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RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 12:33:08 AM   
swordsandsandals


Posts: 12571
Joined: 6/1/2006
From: A magical forest
Don't listen to Elab. She's a buffoon, as he views on Days of Heaven prove.

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quote:

ORIGINAL: Rawlinson

Swords is right about everything.



quote:

ORIGINAL: Hood_Man

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(in reply to TRM)
Post #: 9931
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 12:38:27 AM   
Rebenectomy


Posts: 5629
Joined: 20/1/2008
From: 10-0-11-0-0 by 0-2
Two Malick's made it onto my visual list, but I've yet to see Days of Heaven. I think it might be because every time I see it mentioned my malfunctioning brain thinks it's Days of Thunder.

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(in reply to swordsandsandals)
Post #: 9932
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 12:56:03 AM   
Deviation


Posts: 27284
Joined: 2/6/2006
From: Enemies of Film HQ
http://www.nypress.com/article-21675-discourteous-discourse.html


I just had to post this.


_____________________________

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 Rebenectomy)
Post #: 9933
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:04:17 AM   
elab49


Posts: 54599
Joined: 1/10/2005
quote:

ORIGINAL: Rebenectomy

Two Malick's made it onto my visual list, but I've yet to see Days of Heaven. I think it might be because every time I see it mentioned my malfunctioning brain thinks it's Days of Thunder.


At least Days of Thunder had Robert Duvall....

_____________________________

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 Rebenectomy)
Post #: 9934
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:05:24 AM   
rawlinson

 

Posts: 45002
Joined: 13/6/2008
From: Timbuktu. Chinese or Fictional.
The thing is that when he says that it becomes difficult to discuss films in certain environments he has a point. For some people once a film has been a given a certain amount of praise then anyone who says they dislike it for any reason is attacked. It does happen. People hang out on RT counting the amount of positive reviews for each film and they freak out as soon as there's  a negative one. Lots of them don't seem to care what the review says as long as they like the film. That kind of fanboyism is just as pointless as White's criticism of the film. The problem with White is that he rarely engages with the films on their own terms, he forms an opinion and then tries to twist the film to suit that opinion. Him writing a piece about intelligent criticism is laughable. He's an imdb troll with a press pass. 

(in reply to Deviation)
Post #: 9935
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:08:05 AM   
rawlinson

 

Posts: 45002
Joined: 13/6/2008
From: Timbuktu. Chinese or Fictional.
quote:

ORIGINAL: elab49

quote:

ORIGINAL: Rebenectomy

Two Malick's made it onto my visual list, but I've yet to see Days of Heaven. I think it might be because every time I see it mentioned my malfunctioning brain thinks it's Days of Thunder.


At least Days of Thunder had Robert Duvall....


What is it you hated about Days of Heaven? The beauty? The art? The great film-making?

(in reply to elab49)
Post #: 9936
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:08:40 AM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
03. Eternal Sunshine of the Spotless Mind (2004, Gondry, USA) - 5/5*
Charlie Kaufman has long been a favourite of mine - Synecdoche New York, Adaptation and Being John Malkovich are all among my favourite films. As much as I love those films, though, this is his masterwork. Still concerned with human identity and how we communicate with and relate to our past experiences, Kaufman augments his typically intellectual approach by taking a step closer and allowing himself into the lives of these characters. They aren't bogged down by their quirks and neuroses like the Kaufman twins in Adaptation or Cusack/Diaz/Keener in BJM - every single character is a well-developed, relatable person, a person with flaws and strengths and worries and hopes and attractions and bad ideas. They're the most human people Kaufman has ever written, and not only does it give the central narrative an added potency and emotional heft, it gives Gondry's lo-fi special effects a reality to be grounded in. Everything feels organic, everything feels right, and the sequences inside Joel's mind are just as easy to become involved in as his real-world struggles, because his mind is just as real as the world outside. It also helps that the cast is generally excellent, adding to the humanity of the characters and the poignancy of the story - Carrey is superlative as Joel Barish, a man caught between a need to be liked and a fear of being rejected; Winslet gets and brings to the front the fucked-up foibles of Joel's manic pixie dream girl, an angle so eternally missed by other films trying to be Eternal Sunshine; Dunst gives the best performance of her career as a girl whose attractions and aims are lost in a sea of self-doubt; Wilkinson kills as the Papa Bear with some serious issues of his own; and Wood and Ruffalo are generally swell.

04. Magnolia (1999, Thomas Anderson, USA) - 5/5
Magnolia is essentially a massive, self-indulgent three-hour soap opera - for all intents and purposes, it should be unbearable to sit through. That it isn't is one thing. That it's actually a magnificent achievement of cinema, an enthralling and emotionally-rich tapestry of human existence that taps into the hopes, fears, dreams, nightmares, successes, disappointments, neuroses and foibles of our day-to-day drudgery and brings them to life in a heightened, exhilarating fashion is another thing entirely, and Paul Thomas Anderson pulls a masterpiece out of his arse here, hitting every note as it should be hit. For two hours, he slowly and methodically ramps up the tension, commanding your undivided attention for every second, and he pays it off with an hour-long denouement that is both heart-breaking and life-affirming. His characters are broadly painted, as is often the case with ensemble pieces, but none of them feel patched together or threadbare; the performances all endow the characters with an innate humanity and Thomas Anderson's writing is nuanced, giving each character an individual voice and a sterling emotional pay-off (Stanley's bitter speech live on air and Linda's meltdown in front of her husband's lawyer are the best of these). The performances are uniformly sublime, with Macy, Cruise, Reilly and Blackman giving career-best performances, and everyone else in the ensemble scoring home runs all over the place. Thomas Anderson's constantly-moving camera is never intrusive, and the moments when he slows down and takes a step back are some of the most powerful ever filmed; the music is fantastic; the story is brilliant; the whole thing is just so damn amazing.

09. Fight Club (1999, Fincher, USA) - 4.5/5**
It's great seeing this on the big screen, because it really is a cinematic film. The throbbing trip-hop score gets under your skin with that kind of sound system, and the environment really dragged me into some unexpected scenes this time - the imagined mid-air collision and the chemical burn sequence are so much more engrossing on the big screen for some reason. It's also fascinating, on a rewatch, seeing how cleverly constructed it is to evoke the most sympathy for Norton's insecure asshole protagonist and his crisis of male identity before flipping the table on you and making you realise just how much of a shit he is. There's parts of Fight Club that feel a bit too self-conscious for me to fully fall in love with it (it's a neat visual trick, but the monologue to the audience while the frames begin skipping is a good example of superfluous self-awareness), but it's still a visceral and sensational piece of work.

