The Official Movie Thread
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Blind Guardian
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Thomasin abandoning her morals and succcumbing to evil creeps me out because we're all malleable in the same way by surroundings and circumstances. It's really disgusting to see how she breaks apart as the person you've known earlier in the movie.
I also like the visuals of the movie. I think it's the only film that has come close to capturing the obscure and magical feeling of the Brothers Grimm fairytales.
rms
Active Member
That spoiler function is pretty cool.
Do you really think she abandoned her morals? Hm, i'm not sure I think the film portrayed her that way. At the end I was more in thinking she was lost and that was her only possible companionship.
Unless you think she was possessed/helping the Witch all along?
Do you really think she abandoned her morals? Hm, i'm not sure I think the film portrayed her that way. At the end I was more in thinking she was lost and that was her only possible companionship.
Unless you think she was possessed/helping the Witch all along?
Oblivious Maximus
I am the worm
Subtitled trailer for Elle:
Craving Desire (Sergio Martino, 1993) - Of all the erotic thrillers that followed in the wake of Fatal Attraction and Basic Instinct, this delicious helping of spaghetti flavored sleaze from an Italian master stands head and shoulders above the rest. There are a variety of reasons for this, chief among them the excruciatingly hot Vittoria Belvedere killing it as the lead psycho bitch. There's also the storyline which eschews the typical crime plot a lot of these types of films employed in favor of centering the film around a toxic, taboo relationship, with Martino throwing incest and even a bit of cannibalism near the end of the film into his boiling pot of perverted pasta. No pretention to be found here. Everyone involved new the kind of film they were making and relishing in it. The film also makes for a nice time capsule, screaming early 90's erotic thriller with the production design, fashions, giant cell phones and soundtrack, especially the soundtrack all being 90's a fuck.
Craving Desire (Sergio Martino, 1993) - Of all the erotic thrillers that followed in the wake of Fatal Attraction and Basic Instinct, this delicious helping of spaghetti flavored sleaze from an Italian master stands head and shoulders above the rest. There are a variety of reasons for this, chief among them the excruciatingly hot Vittoria Belvedere killing it as the lead psycho bitch. There's also the storyline which eschews the typical crime plot a lot of these types of films employed in favor of centering the film around a toxic, taboo relationship, with Martino throwing incest and even a bit of cannibalism near the end of the film into his boiling pot of perverted pasta. No pretention to be found here. Everyone involved new the kind of film they were making and relishing in it. The film also makes for a nice time capsule, screaming early 90's erotic thriller with the production design, fashions, giant cell phones and soundtrack, especially the soundtrack all being 90's a fuck.
SentinelSlain
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Oblivious Maximus
I am the worm
Oblivious Maximus
I am the worm
Exciting Cannes happenings:
Cannes: Sony Pictures Classics Nabs Paul Verhoeven’s 'Elle'
Alejandro Jodorowsky's new film Endless Poetry also premiered at Cannes the other night and the response has been pretty positive so far:
Cannes Film Review: ‘Endless Poetry’
Why 87-Year-Old Alejandro Jodorowsky is at the Peak of His Career
Non-Cannes related:
A Gun For 100 Graves (Umberto Lenzi, 1968) - Top of the line spaghetti western right here. Perhaps not the most revolutionary in terms of set-up (Spaghetti vet Peter Lee Lawrence sets out for revenge against a gang of bandits responsible for his parents death) but its Lenzi's approach that makes it such a curious title in the realm of westerns all'Italiana. Lenzi wastes no time getting to the revenge, with the first 20 minutes or so being almost stream-of-consciousness like the way Lawrence randomly goes from scene to scene knocking off 3 out of his 4 intended targets (not a spoiler) before taking a breather and establishing a new story to eventually connect with the revenge angle. Then it becomes a horror movie of sorts for a hot minute when out of the fucking blue a group of lunatics terrorize a town after escaping from the local jail!
One thing about the film that's particularly interesting is Lenzi's attitude towards religion, with Lawrence's character being a Jehovah's Witness. When the film starts he's a Civil War solider sentenced to hard labor after refusing to fight because it goes against his religious beliefs, then soon after has no problem killing for vengeance but hilariously still refuses to drink alcohol because of his faith
Whether or not Lenzi intended this to be a critique on religious hypocrisy I've no idea but nonetheless its something to ponder.
And it has one of the best western themes in the genre:
Cannes: Sony Pictures Classics Nabs Paul Verhoeven’s 'Elle'
Alejandro Jodorowsky's new film Endless Poetry also premiered at Cannes the other night and the response has been pretty positive so far:
Cannes Film Review: ‘Endless Poetry’
Why 87-Year-Old Alejandro Jodorowsky is at the Peak of His Career
Non-Cannes related:
A Gun For 100 Graves (Umberto Lenzi, 1968) - Top of the line spaghetti western right here. Perhaps not the most revolutionary in terms of set-up (Spaghetti vet Peter Lee Lawrence sets out for revenge against a gang of bandits responsible for his parents death) but its Lenzi's approach that makes it such a curious title in the realm of westerns all'Italiana. Lenzi wastes no time getting to the revenge, with the first 20 minutes or so being almost stream-of-consciousness like the way Lawrence randomly goes from scene to scene knocking off 3 out of his 4 intended targets (not a spoiler) before taking a breather and establishing a new story to eventually connect with the revenge angle. Then it becomes a horror movie of sorts for a hot minute when out of the fucking blue a group of lunatics terrorize a town after escaping from the local jail!
