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Postby O-dot on 31/12/06, 01:04:42

TC wrote:Pirates of the Caribbean & The Dead Man's Chest - dunno, fell asleep after 20 minutes. might try to watch again soon, maybe not. didn't feel like i was missing much.


Stick with it, it really picks up after the first hour.
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Postby O-dot on 04/01/07, 14:23:09

Kanuck wrote:And it made a very good argument for shooting digital, indeed. Can't even put it into words without writing an essay, but it just works really, really well.


NYT critic Manohla Dargis emphasized this when he named MV as one of the year's best:

Michael Mann doesn’t always receive the critical respect he deserves, partly because he likes to make genre films; maybe if he had hired Jack Nicholson to run around with Crockett and Tubbs he might have at least seduced the audience. Glorious entertainment, “Miami Vice” is a gorgeous, shimmering object, and it made me think more about how new technologies are irrevocably changing our sense of what movies look like than any film I’ve seen this year. Partly shot using a Viper FilmStream camera, the film shows us a world that seems to stretch on forever, without the standard sense of graphical perspective. When Crockett and Tubbs stand on a Miami roof, it’s as if the world were visible in its entirety, as if all our familiar time-and-space coordinates had dropped away, because they have.
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Postby O-dot on 04/01/07, 20:12:01

Jackass Number Two - con
Too many of the gags don't work, and none of the guys really seemed to have their heart in it. And I'd like the MPAA to explain how a movie can include two scenes of real, on-camera shitting and NOT get an automatic NC-17.
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Postby darkness on 04/01/07, 21:20:30

O-dot wrote:And I'd like the MPAA to explain how a movie can include two scenes of real, on-camera shitting and NOT get an automatic NC-17.


I believe an NC-17 is only called for when it's puppets shitting. Real people are only an R.
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Postby big d note on 05/01/07, 11:01:53

O-dot wrote:Jackass Number Two - con
Too many of the gags don't work, and none of the guys really seemed to have their heart in it. And I'd like the MPAA to explain how a movie can include two scenes of real, on-camera shitting and NOT get an automatic NC-17.


I thought it was pretty funny when I saw it in the theater. I picked up the DVD the other day but haven't watched it yet. It's different from the first movie because they couldn't pull pranks on average people very much anymore because they were too recognizable. They have some really elaborate stunts though, and even the simple ones like having people read that sign on the wall and get punched in the head were funny.
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Postby O-dot on 10/01/07, 00:15:00

Back to Bond.

Dr. No - pro
The 007 franchise's maiden voyage. Interestingly, there's little here to herald this as the quote unquote FIRST JAMES BOND ADVENTURE. A low-key early-'60s spy thriller anchored by Connery's muscular charisma and Ursula Andress' memorable screen entrance, wading ashore in one sexy white bikini.

From Russia with Love - PRO
Now we're talking! Reportedly this is Connery's favorite, and it's easy to see why: hot women, a sharp script, cool side characters, international intrigue, shocking (for its time) violence, and unusual detours like Bond watching two gypsy women in a fight to the death.

Goldfinger - pro
This one could easily have been a Roger Moore outing, and it would have been his best. But no, it's still Connery, and as such it's a little light and airy coming after the badass From Russia with Love. The overemphasis on gadgets and one-liners starts to creep into the series.
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Postby Alexhead on 10/01/07, 12:35:08

I love the "three blind mice" opening in Dr. No. And the rest of it, too, pretty fun, lays down the basic patterns for the majority of the Bond flicks.

My favorite will always be In Her Majesty's Secret Service, even if Lazenby's a bit of a wash. Diana Rigg is the greatest Bond girl--sexy, smart, and actually has a spine. It's the best ending out of all of them, almost brings a tear to my eye every time I see it, and I do usually watch it every year when they do the Bond marathons on one of Ted Turner's many channels.
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Postby TC on 11/01/07, 11:43:43

in bed yesterday watched
anchorman - pro
blade 3 - mixed
ring around the rosie - con
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Postby O-dot on 11/01/07, 13:06:32

TC wrote:in bed yesterday watched
anchorman - pro
blade 3 - mixed
ring around the rosie - con


Star Wars OT is always good when you're not well. :)
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Postby dhn on 11/01/07, 18:25:27

Flyboys - mixed

As a fan of Word War I air-combat movies and Jean Reno I was able to stomach the cheesy story (by forwarding to the non-fighting scenes). I give the director props for hiring real French and German actors to give the movie some sense of realism. The air-combat is not as good as I'd hoped and the trailer promised, but it has some decent scenes. Brought back some memories of playing hours of Red Baron as one of my first PC games.