218. The Objective (2008, Myrick, USA/MOR) - 3/5
Mysterious CIA guy leads a bunch of American soldiers into the Afghani wilderness, ostensibly to get a recording in support of the Americans from a high-ranking cleric. Then shit happens and you know what happens next. The Objective is an interesting twist on Myrick's Blair Witch formula - again, characters are constantly getting lost in a perpetually-shifting environment, filming as shit goes down because they 'have to', running from forces they can't see, trying to deal with internal traumas and external threats at the same time and failing miserably, etc. For a good part of the film, Myrick uses his third-person camera in a manner that's just as effective as Blair Witch's first-person camera, too - one particular sequence in which the soldiers face down a set of lights in the pitch black night is an unbelievably tense hark back to the running from the tent in Blair Witch, replacing sound with light and making things a bit more obvious. The body of the film, though, is severely hampered by a constant narration that takes the 'show, don't tell' rule and sets fire to it, waits for the fire to die out, and then kicks it for several minutes before spitting in its charred face, and it goes off-the-rails at the end - but not good off-the-rails, a la 2001, but bad off-the-rails, a la Friday the 13th.

250. Signs (2002, Shyamalan, USA) - 2/5**
Good lord, I liked some shit when I was a kid. Shyamalan's clearly a talented director, and his direction of the horror sequences in this alien invasion tale is quite good, throwing you into the position of the beleaguered Mel Gibson and his family, restricting you to their light sources and eyelines and playing on the illusion of security owning and knowing your own property affords you. He does a really solid job of evoking the dread of someone getting up in your personal space and refusing to leave, and he offsets it with some decent comedy that makes me wonder why so many of his films are unintentionally funny when he has bits in them like Mel Gibson running around a house, yelling "I'm literally losing my mind!" (or, for that matter, the dinner table sequence, which perfectly captures how absurd some family arguments can be and the way they reach fever pitch quickly). However, so much of the film is bland and worth of a million eye-rolls - the dialogue is often painfully obvious and violates every 'show, don't tell' rule in the book; the performances are much of a muchness, with Rory Culkin delivering a particularly painful portrait of a dryly paranoid kid; the CGI is pathetic; and the themes about faith and hope in the face of adversity are delivered without a hint of nuance or subtlety. It's really, really disappointing all round.


_____________________________

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 #: 9937
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:10:52 AM   
Deviation


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

ORIGINAL: rawlinson

The thing is that when he says that it becomes difficult to discuss films in certain environments he has a point. For some people once a film has been a given a certain amount of praise then anyone who says they dislike it for any reason is attacked. It does happen. People hang out on RT counting the amount of positive reviews for each film and they freak out as soon as there's  a negative one. Lots of them don't seem to care what the review says as long as they like the film. That kind of fanboyism is just as pointless as White's criticism of the film. The problem with White is that he rarely engages with the films on their own terms, he forms an opinion and then tries to twist the film to suit that opinion. Him writing a piece about intelligent criticism is laughable. He's an imdb troll with a press pass. 


He certainly does have some good points, but coming from him it just feels hypocritical.


_____________________________

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 rawlinson)
Post #: 9938
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:12:22 AM   
elab49


Posts: 54599
Joined: 1/10/2005
quote:

ORIGINAL: rawlinson

quote:

ORIGINAL: elab49

quote:

ORIGINAL: Rebenectomy

Two Malick's made it onto my visual list, but I've yet to see Days of Heaven. I think it might be because every time I see it mentioned my malfunctioning brain thinks it's Days of Thunder.


At least Days of Thunder had Robert Duvall....


What is it you hated about Days of Heaven? The beauty? The art? The great film-making?



I think it had some pretty impressive visuals. Some of the stuff on the migrating workers, and the industrial stuff back in Chicago (?) was also pretty interesting.

And then it had 2 crap actors, a hair tearingly nails down a blackboard godawful voiceover and a tedious central story. It's like he wanted to create this odd old lifestyle, then had to put a banal plot on top to get it made.  

_____________________________

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 rawlinson)
Post #: 9939
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:13:54 AM   
paul_ie86


Posts: 11422
Joined: 4/1/2007
From: Chelsea Hotel #2

quote:

ORIGINAL: Pigeon Army

03. Eternal Sunshine of the Spotless Mind (2004, Gondry, USA) - 5/5*
Charlie Kaufman has long been a favourite of mine - Synecdoche New York, Adaptation and Being John Malkovich are all among my favourite films. As much as I love those films, though, this is his masterwork. Still concerned with human identity and how we communicate with and relate to our past experiences, Kaufman augments his typically intellectual approach by taking a step closer and allowing himself into the lives of these characters. They aren't bogged down by their quirks and neuroses like the Kaufman twins in Adaptation or Cusack/Diaz/Keener in BJM - every single character is a well-developed, relatable person, a person with flaws and strengths and worries and hopes and attractions and bad ideas. They're the most human people Kaufman has ever written, and not only does it give the central narrative an added potency and emotional heft, it gives Gondry's lo-fi special effects a reality to be grounded in. Everything feels organic, everything feels right, and the sequences inside Joel's mind are just as easy to become involved in as his real-world struggles, because his mind is just as real as the world outside. It also helps that the cast is generally excellent, adding to the humanity of the characters and the poignancy of the story - Carrey is superlative as Joel Barish, a man caught between a need to be liked and a fear of being rejected; Winslet gets and brings to the front the fucked-up foibles of Joel's manic pixie dream girl, an angle so eternally missed by other films trying to be Eternal Sunshine; Dunst gives the best performance of her career as a girl whose attractions and aims are lost in a sea of self-doubt; Wilkinson kills as the Papa Bear with some serious issues of his own; and Wood and Ruffalo are generally swell.