One thing about the film that's particularly interesting is Lenzi's attitude towards religion, with Lawrence's character being a Jehovah's Witness. When the film starts he's a Civil War solider sentenced to hard labor after refusing to fight because it goes against his religious beliefs, then soon after has no problem killing for vengeance but hilariously still refuses to drink alcohol because of his faith
Whether or not Lenzi intended this to be a critique on religious hypocrisy I've no idea but nonetheless its something to ponder.And it has one of the best western themes in the genre:
no country for old wainds
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the new maren ade has absolutely murdered the rest of the field in terms of critical reaction so far.
Funerary_Doom
My head is bloody, but unbowed.
I reallllly want to see this movie. Director Chan-wok Park's new movie The Handmaiden (French title Mademoiselle). It's described as a gothic Korean lesbian revenge film.
no country for old wainds
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arg
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social workers fall in love haha fucking pathetic, get a real job losers
SentinelSlain
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Dawn of the Dead (original)
and Night of the Living Dead (remake) were both really fun films.
and Night of the Living Dead (remake) were both really fun films.
Krigloch the Furious
Pants full of poo
no country for old wainds
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this site collects critical ratings from cannes, here were the results for the competition section. i'm not sure what the latter number means but the first two are average rating and number of votes.
1. "TONI ERDMANN" (Maren Ade) FIPRESCI Price [8.24/123 1.5]
2. "ELLE" (Paul Verhoeven) [7.94/81 1.4]
3. "PATERSON" (Jim Jarmusch) [7.38/116 1.9]
4. "SIERANEVADA" (Cristi Puiu) [7.35/112 1.6]
5. "AQUARIUS" (Kleber Mendonça Filho) [7.18/102 1.4]
6. "BACALAUREAT (Graduation)" (Cristian Mungiu) [7.03/110 1.4]
7. "RESTER VERTICAL (Stay Vertical)" (Alain Guiraudie) [6.53/120 1.6]
8. "JULIETA" (Pedro Almodovar) [6.47/120 1.7]
9. "MA LOUTE (Slack Bay)" (Bruno Dumont) [6.27/129 1.7]
10. "THE SALESMAN (Foroushande)" (Ashgar Farhadi) [6.10/72 1.5]
11. "I, DANIEL BLAKE" (Ken Loach) [6.06/97 1.8]
12. "LOVING" (Jeff Nichols) [6.02/116 1.9]
13. "AGASSI (아가씨, The Handmaid, Mademoiselle)" (Park Chan-wook) [5.85/109 1.9]
14. "PERSONAL SHOPPER" (Olivier Assayas) [5.81/119 2.2]
15. "LA FILLES INCONNU (The Unknown Girl)" (Jean-Pierre and Luc Dardenne) [5.74/117 1.4]
16. "AMERICAN HONEY" (Andrea Arnold) [5.69/111 2.2]
17. "THE NEON DEMON" (Nicholas Anders Refn) [5.22/104 2.4]
18. "MA' ROSA" (Brillante Mendoza) [5.06/83 1.8]
19. "JUSTE LA FIN DE MONDE (It’s Only the End of the World)" (Xavier Dolan) [4.41/107 2.1]
20. "MAL DE PIERRES (From the Land of the Moon)" (Nicole Garcia) [4.12/77 1.9]
21. "THE LAST FACE" (Sean Penn) [1.60/69 1.4]
verhoeven killing it - the sixth highest score of any competition film this decade!
