fonz's comments - page 2

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fonz

I am not smart enough to talk about this cinematic gem. Seeing the restoration on the big screen makes it feel like it is a document from a parallel universe.
5 years ago
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fonz

They got down to E-40, and that makes it alright in my book. Unfortunately, I think it's about 35 minutes too long and over stays its welcome long before the annoyance at LeBeouf's facial piercing sets in. But every single performance in this picture is absolute perfection. You rarely get the sense that anyone is reading a line and more that they are behaving as themselves.
5 years ago
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fonz

Godzilla doesn't blink
5 years ago
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fonz

When I was a child just about the age of upright mobility, I punched a giant rabbit in the face for scaring the shit outta me.
5 years ago
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fonz

I slept on this when it came out 3 years ago, choosing to ignore because the story didn't interest me and the ending was spoiled for me. After watching a few of Denis Villeneuve's other projects, I was far more curious to check out. And I was enraptured from frame one. If only I knew Roger Deakins was lensing every shot, I would have rushed to the theater right away. It helps that the film is well acted and well paced with not a wasted frame. Perhaps this is the way it should be, by focusing less on the central mystery, I was able to hone in on the brilliant performances in front and behind the camera.
5 years ago
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fonz

Makes me want to take up improv again. I closely identified with Sam (eerie since Gillian Jacobs graduated a few years ahead of me from the same high school) which is why when my improv group got invited to the Del Close Marathon in NYC a bunch of years ago, I decided to get lost in New York rather than perform for what was my group's final performance as a team in front of a sizable audience. Stepping away from improv especially in a growing market in a mid-major city was an easy choice for as much as I wanted to be on SNL or the next Conan growing up, I never had the hunger, drive nor talent to truly get myself there.

This should be a mandatory watch for anyone taking an improv class hoping to chase that big city dream of show biz success.
5 years 1 month ago
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fonz

Fucking...brilliant
5 years 1 month ago
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fonz

Yes, it's great but goddamn, show me something once in a while rather than just talk and talk and talk. Technically amazing but Fincher doesn't demonstrate the same passion for his characters as they do to finding out the identity of the title character. Moves at a clip due to the editing and the rapid fire delivery of lines (there is hardly a thirty second span without dialogue).
5 years 1 month ago
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fonz

The failings of the adaptation is similar to that of the source material. Once the story goes off the rails, it merely plateaus before the rather flat finish. There is so much potential here that either can more fleshed out or simply made shorter by about twenty minutes.
5 years 1 month ago
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fonz

Like The Notebook but with methodical pacing (ie. longer than necessary).
5 years 1 month ago
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fonz

Metal as fuck
5 years 1 month ago
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fonz

Move along, nothing to see here
5 years 2 months ago
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fonz

The scariest part of this by-the-numbers snore-fest is the fact that I watched this exactly fifty years after Kristen checked into The Ward (8/2/66).

You would be hard pressed to say that this is a John Carpenter film. Devoid of his usual authorial voice of musical composition and subversive humor, this is a feature that could have been made by any number of hack horror directors. It is barely watchable only in part to the cast of good looking scream queens and Jared Harris. I really hope that this is not the last feature that JC directs.
5 years 2 months ago
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fonz

AKA Twelve Variations on Wooderson
5 years 2 months ago
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fonz

The music is good. You can probably finish reading Alan Moore's original faster than it takes to sit through the Batgirl prologue. At least Mark Hamill and Kevin Conroy are back. The artwork is flat and fails to even come close to Brian Bolland's colors, less so than The Animated Series. The story was iconic and fresh until Christopher Nolan and Heath Ledger mined the material brilliantly in 2008.
5 years 2 months ago
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fonz

Ben Wheatley isn't for everyone but I've acquired the taste. "Mint me."
5 years 2 months ago
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fonz

I think I'll check out the book now.

I remember listening to 13 hours of the interview a few years ago and all I took away was that Hitchcock wanted to film a scene (in one long take?) in a Detroit auto factory that featured the entire assembly of an automobile from start to finish with the characters discovering a dead body in the trunk at the end.

It focuses too much on Vertigo and on talking head pieces with other modern directors.
5 years 3 months ago
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fonz

From the Mean Streets of Goodfellas, Marty Scorsese's second entry in his Mafia Outsiders trilogy ends with a direct tie-in to The Wolf of Wall Street. Ace Rothstein laments the disappearance of the Las Vegas that he was the king of: "And where did the money come from to rebuild the pyramids? Junk bonds." In some ways better than I remember it to be, in other ways worse. As a companion piece to Goodfellas, it seems like a poor carbon copy, but taken as a part of a greater film cycle (if you include Mean Streets and The Wolf, it fits right in with what Scorsese does better than most other filmmakers: make a three-hour picture feel at least two-thirds of its length, have a great soundtrack, have a scumbag lead character that commits illegal acts and mostly gets away clean, excessive use of the word "fuck".

Scorsese takes dark worlds and makes them look like great fun. When someone gets whacked, they had it coming, there is no impact of their death, but the way it was carried out is the shocker (a head in a vice, baseball bats and being buried alive).