04. Magnolia (1999, Thomas Anderson, USA) - 5/5
Magnolia is essentially a massive, self-indulgent three-hour soap opera - for all intents and purposes, it should be unbearable to sit through. That it isn't is one thing. That it's actually a magnificent achievement of cinema, an enthralling and emotionally-rich tapestry of human existence that taps into the hopes, fears, dreams, nightmares, successes, disappointments, neuroses and foibles of our day-to-day drudgery and brings them to life in a heightened, exhilarating fashion is another thing entirely, and Paul Thomas Anderson pulls a masterpiece out of his arse here, hitting every note as it should be hit. For two hours, he slowly and methodically ramps up the tension, commanding your undivided attention for every second, and he pays it off with an hour-long denouement that is both heart-breaking and life-affirming. His characters are broadly painted, as is often the case with ensemble pieces, but none of them feel patched together or threadbare; the performances all endow the characters with an innate humanity and Thomas Anderson's writing is nuanced, giving each character an individual voice and a sterling emotional pay-off (Stanley's bitter speech live on air and Linda's meltdown in front of her husband's lawyer are the best of these). The performances are uniformly sublime, with Macy, Cruise, Reilly and Blackman giving career-best performances, and everyone else in the ensemble scoring home runs all over the place. Thomas Anderson's constantly-moving camera is never intrusive, and the moments when he slows down and takes a step back are some of the most powerful ever filmed; the music is fantastic; the story is brilliant; the whole thing is just so damn amazing.


YAY

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(in reply to Pigeon Army)
Post #: 9940
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:23:55 AM   
Pigeon Army


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

ORIGINAL: rawlinson

The thing is that when he says that it becomes difficult to discuss films in certain environments he has a point. For some people once a film has been a given a certain amount of praise then anyone who says they dislike it for any reason is attacked. It does happen. People hang out on RT counting the amount of positive reviews for each film and they freak out as soon as there's  a negative one. Lots of them don't seem to care what the review says as long as they like the film. That kind of fanboyism is just as pointless as White's criticism of the film. The problem with White is that he rarely engages with the films on their own terms, he forms an opinion and then tries to twist the film to suit that opinion. Him writing a piece about intelligent criticism is laughable. He's an imdb troll with a press pass. 


This and this. White definitely raises some valid points, and it's not hard to agree that Internet 'discourse', particularly on aggregate sites like RT, doesn't even deserve that word as a description - it's become culturally bankrupt, a criticism washing machine where any dissenting opinions from the norm are 'cleaned' by raging commenters and made into something they'd be comfortable wearing. However, as with his Precious review, for every good point he makes, he makes three that veer wildly off the mark. It's remarkable that he can say something like "Ignorant of their own minds, they throw brickbats and bad names at any professional opinion that brings attention to their own susceptibility" when White himself is one of the most prolific at that kind of behaviour - his contemptuous dismissal of anyone who disagrees with him and the construct of the 'fanboys' that he perceives to be eternally against him even extends into this review, with his opening comment that "Prediction: It might take five years before most people see The Social Network for what it really is. That’s about how long it will take to flush it through the media system, thus allowing viewers to respond without interference." Coming from White, the criticism rings hollow, because he can't even follow his own simple requests. He's all in favour of 'intellectual discourse', but only if it agrees with him - and that makes him just as bad as the aggregate commenters he complains about.

Also, liberal arts is two words.


_____________________________

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 rawlinson)
Post #: 9941
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 2:08:03 AM   
chris_scott01


Posts: 3081
Joined: 5/1/2006

quote:

ORIGINAL: Pigeon Army

quote:

ORIGINAL: chris_scott01

quote:


2

Escape from New York (1981, John Carpenter)


NOOOOooooooooooooooooooooo



YEEEEEEEEEsssssssssssssss

I'm glad I have someone to back me up here on Escape from New York being a damp, awkwardly-paced squib of a film.



Well if awkwardly paced is the worst you've got on it then I feel justified

I can understand someone not liking it I suppose, but I found it quite a fun film. I don't think I'd go so far as to say it is great but there's a sense of humour in there which makes it likeable for me. Surely the music made you at least smile even if you were laughing at it? Sometimes those things might strike me the wrong way but this film was one that immediately appealed to me.

_____________________________

rapidite! rapidite!

(in reply to Pigeon Army)
Post #: 9942
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 2:14:49 AM   
Pigeon Army


Posts: 14612
Joined: 29/1/2006
From: Pixar HQ, George Lucas' Office.
Anyway, here's my August and September stats, as I forgot to do August last time.

AUGUST
01.    Noise (2007, Saville, AUS) – 4.5/5*
02.    The Fly (1986, Cronenberg, USA) – 4.5/5
03.    The Exorcist (1973, Friedkin, USA) – 4.5/5
04.    Bug (2006, Friedkin, USA) – 4.5/5
05.    Scott Pilgrim vs. the World (2010, Wright, USA) – 4.5/5*
06.    Xingfu shiguang (Happy Times) (2000, Zhang, CHN) – 4/5
07.    Sam gang yi (Three… Extremes) (2004, Chan, Miike & Park, HKG/JPN/SKR) – 4/5
08.    Tτkyτ nagaremono (Tokyo Drifter) (1966, Suzuki, JPN) – 4/5
09.    Forgetting Sarah Marshall (2008, Stoller, USA) – 4/5
10.    Drag Me To Hell (2009, Raimi, USA) – 4/5*

11.    The Blair Witch Project (1999, Myrick and Sαnchez, USA) – 4/5
12.    Dai-Nihonjin (Big Man Japan) (2007, Matsumoto, JPN) – 4/5
13.    State and Main (2000, Mamet, FRN/USA) – 4/5
14.    Cure (1997, Kurosawa, K, JPN) – 4/5
15.    The Wolf Man (1941, Waggner, USA) – 4/5
16.    Night of the Living Dead (1968, Romero, USA) – 3.5/5
17.    Rosemary's Baby (1968, Polanski, USA) – 3.5/5
18.    Wake Up, Ron Burgundy: The Lost Movie (2004, McKay, USA) – 3.5/5
19.    Wait Until Dark (1967, Young, USA) – 3.5/5
20.    Ginger Snaps (2000, Fawcett, CAN) – 3.5/5*

