Oct 17, 2015

cringe Charlie really airing out his horrific opinions atm

 

Oct 17, 2015

All I see is vahn taking to himself right now

 

Oct 17, 2015

 

Oct 17, 2015

Le Samourai?

 

Oct 17, 2015

 

Oct 17, 2015

Do you guys think Xavier Dylan's new movie will about a gay character with daddy issues?

 

Oct 17, 2015

Xavier Dylan cause he spits that fire

 

Oct 19, 2015

To add to @Woody and @Twan dialogue on Steve Jobs, I wrote a few words... I think I'm kind of in the middle of you both.

In this highly impressionistic biopic of Steve Jobs, a visionary figure of modern culture, Danny Boyle’s distinct stylistic panache counters its tacit journalistic responsibilities. Indeed complete of visual flair and artistic nuance, his singular aesthetic design is such that subjective vision and evocation of this vision overcomes the film’s content. Complemented by Sorkin’s intellectual yet idiosyncratic script, Steve Jobs is simultaneously an entertaining delight and an exhausting experiment of form. This, of course, is especially bothersome of a biopic, wherein embellished scripts and artistic license is especially frowned upon.

Focusing on three specific moments, yet using these three moments to speak about decades of events and encounters, Steve Jobs feels overly reliant on dialogue, while stylistic flourishes primarily serve superfluous purposes. The dramatic, almost theatrical nature of its conveyed dialogues give little of a sense of authenticity, suggesting that while much of the content may be true what is certainly untrue are the hows and whens. It is exceedingly doubtful that these three moments were as particularly momentous in Jobs’ life, both career and personal, as presented on screen.

And yet the film’s stylistic opulence is at once its greatest feature. If forgiven for factual inaccuracy or journalistic responsibility, Steve Jobs succeeds on a purely artistic level. The use of walk-and-talk Sorkin-esque dialogue well befits the nature of the characters and story. Visual and auditory inflections, such as neon reds, canted angles, and an electronic score, provide at the least a consistent artistic vision. And this artistic vision leads to a rather strong psychological evocation of a person, if only a single-minded interpretation of such.

While Fassbender is captivating as the lead, accolades are truly deserved by Jeff Daniels and Seth Rogen who well portray their supporting characters. In an especially powerful scene, Boyle and Sorkin’s combined stylistic inflections produce a cross-cut, shot-reverse-shot dialogue between Jobs (Fassbender) and Sculley (Daniels) from two separate moments in time, two arguments which are simultaneously fully of visual energy and literary intrigue. It yields a particularly impressive performance from Jeff Daniels which easily rivals favourite scenes from Sorkin-written scenes in the Newsroom. On the other hand, Kate Winslet’s Polish/Austrian/American accent might be the most distracting aspect of the film, changing in thickness from line to line yet impossibly little between ’84 and ’98.

70/100 – Good.

http://aestheticsofthemind.com/

 

Oct 19, 2015

I wonder how many people share the top 1. I think it's quite amazing that we would all three likely have Tree of Life as number 1. There's a lot of subjectivity here and there, so it's nice when there's a consistency, especially within a small group wherein so much outside of it has no clue or doesn't think the same. There's a comfort and confidence in it.

Boyhood ftw. Good other choices but I'm not sure any would make top 15.

All this did was make me watch Carax Modern Love sequence literally 4 times in a row. f---ing Juliette Binoche's innocent youthful eyes + Lavant energy.

I wondered about this before, but as much as I love Alain Delon in this role, and as much as I see Drive as an homage, I would probably say I prefer Drive. I think both are masterpieces

 

Oct 19, 2015

#madreal.

 

Oct 19, 2015

• 
  Cemetery of Splendour 2015
  ★★★★★ Watched 06 Oct, 2015
  
  [REVIEW] 96/100 - Cemetery of Splendour (Apichatpong Weerasethakul, Thailand)
  
  While the film holds many complex qualities and tells a highly complicated story, Cemetery of Splendour is truly a grounded and meaningful evocation of the ineffable world of metaphysical objects and thought.
  
