Return of the RECENT VIEWING

..and why not?
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driftin
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Re: Return of the RECENT VIEWING

Postby driftin » 15 Feb 2018, 13:18

Snarfyguy wrote:^^^ I'm interested in that. Does it debunk the Kerrigan/Harding narrative that was essentially that of a "good" girl vs. a trashy one? Or is the counter-narrative itself insufficiently nuanced? I guess I could read up on it, but what's your take?

The film's take is that she's neither good or bad. She has a very small role in the conspiracy, she doesn't want to hurt Nancy physically, and before the attack happens, ends up not very interested in the plan at all, instead focusing on practising rather than conspiring. She is at fault in a very minor way but it's mostly her idiot friend and abusive husband who end up dragging her down.

As for the good girl vs trashy girl narrative, the film simply shows that Tonya wants to be judged on her skating, not her image, and her taste and background is unfairly attacked by the institution and media.

I enjoyed the film a lot.

I also enjoyed these a lot:

Image
The music's quite cheesy but what a colourful, creative, energetic film that celebrates life and being human. This is what I needed after a terrible January and February.

Image

Like most Guillermo Del Toro's best films this is a perfect balance of the sublime and the ridiculous. I'll never look at egg-timers again in the same way.

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Dr Markus
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Re: Return of the RECENT VIEWING

Postby Dr Markus » 15 Feb 2018, 16:12

driftin wrote:
Image

Like most Guillermo Del Toro's best films this is a perfect balance of the sublime and the ridiculous. I'll never look at egg-timers again in the same way.


I really want to like Del Toro's film more than I do, but there's just something that puts me off. Not too sure what it is.
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Re: Return of the RECENT VIEWING

Postby PENK » 16 Feb 2018, 07:25

The Great Defector wrote:
driftin wrote:
Image

Like most Guillermo Del Toro's best films this is a perfect balance of the sublime and the ridiculous. I'll never look at egg-timers again in the same way.


I really want to like Del Toro's film more than I do, but there's just something that puts me off. Not too sure what it is.


Maybe his substitution of awkward-if-lavish fantasy elements for real emotion or story?
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Re: Return of the RECENT VIEWING

Postby Dr Markus » 16 Feb 2018, 16:13

PENK wrote:
The Great Defector wrote:
driftin wrote:
Image

Like most Guillermo Del Toro's best films this is a perfect balance of the sublime and the ridiculous. I'll never look at egg-timers again in the same way.


I really want to like Del Toro's film more than I do, but there's just something that puts me off. Not too sure what it is.


Maybe his substitution of awkward-if-lavish fantasy elements for real emotion or story?



:o
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 17 Feb 2018, 04:55

Image
Interiors

Don't really know how to respond to this. Allen got an oscar nod for his direction for this picture, but not next year's Manhattan. The acting is fine, in particular Stapleton's and Page's performances, but for all the sturm and drang, it seems empty somehow - as if Allen wanted to see how he would fare making an Ingmar Bergman picture. And this was while Bergman was still in his prime. Thing is, why would you want to watch this when you can see the real thing? Autumn Sonata was released two months later.
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PresMuffley
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Re: Return of the RECENT VIEWING

Postby PresMuffley » 17 Feb 2018, 13:12

^Pretty much my thoughts.

Bergman does comedy (Smiles of a Summer Night) much better than Allen does depression.

Interiors is the most beige film I can recall watching. A pathos-laden advert for chinos.
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Re: Return of the RECENT VIEWING

Postby Minnie the Minx » 17 Feb 2018, 13:20

McCabe and Mrs Miller last night. Jaw dropping.
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Re: Return of the RECENT VIEWING

Postby Goat Boy » 17 Feb 2018, 17:20

Such a great, beautiful film!
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Re: Return of the RECENT VIEWING

Postby Minnie the Minx » 18 Feb 2018, 02:04

Goat Boy wrote:Such a great, beautiful film!


It is!
I didn't think it was Julie Christie's best performance though. I don't know why. I found it a bit wooden and her accent really grated.
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Re: Return of the RECENT VIEWING

Postby algroth » 18 Feb 2018, 13:07

PENK wrote:
The Great Defector wrote:
driftin wrote:
Image

Like most Guillermo Del Toro's best films this is a perfect balance of the sublime and the ridiculous. I'll never look at egg-timers again in the same way.


I really want to like Del Toro's film more than I do, but there's just something that puts me off. Not too sure what it is.


Maybe his substitution of awkward-if-lavish fantasy elements for real emotion or story?


I don't see how his films are missing either of those qualities. Granted, though, I have not seen The Shape of Water yet.

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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 18 Feb 2018, 19:49

Image

Standard pretty girls getting hunted down by masked killer thing. Better than the My Bloody Valentine remake, at least.
Like fast-moving clouds casting shadows against a hillside, the melody-loop shuddered with a sense of the sublime, the awful unknowable majesty of the world.

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Re: Return of the RECENT VIEWING

Postby The Modernist » 19 Feb 2018, 01:15

Image

Excellent. Gripping and really believable. I didn't think the US made films like this anymore.

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Re: Return of the RECENT VIEWING

Postby PENK » 19 Feb 2018, 05:44

The Modernist wrote:Image

Excellent. Gripping and really believable. I didn't think the US made films like this anymore.


The image isn’t showing properly so for the benefit of those who can’t see it, he is talking about Jumanji.
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Re: Return of the RECENT VIEWING

Postby Goat Boy » 19 Feb 2018, 14:40

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Possessed

I started watching this with the lass on Saturday night and she made me turn it off after 20 minutes. It’s a very odd movie and if you’re not attuned to histrionic, overwrought bombast with added weird shit then you too might turn this off after 20 minutes. Anyway, Sam Neil is a spy living in west Berlin with his wife Anna (an incredible Isabelle Adjani) and son but the relationship is on the verge of collapse. Anna also has a lover, a hilarious camp fella who seems incapable of buttoning up his shirt and is fond of kung fu. It starts off like some art house portrait of a relationship breaking down, lots of portentous dialogue and weeping in enclosed spaces. There’s a scene in a café where Neil totally loses his shit but bystanders don’t react at all. It’s like the characters are so absorbed in themselves that the outside world doesn’t exist. There’s no attempt at realism here. Everything is cranked up to the nth degree and things become increasingly violent as Neil, full of anger and impotent rage hits his wife and forces her to stay with him. Suicide attempts follow, much gnashing of teeth and sweaty close ups and things get progressively weirder as both of them succumb to some kind of madness: Neils rooted in sexual jealousy and possessiveness and Annas in something….else.

Not of all it works. Some of the acting is a bit ripe but then when you are aiming for this kind of operatic intensity you expect a few moments to make you cringe. This only adds to the weirdness though and there’s plenty of that. Dopplegangers make an appearance and the movie continues to build and build becoming increasingly more surreal and disturbed. There’s an incredible sequence in an empty Berlin subway station where Anna howls and screams like a woman, er, possessed culminating in something jaw dropping and horrific. Things get even stranger but I won’t spoil the fun.

Part horror, part psychosexual female fantasy, part psychological drama. It’s one of those unclassifiable movies. What the hell is it all about? At its most basic it’s a battle of the sexes between a domineering, abusive man and a woman longing for (sexual) liberation. Is the movies duality (not just Anna but also the city of Berlin itself) part of some kind of female gender allegory? Is the creature a metaphor for her sexual desires? What’s the significance of the cold war Berlin setting? Is the couples horrific breakup symbolic of Berlin itself? How much of this is real and how much is in Neils head? If you’re looking for answers you won’t find them but there’s enough here to get your teeth stuck into and anyone who has been through an intense break up will at least recognise some of the madness and pain contained herein. It’s not for everyone but it’s worth a watch if you want something singular and extreme. It's not the kind of thing you'd easily forget.
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Re: Return of the RECENT VIEWING

Postby Geezee » 19 Feb 2018, 17:36

PENK wrote:
The Modernist wrote:Image

Excellent. Gripping and really believable. I didn't think the US made films like this anymore.


The image isn’t showing properly so for the benefit of those who can’t see it, he is talking about Jumanji.


Important to point out I think that it is the 2017 version.
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Re: Return of the RECENT VIEWING

Postby The Modernist » 19 Feb 2018, 18:12

Ah...the movie I talking about was a 2015 film called 'A Very Violent Year'. For those of you with iplayer, you can catch it there and I recommend you do. It had the naturalistic feel of an early 70s movie like 'The Killing of a Chinese Bookie'. Very low key, but quite gripping.

Penk's joke is lost on me I'm afraid being that these days I have about as much knowledge, interest and acquaintance with mainstream popular culture as an octogenarian high court judge.

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Re: Return of the RECENT VIEWING

Postby PENK » 19 Feb 2018, 18:59

The Modernist wrote:Penk's joke is lost on me I'm afraid being that these days I have about as much knowledge, interest and acquaintance with mainstream popular culture as an octogenarian high court judge.


I think you'd like Jumanji. The jungle mise-en-scène is very effective in drawing attention to the hidden anxieties of Jack Black's character and The Rock plays his role with a stillness and understated power reminscent of Alain Delon.
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Re: Return of the RECENT VIEWING

Postby The Modernist » 19 Feb 2018, 19:11

PENK wrote:
The Modernist wrote:Penk's joke is lost on me I'm afraid being that these days I have about as much knowledge, interest and acquaintance with mainstream popular culture as an octogenarian high court judge.


I think you'd like Jumanji. The jungle mise-en-scène is very effective in drawing attention to the hidden anxieties of Jack Black's character and The Rock plays his role with a stillness and understated power reminscent of Alain Delon.


Never mind that. Get me your new cup three. We're good to go tonight if you do!

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Re: Return of the RECENT VIEWING

Postby The Modernist » 19 Feb 2018, 19:24

..although I am tempted by The Rock. He has certain existential qualities.

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Re: Return of the RECENT VIEWING

Postby PENK » 19 Feb 2018, 19:27

The Modernist wrote:
PENK wrote:
The Modernist wrote:Penk's joke is lost on me I'm afraid being that these days I have about as much knowledge, interest and acquaintance with mainstream popular culture as an octogenarian high court judge.


I think you'd like Jumanji. The jungle mise-en-scène is very effective in drawing attention to the hidden anxieties of Jack Black's character and The Rock plays his role with a stillness and understated power reminscent of Alain Delon.


Never mind that. Get me your new cup three. We're good to go tonight if you do!


Oh right, sorry! Been busy all weekend and not checked in properly. I'll get on it now!
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