SHERDOG MOVIE CLUB: Let's pick the Week 145 movie!

Discussion in 'Mayberry Lounge' started by europe1, Feb 6, 2019.

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Let's pick the Week 145 Movie!

Poll closed Feb 8, 2019.
  1. Yi Yi (2000)

    22.2%
  2. Blue is the Warmest Colour (2013)

    16.7%
  3. Leviathan (2014)

    44.4%
  4. Two Days, One Night (2014)

    16.7%
  1. chickenluver

    chickenluver Bookmobile Driver

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    Except for that one scene right?

    This will only make sense if I've correctly guessed which film you're speaking of.
     
  2. Bullitt68

    Bullitt68 Senior Moderator Staff Member Senior Moderator

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    Where are the rest of them car chase lists, people?

    This one's in the bag, so I might as well tell you that I voted for Two Days, One Night. First, I'm a big fan of Marion Cotillard. Second, I've never seen a Dardenne Brothers film. Third, the premise, particularly the condensed time-frame conceit, was intriguing.

    Alas, the SMC has decided to go another way...
     
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  3. moreorless87

    moreorless87 Disarming Posting

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    I'v not seen anything else by them either but I'd definitely recommend giving that a watch, the best Marion Cotillard performance I'v witnessed although its not easy viewing being some of the most tension and embarrassment(a depressed woman has to spend two day grovelling for her job to her co workers) filled cinema I'v seen as well, even moreso than the soundalike Four Months, Three Weeks, Two Days.

    If people thought they were avoiding awkward/depressing viewing with Leviathan though there definitely barking up the wrong tree, its going to take SMC to force me to give it a second viewing.

    Honestly I didn't bother with Blue is the Warmest it for a couple of years after it came out thinking it would be along the lines of Room in Rome after all the fuss. I mean nothing against that and it is certainly erotic as hell when it wants to be but I'd say for more than its own sake. Besides the sex I do actually think it was a bit ahead of its time, the whole idea that a lot of the liberal intelligentsia having an elitist viewpoint seems like its come to the fore more since then.

    I didn't actually bother with Yi Yi until recently either, the trailer makes it look like a cheesey Hong Kong drama where as its more akin to something like Uzak or Lost in Translation.
     
    Last edited: Feb 8, 2019
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  4. Yotsuya

    Yotsuya Purple Belt

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    Yeah, the others I can get through by myself, but Leviathan seems like Stalker: One kind of needs a support group to find motivation to watch it even if it's a very good movie without a doubt.
     
  5. moreorless87

    moreorless87 Disarming Posting

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    Honestly I find Stalker the reverse, I mean its pretty weighty in themes but very relaxing to watch, then again I'm someone who's career involves standing in misty woodland. Leviathan though you definitely need to be in the right frame of mind(not depressed) to watch.
     
  6. Yotsuya

    Yotsuya Purple Belt

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    Leviathan I have not seen. Stalker is very enjoyable in some ways, but the pretty hard core intellectual content with the monologues and all makes it something I personally can't just watch casually.
     
  7. europe1

    europe1 It´s a nice peninsula to Asia

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    We Have A Winner!

    [​IMG]
    Leviathan takes a resounding victory! I guess that whale carcass has to be pretty enticing. We now go live to @ArtemV apartment to get his reaction! What's up, Art—?

    [​IMG]
    Well, If this film is as soul-crushing as @moreorless87 says it is, I'm sure we'll all have the same reaction!;)

    Members: @europe1 @MusterX @Cubo de Sangre @sickc0d3r @FrontNakedChoke @AndersonsFoot @Tufts @chickenluver @Coolthulu @OMGstreetfight @Yotsuya @jei @LHWBelt @moreorless87 @ArtemV @Bullitt68 @HenryFlower @Nailgun @Rimbaud82 @BeardotheWeirdo @Zer




     
  8. HenryFlower

    HenryFlower (sheesh!)

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  9. jei

    jei Danger Zone Admin Staff Member Forum Administrator

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    Hooray for depression!

    And yes, @chickenluver, even with that one scene and several others. Blue is the Warmest Colour did absolutely not need to be three hours long, it was exhausting for me. Sure it was powerful and heartfelt and all that, but I sure looked at my watch a lot when I watched this the first time.
     