Most notable about this picture is that this is the last time Robert De Niro and Scorsese teamed up (after 8 marvelous collaborations), the last time Joe Pesci made a significant impact in a movie of any significance, ditto for Sharon Stone. Most significant for me is that for the longest time I thought that Georges Delerue's "Theme de Camille" was native to this picture because its use is so perfect it could not be any other way. It was only years ago when I finally saw Contempt that I realized Scorsese's use of the track was an homage to Godard, who uses it a bit too much in that movie.
5 years 3 months ago
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fonz

This makes for a great double-feature with Captain Fantastic. Both feature groups of societal outcasts with a great blend of humor and pathos. But unlike Fantastic, Wilderpeople actually stays consistently enjoyable even through the end credits. The two lead performances have such great chemistry together, I almost want to clamor for more team-ups before Julian Dennison grows up. The soundtrack was a pleasant surprise and after What We Do in the Shadows Taiki Waititi is a director whose work intrigues me.
5 years 3 months ago
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fonz

Like most near-great films, the first two acts are quite literally fantastic. But the last third is less so. I found my self agreeing and very much being inspired by everything in the first hundred minutes, even a little envious that I have yet to even encounter such progressive philosopher kings in my journey. But then when it came to for the ideas to be applied and examined, the patriarch crumbled and retreated under the pressure. It was a major let down after taking the time to establish the idyllic tribe. Perhaps that was the point, to show that such a life-style is good on paper but impractical in its execution, but it seemed to follow a familiar formula and established tropes. The audience seemed to agree as I heard a lot of sniffling through the first half (could have been allergies) which were mostly silenced in the back half.

One thing is for sure, if you do not have an emotional reaction (either laughter or crying), you are probably one of the capitalist, fascist obese Christian pigs that this movie lampoons.
5 years 3 months ago
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fonz

Rewatching this for the first time since viewing it in the theater, where I was the only one in the audience for a screening on opening weekend, filled me with a sense of disappointment in my home theater set-up. To be enveloped in a cacophony of sight and sound is the best option I have to view pictures such as this one which upon the initial viewing did not disappoint despite being Nicolas Winding Refn's follow-up to his crime masterpiece, Drive.

As is quickly becoming par for the course, his collaboration with Cliff Martinez and the remarkable use of color are the highlights here. Unfortunately, the main criticism of his oeuvre is especially true here, as there is very little substance to chew on here and what there is barely even worth mentioning nor giving much to once the credits start rolling and the Angel of Vengeance plays us out. It is stylish as hell, and fortunately NWR's follow-up to this blunder was able to incorporate his weaknesses into a wholly satisfying production.
5 years 3 months ago
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fonz

The most surprising film I have seen in a long time. Who knew that a fart joke can actually sustain the entire run time of a feature length film and make you feel so many emotions. Going in, I skimmed a few reviews and felt that they were overplaying the emotional elements of the film and that about ten minutes the fart joke would be overplayed. Nope. This a briskly paced, well composed, greatly acted and masterfully directed piece of cinema. Perhaps due to the over-reliance on twists in modern cinema but I was anticipating no fewer than three different twists and was so happy (well...sad) when it ended as it did. It never overstayed its welcome and manages to be heart-warmingly funny through the very end.
5 years 3 months ago
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fonz

Never has beauty and ugliness been portrayed so strongly, graphically within the same frame. Like other Nicolas Winding Refn's films (especially his last two-Drive and Only God Forgives), there is a lot more style than substance, yet, as other commentators have noted, the style IS the substance.

Here, perhaps more than his other works, everything is so apparently intentional that it borders on obvious meaning. The most notable characteristics are the striking use of color and music. Even if you hate an NWR picture and can't find anything to connect to, the one thing most people will agree on are the sights and sounds. From the opening credits, you know you are about to enter a world that take place in a parallel reality where the 1980s never ended but have evolved to take place in a vision of Los Angles that looks remarkably like the early 21st century. The pulsating synths of NWR regular, Cliff Martinez, recall his work on that arthouse actioner, Drive, and like that feature, the music is as much a part of the landscape as the long corridors and swimming pools.

Beauty is the currency and as you get on in years, you can maintain your tenuous hold on it through artificial means. The seemingly perfect exteriors hide the ugly cracks underneath, that grotesque nature of ourselves that we don't even admit to our own mirrored reflections. Narcissus fell in love with his own reflection and Dorian Gray killed to maintain his youth.

(If they were ever to remake Suspiria [not that that should ever happen, but it is inevitable] I hope NWR does it. Even if he goes the Gus Van Sant Psycho route, this movie played like his modern take on that Argento classic.)
5 years 3 months ago
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fonz

Coulda used more 4.
5 years 4 months ago
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fonz

Does this need to be remade? At 32 years old it shows its age, yet remains entertaining. It's pretty much the Billy Murray show but everyone in the cast has at least one memorable line. My favorites: "Yes, it's true, this man has no dick." And "I've seen shit that will turn you white." A true classic.
5 years 4 months ago

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