21.    Guimba, un tyran une ιpoque (Guimba the Tyrant) (1995, Oumar Sissoko, MAL/BKF/GER) – 3.5/5
22.    All the Boys Love Mandy Lane (2006, Levine, USA) – 3.5/5 
23.    Teeth (2007, Lichtenstein, USA) – 3/5
24.    Huozhe (To Live) (1994, Zhang, CHN/HKG) – 3/5
25.    Halloween (1978, Carpenter, USA) – 3/5*
26.    Session 9 (2001, Anderson, B, USA) – 3/5
27.    Gin gwai (The Eye) (2002, Pang Chun & Pang, HKG/SIN) -3/5
28.    Ringu (Ring) (1998, Nakata, JPN) – 2.5/5
29.    Orphan (2009, Collet-Serra, USA/CAN/GER/FRN) – 2.5/5
30.    Silent Hill (2006, Gans, CND/FRN/JPN/USA) – 2/5*

31.    Gin gwai 2 (The Eye 2) (2004, Pang Chun & Pang, HKG/SIN) – 2/5
32.    Jiu ming (Koma) (2004, Law, HKG) – 1.5/5
33.    Phii khon pen (The Victim) (2006, Arayangkoon, THL) – 1.5/5
34.    Species (1995, Donaldson, USA) – 1.5/5

SHORT FILMS
01.    Rejected (2000, Hertzfeldt, USA) – 5/5**
02.    Yozhik v tumane (Hedgehog in the Fog) (1975, Norshteyn, SVT) – 4.5/5
03.    Hra s kameny (A Game of Stones) (1965, Svankmajer, AST) – 3.5/5

FILMS BY DECADE
2010s - 01
2000s - 20
1990s - 06
1980s - 01
1970s - 03
1960s - 05
1950s - 00
1940s - 01
1930s - 00
1920s - 00
1910s - 00
1900s - 00

FILMS BY COUNTRY
Australia  -  01
Austria  -  01
Canada  -  01
China  -  02
Hong Kong  -  01
Japan  -  04
Soviet Union  -  01
Thailand  -  01
USA  -  18

Mixed  -  07


SEPTEMBER

01.    Eternal Sunshine of the Spotless Mind (2004, Gondry, USA) – 5/5*
02.    Magnolia (1999, Thomas Anderson, USA) – 5/5

03.    Boogie Nights (1997, Thomas Anderson, USA) – 4.5/5

04.    Bin-jip (3-Iron) (2004, Kim, K-D, SKR/JPN) – 4.5/5**
05.    Synecdoche, New York (2008, Kaufman, USA) – 4.5/5*
06.    Badlands (1973, Malick, USA) – 4.5/5

07.    La rθgle du jeu (The Rules of the Game) (1939, Renoir, FRN) – 4.5/5

08.    Rashτmon (1950, Kurosawa, A, JPN) – 4.5/5*

09.    Kamome shokudτ (Kamome Diner) (2006, Ogigami, JPN) – 4/5

10.    Dawn of the Dead (1978, Romero, ITA/USA) – 4/5


11.    La grande illusion (The Grand Illusion) (1937, Renoir, FRN) – 4/5

12.    Groundhog Day (1993, Ramis, USA) – 4/5*

13.    Les vampires (The Vampires) (1915, Feuillade, FRN) – 4/5

14.    El espinazo del diablo (The Devil's Backbone) (2001, del Toro, SPN/MEX) – 3.5/5
15.    Bringing Up Baby (1938, Hawks, USA) – 3.5/5
16.    Candyman (1992, Rose, USA) – 3.5/5
17.    Honogurai mizu no soko kara (Dark Water) (2002, Nakata, JPN) – 3.5/5
18.    Toki o kakeru shτjo (The Girl Who Leapt Through Time) (2006, Hosoda, JPN) – 3.5/5

19.    The Hills Have Eyes (1977, Craven, USA) – 3.5/5

20.    Tomorrow, When the War Began (2010, Beattie, AUS/USA) – 3.5/5

21.    28 Days Later… (2002, Boyle, UK) – 3.5/5

22.    The Objective (2008, Myrick, USA/MOR) – 3/5

23.    The Face of Fu Manchu (1965, Sharp, UK/GER) – 3/5

24.    Signs (2002, Shyamalan, USA) – 2/5**
25.    Sebastiane (1976, Humfress & Jarman, UK) – 2/5

26.    Carrie (1976, De Palma, USA) – 2/5

27.    Jian guo da ye (The Founding of a Republic) (2009, Han & Huang, CHN) – 1.5/5
28.    The Texas Chainsaw Massacre (1974, Hooper, USA) – 1.5/5
29.    Friday the 13th (1980, S. Cunningham, USA) – 1/5

SHORT FILMS
01.    Wallace & Gromit in the Wrong Trousers (1993, Park, UK) – 4.5/5
02.    The Cat Concerto (1947, Hanna & Barbera, USA) – 4/5
03.    Begone Dull Care (1949, Lambert & McLaren, CAN) – 4/5
04.    Italianamerican (1974, Scorsese, USA) – 4/5

05.    The Big Shave (1968, Scorsese, USA) – 3.5/5

06.    Used (2005, Desai, UK) – 3/5

FILMS BY DECADE
2010s - 01
2000s - 12
1990s - 05
1980s - 01
1970s - 07
1960s - 02
1950s - 01
1940s - 02
1930s - 03
1920s - 00
1910s - 01
1900s - 00

FILMS BY COUNTRY 
Canada  -  01
France  -  03
Japan  -  04
UK  -  04
USA  -  16

Mixed  -  07



< Message edited by Pigeon Army -- 2/10/2010 2:22:49 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 Pigeon Army)
Post #: 9943
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 2:41:55 AM   
Pigeon Army


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

ORIGINAL: chris_scott01


quote:

ORIGINAL: Pigeon Army

quote:

ORIGINAL: chris_scott01

quote:


2

Escape from New York (1981, John Carpenter)


NOOOOooooooooooooooooooooo



YEEEEEEEEEsssssssssssssss

I'm glad I have someone to back me up here on Escape from New York being a damp, awkwardly-paced squib of a film.



Well if awkwardly paced is the worst you've got on it then I feel justified


I don't think you understand how much the pacing affected it for me. It just made everything stilted and move along really jarringly, and it was hard for me to get into it, particularly when it was doing what should've been exciting things. Carpenter's dull directing and irritating score didn't help matters either - I can understand why someone would have fun, but those moments of fun were just too few and far between for me.


_____________________________

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 chris_scott01)
Post #: 9944
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 3:23:54 AM   
Rhubarb


Posts: 24508
Joined: 30/9/2005
From: No Direction Home

quote:

ORIGINAL: Pigeon Army
Carpenter's dull directing and irritating score didn't help matters either



...