1. "TONI ERDMANN" (Maren Ade) FIPRESCI Price [8.24/123 1.5]
2. "ELLE" (Paul Verhoeven) [7.94/81 1.4]
3. "PATERSON" (Jim Jarmusch) [7.38/116 1.9]
4. "SIERANEVADA" (Cristi Puiu) [7.35/112 1.6]
5. "AQUARIUS" (Kleber Mendonça Filho) [7.18/102 1.4]
6. "BACALAUREAT (Graduation)" (Cristian Mungiu) [7.03/110 1.4]
7. "RESTER VERTICAL (Stay Vertical)" (Alain Guiraudie) [6.53/120 1.6]
8. "JULIETA" (Pedro Almodovar) [6.47/120 1.7]
9. "MA LOUTE (Slack Bay)" (Bruno Dumont) [6.27/129 1.7]
10. "THE SALESMAN (Foroushande)" (Ashgar Farhadi) [6.10/72 1.5]
11. "I, DANIEL BLAKE" (Ken Loach) [6.06/97 1.8]
12. "LOVING" (Jeff Nichols) [6.02/116 1.9]
13. "AGASSI (아가씨, The Handmaid, Mademoiselle)" (Park Chan-wook) [5.85/109 1.9]
14. "PERSONAL SHOPPER" (Olivier Assayas) [5.81/119 2.2]
15. "LA FILLES INCONNU (The Unknown Girl)" (Jean-Pierre and Luc Dardenne) [5.74/117 1.4]
16. "AMERICAN HONEY" (Andrea Arnold) [5.69/111 2.2]
17. "THE NEON DEMON" (Nicholas Anders Refn) [5.22/104 2.4]
18. "MA' ROSA" (Brillante Mendoza) [5.06/83 1.8]
19. "JUSTE LA FIN DE MONDE (It’s Only the End of the World)" (Xavier Dolan) [4.41/107 2.1]
20. "MAL DE PIERRES (From the Land of the Moon)" (Nicole Garcia) [4.12/77 1.9]
21. "THE LAST FACE" (Sean Penn) [1.60/69 1.4]
verhoeven killing it - the sixth highest score of any competition film this decade!
no country for old wainds
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meanwhile, these were the actual prize winners:
PALME D’OR
I, Daniel Blake, Ken Loach (UK)
GRAND PRIX
It’s Only The End Of The World (Juste La Fin Du Monde), Xavier Dolan (Canada)
BEST DIRECTOR
Olivier Assayas, Personal Shopper (France)
&
Cristian Mungiu, Graduation (Bacalaureat) (Romania)
BEST SCREENPLAY
Asghar Farhadi, The Salesman (Forushande) (Iran)
JURY PRIZE
American Honey, Andrea Arnold (UK)
BEST ACTOR
Shahab Hosseini, The Salesman (Forushande)
Dir. Asghar Farhadi (Iran)
BEST ACTRESS
Jaclyn Jose, Ma’ Rosa
Dir. Brilliante Mendoza (Philippines)
PALME D’OR
I, Daniel Blake, Ken Loach (UK)
GRAND PRIX
It’s Only The End Of The World (Juste La Fin Du Monde), Xavier Dolan (Canada)
BEST DIRECTOR
Olivier Assayas, Personal Shopper (France)
&
Cristian Mungiu, Graduation (Bacalaureat) (Romania)
BEST SCREENPLAY
Asghar Farhadi, The Salesman (Forushande) (Iran)
JURY PRIZE
American Honey, Andrea Arnold (UK)
BEST ACTOR
Shahab Hosseini, The Salesman (Forushande)
Dir. Asghar Farhadi (Iran)
BEST ACTRESS
Jaclyn Jose, Ma’ Rosa
Dir. Brilliante Mendoza (Philippines)
Oblivious Maximus
I am the worm
Given the overwhelmingly positive response to Elle I'm a bit surprised it didn't pick up any awards. Not that Verheoven needs an award to validate his work but its a bit curious, no? Going by the feedback I've read, it sounds as provocative as anything he's ever done and will probably offend a lot of people when it goes into general release. Fucking perfect.
no country for old wainds
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even the maren ade film didn't pick up any awards lol. those prizes were all over the place.
Oblivious Maximus
I am the worm
Fidelity (Andrzej Zulawski, 2000) - Zulawski's penultimate film and for a while it was looking like it was going to be his last until Cosmos (2015) came along. Even if it had been his last film though it still would have been a monumental exit. A lot of reviews have referred to it as Zulawski's most "normal" or "restrained" film and sure, by Zulawski standards it probably seems almost sedate when compared to something like On the Silver Glove (1977/88) or Szamanka (1996) but at the same time, can anyone else name a romantic drama that also finds time for black market organ trafficking, underground fight clubs and the occasional ghost? Make no mistake, this is Zulawski through and through with plenty of loony side characters and the occasional violent freak out.
Not to sound like a broken record as this is probably the millionth time I've called a film "exhausting" on here, let alone a Zulawski film, but there's really no other way to put it with a film like this. Not because of the films nearly 3 hour running time which flies by, but the material is so heavy and the performances so next level (Sophie Marceau, in her last role for Zulawski is at her absolute best here) that it leaves anyone that Zulawski manages to speak to with the film utterly drained.
Composer Andrzej Korzynski also delivers one of his finest scores for Zulawski. Try not to turn into a quivering mess when the achingly gorgeous main theme plays over the closing credits:
Not to sound like a broken record as this is probably the millionth time I've called a film "exhausting" on here, let alone a Zulawski film, but there's really no other way to put it with a film like this. Not because of the films nearly 3 hour running time which flies by, but the material is so heavy and the performances so next level (Sophie Marceau, in her last role for Zulawski is at her absolute best here) that it leaves anyone that Zulawski manages to speak to with the film utterly drained.
Composer Andrzej Korzynski also delivers one of his finest scores for Zulawski. Try not to turn into a quivering mess when the achingly gorgeous main theme plays over the closing credits:
