32 Short Films About Glenn GouldNow, you may wonder which of these movies Meade had already seen and which ones have I succeeded in getting him to watch. You may wonder which ones, once watched, produced a negative reaction and about which ones did we see eye to eye. I'll leave that for Meade to say in the comments if he wants. The rest of you are welcome to guess, to produce your own lists, or to opine about mine.
American Movie
Aguirre the Wrath of God
Clockwork Orange
Coffee and Cigarettes
Crumb
Divorce Italian Style
Don't Look Back
Dr. Strangelove
Election
Fast, Cheap & Out of Control
Fight Club
Grave of the Fireflies
Grey Gardens
Grizzy Man
Heathers
It's a Gift
Lolita
Memento
Modern Times
My Dinner With Andre
Nights of Cabiria
Pecker
Psycho
Pulp Fiction
Room with a View
Rosemary's Baby
Royal Tenenbaums
Salesman
Serial Mom
Slacker
Spirited Away
Streetcar Named Desire
Stroszek
The Blood of a Poet
The Shining
The War Room
The Wonderful, Horrible Life of Leni Riefenstahl
Wisconsin Death Trip
Wuthering Heights
Showing posts with label Tarantino. Show all posts
Showing posts with label Tarantino. Show all posts
"Mrs. Ann, do you have (or could you produce) a list of 'DVD's you deem essential?'"
C Black sees a phrase I used and makes a request. I'm here to answer your questions, so, based on a quick scan of the shelf and probably leaving a few things out, here's my list (in alphabetical order) of 40 DVDs I'd try to get you to watch if you lived with me:
A Drudgtaposition about streetfighting and a disquisition about "Disney Eyes."
Let's analyze Drudge's photos and headline juxtaposition for the Oscars:
I think he thinks it's funny to picture these 4 characters in a street fight. I'm saying 4, because I'm not counting the secondary figures in the bottom photographs, especially that female "Avatar" character, whom we don't enjoy picturing in a street fight, for reasons hilariously well-stated here:
(More of that sort of movie analysis at the RedLetterMedia YouTube page.)
I think he thinks it's funny to picture these 4 characters in a street fight. I'm saying 4, because I'm not counting the secondary figures in the bottom photographs, especially that female "Avatar" character, whom we don't enjoy picturing in a street fight, for reasons hilariously well-stated here:
(More of that sort of movie analysis at the RedLetterMedia YouTube page.)
Al Gore is trying real hard to be the shepherd.
The climate doom-master has written a poem (in his new book "Our Choice"):
And we will know that he is the lord when he lays his vengeance upon us. Us sheep.
Here is how the poem begins:Nuance. You know how I feel about nuance.One thin September soon... Gore wrote [the poem]... because his editor nixed his request to include a separate chapter on the impacts of climate change. After all, Our Choice is supposed to be about solutions... Undeterred by his editor’s ruling, Gore re-imagined his impacts chapter in poetic form.
A floating continent disappears
In midnight sun
Vapors rise as
Fever settles on an acid sea
The result is a surprisingly accomplished, nuanced piece of writing.
The images Gore conjures in his (untitled) poem turn a neat trick: they are visually specific and emotionally arresting even as they are scientifically accurate.So it seems Gore is trying real hard to be the shepherd:Snow glides from the mountain... [T]he final lines of Gore’s poem certainly apply to the governments that will gather in Copenhagen from December 7 to 18 for what is regarded as humanity’s last chance to avert absolutely catastrophic climate change.
Ice fathers floods for a season
A hard rain comes quickly
Then dirt is parched
Kindling is placed in the forest
For the lightning’s celebrationThe shepherd criesIs Gore himself that shepherd? No matter. What counts is that the hour of choosing has indeed arrived and, as documented in Our Choice, we do have the tools to survive—if we choose to employ them.
The hour of choosing has arrived
Here are your tools
And we will know that he is the lord when he lays his vengeance upon us. Us sheep.
I throw some movie-related red meat to the lefties, and then to the righties.
I've got to tell you, I laughed like mad at the trailer for the new Michael Moore movie "Capitalism: A Love Story":
I will definitely see this movie. Annoying as I've found Michael Moore at times in the past, I love the light but stinging touch. Quite charming, if the trailer is accurate.
Okay, see? Sometimes I throw out red meat for the liberals.
Now, here's red meat for you righties. In the trailer at 1:40, we hear and then see George W. Bush and — even though I was in a theater in the lefty hotbed of Madison, Wisconsin — I leaned over to my seatmate (the estimable Meade) and said (loud enough to be heard): "I miss that guy."
