

jamesbondguy:
Miles is clearly the finest film theorist of his generation

quote:

Deviation:
if it isn't ham, I'll eat a living pig.

(in reply to Deviation)
Post #: 5817
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:56:06 PM   
jamesbondguy


Posts: 6238
Joined: 6/1/2007
From: The Village Green


_____________________________

Just like Geoffrey Ingram.

(in reply to Miles Messervy 007)
Post #: 5818
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 4:57:47 PM   
DCMaximo


Posts: 992
Joined: 5/1/2007
From: Nottingham via Aidy Boothroyd's Palace of Wisdom
quote:

ORIGINAL: Deviation

quote:

ORIGINAL: jamesbondguy

quote:

ORIGINAL: Miles Messervy 007

No irony, see my Bond thread. Dumb fun, sure, but it's fun, unlike say *thinks of a boring film KGB likes that I've seen, draws a blank* umm...


I'd say it's more at 'so bad it's near unwatchable, apart from a few hilariously stupid moments' level.


And you're still not giving a clear definition of how fucking awful it is, and it's not evevn the worst Bond.


Oh, it really is. Abysmal movie


_____________________________

The Spanish Inquisition of the 'Get Carlton Banks a TV Spin-off' Association

"Carlotta was the kind of town where they spell trouble T-R-U-B-I-L, and if you try to correct them, they kill you"

(in reply to Deviation)
Post #: 5819
RE: Top 100 Films I've Watched This Year: 2009 - 2/9/2009 5:03:05 PM   
Harry Lime


Posts: 5147
Joined: 30/9/2005
Another month, another update...

5

À bout de souffle (1959, Godard)
The Asphalt Jungle (1950, Huston)
Les Diaboliques (1955, Clouzot)
F For Fake (1974, Welles)
The Invisible Man (1933, Whale)
JFK (1991, Stone)
Les quatre cents coups (1959, Truffaut)
Sciuscià (1946, De Sica)
Le souffle au coeur (1971, Malle)
Trouble In Paradise (1932, Lubitsch)
Unforgiven (1992, Eastwood)
The War Game (1965, Watkins)


4.5

Alphaville, une étrange aventure de Lemmy Caution (1965, Godard)
Ascenseur pour l'echafaud (1958, Malle)
Au revoir les enfants (1987, Malle)
Bande á part (1964, Godard)
Bob le flambeur (1956, Melville)
Brick (2005, Johnson)
Casque d'or (1952, Becker)
Céline et Julie vont en bateau (1974, Rivette)
Days Of Heaven (1978, Malick)
The Elephant Man (1980, Lynch)
Hobson's Choice (1953, Lean)
I Love You Again (1940, Van Dyke)
The Lady From Shanghai (1947, Welles)
Låt den rätte komma in (2008, Alfredson)
Libelled Lady (1936, Conway)
Local Hero (1983, Forsyth)
Once Upon A Time In America (1984, Leone)
Network (1976, Lumet)
Peeping Tom (1960, Powell)
The Quiet Man (1952, Ford)
Du rififi chez les hommes (1955, Dassin)
The Spiral Staircase (1945, Siodmak)
A Taste Of Honey (1961, Richardson)
There Will Be Blood (2007, Anderson)
Touchez pas au grisbi (1954, Becker)
Whistle Down The Wind (1961, Forbes)
Written On The Wind (1956, Sirk)


4

Le deuxième souffle (1966, Melville)
Le feu follet (1963, Malle)
The Fog of War: Eleven Lessons From The Life of Robert S. McNamara (2003, Morris)
Funny Games (1997, Haneke)
The Getaway (1972, Peckinpah)
Gregory's Girl (1981, Forsyth)
Hamlet (1996, Branagh)
In Bruges (2008, McDonagh)
It Happened One Night (1934, Capra)
Jules et Jim (1962, Truffaut)
The Killer (1989, Woo)
Love Crazy (1941, Conway)
Milk (2008, Van Sant)
The Naked City (1948, Dassin)
O Lucky Man! (1973, Anderson)
La Pianiste (2001, Haneke)
Pierrot le fou (1965, Godard)
Ryan's Daughter (1970, Lean)
Salò o le 120 giornate di Sodoma (1975, Pasolini)
To Be Or Not To Be (1942, Lubitsch)
12 Angry Men (1957, Lumet)
Ugetsu Monogatari (1953, Mizoguchi)
When The Wind Blows (1986, Murakami)


