The Zone's 2007 Movie Journal

[Brocktune]

it looks like im pretty overdue at giving my best and worst of the month. so i guess ill start now.

BEST: "Tears of the Black Tiger" - ok, gone with the wind doesnt count. but thats ok, because i think i like TOTBT better, even though i scored it at .5 lower than GWTW. the movie was a total mindfuck with a heart. it was just this amazing combination of elements that together formed some sort of super movie, the likes of which ive never seen before. seriously, dont let anything come between you and viewing this movie. absolutely adored it! i keep feeling like i should write something more substantial about it, other than the pathetic gushing that i have engaged in exclusively up to this point. but you know, i just cant seem to come up with anything that does it any real justice. you just have to see it yourself.

Ralph Bakshi's "Coonskin" ran a very close second!

WORST: Sex With a Smile - ok, it could have been worse. and if you take out the mind numbingly beautiful women, it would be. although, now that i think about ti some more, those women were really fucking hot. i mean like blazing hot. and i do love marty feldman. you know what, i change my mind. TARZOON: SHAME OF THE JUNGLE was the worst thing i saw in march. i dont really need to bash it much more, because its not like you are going to see this one at your local video store, so you really wont have to go out of your way to avoid this snoozefest.

[RaulMonkey]

So who's gonna count PLANET TERROR and DEATH PROOF as two separate movies on their journal, and who's gonna look at GRINDHOUSE as a single collaborative effort between Rodriguez, Tarantino, Roth, Zombie & Wright?

[Ribbons]

So who's gonna count PLANET TERROR and DEATH PROOF as two separate movies on their journal, and who's gonna look at GRINDHOUSE as a single collaborative effort between Rodriguez, Tarantino, Roth, Zombie & Wright?

Good question... I think I might rate it as an overall film, but then put what I rate the individual films or trailers beneath that.

[Nachokoolaid]

So who's gonna count PLANET TERROR and DEATH PROOF as two separate movies on their journal, and who's gonna look at GRINDHOUSE as a single collaborative effort between Rodriguez, Tarantino, Roth, Zombie & Wright?

It's gotta be single, right?

[RaulMonkey]

So who's gonna count PLANET TERROR and DEATH PROOF as two separate movies on their journal, and who's gonna look at GRINDHOUSE as a single collaborative effort between Rodriguez, Tarantino, Roth, Zombie & Wright?

It's gotta be single, right?

I'll decide for sure after I see it, but I'm really leaning toward separating them. I mean, if you went to any other double feature, you'd say you saw two movies, right? From what I understand of the behind-the-scenes situation, PT and DP had entirely distinct productions; and everything I've heard from Rodriguez and Tarantino, not to mention the marketing campaign, has led to me to look at GRINDHOUSE as an overall experience comprised of separate films.

Ribbons brings up another good question: if I do decide to list PT and DP separately, am I going to list THANKSGIVING, DON'T and WEREWOLF WOMEN OF THE S.S. separately too? That I really have to reserve judgement on. I expect them to be exquisitely crafted little jewels, but this is my 2007 Movie Journal, y'know? Not my 2007 Featurette Journal.

[magicmonkey]

Meh

Smarch - Tideland

Explain thyself!

[Al Shut]

Meh
Smarch - Tideland

Explain thyself!

And he's not alone.

Bad

Tideland (2006) (Mar. 28.) (FV)

I believe that makes it 2:1 in this thread.

[Keepcoolbutcare]

Meh

Smarch - Tideland

Explain thyself!

it only garnered the "meh" for the out-of-this-world performance from Ferland and some pretty, lush cinematography, 'cuz aside from those two factors, the film gave me nothing.

What was the point, what was Gilliam trying to say, what was he going for? That Jeliza-Rose has amongst the shittiest childhoods known to man, that junkies are stupid, selfish and pointless? In the TIDELAND thread, the positive, well written reviews from both Locke and d-Lips both go on about the humor, how one should remember to laugh, but I didn't crack so much as a smile at any point. Rather, it was depressingly glum, and I found no humor in the antics of Bridges and Tilly. I get how, as Gilliam states, that one is supposed view it through the Jeliza's eyes, i.e. through the eyes of a child, but that device is tedious and wears thin quickly. Gilliam's never been known for his subtlety, but this was bludgeoning the viewer, this was a narrative device that was heavy handed, silly, and preposterous, to go along with at times bore-noyingly painful to watch.

Did you review it in the TIDELAND review thread MM? 'Cuz I'm curious as to what positives you took from it...

[magicmonkey]

Meh

Smarch - Tideland

Explain thyself!

it only garnered the "meh" for the out-of-this-world performance from Ferland and some pretty, lush cinematography, 'cuz aside from those two factors, the film gave me nothing.

What was the point, what was Gilliam trying to say, what was he going for? That Jeliza-Rose has amongst the shittiest childhoods known to man, that junkies are stupid, selfish and pointless? In the TIDELAND thread, the positive, well written reviews from both Locke and d-Lips both go on about the humor, how one should remember to laugh, but I didn't crack so much as a smile at any point. Rather, it was depressingly glum, and I found no humor in the antics of Bridges and Tilly. I get how, as Gilliam states, that one is supposed view it through the Jeliza's eyes, i.e. through the eyes of a child, but that device is tedious and wears thin quickly. Gilliam's never been known for his subtlety, but this was bludgeoning the viewer, this was a narrative device that was heavy handed, silly, and preposterous, to go along with at times bore-noyingly painful to watch.

Did you review it in the TIDELAND review thread MM? 'Cuz I'm curious as to what positives you took from it...

In contrast I wrote in the review thread I <3 every often pain induced, squirming minute of it. It was strange to watch this then Weird Science a little later and see how it was perfectly acceptable for Kelly Le Brock to kiss the boys in that movie. I also wrote that the ending of this film was up there with about three other spine tingling movie climaxs. It throws the story into a whole new light of horrifc sublime madness. This was Gilliam kicking ass, and as a comment on delusion in general it was startlingly sterling and rather relevant for our troubled times too. Damn, I want to see his Quixote.

