Secret Santa: Entertainment Board Movie Reviews and Commentary 2019 Edition

Ah, this was that other Christmas movie I was thinking of. This was a pretty good film that made walking and stalking look like a friggin' sport.

I don't think I ever felt so mentally exhausted watching a hit before.

I also liked the whole, "HATE YOUR TARGET" aspect that was going on to make it easier to kill the guy. As a way to distance himself psychologically. Often times, assassins are pretty glamourized in our entertainment and shown as the coolest thing ala Kill Bill Tarantino. They aren't often interested in a real psychological examination. So seeing something go more into the mental nitty gritty of it instead is pretty refreshing for me.
 
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Woman in the Dunes

Usually I don't like sand. It's all coarse, and rough, and irritating. And it gets everywhere. I am willing to make an exception for Hiroshi Teshigahara's existential Woman in the Dunes. The cinematographer Hiroshi Segawa is able to infuse the sand with a dangerous and oppressive beauty. The sand is a constant threat in the film. It does get everywhere, but it poses a much greater danger than just being irritating as the characters are forced to dig daily or be swallowed up by the sand. Segawa films the sand as cresting dunes or super close up that shows off each individual grain of grit. Fighting the crumbling sand is a Sisyphean task, but one that is necessary for survival.

Based on Kobo Abe's novel of the same name Woman in the Dunes follows a man trapped in a peculiar situation by the residents of an enigmatic small village. Niki Junpei is a school teacher and amateur bug collector. On a visit to a small village to capture some specimens Junpei misses his bus home. The villagers offer to shelter him for the night. Directed to climb down a rope ladder Junpei doesn't think much of the strange house surrounded by sand dunes. He's much more taken by the alluring widow that owns the house. The next morning Junpei finds the rope ladder gone and now he's trapped in the dunes with the widow. The widow explains that he's to help her collect the sand that the village will sell for building materials. Junpei is initially horrified by his situation looking for any means of escape, but the cresting dunes provide no support for him to climb out of his situation. He's trapped with the widow and must dig if he wants to water rations or food. With escape impossible Junpei is seduced by the widow starting a series of erotic encounters that grows into a relationship. Junpei rages at his situation but eventually starts to accept his new life.

Woman in the Dunes is a distinctly Japanese parable about a man finding his place in society. Junpei is dissatisfied with his life as a teacher. He doesn't find his identity important and doesn't take pride in his work. When he arrives at the village, Junpei is haughty and proud. After spending some time in captivity he starts to find value in his strange situation. He's valued in the village. He's even able to find a way to filter water through the sand helping to improve life in the dunes. His relationship with the widow gives him a personal connection. What starts a nightmare of captivity for Junpei becomes a comfortable and satisfying existence. Junpei realizes his old life didn't have much meaning or purpose when no one comes looking for him. He might miss the comforts of Tokyo, but those comforts aren't as important as having a society where he belongs and has value. His work of digging means not only will he not be buried, but it'll help protect the houses of the other pit dwellers.

The widow only known as woman or Ms. by the village is much more indifferent to her strange situation. She's already come to accept her lot in life. She lost her husband and child during a sandstorm. She knows that the sand she's collecting has a high salt content, which makes it unfit for building materials. None of this matters to her, though. She digs and digs never giving much thought to her situation. When Junpei arrives she knows it is her duty to seduce the man to make his transition easier. Through her growing relationship with Junpei she's able to make him see that his desire to escape is not only futile, but pointless. The audience never finds out how the widow ended up in the dunes. She may have been trapped just like Junpei, but he's already accepted her place in the village

The film's atonal soundtrack is plaintive and subtle. It highlights the absurdity of the situation. It captures Junpei's confusion at his situation as well as his rage at having his freedom taken from him. The music helps the lonely atmosphere of the film as everything is surrounded by desolate sand ready to cover everything if it isn't constantly attended to.

The cinematography for the film is truly stunning. The use of light and shadow gives the boring sand many different textures and appearances. The sand can be serene at times, but at others it's a never ending expanse that boggles the mind. Hiroshi Segawa is able to add to texture to much of the film the course sand, the soft skin of a woman are both shot in a way that leaves the audience almost able to feel them. The movie doesn't have any nudity, but Segawa is able to make the widow seductive adding a layer of eroticism to the film.

