I think much of it has to do with female psychology, and the story functions purely on a level to contrast/emphasize different elements of that. Blue is the Warmest Color works since it's so specific in what it's doing and uses women to make points about love in a way I don't think you could with men. I'd be curious to see a "guy version" of similar (but not identical) idea, though. I think it would be a different but probably interesting movie.
I think much of it has to do with female psychology, and the story functions purely on a level to contrast/emphasize different elements of that. Blue is the Warmest Color works since it's so specific in what it's doing and uses women to make points about love in a way I don't think you could with men. I'd be curious to see a "guy version" of similar (but not identical) idea, though. I think it would be a different but probably interesting movie.
The life of Steven Hawking is as astonishing as his theories, but the same cannot be said for how this film shows his endeavors. It's a film that doesn't allow anything to flow, and only builds upon itself, plot point after plot point. It looks great, but the feel is really wrong. Like Crazy Eight said, it felt like a high-budget BBC film, even for how English it felt. It had all the ingredients to feel cinematic, it just didn't reach those heights. But the one thing that is astonishing about this film is its performances from its two main leads, who both put themselves through so many complex emotions and provide some nice chemistry that made me smile. It is essentially catnap for the Academy, but it's still great to see the achievements that Hawking made, as well as the struggles he was put through.
The first entry in the famous Paranoia Trilogy (the other two being The Parallax View and All the President's Men), demonstrating Donald Sutherland had a hell of a decade bedding the hottest women in Hollywood on screen. It doesn't always work, and there's an amateur crudeness evident on all levels of production, like how the stalking voyeur scenes have ominous hands clutching fences as the camera's point of view peers through windows and the sound and visuals are rusty. Still, Jane Fonda is extraordinary, and it's full of cinematic art. Maybe more to the point, Roy Scheider plays a pimp! Also, it's fascinating to see an early film by Gordon Willis taking a crack at his signature style and playing with light and shadow. I went into this expecting a late-night chore but it was often thrilling, and it has a number of edge of your seat set pieces. Big recommend from me.
One of the more hilarious Woody Allen movies. Clearly a homage to Buster Keaton and Charlie Chaplin, which stylistically blended with Allen's pseudo-philosophical rants and sly humor in really fantastic way.
One of the more hilarious Woody Allen movies. Clearly a homage to Buster Keaton and Charlie Chaplin, which stylistically blended with Allen's pseudo-philosophical rants and sly humor in really fantastic way.
I wish I hadn't watched the orginal dub of this. I felt it hardly made a lick of sense and it took me forever to grasp the concept, and what was going on in the world and story. I replayed some scenes in the English dub and it all clicked. Die hards might prefer the Japanese voice acting, and maybe the performances are better, I don't know, but I found the track to be inaccessible in a way. Either way, I guess I kind of enjoyed it, but I'd rather watch it again with the dub.
What's the preferred way to watch Hayao Miyazaki, sub or dub? This is the first film of his I've watched.