[WinslowLeach]

NOTE: I had to open a separate post for my GH review, it wasnt working on my journal.

GRINDHOUSE REVIEW

INTRO: Ive been an Exploitation film fan for many years. I grew up watching them on VHS in the 1980s, then in the 90s I got into 70s Grindhouse films thanks in large part to Quentin Tarantino. Hes the guy who got me into movies like Coffy, The Streetfighter, The Mack, Switchblade Sisters and countless other kinds of great movies from the 70s Grindhouse era. QT isnt just a writer-director hes a film enthusiast and expert. That plays a big part in why his films are so much fun to experience. You know hes seen it all and hes taking the best aspects of cinema, putting in his own blend of herbs n spices and making a very special recipe from his kitchen.

With GRINDHOUSE, Quentin and Robert have teamed up to bring us all back to the days when Grindhouses were open on The Deuce aka 42nd Street in NYC and in downtown LA as well as many other cities across the USA. Ya also cant forget the suburban Drive-ins where many of the same kinds of wild exploitation films would play albeit in safer surroundings.

THE REVIEW: The night of cinematic exploitation celebration begins with the fake trailer for the Mexploitation film MACHETE. The "Mexican Charles Bronson" Danny Trejo (Desperado, Heat) plays the hard edged title character. Its a zany trailer with cameos by Cheech Marin as a priest who wields a shotgun and Jeff Fahey (JT in Planet Terror) who plays a businessman who hires Machete to do a job, only to double cross him. Machete gets it on with his wife AND daughter in return as part of his payback!! Its a cool trailer with some great one liners!

PLANET TERROR

The first feature of the night is Robert Rodriguez's PLANET TERROR. This is Robert's homage to the films of his youth that he loved like The Texas Chainsaw Massacre (plenty of BBQ!) and the early films of John Carpenter like Assault on Precinct 13, Escape From New York and The Thing. The characters in Planet Terror are all colorful and fun. The story revolves around a small Texas town whose inhabitants try to stay alive as a deadly chemical gas turns people into mutating, pulsing, psychotic balls of goop. Its sick as hell and really fun to watch! The characters kick much ass. You will get plenty o' action. laffs and gore with Planet Terror!! 4 out of 5 stars.

FAKE TRAILERS

Next up is the trailer for Rob Zombie's Nazisploitation film "Werewolf Women of The SS" starring Sherri Moon Zombie, Udo Kier, Sybil Danning and Bill Mosely. Nicolas Cage makes a short but hilarious cameo as the evil Dr Fu Manchu! I was expecting a Chinese looking guy but what I saw was Nic with a mustache and beard. Oh well! It was a cool trailer, but not my favorite. It was too MTV looking for my tastes.

Edgar Wright's fake trailer for his 70s British horror film "DON'T" was up next. Its great. I love the whole fast "Don't! Don't! Don't!" repetitive sequence.

Eli Roth's Thanksgiving is my favorite of the fake trailers. He did a excellent job getting that early 80s slasher film mood down with the gross outs mixed with total screwball comedy. I just loved how he shot it too. The film stock is beautifully faded and fucked up. The voiceover is so deadpan and low, it adds even more comedic effect to the whole crazy proceedings. I would love to see a Thanksgiving film with "The Pilgrim"!!

Out of the two films that make up the GRINDHOUSE double feature Planet Terror is the more straight up exploitation film that contains plenty of gore and action. While I enjoyed it for what it was, an entertaining 80 minute zombie subgenre flick (infected peee-ople), it was Quentin Tarantino's film that really had the most resonance for me personally....

DEATH PROOF

What Tarantino did with THUND---DEATH PROOF was make a film that plays like a hybrid of his favorite exploitation films but also its his idea of what hes always wanted the exploitation genre to be. By mixing aspects of such Grindhouse badass babe classics like Faster Pussycat! Kill! Kill! & Wonder Women, Car chase films like Vanishing Point, Dirty Mary, Crazy Larry as well as American slasher films (Friday The 13th etc) and Italian slashers aka giallo films (Bird With the Crystal Plumage, A Lizard In A Womans Skin etc) QT takes the exploitation film to another level of meaning. Its a down n dirty Grindhouse film but its something more too. Its filled with little moments that grab you and make you think about these "exploitation film" characters. Theres that over the top craziness but theres also nuance and shades of gray hidden in there too. For instance: I loved what QT did with Jungle Julia's character and the music from DePalma's Blow Out. It just made me feel something special for her even though shes that @^%$ Jungle Julia.

The way QT shot the first car crash was about film technique. It wasnt about fuckin CGI. It was FILMMAKING TECHNIQUE.

The structure of Death Proof is really interesting too. QT took the slasher film storyline and reworked it. The first half of the film is definitely a stalker film, but then after Stuntman Mike does what he does, we spend the rest of the film with a new set of girls. QT doesnt really show Mike stalking them because he knows WE know the story now and he lets us get to know Zoe, Kim, Lee and Abby instead. It makes total sense and its refreshing.

Kurt Russell is great as always as the psycho-sociopath Stuntman Mike. Mike is a mystery. I'm still wondering who that guy is. I think his character is actually a very close representation to the real life psychos of history. Hes both brutal, cunning and twisted but when HE gets fucked with he becomes a crying coward. This aspect of the film was brilliant to me. I loved how the tables were turned on Stuntman Mike and how he became the victim. It was just incredible and felt really good to cheer for these women. Its alot like I Spit On Your Grave and Extremities in that way. I was screaming in my theater seat "GO GET EM!!!". Just great!! The ending of the film was just out of control and it totally delivered. Ive seen some brutal spaghetti western beatings in movies, but OHH SNAP!! hahahahaha!