Overall, the film is a simple parable, but the strong visuals, excellent performances and the atmosphere make it into something truly special. I don't subscribe to the film's message, but I can appreciate a different cultural perspective. Teshigahara was looking to make a film that specifically spoke to Japanese values. However, the theme is universal enough that the film became a success outside of Japan. If you're looking to get into classic Japanese cinema then give Woman in the Dunes a shot. 8 out of 10
 
In the Loop(2009):

Another political satire from the master. This is really scarily accurate in portraying the great world of backstabbing and opaque politics, with all the lies, deceit and manipulation to come with it. It may be hilarious but it's kind of sad how not too far off this really is from reality and insults are hurled around like no tomorrow. Everyone is truly clueless and while that's not anything new, the way it executes this is just brilliant. I have to draw another The Office comparison with the documentary style here. The humor can be pretty dry because it's British of course, however I fucking love dry humor. Even if the Iraq invasion was ages ago this film still feels relevant as ever, and it's easily one of my personal favourites of political satire next to Dr. Strangeglove. It's not like they actually name what the conflict is either and In the Loop doesn't really take any sides with the parties. That's just completely irrelevant in the face of dumb ass bureaucracy and painting it as a broad brush stroke. There isn't much of a well defined plot either, just characters stumbling and bumbling around. Nobody cares though when a movie is this funny with it's endless rapid fire witty dialogue and more than makes up for it.

Let's face it, Malcom is the best character in this movie and you can't change my mind. How can anyone not love that dirty mouthed aggressive foul piece of shite? He makes swearing an art form, like @Thrawn does on AP! HE IS THE 2ND COMING OF FUCKING THRAWN. PRAISE BE. Capaldi is a force of nature here. He maybe foul mouthed and a dick but he's just so charismatic and charming in being a dick. He's certainly better than the other crazy war mongering bastard Linton. Who genuinely believes in his own bullshit without a hint of irony. That's always scarier, the scarier type of person to deal with. Fucking Linton.

I think this movie is accessible even for those who aren't even interested in politics and it's so quotable too. Damn masterpiece of a movie.

9/10
 
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Harold & Kumar Go to White Castle (2004)
Yes, it is time for me, the man without a sense of humour, to review a stoner comedy. I have never gotten high, so I consider myself an expert.

Harold is an underappreciated office worker with lazy, racist, stupid, entitled, and generally obnoxious superiors. Xenophobia is something that he encounters daily. He has troubles being seen as desirable, and is generally put down. I was worried that his character arc would be too much of a nice guy schtick with Maria, but eh, it was just stupid '00s comedy shit. Glad to have been wrong.

Kumar is gifted, but undisciplined, boorish, and generally selfish. He, too, is a second-generation immigrant, but he rebels against society, his family, and the expectations they lay on him. Of course, I'm a white guy living in the north of Sweden, so I consider myself an expert on racism.

White Castle is a place that sells disgusting-looking "burgers" at an affordable price. You know you're in for a treat when even the commercial looks bad.

Harold and Kumar is on an odyssey to go to White Castle, and like all good journeys, it's a transformative one. I may not have read any classical Greek literature, but I killed a fuckton of dudes in Assassin's Creed Odyssey. What follows is extremely dated comedy, tits, that dude that boned Stifler's mom in American Pie playing an "eloquent" stoner. Obviously, his vocabulary is that of a second-grader, and he has the charisma of a bag of potatoes. The attempts at gross-out comedy are weak, and no way would Tom Green have settled for that.

The most relevant part of the film? Institutionalised racism and its entrenchment in law enforcement. I feel that his would have caused quite a stir if it was released a couple of years ago.

Least relevant part of the film? Pretty much all of it. I guess it might be funny if you're not me.

4/10
 
White Castle is a place that sells disgusting-looking "burgers" at an affordable price. You know you're in for a treat when even the commercial looks bad.

The worst part about that movie is that they live in Jersey and they settle on White Castle. They're already traveling across half the state from Princeton to Cherry Hill, might as well turn around and drive to Hackensack to pick up White Mana burgers. Now there's some sliders that'll make your head spin.

