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Joined: Sun May 25, 2014 9:32 pm Posts: 31614 Location: Garbage Dump
durdencommatyler wrote:
LoathedVermin72 wrote:
Rewatching The Post. Man, this movie kinda floors me. Spielberg's natural intuition for composition - and I mean everything that entails: blocking, framing, lighting, camera movement, editing - is just unparalleled. I didn't even notice the first time (and no one seems to be talking about) how many floating long-takes are used, which I think is because they are so organic and seamless - the opposite of the show-stopping showiness of someone like Alfonso Cuaron. He always thinks about how each shot and cut will affect the whole of the work. There's one beautiful one near the beginning where the camera tracks characters while being separated by a row of desks before cutting through an aisle to get closer and then following them into an office and gracefully moving around them to the other side of the room. Just effortless, fluid, magnificent. Never calls attention to itself - it simply breathes naturally. The film is buoyed by constant, subtle visual vitality.
On top of that, Spielberg's love of character idiosyncrasies is in full effect; again, I keep noticing things I didn't catch the first time around, especially with Streep's character. Taking off her large earring to answer a phone call, for example. Just an consistent stream of tiny details to give the characters (and the movie) a sense of life and personality. My god, what a talent he is.
Verm can you tell me more about the ghost/skeleton/shrouded figure please.
Nope, I’m mystified. I kept my eyes out for it this time. It’s a little scary, TBH.
Rewatching The Post. Man, this movie kinda floors me. Spielberg's natural intuition for composition - and I mean everything that entails: blocking, framing, lighting, camera movement, editing - is just unparalleled. I didn't even notice the first time (and no one seems to be talking about) how many floating long-takes are used, which I think is because they are so organic and seamless - the opposite of the show-stopping showiness of someone like Alfonso Cuaron. He always thinks about how each shot and cut will affect the whole of the work. There's one beautiful one near the beginning where the camera tracks characters while being separated by a row of desks before cutting through an aisle to get closer and then following them into an office and gracefully moving around them to the other side of the room. Just effortless, fluid, magnificent. Never calls attention to itself - it simply breathes naturally. The film is buoyed by constant, subtle visual vitality.
On top of that, Spielberg's love of character idiosyncrasies is in full effect; again, I keep noticing things I didn't catch the first time around, especially with Streep's character. Taking off her large earring to answer a phone call, for example. Just an consistent stream of tiny details to give the characters (and the movie) a sense of life and personality. My god, what a talent he is.
Verm can you tell me more about the ghost/skeleton/shrouded figure please.
Nope, I’m mystified. I kept my eyes out for it this time. It’s a little scary, TBH.
It's this little moment that has me more interested in seeing this movie than anything else.
Maybe I've mentioned this before but I have this weird birthday tradition. I didn't intend it. It just sort of happened. For the past few years I've gone to go see a Jason Sudeikis movie on or the day after my birthday. I've either gotten super drunk during the movie or gone in super hungover. To honor this budding tradition, last night, my wife and I drank too much whiskey and watched Kodachrome. We did not like it very much. But Ed Harris is amazing.
Joined: Tue January 01, 2013 6:03 pm Posts: 9359 Location: Washington State
The last movie of his I watched was Colossal. That was such a good movie, and so different from what I expected from him as an actor. It started pretty much what I thought it would be like but it got pretty dark. Such a great movie.
The last movie of his I watched was Colossal. That was such a good movie, and so different from what I expected from him as an actor. It started pretty much what I thought it would be like but it got pretty dark. Such a great movie.
Colossal was my Booze & Sudeikis birthday movie last year!
And I really loved it. It's by far the best of the Booze & Sudeikis movies I've seen.
Joined: Tue September 24, 2013 5:56 pm Posts: 46875 Location: In the oatmeal aisle wearing a Shellac shirt
Last Flag Flying.
Like a lot of Linklater, the characters transcend the filmmaking technique. Steve Carrell has barely any lines, yet he owns the whole film. Despite being based on a book, it feels more like a play.
It's a road movie; a war movie (Vietnam and Iraq 2003); a film about men; about getting older and death; about regrets and looking forward; about religion; addiction... It's all of those things and none of those things, because it's really just four guys talking as they transport a body across the country.
Linklater gets a little schmaltzy at times, but then other scenes hit really hard. One scene in particular got me choked up -- Cicely Tyson outshines Carrell with about two minutes of screen time.
Unless you're a big Linklater fan; feeling particularly pensive; or maybe if you're a veteran (I'm just guessing), you can probably skip it. But I really enjoyed it, despite it being mostly a bummer.
Joined: Tue January 01, 2013 1:53 pm Posts: 10250 Location: in the air tonight
The Argonaut wrote:
Stumbled across an interesting movie on Netflix that I'd never heard of before: Last Knights. It stars Clive Owen and Morgan Freeman, and is kind of hard to explain. The best I can come up with is that it's a samurai flick that takes place in a post-racial dystopia 1000 years ago in the future. Really, it's just a samurai movie with a multi-ethnic cast and a white leading man, but whatever. Apparently, there was no U.S. theatrical release. It's not stupendous or anything, but it's better than its 14% on Rotten Tomatoes, for sure. Worth a look. Good movie for a night of easy, action viewing. It's also just perfectly in my wheelhouse: a samurai movie starring Clive Owen is the stuff of dreams for me.
Bump from jan 2017 because my writeup of this movie is dope as hell.
"Wind River" - Mixed about this one, the rape metaphor was just too in your face.
_________________ "The fatal flaw of all revolutionaries is that they know how to tear things down but don't have a f**king clue about how to build anything."
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