_____________________________

Team Ginge
WWLD?


quote:

ORIGINAL: FritzlFan

You organisational skills sicken me, Rhubarb.



(in reply to Pigeon Army)
Post #: 9945
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 3:54:51 AM   
rawlinson

 

Posts: 45002
Joined: 13/6/2008
From: Timbuktu. Chinese or Fictional.
My top 100 of the year so far. Rewatches of some of the top 100 (including A Single Man and Scott Pilgrim) have pushed them much higher. I haven't ranked the current HoF films yet, any in the list are from watches before they were nominated.

  1. My Winnipeg (2007; Guy Maddin)
  2. Naked (1993; Mike Leigh)
  3. A Brighter Summer Day (1991; Edward Yang)
  4. Groundhog Day (1993; Harold Ramis)
  5. Peppermint Candy (1999; Lee Chang-dong)
  6. A Summer at Grandpa's (1984; Hou Hsiao-hsien)
  7. Still Life (1974; Sohrab Shahid Saless)
  8. Where the Wild Things Are (2009; Spike Jonze)
  9. Mean Streets (1973; Martin Scorsese)
  10. Chimes at Midnight (1965; Orson Welles)
  11. My Name Is Joe (1998; Ken Loach)
  12. Sleep Furiously (2008; Gideon Koppel)
  13. A Scene at the Sea (1991; Takeshi Kitano)
  14. Winter Soldier (1972; Winterfilm Collective)
  15. Bruce Springsteen & The E-Street Band: London Calling Live in Hyde Park (2010)
  16. The Passion of Joan of Arc (1928; Carl Theodor Dryer)
  17. Landscape Suicide (1986; James Benning)
  18. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000; Jonas Mekas)
  19. Kanal (1957; Andrzej Wajda)
  20. The Green Ray (1986; Eric Rohmer)
  21. Secret Sunshine 2007; (Lee Chang-dong)
  22. The Elephant's Graveyard (1976; John Mackenzie)
  23. Days of Heaven (1978; Terrence Malick)
  24. Sweet Sixteen (2002; Ken Loach)
  25. Bush Mama (1979; Haile Gerima)
  26. The Ascent (1977; Larisa Shepitko)
  27. Ashes and Diamonds (1958; Andrzej Wajda)
  28. Children in the Wind (1937; Hiroshi Shimizu)
  29. A Room with a View (1986; James Ivory)
  30. A Day Out (1972; Stephen Frears)
  31. Ashes of Time (1994; Wong Kar Wai)
  32. Of Time and the City (2008; Terence Davies)
  33. Flaklypa Grand Prix (1975; Ivo Caprino)
  34. A Single Man (2009; Tom Ford)
  35. Local Hero (1983; Bill Forsyth)
  36. The 400 Blows (1959; Francois Truffaut)
  37. Eden and After (1970; Alain Robbe-Grillet)
  38. An Actor's Revenge (1963; Kon Ichikawa)
  39. Ponyo (2008; Hayao Miyazaki)
  40. The Loneliness of the Long Distance Runner (1962; Tony Richardson)
  41. My Favourite Year (1982; Richard Benjamin)
  42. One from the Heart (1982; Francis Ford Coppola)
  43. Black Sun (2005; Gary Tarn)
  44. Oasis (2002; Lee Chang-dong)
  45. Jeffrey Bernard Is Unwell (1999; Tom Kinninmont, Peter O'Toole)
  46. A Serious Man (2009; Joel Coen, Ethan Coen)
  47. Breaking Away (1979; Peter Yates)
  48. The Valley of the Bees (1968; Frantisek Vlacil)
  49. Cry of the Wild (1972; Bill Mason)
  50. If.... (1968; Lindsay Anderson)
  51. [Rec] 2 (2009; Jaume Balaguero, Paco Plaza)
  52. The Aimless Bullet (1961; Hyun Mok Yoo)
  53. Look Back in Anger (1958; Tony Richardson)
  54. The Devil and Miss Jones (1941; Sam Wood)
  55. The Last Picture Show (1971; Peter Bogdanovich)
  56. O Lucky Man (1973; Lindsay Anderson)
  57. Toy Story 3 (2010; Lee Unkrich)
  58. Orphans (1997; Peter Mullan)
  59. A Taste of Honey (1961; Tony Richardson)
  60. Scott Pilgrim vs the World (2010; Edgar Wright)
  61. Miller's Crossing (1990; Joel & Ethan Coen)
  62. Vivre sa vie (1962; Jean-luc Godard)
  63. Bab'Aziz: The Prince That Contemplated His Soul (2005; Nacer Khemir)
  64. The Road (2009; John Hillcoat)
  65. Stranger Than Paradise (1984; Jim Jarmusch)
  66. Neon Bible (1995; Terence Davies)
  67. A Prophet (2009; Jacques Audiard)
  68. Assault on Precinct 13 (1976; John Carpenter)
  69. Boy A (2007; John Crowley)
  70. Chloe in the Afternoon (1972; Eric Rohmer)
  71. House (1977; Nobuhiko Obayashi)
  72. Alice in the Cities (1974; Wim Wenders)
  73. This Sporting Life (1963; Lindsay Anderson)
  74. Into the Woods (1991; James Lapine)
  75. Psy-Warriors (1981; Alan Clarke)
  76. Almanac of Fall (1985; Bela Tarr)
  77. Rainy Day Women (1984; Ben Bolt)
  78. An American Werewolf in London (1981; John Landis)
  79. Home (1972; Lindsay Anderson)
  80. Treeless Mountain (2008; So Yong Kim)
  81. Wise Blood (1979; John Huston)
  82. I Was a Fireman (1942; Humphrey Jennings)
  83. Pauline at the Beach (1983; Eric Rohmer)
  84. The Wind That Shakes the Barley (2006; Ken Loach)
  85. The Illusionist (2010; Sylvain Chomet)
  86. The Passenger (1975; Michelangelo Antonioni)
  87. The Field (1990; Jim Sheridan)
  88. Kings of the Road (1976; Wim Wenders)
  89. I've Loved You So Long (2008; Philippe Claudel)
  90. My Son, My Son, What Have Ye Done? (2010; Werner Herzog)
  91. Babylon (1980; Franco Rosso)
  92. Blue (1993; Derek Jarman)
  93. Riff-Raff (1991; Ken Loach)
  94. The Spy Who Came in from the Cold (1965; Martin Ritt)
  95. Shutter Island (2010; Martin Scorsese)
  96. A Month in the Country (1987; Pat O'Connor)
  97. Celia (1988; Ann Turner)
  98. American: The Bill Hicks Story (2009; Matt Harlock, Paul Thomas)
  99. Between the Lines (1977; Joan Micklin Silver)
  100. The Escapist (2008; Rupert Wyatt)