The movie we were seeing was — as the previous post hints — "Inglourious Basterds." In "Chapter 2" of that film, when Brad Pitt first appeared, Meade now says — if he hadn't needed to maintain Hoosierly etiquette — he wanted to lean over to me and whisper "George W."
And it's true. Brad Pitt is kind of doing a George Bush impersonation. (Meade points to 0:30 in this trailer, when the character says "killin' Nazis.") Now, it's an awful accent, really. And I don't think it's a Tennessee accent, which is what we're told it is. Oddly, later in the movie, there's a whole thing about speaking Italian with a bad accent, and Pitt's is the worst of the bad accents, so maybe there — and throughout the movie — Quentin Tarantino intended to treat us to layer upon layer of joking.
I will definitely see this movie. Annoying as I've found Michael Moore at times in the past, I love the light but stinging touch. Quite charming, if the trailer is accurate.
Okay, see? Sometimes I throw out red meat for the liberals.
Now, here's red meat for you righties. In the trailer at 1:40, we hear and then see George W. Bush and — even though I was in a theater in the lefty hotbed of Madison, Wisconsin — I leaned over to my seatmate (the estimable Meade) and said (loud enough to be heard): "I miss that guy."
***
The movie we were seeing was — as the previous post hints — "Inglourious Basterds." In "Chapter 2" of that film, when Brad Pitt first appeared, Meade now says — if he hadn't needed to maintain Hoosierly etiquette — he wanted to lean over to me and whisper "George W."
And it's true. Brad Pitt is kind of doing a George Bush impersonation. (Meade points to 0:30 in this trailer, when the character says "killin' Nazis.") Now, it's an awful accent, really. And I don't think it's a Tennessee accent, which is what we're told it is. Oddly, later in the movie, there's a whole thing about speaking Italian with a bad accent, and Pitt's is the worst of the bad accents, so maybe there — and throughout the movie — Quentin Tarantino intended to treat us to layer upon layer of joking.
"['Inglourious Basterds'] is a movie that thinks cold-blooded brutality and torture are not necessary evils, or excesses spawned in the heat of battle, but the very epitome of cool."
"It's a celebration of the most bestial kind of toughness in the name of us-vs-them entitlement. You keep thinking you'll find Dick Cheney's name in the credits."
Ah, but why does Hollywood make such films? These people who are most ready to denounce what Dick Cheney would call "enhanced interrogation techniques" — aren't they the ones who make and consume popular entertainment that revels in torture and humiliation?
The theory could be that the people who are most sensitive to torture are the ones who find it titillating and are ashamed of themselves. They dare to take their pleasure in the movie theater and yet are horrified to see anything in real life that reminds them of their shameful feelings.
Dick Cheney, on the other hand, is pragmatic and cool (the epitome of cool?). I'll bet he doesn't sit around at Quentin Tarantino movies.
Ah, but why does Hollywood make such films? These people who are most ready to denounce what Dick Cheney would call "enhanced interrogation techniques" — aren't they the ones who make and consume popular entertainment that revels in torture and humiliation?
The theory could be that the people who are most sensitive to torture are the ones who find it titillating and are ashamed of themselves. They dare to take their pleasure in the movie theater and yet are horrified to see anything in real life that reminds them of their shameful feelings.
Dick Cheney, on the other hand, is pragmatic and cool (the epitome of cool?). I'll bet he doesn't sit around at Quentin Tarantino movies.
Should I go see the new Ang Lee movie... something "Woodstock"?
Now, that seems to answer the question. I was just reading about it, talking about it, and when I stop to write about it, I realize I don't know the title anymore. It slipped right out of my head.
I look back to that LA Times review that got me started writing this post and sent me over to YouTube to find "Jokes With Guitar":
I'm not going to reject the movie because I don't like the title. My point is simply that I couldn't remember the title, and if I can't remember the title, then I think my soul — which, I'll have you know, is already set free — resists seeing this recreation of Woodstock.
Since I could watch the great documentary "Woodstock" and see film of the actual people and bands of Woodstock, do I really want to endure the spectacle of young actors of today pretending to be those people? Possible answers to that question:
1. Yes, it would be interesting if only to look for the slippage between the actual event and how it is now imagined, by people who always knew Woodstock as a myth from the past.
2. Yes, because most of the story is Elliot's personal adventure, and it merges with the big historical event in ways that are specific to his story and, of course, not depicted in the documentary footage.
3. No, because I cringe even at the thought of today's actor kids pretending to be enthralled by what it was annoying enough to see the kids tormented by the awful things that happened in 1969 going all mushy about.