Regarding the dialogue in Tarantino's film, its as witty, sharp and realistic as anything hes done. In fact, I consider it to be his best script work so far. Part of the reason I love this script is because its snappy QT dialogue but its the female version. These are girls who speak from the heart and have their own kind of roundtable discussions. They are likeable, funny and strong. This is a film about girls from the real world who get thrown into wild, out of control situations that they must overcome. These chicks are all real world versions of THE BRIDE in their own unique way.

With Death Proof, QT brought together the best of his talents as a filmmaker to make his most satisfying work yet. Its got everything you want from a QT film and its also got something you've never seen in his movies: one of the coolest, most exhillerating car chases on film. 5 out of 5 stars.

I can always say I'm very glad that Quentin Tarantino is making movies today. He's my goto guy when cinema gets too dull, too CGI'd and too monotonous. QT is the best filmmaker of his generation and I can't wait to see what he does next!

[Al Shut]

NOTE: I had to open a separate post for my GH review, it wasnt working on my journal.

Wouldn't it belong in the Grindhouse thread then?

[WinslowLeach]

Ill post it in there too. This is a movie journal thread isnt it?

[Al Shut]

Yeah and I don't really mind the review where it is now but your original post on the first site really gets a bit long to contain full reviews.

More power to linkage!

[Nachokoolaid]

Yeah and I don't really mind the review where it is now but your original post on the first site really gets a bit long to contain full reviews.

More power to linkage!

I agree. This is a good place for short reviews (I try to limit mine to one sentence or two), but I think it would be a lot more user-friendly if those with giant reviews post them in the "review" thread for that film and link to them, with perhaps a "DVD cover" blurb left in here so we can still see your thoughts on the film quickly.

[justcheckin]

Who has GRINDHOUSE on their movie journal list.

I DO I DO... *raises hand and flaps it around wildly*

[Nachokoolaid]

Who has GRINDHOUSE on their movie journal list.

I DO I DO... *raises hand and flaps it around wildly*

It's not showing in my immediate area, and I have a busy schedule, so I probably won't be catching it until the DVD comes out.

[WinslowLeach]

Who has GRINDHOUSE on their movie journal list.

I DO I DO... *raises hand and flaps it around wildly*

Just you're now in my little book under C for: COOL CHICK! 8)

[justcheckin]

Who has GRINDHOUSE on their movie journal list.

I DO I DO... *raises hand and flaps it around wildly*

Just you're now in my little book under C for: COOL CHICK! 8)

Just so you know... I've seen it twice!

[Keepcoolbutcare]

you know, "The Killing Moon" is a way cooler song than "Never Tear Us Apart" and Echo & the Bunnymen and infinitely cooler and better band than INXS. but honestly, Never Tear Us Apart works better in the movie.

"Fate
Up against your will"

for me, at any rate, works better than

"You were there
Two worlds collided"

plus, the imagery of romantic desperation is much more vivid in "The Killing Moon".

either way, quite a second choice, and I'm glad for both versions, if only for the chance to contrast and compare the two.

[Brocktune]

well, (and im not trying to back pedal here) but lyrically, you are absolutely correct. but i was thinking in terms of the E.Q., or "emotional quotient" of the music itself. i think that musically, N.T.U.A. packs more of an emotional punch. at least in context with the scene, you know?

IMO, of course.

[Flumm]

I'm going to pitch in, if nothing else, than to keep track of what I'm watcing, and spend some time, hopefully, lingering over what I've watched, and digest it some, before moving ever onwards to the next thing.

I'm all compiled and up to date, just need to retrospectively apply ratings, formatting and such...

Mmm, this area of the neighbourhood is a little ...swarthier than I would have liked, especially considering the poor tax breaks being indtoduced for page 6'ers, but hey ho.





*terratorial widdling on abandoned scrubland*


::Due for Renovation::

(... probably when this is out of the Top 15 and your not peeking in mah windas..)



*****


Purely for the reasons of approximate movie-journal-keeping marksmanship, I've been more leniant, or at least a little more favourable, for films with a degree of autuership, or for originality of premise and conciet, than say, practical accomplishment, in navigating between the vague slipsteams of each catorgory.

That it is to say, the things being expressed, relative to the experience of those making and the subects being made, are as valued here, as the skill and success in which they have been accomplished...


Therefore Matilda, a Man In (Kangeroo)Suit! movie, in which said Kangeroo is being managed by an on-the-make Elliot Gould into becoming a 'roo > punyhuman boxing champion, replete with kangeroo-mobile and Life Lessons, by my arbritary imperfect art Vs imperfect art book-keeping scientific calculations, outweighs in it's relative class, the somewhat muddled and uneven Munich...

((In My Honest Opinion©)


Due, of course, (ahem), to the originality of the things unfolding to my eyes with Matilda, as hammy, disposable and tacky as they are, compared with the more aspirational and immiedately laudable, yet somewhat ill-realised and executed Munich, which having loftier aspirations by a far more talented group of indvividuals, and especially considering the subjects involved, has to be judged by a stricter, harder to please and more exacting movie-journaling Flummage.


Sigh.

I hope that makes sense.


As a further measure to try and quantify between the groups, and because it appeases the inner-turmoil, each movie has an approximate placing from top to bottom, where they are higher or lower they are in each grouping, simply the closer they are/were to being held on shoulders / KO'd oop or doon.


Think podiums placings, people.


Divided and then accordingly rearranged by weight/moral relativity.


Then marinated in the mysterious viscous liquids of the spare internal organ of the Malaysian vampire monkey, times the alternate crustiest spores of the discordantly patterned moss growths of the inside the nostrils of the most Notherly, Easterly, Westerly but not Southerly indignant looking statuettes on Easter Island, and, I think you see exactly what I am trying to say here.


Anyway, without further a meh, the catorgories from top to bottom...



