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tical powers i d long enjoyed the video but now having seen the movie it s based on i can guarantee that it d be a helluva lot more interesting especially since as the video suggests as well as the aforementioned odd moments there s a completely different movie going on in there and i want to see it posted by glenn at 12 37 am 1 comment email this blogthis share to x share to facebook share to pinterest labels classic movies music video really bad movies thursday july 4 2013 hit me with your best shot american graffiti george lucas has been saying he s going to leave big budget movies behind and refocus on the small ones that began his career in the 1970s anybody who has paid any attention knows that that is never going to happen even if he has decided to sell his lucasfilm brand and potentially leave the star wars and indiana jones i guess franchise behind him he ll surely never truly leave it behind i mean he s hung on to that thing for dear life for decades and even against his better judgement has kept spinning it off into new incarnations at the drop of a hat still even if lucas career is one of unfulfilled promise derailed by the unparalleled success of a genre flipped space opera that initial promise will always be unforgettable his 1973 nostalgic ode to the teenage dream of his early life was his second feature after the stripped down science fiction of thx 1138 he was nominated for writing and directing oscars winning neither it was still a huge deal given its origin as a small budget virtually independent production it s hard to imagine teenagers today flocking to a film such as this although i guess gary ross pleasantville is the closest i can think of off the top of my head the film a sprawling look at a group of graduating seniors on the verge of a tumultuous world it s one of my favourite movies a good looking one however is not how i ve ever particularly seen it this series at the film experience that asks readers to select their favourite shot from within a given film proves otherwise furthering how much i adore this film every time i watch it it reveals something new and rich the visuals as i said have never been something i have gravitated towards but looking at it now it seems silly to have not noticed them earlier there are some really vivid colours and beautifully crafted images on display here see absolutely gorgeous i particularly love the film s use of shadow and tightness so many movies are filmed in close shots these days but here it truly serves a purpose the shot i chose sadly after only a skim i didn t have time to rewatch the entire film as much as i would love to also my blu ray is back home in australia is this moment which i think sums up the film really rather nicely these people occupy a sort of limbo land where they want to be adults smoking drinking but knowing full well that the passing of time means the things they take for granted will fall away this beautiful shot of oscar nominated candy clark i feel echoes those sentiments entirely an almost mournful pose as the cool purple light of the night sky beams down they won t have moments like this for much longer and the melancholy nature of the lighting here adds pangs of sadness to this already thick layer of morose that lingers over the characters it s a gorgeous shot from a gorgeous moment in a gorgeous film just gorgeous drink up posted by glenn at 1 56 am no comments email this blogthis share to x share to facebook share to pinterest labels american graffiti classic movies ron howard screencaps wednesday july 3 2013 san francisco fipresci review nights with théodore nights with théodore dir sebastien betbeder country france running time 67mins aus rating n a at only 67 minutes long sébastien betbeder s captivating genre mash up nights with théodore les nuits avec theodore could be seen as skimping on the drama however it turns out that that is in fact the perfect length and perhaps more filmmakers could take a lesson or two when it comes to the old fashioned way of thinking that length equals importance and worth it is certainly a way of thinking that has taken hold amongst hollywood with oscar winners and box office hit comedies alike stretching their rather innocuous storylines to absurd lengths diluting their product in the process the short running time is only one of the strengths of betbeder s film but perhaps one of the most noteworthy in a festival scenario it certainly doesn t outstay its welcome and that is something to be thankful for read the rest at fipresci apologies for getting this review up so late but it s been sitting on the fipresci website since i returned from sitting on the san francisco jury you can read about my experiences on the jury at quickflix as well as a look at all the films in competition at the film experience if didn t get to read them at the time posted by glenn at 12 17 pm no comments email this blogthis share to x share to facebook share to pinterest labels experimental cinema film fests fipresci france review wednesday may 15 2013 hit me with your best shot the talented mr seale it has admittedly been a few years since i have watched anthony minghella s the talented mr ripley and yet i remember it so vividly in my mind so much so that years removed i can still remember invidivual sequences and shots i seem to remember the camera repeatedly looking up and down as if the entire film is told from the perspective of where matt damon s mr ripley sees himself being and where he sees everyone else i didn t rewatch the film to prepare for this week s hit me with your best shot a series at nathaniel rogers the film experience dedicated to viewers finding their favourite shot amongst a designated title of the year but i skimmed through and found myself immersed in a treasure trove of gorgeously lensed moments from mr john seale john seale is an australian four time oscar nominee winning for minghella s earlier picture the english patient i was surprised to find he wasn t nominated for the talented mr ripley apart from being a beautiful movie in general it really is fabulously filmed and all those european locations certainly don t hurt matters but then again the talented mr ripley and the oscars had a weird relationship that year that had harvey weinstein basically jump ship to the curiously over performing the cider house rules leaving minghella and co to flounder about racking up a still very respectable five nominations the five that were nominated are certainly a stellar bunch so seale nor i should really be able to complain still i would have expected more than mere chicago and las vegas to stump for the guy okay so this one s just because jude law is so freakin good looking i can t i just can t i love the mirror between these two shots from different scenes in the movie ripley down front with dickie in charge at the back and then vice versa when the tables are turned tom ripley literally sees himself or projects himself as doing so as so small that he could be crushed under foot i greatly enjoy the way that once jude law exits the picture er spoiler everyone begins having to question who they re even conversing with they should alas they don t this moment of cate blanchett s return to the picture is divine almost like a hitchcock cameo in the beginning at first the viewer may not notice her in the background but then neither does tom my favourite shot however is this one tom has finally risen not only in