(Fun fact: Cherry Hill is also basically next to Camden, which is America's 3rd or 4th most dangerous city, depending on the year. They missed a good gag opportunity for some stoned Princeton dudes to get lost in the hood)
 
Singin' in the Rain (1952)
A whole musical, without any distorted guitars? Sickening! That said, if you can stomach the premise of a musical, you're in for a treat.

This is obviously one of those films that I would never see unless prompted to, because its pop-cultural osmolarity, overhyped by dunces with shallow reference pools (I am one of those). It's actually a charming film, even if it lays it on thick at times, and the premise was to make a film out of already written songs. IT was then decided to make it a period piece, set 27 years before the release of the film.

It's a tale of transitional periods and media, as we follow Don Lockwood through his career, first via flashbacks from vaudeville into silent films, and then pre-Haye's code Hollywood's venture into talkies during the roaring twenties. Technical and artistic difficulties lie ahead, especially as his co-star, Lina Lamont, has a sexy-ass voice voice like a bad Harley Quinn impersonator. What to do, other than enlist the help of proper strage actress and love interest Kathy Selden?

Nowadays, it's easy to imagine that retro fetishism is something we came up with in the aughts, but this film revels in its flappers, vaudeville references, mobster types, and old timey Hollywoo glitz and glamour. It's a very loving send-up of the time period, and the film is largely inoffensive, with only a few antagonistic moments between characters, mainly Lina being an imperious asshole towards Kathy (and then everyone else) and Don despising the bullying antics of Lina. The other are mainly poor, hounded director Roscoe Dexter, a man who has to instruct everyone in mic use in these trying times. I feel for him.

Lina may be the best character, but Kathy, Cos, Don, and R.F. don't fall too far behind. They're all played well, and the chemistry and comedic timing is top notch. There are some actually funny moments in this! And some of the songs're almost tolerable! And the finale with Lina's downfall is a great watch, and worth the price of admission alone.

My biggest gripe is Don and Cos dragging along Kathy towards the end, and not letting her in on their antics, which is partly glossed over in the romantic final moments. Oh, yeah, and the romance starts off with Don getting negged by Kathy, which obviously makes him infatuated with her. Kathy, a pick-up-artist almost a century before it became en vogue.

All in all, a classic that hasn't started to stink like rancid milk.

7/10
 
Singin' in the Rain (1952)
A whole musical, without any distorted guitars? Sickening! That said, if you can stomach the premise of a musical, you're in for a treat.

This is obviously one of those films that I would never see unless prompted to, because its pop-cultural osmolarity, overhyped by dunces with shallow reference pools (I am one of those). It's actually a charming film, even if it lays it on thick at times, and the premise was to make a film out of already written songs. IT was then decided to make it a period piece, set 27 years before the release of the film.

It's a tale of transitional periods and media, as we follow Don Lockwood through his career, first via flashbacks from vaudeville into silent films, and then pre-Haye's code Hollywood's venture into talkies during the roaring twenties. Technical and artistic difficulties lie ahead, especially as his co-star, Lina Lamont, has a sexy-ass voice voice like a bad Harley Quinn impersonator. What to do, other than enlist the help of proper strage actress and love interest Kathy Selden?

Nowadays, it's easy to imagine that retro fetishism is something we came up with in the aughts, but this film revels in its flappers, vaudeville references, mobster types, and old timey Hollywoo glitz and glamour. It's a very loving send-up of the time period, and the film is largely inoffensive, with only a few antagonistic moments between characters, mainly Lina being an imperious asshole towards Kathy (and then everyone else) and Don despising the bullying antics of Lina. The other are mainly poor, hounded director Roscoe Dexter, a man who has to instruct everyone in mic use in these trying times. I feel for him.

Lina may be the best character, but Kathy, Cos, Don, and R.F. don't fall too far behind. They're all played well, and the chemistry and comedic timing is top notch. There are some actually funny moments in this! And some of the songs're almost tolerable! And the finale with Lina's downfall is a great watch, and worth the price of admission alone.