(in reply to Rhubarb)
Post #: 9946
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 10:26:27 AM   
Miles Messervy 007


Posts: 6884
Joined: 11/2/2009
quote:

ORIGINAL: Pigeon Army

04. Magnolia (1999, Thomas Anderson, USA) - 5/5
Magnolia is essentially a massive, self-indulgent three-hour soap opera - for all intents and purposes, it should be unbearable to sit through. That it isn't is one thing. That it's actually a magnificent achievement of cinema, an enthralling and emotionally-rich tapestry of human existence that taps into the hopes, fears, dreams, nightmares, successes, disappointments, neuroses and foibles of our day-to-day drudgery and brings them to life in a heightened, exhilarating fashion is another thing entirely, and Paul Thomas Anderson pulls a masterpiece out of his arse here, hitting every note as it should be hit. For two hours, he slowly and methodically ramps up the tension, commanding your undivided attention for every second, and he pays it off with an hour-long denouement that is both heart-breaking and life-affirming. His characters are broadly painted, as is often the case with ensemble pieces, but none of them feel patched together or threadbare; the performances all endow the characters with an innate humanity and Thomas Anderson's writing is nuanced, giving each character an individual voice and a sterling emotional pay-off (Stanley's bitter speech live on air and Linda's meltdown in front of her husband's lawyer are the best of these). The performances are uniformly sublime, with Macy, Cruise, Reilly and Blackman giving career-best performances, and everyone else in the ensemble scoring home runs all over the place. Thomas Anderson's constantly-moving camera is never intrusive, and the moments when he slows down and takes a step back are some of the most powerful ever filmed; the music is fantastic; the story is brilliant; the whole thing is just so damn amazing.

My favourite is the bit about Blackman giving a career-best performance. Man, your reviews are so full of shit.

< Message edited by Miles Messervy 007 -- 2/10/2010 10:27:17 AM >


_____________________________

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 #: 9947
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 11:52:47 AM   
matty_b


Posts: 14563
Joined: 19/10/2005
From: Outpost 31 calling McMurtle.
The Dead Pool (Buddy van Horn)

The final Dirty Harry film is the one that is most memorable for a starry before-they-were-famous supporting cast including Jim Carrey as a drug-addled rock singer, Liam Neeson as a pony-tailed cockney director whose film set is beset my murders and Patricia Clarkson as an intrepid reporter (and she's the only one that emerges with any credit). It's also the one where Harry is chased by a remote controlled toy car rigged with explosives and it sums up where the Dirty Harry films ended; not so much the gritty and satirical start of the first two films, but as a cross between James Bond and, in this case, an 80s slasher flick. Villains are despatched in memorably grisly ways and the film is unapologetic in its celebration of Harry as a hero now. However, it's not actually the worst Harry film and is actually quite a fun, albeit extremely lightweight, watch. (7/10)




_____________________________

quote:

ORIGINAL: Cool Breeze
Mattyb is a shining example of what the perfect Empire Forum member is.


(in reply to swordsandsandals)
Post #: 9948
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 12:06:52 PM   
matty_b


Posts: 14563
Joined: 19/10/2005
From: Outpost 31 calling McMurtle.
The 'burbs (Joe Dante)

There will probably be many who will raise their eyebrows at such a high rating for Dante's black comedy about a group of neighbours on an all-American street who suspect their new (Eastern European) neighbours of murder and burying the evidence in their backyard, but I don't care. It's been a firm favourite of mine since childhood, but more than that, I think it holds up as a genuinely brilliant and subversive comedy. Tom Hanks has never been better as Ray Petersen, the harassed everyman reluctantly taking charge of his neighbours to investigate the sinister Klopek;  which includes the slobbish Art (Rick Ducommun) the kind of person who eggs you into big trouble and then hides behind you when things go badly wrong, and Rumsfeld (Bruce Dern) a paranoid and slightly unhinged Vietnam veteran, with a collection of military hardware perfect for spying on his neighbours - both are also superb. What Dante does, along with Dana Olsen's screenplay, is perfectly capture the nuances and minuatie of lazy summer days, where boredom can set in and make people step over the boundaries of natural behaviour. The lingering suspicions of the neighbours that soon ramp up to complete paranoia and proactive snooping all grow organically from the script and the characters and it never feels over-the-top or ridiculous, right till the fiery climax. It's because of this that all the comic moments work so marvellously well from an attack on Ray and Art by a cloud of angry wasps, to an extremely awkward dinner with the Klopeks ("Sure was...damp today"), to many, many quotable lines of dialogue - "There go the goddamn brownies!" "Nobody knocks off an old man in my neighbourhood and gets away with it" "Sardine?" Oh, and the opening shot, zooming from outer space right down to outside the Klopek's front lawn is terrific and even Corey Feldman is great in this. One of the most underrated films full stop, not just of the 80s (and hugely superior to the always-vaunted Breakfast Club, Lost Boys or Ferris Bueller just to name a few) and just completely and utterly brilliant in every sense of the word. (10/10)


_____________________________

quote:

ORIGINAL: Cool Breeze
Mattyb is a shining example of what the perfect Empire Forum member is.


(in reply to matty_b)
Post #: 9949
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 1:35:03 PM   
Pigeon Army


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

ORIGINAL: Miles Messervy 007
My favourite is the bit about Blackman giving a career-best performance. Man, your reviews are so full of shit.


Just because you've had jack-all of a career, doesn't mean you can't give a career-best performance. I'll make sure that I include more pictures next time. Oh, and mark it down because Julianne Moore isn't pretty enough.

You fecking eejit.