1) AIRWOLF


Self-explanitory...


2) SCHOOL'D OF OLD


Excellence in spades, unexpected brilliance, or enough of the sublime to overlook the few flaws that it may well have.

Kudos goes to originality first and foremost, the deconstruction of the expected, or alternatively, ascendency in a given field, be it from the story, or the story-tellers. A prefference for sentiment and choice over pure aestetics previals, but both in harmony is mighty nice also.

And overall, perhaps just a certain level of celuloidic-sass this clanky kook finds particularly appealing.

[/gorshbyjovedarnit]


3) GROUND OF HOG


A generally positive, or well-crafted experience. More often that not will have more things to appreciate than to dislike, possible even having masterfull strokes in their somewhere, but potentially crippled by some serious flaws, limited scope or lack of filmic ambition, etc...

The process of having to try to pry the (generally) positive from the negative, however, mayhaps leave it all feeling a bit familar for this weary film-geek, questing forth for a purer cinematic hit.


4) SEE YOU LATER, SWEET SEA-OTTER


...I made a catorgory with otter in it...


5) AIRALF

Explanitory self-wise...


And so.


*****


Flummage's Movie Journal 2007


January


AIRWOLF


Trois couleurs: Bleu (1993)

- (Three Colours: Blue)


SCHOOL'D OF OLD


Trzy kolory: Biały (1994)

- (Three Colours: White)

Schindler's List (1993)

The New World (2005)

Thumbsucker (2005)

The Missouri Breaks (1976)

The Maltese Falcon (1941)

Heaven Knows Mr Allison (1957)

Matilda (1978)

Forbidden Zone (1980)


GROUND OF HOG


21 Grams (2003)

The Shape Of Things (2003)

Serenity (2005)

Igby Goes Down (2002)

Harry Potter And The Prisoner Of Azkaban (2004)

Harry Potter And The Goblet Of Fire (2005)



SEE YOU LATER, SWEET SEA-OTTER


A History of Violence (2005)

Man On Fire (2004)

Star Wars - Clone Wars - Vol. 2 (2005) (+)


AIRALF


/////



February


AIRWOLF


Der Himmel über Berlin (1987)

- (Wings Of Desire)

Yojimbo (1961)

- (Yojimbo the Bodyguard) |USA|

Bande à part (1964)

- (Band of Outsiders) |USA|
- (The Outsiders)


SCHOOL'D OF OLD


À bout de souffle (1960)

- (Breathless) |UK Subtitle| |USA|

Majo no takkyûbin (1989)

-(Kiki's Delivery Service) |USA|

Vertigo (1958)

Blue Collar (1978)

Elephant (2003)

Dao (1995)

- (The Blade) |USA|

Safe (1995)

Gallipoli (1985)

Le Fleuve (1951)

- (The River)

Broken Flowers (2005)

Little Big Man (1970)

Rumble Fish (1983)

Escape From Zahrain (1962)


GROUND OF HOG


Inosensu: Kôkaku kidôtai (2004)

- (Ghost in the Shell 2: Innocence)

Lord of War (2005)

The Bounty (1984)

Miami Blues (1990)

Kiss Me Deadly (1955)

The Dead Zone (1983)

Stanley And Iris (1990)

At Close Range (1986)

Scanners (1981)


SEE YOU LATER, SWEET SEA-OTTER


The Prophecy (1995)

Red Eye (2005)


AIRALF


/////



March


AIRWOLF


Akahige (1965)

- (Red Beard)


SCHOOL'D OF OLD

[RE] Sex, Lies, and Videotape (1989)

The Wire Season 1 (2002) (+)

A Cock And Bull Story (2005)

- (Tristram Shandy: A Cock and Bull Story) |USA|

The Remains of the Day (1993)

Vera Drake (2004)


GROUND OF HOG


Munich (2005)

The Life and Death Of Peter Sellers (2004)

A Mighty Wind (2003)

Whale Rider (2002)

The Three Burials of Melquiades Estrada (2005)

Hustle & Flow (2005)

The Buena Vista Social Club (1999)

The Duelists (1977)

The Public Enemy (1931)



SEE YOU LATER, SWEET SEA-OTTER


The Hard Word (2002)


AIRALF


/////



April


AIRWOLF


Vivre Sa Vie (1962)

- (Vivre sa vie: Film en douze tableaux)
- (It's My Life) |UK|
- ((My Life To Live) |USA|

Tôkyô Monogatari (1953)

-(Tokoyo Story)

[RE] Kaze no tani no Nausicaa (1984)

- (Nausicaa Valley of the Wind) |UK|
- (Nausicaa of the Valley of the Winds) |USA|


SCHOOL'D OF OLD


Paris, Texas (1984)

Mitt liv som hund (1985)

-(My Life as a Dog)

Babe: Pig in the City (1998)

A Scanner Darkly (2006)

The Sopranos Season 6: Part 1 (2006) (+)

Brick (2005)

La Boucher (1970)

-(The Butcher)

Children of Men (2006)


GROUND OF HOG


Midnight Run (1988)

Syriana (2005)

The Razor's Edge (1984)

[RE] Master and Commander: Far Side of the World (2003)

The World's Fastast Indian (2005)

The US Vs John Lennon (2006)


SEE YOU LATER, SWEET SEA-OTTER


/////


AIRALF


/////



May


AIRWOLF


Podzemlje (1995)

-(Underground)

Hakuchi (1951)

-(The Idiot)

Hsia Nu (1969)

-(A Touch Of Zen)


SCHOOL'D OF OLD


Tasogare Seibei (2002)

-(Twighlight Samurai)

Mouchette (1967)

Vanishing Point (1971)

Innocence (2004)

The Constant Gardener (2005)

[RE] Silver Streak (1976)


GROUND OF HOG


Lost Season 3 (2006/07) (+)

I ♥ Huckabees (2004)