My biggest gripe is Don and Cos dragging along Kathy towards the end, and not letting her in on their antics, which is partly glossed over in the romantic final moments. Oh, yeah, and the romance starts off with Don getting negged by Kathy, which obviously makes him infatuated with her. Kathy, a pick-up-artist almost a century before it became en vogue.

All in all, a classic that hasn't started to stink like rancid milk.

7/10
Next you need to watch this https://www.anime-planet.com/anime/gisoku-no-moses
 
I totally finished one of my movies, D.O.A. (1949, released Dec 22)

Film noir, that is my genre of choice, and this one is a damn fine one. The beginning is an absolutely stunning tracking shot from behind, split into two parts and goes on for about 2 minutes. This is pretty much the frame of the story, as Bigelow walks through the police department to the homicide division to tell the police his story. Classic tale of "How we got here" but it's done well.

Commissioner: "Who was murdered?"
Bigelow: "I was."

And then it goes to the relevant beginning, setting up the scene. And it's pretty fine, but with some cartoonish wolf whistling at the hotel as some fine ladies walk on past, not in slinky, skimpy outfits like today's godless society. It sets up the relationship to add more poignancy but doesn't overdo the romance, it creates the mystery that surrounds the various murders and most importantly, we get this:


That is just blistering, the coolest of cool. The madman on the sax who is not only in-tune but not breaking down in to avant-garde with nary a breath break; the pianist who can barely stay in his seat; the trumpeter who takes a breather after a frantic sess to let the sax shine; the bass man who is the understated bloke keeping it together and the drummer who is as frantic as anybody while maintaining the sanity to frantically beat the skins. But the bloody sax man, it's hip! It's outta sight! It's upstairs! The entire ensemble is the most jumpin' jive band! They get it! They own the trolley! Just jive crazy man, you have to be hip to get it. Absolutely outstanding.

If I continue like this, I'll explain the plot. But it turns into a mystery, to find out who poisoned him, with the poisoning itself an actual poisoning, luminous poisoning. But conditions allowed him enough time to figure out who killed him. It's pretty solid, meeting and remeeting contacts while bringing back his dame into the picture to check up on him and even help out a spell. But it definitely comes to a head as it approaches the final act and speeds it up some, with a goon named Chester that is based off of the giggling madman Tommy Udo from Kiss of Death. I mean, why wouldn't you want an expy of him? Tommy Udo was the de facto reason to watch Kiss of Death. But I digress, it solves the mystery nicely, provides a satisfying reasoning, ending, and concludes in a noir fashion that feels logical.

It works as a great mystery-noir and it's public domain, freely available.

There's also Bigelow running through the streets with a bewildered crowd, that is tops as those reactions were genuine.

8.5/10, the extra .5 for the jazz band.
 
Dolemite is My Name, and Fuckin' up Mothafuckas is my Game

I still don't have any idea who my SS is based on these recs, but recommending both of these films to me was both genius and a bold move. But not as much of a bold move as these movies are. Originally I was going to just go down the list from the top, starting with City of God and eventually ending up here, but the connection between the two movies intrigued me enough to go directly to these.

I wasn't really that interested in learning more about afro-american culture before my college years when I decided to take a culture class in that vein as one of my required social science courses, since it seemed the most interesting. These movies are the type of thing I thought I'd be learning, along with some uplifting stories of african-american influence and victories over american culture through the years... well, not the more NSFW stuff in this movie, but the actual culture and history of some of the origins of some more well-known aspects of that culture.

Instead I got a fistful of shame for being white from my professor and lectures about victimhood and "race mentality", how not even african-americans born today can escape the pressure of their ancestors' being in slavery, how it basically controls their actions and feelings today even if they weren't a part of it. Lots of really depressing stuff. I didn't learn a thing about anyone's culture in that class, only that i should feel bad for black people or something.

But these movies kind of gave me some of what I really wanted out of that type of study. Celebration of culture, pure fun, while being realistic (in the later part at least.) I really enjoyed them, and some of that came from after watching them when I actually considered what I just watched and how authentic and true to spirit it felt. It was like I had just been served a piece of history. Without further ado, here's the review~


Part I: Dolemite [1975]

It isn't really until I watched the netflix movie that I understood exactly what Judy Ray Moore was trying to do with this film, but even before I watched this one, I had hoped I was in for some straight up action with some funny dialogue and hammy performances, and shit, that's exactly what I got, because that's what they were trying to make.