I would really like to get a decent director to make a gritty and realistic WWI air-combat movie. I think the early scripts of King Kong had such a scene in it.
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Postby TC on 12/01/07, 08:33:47

yesterday:

dog soldiers - pro (taking place in scotland, with some military dudes with outrageous accents - made me think of our own drae)
dark water (original) - pro
animatrix - pro
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Postby Draesk on 12/01/07, 08:52:07

TC wrote:yesterday:

dog soldiers - pro (taking place in scotland, with some military dudes with outrageous accents - made me think of our own drae)


I can't hear you maggot! Shout it! PRO! P R O! PRO! SIR!
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Postby TC on 12/01/07, 11:52:12

Draegonis wrote:
TC wrote:yesterday:

dog soldiers - pro (taking place in scotland, with some military dudes with outrageous accents - made me think of our own drae)


I can't hear you maggot! Shout it! PRO! P R O! PRO! SIR!

yeah, forgot to mention the funniest line of the whole film:
"What happened to 'Spoon?"
"There is no 'Spoon."
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Postby O-dot on 12/01/07, 14:35:47

Thunderball - mixed
Connery's fourth Bond movie gets bogged down in endless underwater battle sequences. Good interplay between 007 and the villain's female ally, though.

Dog Soldiers is a hoot. Reminded me of something ol' JC might've banged out around 1979 or so.
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Postby O-dot on 13/01/07, 12:30:52

Children of Men - pro
A little too vaguely self-important, but otherwise a fascinating, provocative thriller set in an unraveling civilization. Can't remember the last time bombed-out urban areas had been photographed so lovingly.
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Postby Kanuck on 14/01/07, 04:03:36

O-dot wrote:Children of Men - pro
A little too vaguely self-important, but otherwise a fascinating, provocative thriller set in an unraveling civilization. Can't remember the last time bombed-out urban areas had been photographed so lovingly.

Awesome film, absolutely fantastic. Many of the shots were several minutes in length, and were forced to stand on their own without any silly camerawork or fancy editing to hide behind—filmmaking at its purest, really. It really put you into what was happening, and made it easy to feel a strong personal connection with the characters. Excellent storytelling as well, and some very uniquely impressive special effects.
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Postby O-dot on 14/01/07, 11:47:34

Kanuck wrote:Many of the shots were several minutes in length


Well that certainly was the illusion... but I suspect that, like the opening "shot" of Snake Eyes, the director could have hidden edits in the middle of swish-pans.
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Postby dhn on 14/01/07, 16:09:03

O-dot wrote:Well that certainly was the illusion... but I suspect that, like the opening "shot" of Snake Eyes, the director could have hidden edits in the middle of swish-pans.

American Cinematographer has a very good article on it. Yeah, there were some hidden edits, but they were done so flawlessly that one doesn't notice them. How they did the scene in the car is still beyond me, even after I read the article. When the camera moves out of the car, when the police stops them, there is a hidden cut that I didn't even see when freeze framing. There is a second hidden cut that is even more impressive. I added an attachment of the car-rig they used to do the scene with. The camera crew (dolly operator, focus puller, and the cinematographer himself) sits in the roof

They also needed four takes for the final multi minute scene during the uprising. They hardly used any film lighting - notice the scene where they steal the car on the farm where they steal the car. It starts at early dawn and blends over to early morning seamlessly. Another interesting fact is, that the movie hardly has any A-B-A-B intercutting of opposing shots of two actors (the only instance I remember is the early pot smoking scene with.
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Postby Kanuck on 15/01/07, 03:50:50

dhn wrote:notice the scene where they steal the car on the farm where they steal the car. It starts at early dawn and blends over to early morning seamlessly. Another interesting fact is, that the movie hardly has any A-B-A-B intercutting of opposing shots of two actors (the only instance I remember is the early pot smoking scene with.

Holy shit. I didn't even notice that at the time, but thinking back, you're absolutely right. It was nearly pitch black at the beginning of that take, and by the end of it the sun was shining brightly.

Unbelievable. And while I'm certain the seamless edits were numerous, you never, ever noticed them; it always felt like one smooth take. The camera never did anything impossible, like go through a closed window or show things from an impossible angle; it was always made to feel as if you were running around seeing everything for yourself. It was a big part of what made the movie work.

I really want to see it again now. And if it comes out in high definition, maybe I'll even talk myself into an HD-DVD player to match. It's only $200, after all.
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Postby TC on 15/01/07, 10:35:18

i'd really like to see this.
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