  Read more:
  nextprojection.com/2015/10/16/viff-cemetery-splendour-grounded-meaningful-evocation/
  
  No likes
  
  
• 
  The Measure of a Man 2015
  ★★★½ Watched 06 Oct, 2015
  
  [REVIEW] 75/100 - The Measure of a Man (Stephane Brize, France)
  
  Somewhat effective, and paints a clear picture of a disgruntled citizen whose dignity is made open for measure.
  
  Read more:
  nextprojection.com/2015/10/15/viff-the-measure-of-a-man/
  
  No likes
  
  
• 
  The Second Mother 2015
  ★★★ Watched 06 Oct, 2015
  
  [REVIEW] 73/100 - Second Mother (Anna Muylaert, Brazil)
  
  Cinematically, the film is nothing spectacular, and surely the script comes first. Notably, inward zooms of empty hallways evoke the pain of emptiness, which is thematically found in the hearts of children with voids for mothers. Unfortunately, the film does drag at times, and therefore only feels marginally successful.
  
  Read full review:
  nextprojection.com/2015/10/15/viff-second-mother-feels-marginally-successful/
  
  No likes
  
  
• 
  Embrace of the Serpent 2015
  ★★★★½ Watched 06 Oct, 2015
  
  [REVIEW] 89/100 - Embrace of the Serpeant (Ciro Guerra, Columbia/Argentina/Venezuela)
  
  The film as a whole is a hypnotic exemplar of cinema as a transformative art.
  
  Read full review:
  nextprojection.com/2015/10/15/viff-embrace-serpent-hypnotic-exemplar-cinema-transformative-art/
  
  No likes
  
  
• 
  Steve Jobs 2015
  ★★★ Watched 18 Oct, 2015
  
  [REVIEW] 70/100 - Steve Jobs (Danny Boyle, USA)
  
  In this highly impressionistic biopic of Steve Jobs, a visionary figure of modern culture, Danny Boyle’s distinct stylistic panache counters its tacit journalistic responsibilities. Indeed complete of visual flair and artistic nuance, his singular aesthetic design is such that subjective vision and evocation of this vision overcomes the film’s content.
  
  Read More:
  bit.ly/1W03CfD
  
  No likes
  
  
• 
  Sicario 2015
  ★★★★ Watched 17 Oct, 2015
  
  Forgiving some awkward dialogue and transitions, this is a sharp and powerfully shot film, dense in emotive resonance.
  
  83/100
  

 

Oct 19, 2015

Thanks!

 

Oct 19, 2015

@FilmAndWhisky While I quite liked Steve Jobs in the moment, I'll admit that only a week later, it's quickly fading from memory.

Saw Crimson Peak and probably liked it slightly less than @Vahn . I did dig the look of the movie a lot...deliberately artificial like a fairy tale come to life. Hiddleston and Chastain also appeared to be having a lot of fun with their characters without ever quite verging into camp. On the other hand, the film rather dutifully hits its predictable plot points, which wouldn't necessarily be a problem if the film had more mood and atmosphere to go along with its appealing visuals and elaborate production design.

 

Oct 20, 2015

Blackhat (2015) (Dir. Michael Mann) (Cin. Stuart Dryburgh)



A little over two decades ago, an avant-garde filmmaking movement started by two Danish directors intended to take power back from the studio system spurred the creation of some of the first feature films to be shot digitally, all with consumer grade equipment.

A little over a decade ago, Michael Mann's Collateral paved the way for mainstream films to shot digitally, this time using equipment far more suitable for the job.

Since 2008, the Academy Award for Best Cinematography has been awarded exclusively to films shot digitally.

None of them look better than this. 4/5

 

Oct 20, 2015

FORCE AWAKENS

 

Oct 20, 2015

masterpiece

 

Oct 20, 2015

idk how I found this film but this ain't no joke

 

Oct 21, 2015

Here's that blueprint from Dawn of the Dead (1978). @Woody
I believe he pulls it down so you could get the rest if you wanted.

 

Oct 21, 2015

Found @Twan's secret LB account

http://letterboxd.com/twan/

 

Oct 21, 2015

@MovieSXN happy with this one... i spoke with the writer of ROOM this morning:
http://www.awardsdaily.com/2015/10/...onoghue-talks-writing-process-and-influences/

shout out @WPG for not helping me on this!