4. No, because the movie isn't getting that good of reviews, I've been avoiding Ang Lee movies since "The Ice Storm" in 1997 (which was also about a young man trying to find himself), and I still haven't seen "Inglourious Basterds."
I look back to that LA Times review that got me started writing this post and sent me over to YouTube to find "Jokes With Guitar":
The soft center of the film and its unlikely protagonist is Elliot, a 34-year-old New York City interior designer still wearing polyester and polos played by Demetri Martin, probably best known for his very funny observational stand-up (check out "Jokes With Guitar" on YouTube.So, come on, walk beside me, down to YouTube — set your soul free, life is for learning, etc. etc.:
To put a fine point on it, Elliot's a classic '60s head case and theoretically a perfect prism through which to view the Woodstock phenomenon. That the character is based on Elliot Tiber and his book, "Taking Woodstock: A True Story of a Riot, a Concert, and a Life," who more by chance than initiative snagged the festival at the last minute after nearby Wallkill, N.Y., turned the concert promoters down, gives the film an organic feel.Oh, it's "Taking Woodstock." "Taking"? Why "taking"? Is that "taking" in the sense of military or sexual conquest or is this "taking," meaning ingestion, like taking LSD, and Elliot takes the drug we call "Woodstock" and gets we-are-stardust-we-are-golden high. Well, Ang Lee carried over the title Tiber put on his book.
I'm not going to reject the movie because I don't like the title. My point is simply that I couldn't remember the title, and if I can't remember the title, then I think my soul — which, I'll have you know, is already set free — resists seeing this recreation of Woodstock.
Since I could watch the great documentary "Woodstock" and see film of the actual people and bands of Woodstock, do I really want to endure the spectacle of young actors of today pretending to be those people? Possible answers to that question:
1. Yes, it would be interesting if only to look for the slippage between the actual event and how it is now imagined, by people who always knew Woodstock as a myth from the past.
2. Yes, because most of the story is Elliot's personal adventure, and it merges with the big historical event in ways that are specific to his story and, of course, not depicted in the documentary footage.
3. No, because I cringe even at the thought of today's actor kids pretending to be enthralled by what it was annoying enough to see the kids tormented by the awful things that happened in 1969 going all mushy about.
4. No, because the movie isn't getting that good of reviews, I've been avoiding Ang Lee movies since "The Ice Storm" in 1997 (which was also about a young man trying to find himself), and I still haven't seen "Inglourious Basterds."
Quentin Tarantino says something that reminds me of Ayn Rand.
Tarantino (in a 41 second clip):
Rand (in a long clip that will start in the right place, and you needn't watch all the way to the end, just until you see my point):
Rand (in a long clip that will start in the right place, and you needn't watch all the way to the end, just until you see my point):
David Carradine, found dead in Thailand.
At the age of 72.
I loved him in the 1960s TV show "Shane":
And, much more recently, in the wonderful Taratino movie "Kill Bill":
What a face! What presence! Beautiful.
Sad.
I loved him in the 1960s TV show "Shane":
And, much more recently, in the wonderful Taratino movie "Kill Bill":
What a face! What presence! Beautiful.
Sad.
"This... is Quentin Tarantino." "And this... is 'American Idol.'"
I'm live-blogging this one, kids. Quentin Tarantino is guest-judging. I loved him in '04 — "JPL, you are the geekiest rock singer since Freddie and the Dreamers--all right?--but when you get into your geek mode--all right?--there's no one quite like you" — and I'm thrilled to see him back tonight.
7:01: Kara DioGuardi doesn't know what "provocative" means. And — wait — Tarantino isn't a guest judge. He's somehow "guiding" the contestants.
7:06: "The idea is to direct them."
7:07: Allison Iraheta is singing "I Don't Want to Miss a Thing." (The theme is music from movies.) Q thinks she's gonna do a great job. She shrieks about watching "you" sleep. The judges talk about spicy sauce (because she's Hispanic?). Simon says she's the girls' only hope, disrespecting Lil.
7:15: Anoop Desai does "Everything I Do I Do For You," and I realize I've long thought of it as the same song as "I Don't Want to Miss a Thing." Just move the words around a little and get your instant movie generic love song. Q wants Anoop to growl out the words. Q punches the air to demonstrate and, with that big jaw of his, he looks like Popeye. Anoop has a nice tone to his voice and he's modestly soulful.
7:20: Q only "got a taste" of Adam Lambert, who's doing "Born to Be Wild," and he's excited about tasting the whole thing. Adam is going to take the world in a love embrace. I just love this guy. Very thrilling and cool performance. (Hey, did I ever tell you I saw Steppenwolf in concert in 1970?) Simon tries to criticize him by saying "It was a little like watching the 'Rocky Horror' musical in parts." And Adam's all "I love that musical!"