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  10. jei

    jei Danger Zone Admin Staff Member Forum Administrator

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    Best Car Chase scenes, there are so many great ones I'm way over my top ten and could keep going:

    1) Bullitt by armbar - really it's the perfect car chase scene.
    2) Blues Brothers - one of the funniest chase scenes ever.
    3) French Connection - classic
    4) Ronin - French Connection did it better
    5) Mad Max 2 - The final chase was so exciting
    6) Drive's opening scene - Just so smooth
    7) Mad Max - the beginning, and the end of Nightrider
    8) Terminator 2 - in the Aqueduct shotgun
    9) Baby Driver - the opening scene with the red Subaru was so slick and well-executed
    10) The Man with the Golden Gun - Because the stunt was done on the first try. It would have been higher if not for that stupid slide-whistle they added for some horrible reason.

    HM: The whole movie of Mad Max Fury Road (which is why it didn't make it into the top ten), To Live and Die in LA, Matrix Reloaded (the only good part about that thing)
     
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  11. ArtemV

    ArtemV Gold Belt

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  12. Zer

    Zer Gold Belt

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    I was all about Blue is the Warmest Colour (Didn't realize that shit was 3 hours long though), but depressing Russian cinema is my bag too

    As for car chases Ronin has to be the GOAT for me. I haven't seen films like Bullitt or Fury Road, mind. It's funny people are giving Drive shoutouts because I loved that movie so much, just not at all for the car chases which I don't really remember
     
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  13. moreorless87

    moreorless87 Disarming Posting

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    Yi Yi is three hours as well, just be thankful I didn't go with my alternative choices of 60's non realism new wave as I think you'd need to watch Marketa Lazarova 2-3 times at almost three hours to understand it with only a sprinkling of pagan incest to get you though. The main thing that actually makes stuff like Yi Yi and Blue so long isn't really extended narratives but rather playing out scenes for an extended period, most famously the sex scene in the latter but you have say characters chatting up each other for 10 mins at a bar rather than a minute or two, the reverse of something like say Befoe Sunrise though with more believable fumbling over words.

    There is a bit of Tarkovsky style slow cinema in all of those as well outside of Two Days One Night as well which probably makes Leviathan half an hour longer than it would otherwise be, I almost went with Uzak as one of the choices where almost nothing happens and that actually has a scene where a character is watching Stalker when his unwanted guest cousin is in the room, switches to porn when he goes to bed then switches back when he wakes up. ;)

    I would guess thats alot of what disapointed people with Drive but I would say the opening chase actually sets up the film really well as a whole though, a lot of its lowkey building tension before sudden bursts of action.
     
    Last edited: Feb 8, 2019
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  14. Bullitt68

    Bullitt68 Senior Moderator Staff Member Senior Moderator

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    [​IMG]

    [​IMG]

    Name bias and car chase awesomeness aside, Bullitt is such a great movie. A way-ahead-of-its-time psychological exploration of being a cop with quite possibly Steve McQueen's - aka the greatest nonverbal actor ever's - greatest nonverbal work. Oh, and as if McQueen starring doesn't make the movie cool enough, it's also got a score by the great Lalo Schifrin :cool:
     
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  15. moreorless87

    moreorless87 Disarming Posting

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    I admit I'v not seen Bullitt in probably 15 years or more, must get around to rewatching that and Point Blank.

    Interesting you mention "non verbal actor" as I think you could argue "neo neo realism" or whatever you want to call it represents a shift back towards valuing that kind of performance. The style of the European new wave ala Godard I'd say really became viewed as the credible aspect of cinema by the 70's up to the 90's(Godard is Tarantino's biggest influence IMHO, not the exploitation films he takes the style of hence the production company name), even guys like say De Niro, Jack, Brando or Mickey Rouke who were great physical actors selling drama via facial expression or movement were valued more because they were good talkers as well.

    I would argue that whilst they were obviously acclaimed in the past its only more recently post millenium you've seen the likes of Kurbick, Tarkovsky or Kieslowski really become dominant influences in cinema carrying though more of the style of the silent era and depending heavily on physical performance and atmosphere over dialog. I know you loath it but Anatoly Solonitsyn in Andrei Rublev is IMHO one of the best physical performances ever , Stalker as well for all its philosophy is very heavily focused in physical performance.
     