Little Miss Sunshine (2006)

Miami Vice (2006)

Les Invasions Barbares (2003)

-(The Barbarian Invasions)

Southern Comfort (1981)

Zwartboek (2006)

-(The Black Book)

Superman Returns (2006)


SEE YOU LATER, SWEET SEA-OTTER


The Departed (2006)

X-Men: The Last Stand (2006)

Mission: Impossible III (2006)


AIRALF


/////



June


AIRWOLF


Grey Gardens (1975)

El Espíritu de la Colmena (1973)

-(The Spirit of the Beehive)

[RE] Dog Day Afternoon (1975)

[RE] Cool Hand Luke (1967)


SCHOOL'D OF OLD


Dead Man (1995)

Plein Soleil (1960)

-(Purple Sun)

Tsotsi (2005)

Du Rififi Chez Les Hommes (1955)

-(Rififi)

The Sopranos Season 6: Part 2 (2007) (+)

Bakushû (1951)

-(Early Summer)

Rabbit-proof Fence (2002)

Good Night, and Good Luck (2005)

Les Diaboliques (1955)

-(The Devils)

Pépé le Moko (1937)

Little Fish (2005)


GROUND OF HOG


Somersault (2004)

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)

V for Vendetta (2006)

[RE] The Faculty (1998)

Pirates of the Caribbean: Dead Man's Chest (2006)


SEE YOU LATER, SWEET SEA-OTTER


[RE] Phenomenon (1996)


AIRALF


/////



July


AIRWOLF


/////


SCHOOL'D OF OLD


Let It Be (1970)

Rocco E I Suoi Fratelli (1960)

-(Rocco and His Brothers)

Moartea domnului Lazarescu (2005)

-(The Death of Mr Lazarescu)

Brazil (1985)

[RE] Fight Club (1999)

Ossessione (1943)

[b]Ã

[magicmonkey]

you know, "The Killing Moon" is a way cooler song than "Never Tear Us Apart" and Echo & the Bunnymen and infinitely cooler and better band than INXS. but honestly, Never Tear Us Apart works better in the movie.

"Fate
Up against your will"

for me, at any rate, works better than

"You were there
Two worlds collided"

plus, the imagery of romantic desperation is much more vivid in "The Killing Moon".

either way, quite a second choice, and I'm glad for both versions, if only for the chance to contrast and compare the two.

I dunno, INXS is much sweeter, it sets a better tone for the movie for me at least. Plus the secret is in the two worlds colliding and its a much more optimistic way of looking at the story.

Having said that I do realise that Echo and the Bunnymen is perfect too, but it's kinda the difference between the wicked witch and the good witch telling the tale.

[magicmonkey]

Mmm, this area of the neighbourhood is a little ...swarthier than I would have liked, especially considering the poor tax breaks being indtoduced for page 6ers, but hey ho.

Dude put a link in your sig and we'll all have no problems finding it. Unless you have sigs disabled of course, and for that you have my sympathy.

[so sorry]

I'm going to pitch in, if nothing else, than to keep track of what I'm watcing, and spend some time, hopefully, lingering over what I've watched, and digest it some, before moving ever onwards to the next thing.

I'm all compiled and up to date, just need to retrospectively, apply ratings, formatting and such..

Mmm, this area of the neighbourhood is a little ...swarthier than I would have liked, especially considering the poor tax breaks being indtoduced for page 6ers, but hey ho.





*terratorial widdling on abandoned scrubland*


::Due for Renovation::

(... probably when this is out of the Top 15 and your not peeking in ma windas..)

Flumm, I heard that this guy might be willing to sell his spot on page 2.
He got the spot, but hasn't done anything yet and doesn't seem like he wants to, so you might be able to get a good deal.

Quite frankly I don't like the where you are now, and this guy is just bringing down the property value of the early pages...

[Keepcoolbutcare]

Bob le Flambeur* (3)

but...but...IT'S YOUR SCREEN NAME?!?!

Once a Thief (1)
A Better Tommorow II (1)
A Better Tommorow III (1)

ok, I can see the first one, ONCE A THIEF is minor Woo, even tho' there's a lot of charm in that one.

But A BETTER TOMORROW II only a 1?!? C'mon, that end sequence alone is worth at least a 3! 89 deaths!
Didja get how the Dean Shek character's arc equals how Tsui felt he was screwed over by the HK film industry?

and c'mon, some folks (ME!) will insist Tsui's part III is the best of the series...damned Wachowski's ripped off the slow mo' shells sequence in The Matrix from this!

The Bride with White Hair (1)

now that's just a heresy.

you, good sir, are the harshest critic we have here. Which isn't a bad thing, just sayin'...

[Keepcoolbutcare]

Fair
King of New York (1990) (Mar. 24.)

make that 4 x's damned!

[WinslowLeach]

King of NY gets a FAIR?

I think hes a few beers short of a six pack!!

[Al Shut]

@LeFlambeur

you, good sir, are the harshest critic we have here. Which isn't a bad thing, just sayin'...

Hahaha

that's exact thew same thing I think everytime I read his journal.

But than I have to remind myself that the rating system is rather unusual with 1/5 still beeing mediocre. Puts things a little into perspective.

[LeFlambeur]

Bob le Flambeur* (3)

but...but...IT'S YOUR SCREEN NAME?!?!

I knew somebody was gonna call me on this. I was gonna have my name be Le Samourai but I think it was taken. The name is more of a nod toward Melville and the super-cool charachter Bob, than the actual film itself.

Once a Thief (1)
A Better Tommorow II (1)
A Better Tommorow III (1)

ok, I can see the first one, ONCE A THIEF is minor Woo, even tho' there's a lot of charm in that one.