I loved the charisma of Moore's character. The story is extremely straightforward but because of the lead it's still something where you want to see him succeed to a degree, and kick ass. There's also something comforting about how simple the production is, where you can see every outdated trick and visual, but it still manages to hold your attention.

But where this movie genuinely shines is the dialogue. This type of humor is one that can only be truly represented in this kind of movie in this setting, all that sass and straight-forwardness, is just extremely entertaining. My favorite parts unironically were those where dolemite starts one of his rhyming scheme standup routines. Second-only were his one-liners. Ya got 24 hours to get outta here, 23 of em are already up. Hell yeeeaaah.

Of course, I didn't like the constant nudity and sex in the movie, it was just too much. Kinda trashy. And I know that's what they were going for but it just doesn't make me feel good yanno.

Overall, I enjoyed my time watching it.

6.5/10


Part II: Dolemite is My Name [2019]

Now this one actually surprised me. So many of these "Autobiography Movies" that take place focused on someone involved in a famous piece of art end up kind of soulless if not done by those who truly appreciate that product. And this one definitely had that soul to it, to the max degree. Eddie murphy's performance was the absolute best. In fact at some points it kind of felt like I was still watching dolemite, with how the dialogue felt.

I was really surprised to see Michael Key in this movie. Every time he was onscreen it felt more comedic. The kind of atmosphere he creates is sorta perfect for the tone of this movie. I was also surprised to see saul goodman. I wished he would have been in more of the movie, but ah well, can't have him outshine the main characters XD

The story is still straightforward, in the production of dolemite and how it came to be, but it's done with such spirit that it's realistic and even more entertaining than the original movie, basically just a bunch of friends who are entertainers, wanting to make a fun movie. I had a lot of favorite scenes, but particularly the one where moore and the posse are walking up to the office of those guys who wanted to distribute their movie.

Also it's neat to throw in hints of how this film influenced culture, such as the fan who came up to moore after and started rapping. That just put a huge smile on my face. As did most of the dialogue. Especially when they first start talking to that high school photography director. Amazing hilarious acting there.

One of the lessons here is that there is some value in making these kinds of movies like dolemite, the same value that compels people to this day to continue making low-reaching yet good action flicks that exist purely to entertain on the most shallow level. And that value is the entertainment itself, to help people just have fun. There's just no deeper way to think about it and that's okay. And this film is a perfect example of people who know that better than anyone.

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Good stuff.

8/10
 
Bodied:

I'm going to admit, I wasn't a huge fan of this film and didn't really find it that entertaining.........I think it's got some pretty nice ideas and themes about the idea of cultural appropriation, identity politics, context, power of words, liberation through words and limits of free speech. I mean it's good it doesn't end up completely justifying the rhetoric either by the end, as it does cost Adam a lot and comes at an expense with his verbage. It's like an inverse hero's journey with the white nerdy kid becoming a prodigy than having a bit of a downfall. At the same time I couldn't bring myself to really give a damn about the characters though that felt like place holders for preachy social/racial commentary. The way it just goes about it's business here was mostly just too cringe or unnaturally forced, like the liberal friends elicited nothing but the biggest eye rolls to me in their portrayal and stabs at PC culture or the girlfriend's meta moment to Adam about being cliche. Rampant twitter arguments gone amok.

It's hard for me to exactly call the actors great or stand outs with the white nerdy dude being played by someone I recognize from the Disney channel. The rap battles weren't bad and they were more enjoyable than the non rap battle parts framed like street fighter/mortal combat, like the bit with the comedian, and guy who kept whiffing his lines. Joseph Kahn is a pretty prolific music video guy as far as I know who's worked with many famous artists, but I didn't like his other movie Detention either. Apparently Eminem was also producer for this movie.

It's sad to say I was kind of disappointed, it's a 5/10 for this. This kind of commentary is a tricky tight rope for me in general. I don't think I was remotely offended or anything cause for god sake, I listen to dirty vulgar punk music all the time and a creative diss can be pretty fun to me. I get what the movie was doing as a satire and respect it trying to have a conversation but again, this just wasn't for me. It had it's decent moments though. If it was a bit less blunt and direct I think it could've been better.