3.5

28 Days Later... (2002, Boyle)
Les Amants (1958, Malle)
Anchorman: The Legend Of Ron Burgundy (2004, McKay)
Batoru rowaiaru (2000, Fukasaku)
Boomerang! (1947, Kazan)
Changeling (2008, Eastwood)
The Cooler (2003, Kramer)
The Devil And Daniel Webster (1941, Dieterle)
Une femme est une femme (1961, Godard)
Frost / Nixon (2008, Howard)
Ghost World (2001, Zwigoff)
Gran Torino (2008, Eastwood)
Ice Cold In Alex (1958, Thompson)
Idioterne (1998, von Trier)
If I Had A Million (1932, Cruze/ Humberstone/ Lubitsch/ McLeod/ Roberts/ Seiter/ Taurog)
Lacombe Lucien (1974, Malle)
Magnificent Obsession (1954, Sirk)
Man On Wire (2008, Marsh)
Night And The City (1950, Dassin)
Pretty Baby (1978, Malle)
Silent Running (1972, Trumbull)
Spellbound (1945, Hitchcock)
Tirez sur le pianiste (1960, Truffaut)
Vicky Cristina Barcelona (2008, Allen)
Vivacious Lady (1938, Stevens)
Wall-E (2008, Stanton)
The Wrestler (2008, Aronofsky)


3

L'air de Paris (1954, Carne)
Der Amerikanische Freund (1977, Wenders)
Atlantic City (1980, Malle)
Before Sunrise (1995, Linklater)
Cloverfield (2008, Reeves)
The Deadly Companions (1961, Peckinpah)
District 9 (2009, Blomkamp)
The Duchess (2008, Dibb)
Harry Potter And The Half Blood Prince (2009, Yates)
Milou en mai (1990, Malle)
Mulholland Dr. (2001, Lynch)
Music And Lyrics (2007, Lawrence)
Old School (2003, Phillips)
El Orfanato (2007, Bayona)
Revolutionary Road (2008, Mendes)
Starship Troopers (1997, Verhoeven)
Tabu (1931, Murnau)
The Tales Of Hoffman (1951, Powell/ Pressburger)


2.5

17 Again (2009, Steers)
Anne Of Green Gables (1934, Nichols Jr.)
Bis ans Ende der Welt (1991, Wenders)
Black Moon (1975, Malle)
Cat Ballou (1965, Silverstein)
The Curious Case Of Benjamin Button (2008, Fincher)
Insomnia (2002, Nolan)
Madagascar: Escape 2 Africa (2008, Darnell/ McGrath)
Night At The Museum (2006, Levy)
The Reader (2008, Daldry)
Slumdog Millionaire (2008, Boyle)
Sweeney Todd: The Demon Barber Of Fleet Street (2007, Burton)
Things To Do In Denver When You're Dead (1995, Fleder)


2

Angels And Demons (2009, Howard)
Burn After Reading (2008, Coen/ Coen)
Les clan des Siciliens (1969, Verneuil)
The Devil Wears Prada (2006, Frankel)
Doubt (2008, Shanley)
Enemy At The Gates (2001, Annaud)
Hancock (2008, Berg)
He's Just Not That Into You (2009, Kwapis)
The Holiday (2006, Meyers)
Inglourious Basterds (2009, Tarantino)
The Italian Job (2003, Gray)
Jay and Silent Bob Strike Back (2001, Smith)
Kung Fu Panda (2008, Osbourne/ Stevenson)
Love Affair (1939, McCarey)
Mamma Mia (2008, Lloyd)
Marley & Me (2008, Frankel)
Rachel Getting Married (2008, Demme)
She's The Man (2006, Fickman)
Tropic Thunder (2008, Stiller)
Twilight (2008, Hardwicke)
Wanted (2008, Berkmambetov)
X-Men: The Last Stand (2006, Ratner)
Zazie dans le métro (1960, Malle)


1.5

All In The Game (2006, O'Hanlon)
Resident Evil: Extinction (2007, Mulcahy)


1

Alien Vs Predator - Requiem (2007, Strause/ Strause)
Amityville III: The Demon (1983, Fleischer)
Halloween (2007, Zombie)
High School Musical 3: Senior Year (2008, Ortega)
Nacho Libre (2006, Hess)
Point Of Origin (2002, Sigel)
X Files: I Want To Believe (2008, Carter)



First Viewing

Films Viewed Per Decade

2000s - 64
1990s - 10
1980s - 9
1970s - 14
1960s - 16
1950s - 20
1940s - 10
1930s - 9
1920s - 0
1910s - 0
1900's - 0


Shorts (40 Minutes or less)

5

4

Cutting Moments (1997, Buck)
Les mistons (1957, Truffaut)


3

Charlotte et son Jules (1960, Godard)
The Musketeers Of Pig Alley (1913, Griffith)
Vive le tour (1962, Malle)


2

Bowl Of Oatmeal (1996, Post)
An Unseen Enemy (1912, Griffith)


1

Crack Dog (?, Kehoe)
Don't Nag Me (?, Healy/ Panaro)
The Principles Of Karma (1996, Wallace)


< Message edited by Harry Lime -- 30/9/2009 1:27:18 AM >


_____________________________

"People think I have an interesting walk. Hell, I'm just trying to hold my gut in."

If I get there early will it be the right time
our heaven is just waiting so put your hand into mine.

(in reply to Harry Lime)
Post #: 5820
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