social standing but within myself and at this moment as the potential for all of his lies to become unravelled he stands up the top and in actual fact is guiding everything like a puppeteer out of sight he plays the characters of gwyneth and cate with the skill of a marionette master laying the foundation for what comes next posted by glenn at 4 12 pm 3 comments email this blogthis share to x share to facebook share to pinterest labels cate blanchett gwyneth paltrow jude law matt damon sunday april 28 2013 birth of an unknown woman if i were to be the owner of a grand repertory cinema with the ability to curate and put on double features of my choice i think i found a perfect evening for my patrons it would be a double feature dedicated to the greatest of all niche genres women who lie to themselves and would feature max ophuls 1948 tragic romance letter from an unknown woman and jonathan glazer s reincarnatory love story birth the two films really truly feel as if they couldn t be more dissimilar to one another and yet as i sat in the museum of modern art watching a 35mm print of ophuls seemingly overlooked drama i couldn t help but think the two films separated by some 56 years of history were peas in a pod it s a beautiful film for sure on a visual and dramatic level the story of a famous pianist who receives a mysterious letter from a woman who claims to have loved him for her entire life only to have been turned away because he was too blind to see who she was of course the tragedy becomes twofold for reasons that seem rather obvious from the opening scene but that s neither here nor there for somebody who is notoriously fickle with the tears they shed i did get quite a bit misty eyed of unknown woman with its delicately fragile lead performance by joan fontaine we were just have a laugh with her last week and her tale of operatic woe the cinematography of franz planer is gorgeous with its beautiful rendering of snow and shadow my particular favourite shot it that overhead shot of fontaine s unknown woman walking away her body casts a shadow as long as her gloom just divine but where the connection to birth comes in is remarkable the films share so much and yet it was something that i only noticed when unknown woman which i had obviously never seen before utilised the scene of an opera in a very similar way to glazer s as fontaine s lisa takes her seat to watch mozart s the magic flute she has just been confronted with the realisation that her one true love has returned whilst not quite in the same mysterious fashion as the situation that confronts nicole kidman s character in birth but the two characters wrestle with their feelings as the power of the music wash over them it s remarkable how similar the scenes and the character motivations behind them are sadly we are not treated to a masterful three minute sequence of beguiling close up in letter from the unknown woman like we are in birth i suppose this very mainstream leaning romance film wasn t quite the place for such a visual move in 1940s hollywood but the effect is one and the same it works image source fipresci from there the two films felt like nothing less than sisters the stories of fontaine s lisa and kidman s anne seemingly etched together as they each emerge out of the intimidating shadow of the men who took their former flame s place and decide to persue something that seems foolhardy and destined for failure but which neither women can truly come to terms with until it s staring them blankly in the face both women go to personally tragic places in order to be with the love of their life only to have it suggested by the man himself that it wasn t that all along they mourn very obviously on the inside harbouring long gestating pain within them while putting on an external face of strength and even though the man at the centre of unknown woman is obviously a very dashing handsome man and the boy at the centre of birth is well a boy both stories tell a very salient point on what the idea of an all encompassing love can do to us in the long term if it is interrupted by the natural order of things funnily enough in unknown woman the love is interrupted by a birth and in birth it is interrupted by death make of that as you wish that they also share the aforementioned stunning cinematography plus great musical scores desplat s work on birth remains one of the greatest things my ears have ever heard and bona fide immaculate performances by the respective lead actors are just cherries on top birth has been said to have been influenced by kubrick which i think is definitely on point to a degree but having now see ophuls film i can t separate the two nor do i want to even if my mind is just playing tricks i now covet both of these films separately and together i want to soak in their opulence and live in a world where i get to yearn for somebody with the strength and dedication as them although hopefully my yearning would have a happier ending note i was thankfully able to view letter from an unknown woman in 35mm print form which was a wonderful relief moma are screening it again on monday at 5pm so hopefully i have maybe inspired you to jump on the subway to 53rd street coincidentally birth will also be screening on 5 june and 12 june at moma in a tribute season to cinematographer harris savides i have been told by the moma people that it too is screening in 35mm if somebody would put them together side by side i think you d have one hell of devastating double posted by glenn at 11 15 pm no comments email this blogthis share to x share to facebook share to pinterest labels birth classic movies joan fontaine jonathan glazer nicole kidman thursday april 18 2013 the brain and the body i ve seen two horror films in the last week or so as i like to describe them one is of the brain and the other is of the body one traces the gradual decline of a single individual as he gets deeper and deeper into a situation he can t escape while the other revels in more traditional horror tropes like gore and the undead both are impeccable crafted endeavours that never once feel like anything on screen was unintentioned of course whether they differ is a gulf so wide that chalk and cheese would baulk simon killer comes from the production house that brought us the stunning directorial debut of sean durkin martha marcy may marlene in 2011 director and co writer antonio campos unnerving is dramatically too cool for school in many ways simon killer is certainly not the film that i had expected given the rather dark title and creepy and excellent poster much more than a backpacker parisian psycho it follows a young american tourist in paris as he digs holes so deep he can t get out first by pretending to be the recipient of a beating in order to stay at the home of an affectionate prostitute and then by struggling to keep the darkness within him covered up the film s co writer i presume there was quite a bit of improvisation in that regard is star brady corbet one of the most interesting actors working today alone based on the list of directors he s worked with his filmography isn t extensive but considering he s worked with gregg araki mysterious skin michael haneke funny games us and lars von trier melancholia as well as the aforementioned sean durkin on martha marcy he obviously fostered a good working relationship with the team and is now a creative force behind simon killer make no mistake this is purely a horror film in broad psychological ...