Anyway, I finished all of my secret santa's movies:

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Hope my Secret Santa enjoyed reading what I thought, as much as I enjoyed watching them! (You know who you are *wink* *wink*)
 
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McCabe & Mrs. Miller

I was never a fan of westerns before I discovered Spaghetti westerns. After getting into the films of Sergio Leon it was hard to go back to more traditional westerns. Of course there are some well made classic traditional westerns and I suppose that I do see the appeal. However, the best traditional westerns are good in part because they're able to hide the faint waft of bullshit coming off of them. Traditional westerns oversimplified the morality to a stark black and white while romanticizing the rough path of the United State's westward expansion. It was a fraught time in history these movies are all missing something to shave off the rough edges and often moral ambiguity of the time period.

I still can't call myself a fan of traditional westerns, but starting with Spaghetti westerns I discovered a love for revisionist westerns. These films are also known as anti-westerns. They subvert the usual western tropes and cliches to present the darker and more violent side of the American west. The protagonists are black and white and often they're not heroes at all. More traditional westerns have their place in cinema history, but anti-westerns will always be my preferred genre.

McCabe & Mrs. Miller is one of the quintessential anti-westerns. It's a bleak film lead by a pair of deeply flawed characters. At first one might hope that the meeting of the titular McCabe and Mrs. Miller would lead them to make up for each other's weaknesses, but it soon becomes clear that the hubris of these characters won't lead anywhere productive. Their relationship can't save them because they're already too ingrained in their flaws. The film is as bleak as its winter setting and by the end I was left feeling melancholic.

The film opens with McCabe riding into a small mining town mumbling to himself. One thing is clear about McCabe, he's a smooth talker. The simple minded folk of the town are quickly taken in by McCabe. He allows them to believe he's a famous gunfighter. His first night in the town he's able to win enough money to purchase some prostitutes from a local pimp with the intention of opening a brothel in the mining town. It's then that McCabe meets Mrs. Miller. A prostitute that can see through McCabe's smooth talking facade. She sees that he's in over his head trying to run a brothel in the rough mining town. As a relationship develops between the two she imports some better quality prostitutes from Seattle.

All seems to be going well for the pair, but their success doesn't go unnoticed. A large mining operation wants to purchase their business. McCabe gets in over his head during the negotiations despite Miller's warnings. The mining company doesn't like to ask twice though, so it sends several blood thirst killers after McCabe. It all leads to a violent climax that breaks many of the established rules of the conventional western. There are no heroic standoffs here. No noble gun duels where the fastest hand wins. What ensues is a battle for survival where any tactics are allowed in the name of survival. It's brutal and ugly. It's something of a relief that such brutality is partially masked by a persistent snowstorm.

The characters and acting set this movie apart. McCabe played by Warren Beatty is a coward and a con man. He's willing to use his gift of gab to manipulate the simple minded, but when confronted with more intelligent character he's quickly revealed to be two bit at best. Mrs. Miller is easily able to see through him. McCabe isn't a total lost cause though. He has some witty commentary to provide and a fair share of charisma. He's a likable scoundrel even if he's deplorable when it comes to any kind of fight winning using only the most cowardly of tactics.

Mrs. Miller played by Julie Christie is a bit of a more enigmatic character. Her past is left mostly a mystery, but it's turned her into a pragmatic woman. Even when she starts sleeping with McCabe it's revealed that she still charges him every time. She's no fool for love. She does grow feelings for McCabe, but she still wants to keep a distance between then by making their relationship mostly a business transaction. Miller isn't perfect though. She's addicted to opium and her loyalty seems to place the high above all else. She's absent from most of the climax of the movie because she's in an opium den smoking herself into oblivion. She already knows what is coming for McCabe once he botches the negotiation with the mining company and she wants no part of it. She mourns the loss of her new business by escaping from it.