But A BETTER TOMORROW II only a 1?!? C'mon, that end sequence alone is worth at least a 3! 89 deaths!
Didja get how the Dean Shek character's arc equals how Tsui felt he was screwed over by the HK film industry?

and c'mon, some folks (ME!) will insist Tsui's part III is the best of the series...damned Wachowski's ripped off the slow mo' shells sequence in The Matrix from this!

The Better Tomorrow series gets better with each film. The problem I had with a Better Tomorrow II is that, though it was technically superior to the first, John Woo just couldn't dispence with the damn histronics. His passion needs a stronger undercurrent of cool, more like the Killer (his best film). I had the same frustrations with the end of Once a Thief. If he had burned the last reel, he would have had a terrific caper film/Jules et Jim homage on his hands. Instead it just degenrates into the lamest slapstick I've ever had the displeasure of watching Chow Yun-F A T (although he is studly) grin his way through. I might change my rating on ABT3 though...

The Bride with White Hair (1)

now that's just a heresy.

I was impressed by its cartoon aesthetic, but I wasn't all that engaged on a narrative, emotional, or even intellectial level. Although the last one might be my problem, I don't know.

...But than I have to remind myself that the rating system is rather unusual with 1/5 still beeing mediocre. Puts things a little into perspective.

I'm not sure how to explain my rating system, because I myself am still trying to feel it out. I guess I figure it is better to be too prudent than too generous.

[Al Shut]

...But than I have to remind myself that the rating system is rather unusual with 1/5 still beeing mediocre. Puts things a little into perspective.

I'm not sure how to explain my rating system, because I myself am still trying to feel it out. I guess I figure it is better to be too prudent than too generous.

It doesn't need more explanation than it already hasone should just make sure to look at the legend.

[tapehead]

you know, "The Killing Moon" is a way cooler song than "Never Tear Us Apart" and Echo & the Bunnymen and infinitely cooler and better band than INXS. but honestly, Never Tear Us Apart works better in the movie.

"Fate
Up against your will"

for me, at any rate, works better than

"You were there
Two worlds collided"

plus, the imagery of romantic desperation is much more vivid in "The Killing Moon".

either way, quite a second choice, and I'm glad for both versions, if only for the chance to contrast and compare the two.

I dunno, INXS is much sweeter, it sets a better tone for the movie for me at least. Plus the secret is in the two worlds colliding and its a much more optimistic way of looking at the story.

Having said that I do realise that Echo and the Bunnymen is perfect too, but it's kinda the difference between the wicked witch and the good witch telling the tale.

Wicked witch for me then - it was my first and perhaps biggest disappointment in watching the DC of Darko (still prefer the theatrical cut).
Killing Moon just seemed more dark, portentous and foreboding - for me a much better tune as well. INXS peak on Listen Like thieves and plateau out on KICK.

[Brocktune]

INXS peak on Listen Like thieves and plateau out on KICK.

i disagree. by KICK, they were done. it may have been their greatest commercial success (at least in the US), but i feel that they peaked with Shabooh Shoobah, and Listen Like Theives was a fitting end. kick was complete garbage. i used to love that record a long, long time ago. you know how some of those records you listened to as a kid still hold up 10 or 20 years later? well, kick aint one of those reocrds. ill take the 12" remix of new sensation, and let the rest be obliterated from existence. seriously, if i never hear "need you tonight" for the rest of my life, it will be too soon.

[Iconoclastica]

Hey guys -

I know it's a faux pas to post about posting updates, but I had a couple of minutes for a quick study break, and I figured since I hadn't been here in so long, I'd pop in to say hello (I miss you guys!!!) . . . and do the one geeky thing I could think of that would take minimal brain capacity - update my 2007 movie journal :-p. Hope all is well, and that most major catastrophes have been evaded in the absense of me and my dzas desert eagle

[Adam Balm]

And you are...?































HOLY SHIT ICONNY'S BACK!!!

[Iconoclastica]

hahaha aww, thanks A Balm . . . though sadly, it's a limited time engagement . . . I'm studying for boards, and my time is limited to eat, sleep, attend lecture, study, rinse and repeat . . . then I start third year right after that, and I somehow ended up becoming the director of the free clinic next year, which means that my little free time has now been expunged . . . teh zone will be a once every few weeks treat . . . though I promise I'll keep up on my key movie viewing ^_^

[Bob Samonkey]

We miss you, Iconny. And your monkey porn. As referenced in the missing thread.

[Nachokoolaid]

I noticed this is happening more and more. People that I'm used to seeing around here are pooping in and saying that the real world calls, and they are only able to pop in every couple of weeks...and then not at all. Sad, really.

I wonder if I'll ever have the semblance of a social life or if that will never be a problem....

[Keepcoolbutcare]

rinse and repeat . . . director of the free clinic next year

get ready to repeat that "rinse and repeat" line ad nauseam.

and shrink that sexy av!

[Flumm]

Hey guys -

I know it's a faux pas to post about posting updates, but I had a couple of minutes for a quick study break, and I figured since I hadn't been here in so long, I'd pop in to say hello (I miss you guys!!!) . . . and do the one geeky thing I could think of that would take minimal brain capacity - update my 2007 movie journal :-p. Hope all is well, and that most major catastrophes have been evaded in the absense of me and my dzas desert eagle

And here was me thinking you'd burdened yourself with the important things in life or something...

(a purely altruistic cure all for celebacy/sobriety notwithstanding)

Ahem-ness.

Any quantity of Iconniclastica is more nourishing to the Zone's constitution than nonesome.

The Zone awaits you ( probably in some excruciatingly embarracing yet oh so hillarious, rambunctiously lewd, Carry On style shenanigan-in-progress type skit type situation type thing) and your rounds, Matron 'Clastica.

[Flumm]

Flumm, I heard that this guy might be willing to sell his spot on page 2.
He got the spot, but hasn't done anything yet and doesn't seem like he wants to, so you might be able to get a good deal.

Quite frankly I don't like the where you are now, and this guy is just bringing down the property value of the early pages...