_____________________________

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 #: 9950
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 3:43:25 PM   
elab49


Posts: 54599
Joined: 1/10/2005
The 7th Dimension (Watson, 2009)
 
In some ways this kind of reminded me of The Last Seven – ideas of utter preposterousness with the characters talking nonsense about the Bible Code and multiple dimensions. A young woman picks the wrong night to accompany her feckless friend as she confronts her boyfriend at his apartment, one he shares with a odd wheelchair bound pirate radio conspiracy theorist and his fragile girlfriend. They turn up on the night the team are close to the culmination of their attempt to crack the Bible Code by hacking the Vatican for original documentation. But once they get through some of the layers the CIA get involved and things begin to get quite weird.
 
A similarity in poppycock is as far as it goes wrt The Last Seven though. There's actually some competence going on behind the camera and some decent early chills of the type that tend to effect me most (less gore more shocks). Some of the writing isn't great but at least it's consistently silly (with the exception of the second psychic subplot). And the acting isn't all bad-  Kelly Adams is particularly watchable as the sceptic we're supposed to empathise with. Her friend, played by Lucy Evans, though is either a terrible actress or a particularly poorly written part. I wasn't entirely sure about that.
 
It doesn't make a blind bit of sense though.
 
 
Whip It (Barrymore, 2009)
 
A depressingly girl power lite film. Ellen Page plays a 17yo forced into mannered pageants by her mother, Marcia Gay Harden. Randomly choosing a way out throw women's roller derby, it becomes a coming of age film full of generally poorly written caricatures and in some cases dreadfully played. Not so much the central family – Harden works hard to create something more than a cliche, and is more successful than the writing is, and it's nice to see Daniel Stern again (rather more of a cliche – the quiet father who comes good).
 
The family stuff still works much better than the range of dreadful sports cliches that Barrymore tries to obviously to pretend to undermine. She's particularly poor at filming the action sequences at the roller derby – mixed up camerawork, poor editing and generally poor decisions never give any kind of idea of what the appeal is – there's no energy and little pace on show killing any excitement stone dead. Her failure at that is compounded by not trying to use the audience to make up for it.
 
The rest is run of the mill which is the opposite of enlivened by Juliette Lewis's godawful turn (the skaters are almost poor to a women including the perplexing repeat casting of stuntwoman Zoe Bell in an acting role – Kirten Wig isn't bad though). . At one point it actually gives a small hint of something a little more interesting – a line lost in the background about the type of woman who uses the sport as an outlet, something for blue collar woman to do to get them out of the house. But the idea is as lost as the line is.

_____________________________

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 Pigeon Army)
Post #: 9951
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 4:33:12 PM   
swordsandsandals


Posts: 12571
Joined: 6/1/2006
From: A magical forest
Buried

Excellent, although somewhat hampered by a muddled conspiracy theory. Shoulda just stuck with snakes and rescue attempts. 4/5

The Town

The central heist with the nuns is in contention for scene of the year, for me. 4/5

Beetlejuice

Mad and brilliant. Reminded me that Tim Burton used to be worth watching. 4/5

The Fountain

An absolute frakking masterpiece. 5/5

Le Mepris and Day for Night

I absolutely promise I will write about these at some point. I've just been stuck with life.

_____________________________

quote:

ORIGINAL: Rawlinson

Swords is right about everything.



quote:

ORIGINAL: Hood_Man

Swords smells like bum.



(in reply to elab49)
Post #: 9952
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 4:35:16 PM   
elab49


Posts: 54599
Joined: 1/10/2005
Rankings for September
 
1.     We're No Angels (Curtiz, 1955)
2.     Dead End (Wyler, 1937)
3.     Groundhog Day (Ramis, 1993)
4.     Inspector Hornleigh on Holiday (Forde, 1939)
5.     The Green Man (Day/Dearden, 1956)
6.     They Drive By Night (Woods, 1938)
7.     Fish Story (Nakamura, 2009)
8.     The Dish (Sitch, 2000)
9.     Live Now, Pay Later (Lewis, 1962)
10.  Vampires in Havana (Padron, 1985)
11.  Inspector Hornleigh Goes To It (Forde, 1941)f
12.  The Great Escape (Sturges, 1963
13.  Blazing Saddles (Brooks, 1974)
14.  Long Weekend (Eggleston, 1977)
15.  District 9 (Blomkamp, 2009)
16.  Eight Legged Freaks (Elkayem, 2002)
17.  King Kong (Jackson, 2005)
18.  Kick-Ass (Vaughn, 2010)
19.  Deep Blue Sea (Harlin, 1999)
20.  The Infidel (Appignanesi, 2010)
21.  Inspector Hornleigh (Forde, 1939)
22.  Independence Day (Emmerich, 1996)
23.  Holiday (Cukor, 1938)
24.  Alfie (Gilbert, 1966)
25.  Let the People Sing (Baxter, 1942)
26.  Hatter's Castle (Comfort, 1941)
27.  Black Widow (Johnson, 1954)
28.  The Ballroom (Bodanzky, 2007)
29.  Keep Your Seats, Please (Banks, 1936)
30.  Rec 2 (Balaguero, Plaza, 2009)
31.  Night of the Comet (Eberhardt, 1984)
32.  Centurion (Marshall,  2010)
33.  The 7th Dimension (Watson, 2009)
34.  Nanny McPhee and the Big Bang (White, 2010)
35.  The Invisible (Goyer, 2007)
36.  The Lost Son (Menges, 1999)
37.  Pandora and the Flying Dutchman (Lewin, 1951)
38.  Agora (Amenabar, 2009)
39.  Whip It (Barrymore, 2009)
40.  Climbing High (Reed, 1938)
41.  The Horde (Dahan/Rocher, 2009)
42.  Pandorum (Alvart, 2009)
43.  Anamorph (Miller, 2007)
44.  Terminator Salvation (McG, 2009)
45.  Horseman of the Apocalypse (Akerlund, 2009)
46.  Paradise Lost (Stockwell, 2006)
47.  The Last Seven (Naqvi, 2010)
48.  House of the Spirits (August, 1993)

Shorts
 
Vincent (Burton, 1982)
The Passenger (Jones, 2006)
Tir Nan Og (Teyssier, 2007)
Rejected (Hertzfeldt, 2000)
Hardcover and Paperback (Alonim/Servatka, 2008)

Acting Performances September
Ian Hendry, Live Now Pay Later
Alistair Sim, The Green Man
Peter Ustinov, We're No Angels
Humphrey Bogart, We're No Angels
Sylvia Sidney, Dead End
Bill Murray, Groundhog Day
Ernest Thesiger, They Drive By Night
Briony Behets – The Long Weekend
Michael Caine, Alfie
Omid Djalili – The Infidel
John Hargreaves – The Long Weekend
Sam Neill – The DIsh

Hall of Fame X

 
Moulin Rouge! (Luhrmann, 2001)
Some Like it Hot (Wilder, 1959)
Eternal Sunshine of the Spotless Mind (Gondry, 2004)
Bringing Up Baby (Hawks, 1938)
La Grande Illusion (Renoir, 1937)

Kings of the Road (Wenders, 1976)
Rashomon (Kurosawa, 1950)
Les Vampires (Feuillade, 1915)
Miller's Crossing (Coens, 1990)


_____________________________

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 swordsandsandals)
Post #: 9953
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 4:36:55 PM   
swordsandsandals


Posts: 12571
Joined: 6/1/2006
From: A magical forest
I see that you've finally caught Centurion. I can gather from your placing that you weren't a massive fan?