The film has a unique style in how it presents the characters and dialogue. The film doesn't feel like it's introducing you to a new world, but rather dropping you into a fully fleshed out world. There's a lived in atmosphere to the film with naturalistic dialogue that eschews exposition because everyone in the town already knows everything they need to know. There's a lot of background chatter in the film and it often overlaps. It's not always easy to make out exactly what is being said in the background, but it's enough to establish the mood and feeling of the scene. Most of the extras were encouraged to wander around the town creating their own lives and characters. None of these stories would take prominence or be seen in detail, but while the main characters are going through the plot of the film the extras are just out there living these imagined lives. It's an interesting approach to film making.

The cinematography for the film is gorgeous. This is one of the best looking westerns I've seen. Director Robert Altman and cinematographer Vilmos Zsigmond worked together chose to use filters and other techniques to give the film its unique look. They did this in part because they wanted to prevent the studio from demanding a less distinctive look during editing. The film was already shot a certain way and the only way to change it would be to reshoot the movie. The mining town is grey and bleak, but there's still a chill winter beauty to its simplicity. It's a town still in the process of being built. There are piles of lumber all over as well as signs of rough carpentry everywhere. The camera captures all of these details telling a story all of its own.

The soundtrack is just made up of a few Leonard Cohen songs. They work well in conjunction with the atmosphere of the film.

Overall, this film is a classic. It's a must watch for any fans of westerns. It's also a good drama for those looking a period piece, but don't want to the typical cliches of a western. 8 out of 10
 
The Lobster

You know I think I like this movie a lot more after rewatching it, it's a cynical take on the shallowness of modern dating culture is and how society pressures individuals to be in a relationship regardless of whatever superficial reason they choose to bond over, otherwise, they would be turned into animals, pretty much removed from society as a whole. But it's not like the alternative of choosing to disregard society's rules and remain single is any better, for when they're not being hunted by animals, they're ruled by equally authoritarian rules as in the Hotel they hated.

Colin Farrel's performance is the bomb in this film, he really nails it down. His deadpan reactions to some of the surreal events that occur to him or happen around him are hilarious, though the movie's humor is a little dry sometimes.

So I'm actually really curious about that finale, did he actually blind himself or not, since the movie ends with the blind woman waiting in the cafe for a while on her own, which kinda leads me to believe he left her alone in that cafe. Kinda depressing, to be honest.

Admittedly the movie gets too bleak for me to handle at times, but it' stills a fantastic satire. 8/10
 
The film has a unique style in how it presents the characters and dialogue. The film doesn't feel like it's introducing you to a new world, but rather dropping you into a fully fleshed out world. There's a lived in atmosphere to the film with naturalistic dialogue that eschews exposition because everyone in the town already knows everything they need to know. There's a lot of background chatter in the film and it often overlaps. It's not always easy to make out exactly what is being said in the background, but it's enough to establish the mood and feeling of the scene. Most of the extras were encouraged to wander around the town creating their own lives and characters. None of these stories would take prominence or be seen in detail, but while the main characters are going through the plot of the film the extras are just out there living these imagined lives. It's an interesting approach to film making.

Altman I know is pretty loved by actors, he's really the actor's director. You honestly expect most auteurs to be kind of jerkass but Altman was very nice towards them and actually encouraged improvisation. I have to highly respect him for that and I love the way this dude just brutally TEARS stuff apart in genres. My favourite flick of all time from him ever is the The Long Goodbye where he rips noir apart. I've always had a soft spot for 3 women too which is probably his strangest/open to interpretation film based upon a dream. Had real Persona, and Mullholland Drive vibes.
 
Holy shit guys, I actually watched a movie.

The Warriors (1979)

That wasn't bad. It didn't blow my mind or anything, but it was an enjoyable watch. It did feel a little slow for an action movie, but that's not wholly a bad thing; I do wish the shooter had been a little more of a mystery though, at least for part of the movie.

I liked how silly some of the gangs were. A gang of literal mimes in New York? Sure, why not. How about baseball players with colorful face paint for no apparent reason and who also might as well be mimes? Hell yeah, let's do this shit. Not sure what was up with the underground radio DJ, but I dug it.

Overall, you can definitely see why it was popular in its day, and even now it's still an enjoyable watch, if not the spectacle it was at the time. Thanks Santa for getting me to finally watch this bit of pop-culture!
 
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