Always looking out for me, So Sorry.



I dunno, despite the appearences to the otherwise, that place looks a lil' too clean, no? A "went out at all hours", "strange, almost animal, sounds coming from the basement", a "kept himself to himself" kinda deal...

No, I think I'm gonna be all Jenny from the Block and keep it real on the 6, yo.

Don't be fooled by all these posts that I bagged,
I'm just, I'm just Flummy from the 'f@g.


Or something.

I'll call you again when I get someone pregnant or something, though, eh?

[tapehead]

INXS peak on Listen Like thieves and plateau out on KICK.

i disagree. by KICK, they were done. it may have been their greatest commercial success (at least in the US), but i feel that they peaked with Shabooh Shoobah, and Listen Like Theives was a fitting end. kick was complete garbage. i used to love that record a long, long time ago. you know how some of those records you listened to as a kid still hold up 10 or 20 years later? well, kick aint one of those reocrds. ill take the 12" remix of new sensation, and let the rest be obliterated from existence. seriously, if i never hear "need you tonight" for the rest of my life, it will be too soon.

... yeah fuck it, you're right - though I might hold on to the faux Doors groove of 'Mystify me' and their cover of The Loved Ones 'The Loved One' as well, they never were as good as their first five albums - curious what you might think of The Swing, then, which was released between Shabooh Shoobah and Listen...

[magicmonkey]

4/15/07 - THE KID - 7.5/10 - H - if i didnt know, i never would have guessed that that beguiling, precocious little child would grow up to be that beguiling, precocious Uncle Fester. Simultaneously funny, and moving. The acting is very sincere. Heads up, fellas. This flick melted my gf's heart. Not only did I get an important and entertaining slice of cinema, but it got me laid too. Next time you have that hot geekette coming over, maybe think about popping this in first, eh? Might not be the last thing you pop in that night.

Proof that this thread aids your sexual prowess.

[Brocktune]

INXS peak on Listen Like thieves and plateau out on KICK.

i disagree. by KICK, they were done. it may have been their greatest commercial success (at least in the US), but i feel that they peaked with Shabooh Shoobah, and Listen Like Theives was a fitting end. kick was complete garbage. i used to love that record a long, long time ago. you know how some of those records you listened to as a kid still hold up 10 or 20 years later? well, kick aint one of those reocrds. ill take the 12" remix of new sensation, and let the rest be obliterated from existence. seriously, if i never hear "need you tonight" for the rest of my life, it will be too soon.

... yeah fuck it, you're right - though I might hold on to the faux Doors groove of 'Mystify me' and their cover of The Loved Ones 'The Loved One' as well, they never were as good as their first five albums - curious what you might think of The Swing, then, which was released between Shabooh Shoobah and Listen...

i really dig the swing. i like Shabooh Shoobah better, but The Swing is really good too. i think the technical advantages between Listen Like Thieves, ans The Swing could be debated, but i enjoy TS better. LLT has a more polished "mainstream" (for lack of a better term) sound. it has some really great songs, but ultimately foreshadows KICK a little too much. The Swing however is a different story. i fucking love Melting In The Sun, I Send A Message, and Dancing On The Jetty. so good. i mean the rest of the record is pretty good too. but those three songs in a row are so bitchin. that chorus'd out bass. andy farris's synth work. it was like they found a really good middle ground between their sort of bar rock, and what was happening, or had happened in new wave. they were pop enough to create some really great songs that were palatable to the pop crowd, yet they were still dark and brooding enough for the new wave and new romo crowd. at least, until Listen Like Thieves. Shabooh Shoobah and The Swing are important staples of alternative music history. great records. seriously, i have listened to these records for years, and they still get a fairly regular rotation. Shabooh Shoobah is a masterpiece. well, now im probably gushing a little too much. great records though.

[tapehead]

It's the wrong thread brocktunes, but I'd like to go on a bit more - you have to listen to some early Hunters & Collecters, if you haven't already - like a more rhythm driven heavier version of that era's music, without the charisma/millstone of a frontman like Hutchence.

[QT!!!]

INXS peak on Listen Like thieves and plateau out on KICK.

i disagree. by KICK, they were done. it may have been their greatest commercial success (at least in the US), but i feel that they peaked with Shabooh Shoobah, and Listen Like Theives was a fitting end. kick was complete garbage. i used to love that record a long, long time ago. you know how some of those records you listened to as a kid still hold up 10 or 20 years later? well, kick aint one of those reocrds. ill take the 12" remix of new sensation, and let the rest be obliterated from existence. seriously, if i never hear "need you tonight" for the rest of my life, it will be too soon.

... yeah fuck it, you're right - though I might hold on to the faux Doors groove of 'Mystify me' and their cover of The Loved Ones 'The Loved One' as well, they never were as good as their first five albums - curious what you might think of The Swing, then, which was released between Shabooh Shoobah and Listen...

i really dig the swing. i like Shabooh Shoobah better, but The Swing is really good too. i think the technical advantages between Listen Like Thieves, ans The Swing could be debated, but i enjoy TS better. LLT has a more polished "mainstream" (for lack of a better term) sound. it has some really great songs, but ultimately foreshadows KICK a little too much. The Swing however is a different story. i fucking love Melting In The Sun, I Send A Message, and Dancing On The Jetty. so good. i mean the rest of the record is pretty good too. but those three songs in a row are so bitchin. that chorus'd out bass. andy farris's synth work. it was like they found a really good middle ground between their sort of bar rock, and what was happening, or had happened in new wave. they were pop enough to create some really great songs that were palatable to the pop crowd, yet they were still dark and brooding enough for the new wave and new romo crowd. at least, until Listen Like Thieves. Shabooh Shoobah and The Swing are important staples of alternative music history. great records. seriously, i have listened to these records for years, and they still get a fairly regular rotation. Shabooh Shoobah is a masterpiece. well, now im probably gushing a little too much. great records though.