7:29: "Have You Ever Really Loved a Woman." Incredible. I've also long thought of that as the same song as "Miss a Thing"/"Everything I Do." Is everything by Bryan Adams? Matt Giraud, the boring guy who's supposed to remind us of Justin Timberlake. Q tells him to enunciate. He's pretty bad.
7:39: Danny Gokey is doing "Endless Love" and Q's advice is to put his hands in his pockets. Which he isn't doing. Blah. I hate this. Maybe I just hate everything now that Adam is gone. Simon gives him a boost by alluding to Gokey's dead wife — the song must have been "hard" for him to sing.
7:49: Kris Allen is doing some song I've never heard of from a movie I didn't quite catch the name of. Something about a sinking boat. Q has nothing interesting to say to him. The judges are judging 2 at a time, which means we only get to hear from Simon with every other performer. I guess it would be too mean to just kick Kara off the show, but that would be a much better way to save time.
7:59: Lil Rounds — who I said they were overpromoting — is given the finale spot, and she's singing "The Rose" — which Trooper York said Allison should sing. Q tells her to commit to both parts of the song, not just the gospel half. Tedious. Simon tells her she's "getting this completely wrong." And he's been telling her that over and over and he's "getting frustrated." Lil talks back. "I put it in there" she raves as the TiVo times out. So that's the last thing a lot of people will hear. Maybe some will like the feistiness, but it's dangerous to sass the judges on this middle of the road show, even when what they're telling you is — as Simon said just now — that you're too middle of the road.
8:02: I'm predicting Matt is out.
7:01: Kara DioGuardi doesn't know what "provocative" means. And — wait — Tarantino isn't a guest judge. He's somehow "guiding" the contestants.
7:06: "The idea is to direct them."
7:07: Allison Iraheta is singing "I Don't Want to Miss a Thing." (The theme is music from movies.) Q thinks she's gonna do a great job. She shrieks about watching "you" sleep. The judges talk about spicy sauce (because she's Hispanic?). Simon says she's the girls' only hope, disrespecting Lil.
7:15: Anoop Desai does "Everything I Do I Do For You," and I realize I've long thought of it as the same song as "I Don't Want to Miss a Thing." Just move the words around a little and get your instant movie generic love song. Q wants Anoop to growl out the words. Q punches the air to demonstrate and, with that big jaw of his, he looks like Popeye. Anoop has a nice tone to his voice and he's modestly soulful.
7:20: Q only "got a taste" of Adam Lambert, who's doing "Born to Be Wild," and he's excited about tasting the whole thing. Adam is going to take the world in a love embrace. I just love this guy. Very thrilling and cool performance. (Hey, did I ever tell you I saw Steppenwolf in concert in 1970?) Simon tries to criticize him by saying "It was a little like watching the 'Rocky Horror' musical in parts." And Adam's all "I love that musical!"
7:29: "Have You Ever Really Loved a Woman." Incredible. I've also long thought of that as the same song as "Miss a Thing"/"Everything I Do." Is everything by Bryan Adams? Matt Giraud, the boring guy who's supposed to remind us of Justin Timberlake. Q tells him to enunciate. He's pretty bad.
7:39: Danny Gokey is doing "Endless Love" and Q's advice is to put his hands in his pockets. Which he isn't doing. Blah. I hate this. Maybe I just hate everything now that Adam is gone. Simon gives him a boost by alluding to Gokey's dead wife — the song must have been "hard" for him to sing.
7:49: Kris Allen is doing some song I've never heard of from a movie I didn't quite catch the name of. Something about a sinking boat. Q has nothing interesting to say to him. The judges are judging 2 at a time, which means we only get to hear from Simon with every other performer. I guess it would be too mean to just kick Kara off the show, but that would be a much better way to save time.
7:59: Lil Rounds — who I said they were overpromoting — is given the finale spot, and she's singing "The Rose" — which Trooper York said Allison should sing. Q tells her to commit to both parts of the song, not just the gospel half. Tedious. Simon tells her she's "getting this completely wrong." And he's been telling her that over and over and he's "getting frustrated." Lil talks back. "I put it in there" she raves as the TiVo times out. So that's the last thing a lot of people will hear. Maybe some will like the feistiness, but it's dangerous to sass the judges on this middle of the road show, even when what they're telling you is — as Simon said just now — that you're too middle of the road.
8:02: I'm predicting Matt is out.
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