_____________________________

quote:

ORIGINAL: Rawlinson

Swords is right about everything.



quote:

ORIGINAL: Hood_Man

Swords smells like bum.



(in reply to elab49)
Post #: 9954
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 4:38:32 PM   
elab49


Posts: 54599
Joined: 1/10/2005
I reviewed it a few pages back. I was really quite disappointed all told. Some of the actions scenes were fun though, and the group interactions, both of which harked back to his previous films. My husband liked Doomsday a lot more than me and even he was disappointed by this one. Were you a fan?

_____________________________

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 swordsandsandals)
Post #: 9955
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 4:53:09 PM   
matty_b


Posts: 14563
Joined: 19/10/2005
From: Outpost 31 calling McMurtle.
O Brother, Where Art Thou? (Joel Coen)

I first saw this, the Coens' relocation of Homer's Odyssey to the 1920s Deep South, at the cinema and very nearly walked out, so bored by it I was and annoyed by the whole quirkiness of it. While my first rewatch of it since then hasn't convinced me it's the masterpiece many make it to be, I'm much more agreeable to it now. It's a collection of great things that don't really coalesce into a fully satisfying whole - Clooney, Turturro and Nelson are great as the three chain-gang prisoners on the run, the script sparkles at times - "I'm a Dapper Dan man!" - and it looks great. The KKK sequence in particular may well be the most spectacular moment the Coens have ever directed, but the very nature of the film means I don't buy into it as much as I should. As a borderline fantasy/pastiche the problem is you spend most of your time admiring the cleverness of singular moments instead of praising it as a coherent narrative. There are one too many wandering diversions or pointless characters, but you never know, in another ten years it may have grown on me a little bit more. (7.5/10)


_____________________________

quote:

ORIGINAL: Cool Breeze
Mattyb is a shining example of what the perfect Empire Forum member is.


(in reply to elab49)
Post #: 9956
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 4:55:00 PM   
swordsandsandals


Posts: 12571
Joined: 6/1/2006
From: A magical forest
In short, yes. The film felt like it was designed for me. Or at least the more brainless half of me, anyway. The energetic, violent and exciting action scenes. The feel of the chase. The gorgeous scenery. Olga Kurylenko. I loved it.
The dialogue was largely crap, the section with the blonde lady felt a little trite and it was quite predictable. But the whole thing was done with such verve I didn't really care. I think I gave it 4/5

_____________________________

quote:

ORIGINAL: Rawlinson

Swords is right about everything.



quote:

ORIGINAL: Hood_Man

Swords smells like bum.



(in reply to elab49)
Post #: 9957
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 5:03:18 PM   
elab49


Posts: 54599
Joined: 1/10/2005
I like energetic and violent - this didn't feel so energetic to me, though, and I thought Marshall was up to more than this (and I wasn't overly impressed by Fassbender - I find him quite odd in the variability in quality in his work. I'm getting the impression he really needs to be very well directed in acting terms and he's just a kind of blank when he isn't - at least that seems a reasonable guess as to what's going on. THe idea of him playing Ricky Tarr as absurd (in Tinker Tailor - Tom Hardy is far better casting)).

< Message edited by elab49 -- 2/10/2010 5:04:24 PM >


_____________________________

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 swordsandsandals)
Post #: 9958
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 5:12:23 PM   
Deviation


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

ORIGINAL: Pigeon Army

quote:

ORIGINAL: Miles Messervy 007
My favourite is the bit about Blackman giving a career-best performance. Man, your reviews are so full of shit.


Just because you've had jack-all of a career, doesn't mean you can't give a career-best performance. I'll make sure that I include more pictures next time. Oh, and mark it down because Julianne Moore isn't pretty enough.

You fecking eejit.



He's right Miles, more than you have ever been.


_____________________________

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 Pigeon Army)
Post #: 9959
RE: Top 100 Films I've Watched This Year: 2010 - 2/10/2010 11:55:29 PM   
swordsandsandals


Posts: 12571
Joined: 6/1/2006
From: A magical forest

quote:

ORIGINAL: matty_b

O Brother, Where Art Thou? (Joel Coen)

I first saw this, the Coens' relocation of Homer's Odyssey to the 1920s Deep South, at the cinema and very nearly walked out, so bored by it I was and annoyed by the whole quirkiness of it. While my first rewatch of it since then hasn't convinced me it's the masterpiece many make it to be, I'm much more agreeable to it now. It's a collection of great things that don't really coalesce into a fully satisfying whole - Clooney, Turturro and Nelson are great as the three chain-gang prisoners on the run, the script sparkles at times - "I'm a Dapper Dan man!" - and it looks great. The KKK sequence in particular may well be the most spectacular moment the Coens have ever directed, but the very nature of the film means I don't buy into it as much as I should. As a borderline fantasy/pastiche the problem is you spend most of your time admiring the cleverness of singular moments instead of praising it as a coherent narrative. There are one too many wandering diversions or pointless characters, but you never know, in another ten years it may have grown on me a little bit more. (7.5/10)



I'm not a Coen fanboy in the slightest, I've seen 4 (I think) of their films. At the moment I'm on 2 good and 2 bad. I love Oh Brother Where Art Thou, I rate it a lot higher than you do.

_____________________________

quote:

ORIGINAL: Rawlinson

Swords is right about everything.



quote:

ORIGINAL: Hood_Man

Swords smells like bum.



(in reply to matty_b)
Post #: 9960
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