Sold!
I'm gonna put something from Shabooh Shoobah in my War epic. Any suggestions as to what kind of Hutchence goodness you'd like to muthafuckin see on screen when Adam Sandler (possibly) blasts the ever-living fuck outta some muthafuckin nazis?

Just kidding - there won't actually be any fighting in the film - I'm gonna bend some genres and re-invent some non-existent ones and we're gonna just continously catch up with these dirty dozen-esque muthafuckas only just before and just after each battle.
And they'll be hanging around talking and whining like a bunch of badass broken down muthafuckin bitches. You'll have to always piece together the bits of battle and what the fuck just happened to these badass broken down muthafuckin bitches each time.

So, any thoughts?

[Brocktune]

The Maltese Falcon (1941)
Forbidden Zone (1980)
Yojimbo (1961)
- (Yojimbo the Bodyguard) |USA|
Inosensu: Kôkaku kidôtai (2004)
- (Ghost in the Shell 2: Innocence)
Akahige (1965)
- (Red Beard)
A Cock And Bull Story (2005)
- (Tristram Shandy: A Cock and Bull Story) |USA|
A Mighty Wind (2003)
The Public Enemy (1931)

man, you have got some real winners in there old buddy. and some personal favorites.

now, your thoughts on "Forbidden Zone", if you please!

[LeFlambeur]

Sold!
I'm gonna put something from Shabooh Shoobah in my War epic. Any suggestions as to what kind of Hutchence goodness you'd like to muthafuckin see on screen when Adam Sandler (possibly) blasts the ever-living fuck outta some muthafuckin nazis?

Just kidding - there won't actually be any fighting in the film - I'm gonna bend some genres and re-invent some non-existent ones and we're gonna just continously catch up with these dirty dozen-esque muthafuckas only just before and just after each battle.
And they'll be hanging around talking and whining like a bunch of badass broken down muthafuckin Winslows. You'll have to always piece together the bits of battle and what the fuck just happened to these badass broken down muthafuckin Winslows each time.

So, any thoughts?

Yes, how much longer are you going to pollute these threads with this already tired schtick? I mean, the horse was dead before you even started beating it. Just stop.

[Flumm]

The Maltese Falcon (1941)
Forbidden Zone (1980)
Yojimbo (1961)
- (Yojimbo the Bodyguard) |USA|
Inosensu: Kôkaku kidôtai (2004)
- (Ghost in the Shell 2: Innocence)
Akahige (1965)
- (Red Beard)
A Cock And Bull Story (2005)
- (Tristram Shandy: A Cock and Bull Story) |USA|
A Mighty Wind (2003)
The Public Enemy (1931)

man, you have got some real winners in there old buddy. and some personal favorites.

now, your thoughts on "Forbidden Zone", if you please!

Sacré Putz!

Mmm, I missed this somehow, appologies in dues delayed, Brock.

Where to start?

The brass tacks:

I'm not gonna proffess an undying love for this thing, or try and sell it to you as something that I suddenly hold as dear to you as do, my friend, 'cause I suspect that just wouldn't be possible, BUT I will say I dug it a great deal, am muchoy thankful for it ever having spilled across my eyes, and wish there were more films made like this, films from people rather than product check lists. The unfamilar and the fucked up and the non-sensical and the oh so very personal..

Perhaps not by the dozen, fillling up all the frames, spools and screens, but at least a handfull. A sprinkling. Something more than there is now. Or I suppose, that it would feel like there is. I'm not even sure, for a whole raft of reasons, that a creation like this, and by that I mean with the same above mentioned feel of the uniquely individual to it as much as anything else, could even be made quite in the same way, only a couple of decades later.

It's obvious, from viewing and swotting up on the extras and such, that the whole thing is just a mad cranial emission from a bunch of musicians, actors film makers, chancers, wannabes, shoulda beens and somehowares.

It has an atmosphere of being from a time and place, and belonging to, quite intimately,a little group of people. That you're almost intruding somehow into these other people's lives by having seen them so exposed and candid in their youth, notsoyouth and uninhibted freind and family and intoxicant seeped creativties.

Like you lent over someone's shoulder in school, someone perhaps you didn't know very well, someone you recognised, who likely wasn't very popular, didn't seem to have made themselves aware up on your radar, and you see them drawing something maybe, writing a lyric that you don't know but makes you smile and intrigues, a 'toon that scares the shit out of you, overall somehow just pulling you in and invoking a connection, one way or another. And there it is, once seen, you're pulled into it...

It's not perfect, art, never mind something so of a certain place, time and band apart can be I think, but it it somehow makes perfect sense to me, that this is the kind of film that people would hold close to them, you know?

Oh, and like I need to say this to you, but what about Susan Tyrrell - one of the all-time great screen dames?

Hell, she's even more of a star offscreen. Old School indeeds.

Somewhere between Kathrine Hepburn, Better Davis and Dita Von Teese.

And then nothing like any of them at all.

Classy, classy lady.

[Brocktune]

nice.

you know, i asked John Waters if he had any anecdotes about working with Susan Tyrell. he said that that was the only set he ever worked on where people had their wallets stolen. he was quick to point out that it was Tyrell's friend that was doing it, but that it was a very Susan thing to have happen. He said that she was an absolute pleasure to work with, and that it was like a non-stop party.

glad to know you saw it, and saw merit in it.

"you aint takin me nowhere you honky bitch!"

classic.

[Keepcoolbutcare]

Dao (1995)

- (The Blade) |USA|

'bout damn time!

not too shabby a remake, Tsui amped up the homoerotic subtext of the typical Wuxia pic, and as a response to Wong Kar Wai's portentous "Ashes of Time" (which I adore) at least Tsui had the sense to go balls to the wall crazy with the finale.

the last 15minutes or so of that flick is pure action bliss, one of the best last duels ever committed to film.