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  16. FrontNakedChoke

    FrontNakedChoke ____________________

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    Favorite car chase scenes:
    Duel
    Drive
    Mad Max
    Baby Driver
    Fast and the Furious 1
     
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  17. europe1

    europe1 It´s a nice peninsula to Asia

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    That scene is pretty good. But the CGI spectacle of it loses its appeal the longer time goes by. Nowadays it just starts looking... garish. No as bad as the clone-fight, but still.


    You're not going to go for cars vs submarines?:D

    upload_2019-2-9_23-9-15.jpeg

    That info-dump is really dramatic. Frantically delivered amidst an action-scene. Michael Biehn never got the credit he deserves for his acting in that movie, he totally carries it. The inclusion of this pick almost makes me forgive the rest of the list;)

    Initially, I thought of it as a contrast with the 1978 The Driver, which that opening-scene is essentially a remake of. There was a lot more focus on cunning and laying-low than the kinetic get-away in The Driver. I expected it would serve as a mission-statement about the overall film itself, that Drive would take a more cerebral cat-and-mouse approach to its story. However, while Drive is loaded with style, it certainly didn't manage to replicate the intelligence of that aspect of the original.

    Fury Roads ability to communicate exposition, character and world-building in the midst of action-scenes really is quite staggering. Really puts other action movies to shame. The only thing that falls flat is Max's visions.

    From anywhere in particular? I loved her in Allied. Can't think of anything else.

    ... shit it's Inception, isn't it?;)

    Haha. You know, I thought of that exact same movie. I even confused the two for a while. But Room in Rome was... truly pretentious and really, really bad.

    For some reason, French Connection didn't really do it for me. I mean, I like Hackman's intense action and his reactions to what's happening. But the whole "filming from the cars eyesight" didn't really work in creating a kinetic impression. The Driver used that more sparingly and more effectively in its chases.

    It is one of those chases where the "behind the scenes" is even more impressive though. They didn't even have a permit to do that.:D

    Even though Fury Road is some high-flying shit, it can never match the realeness of MM2. I mean, you can see how afraid and jittery those stuntmen are when they're climbing onto the truck! That's really something that can't be replicated. Also, this:

    [​IMG]

    The spinning wasn't even intentional. Luckily, said stuntman had cardboard boxes as landing pads.

    This smash-through is the coolest freaking smash-through of all time.

    [​IMG]

    Especially in the film itself where you also have the truck spinning around several times afterwards as the cars pass by.

    Also, Miller seems like a really swell guy but he is death to stuntmen.

    [​IMG]

    That bike straight out Romero-Weidman'ed him.

    <mma4>

    If we do whole-movie chases then you also got to mention:

    [​IMG]

    I never really got the gripping intensity that many people talk about when they describe Duel. But it's a good film and a good chase for sure.
     
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  18. moreorless87

    moreorless87 Disarming Posting

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    The main strength in Drive for me is actually the atmosphere more than anything else which I think does work with the film as a whole, building up tension with suddenly quick releases.
    I suspect the visions might have been a bigger part of the story originally and got rather cut down on during production, I felt they worked well in the opening but after that didn't really feature that much.

    I said it in the other thread that I think Fury Road in some respects feels like less a sequel to the original Mad Max films in terms of style and more like Miller is drawing on The Wages of Fear/Sorcerer(especially the latter). I don't think its any coincidence the characters are driving together in a big truck and you have I'd say a lot more focus on building up atmosphere to sell drama, the section with them getting stuck in the mud especially really brings those films to mind.
    Didn't help the UK/US promotion did stuff like changing the name from "The Life of Adele" and claiming the character starts off age 15 rather than 17 played by a 20 year old. I'v only seen part of Room in Rome but yeah I didn't think it had too much to recommend it beyond the obvious and was trying to reach for more without much sucess. I tend to think a lot of would be arty romance films these days get trapped in a kind of middle class fantasy, Like Crazy with Felicity Jones in it comes to mind which dispite being well enough acted I couldn't sit all the way though as it was just too self satisfied in its middle class quirkiness.

    I deliberately tried to pick out stuff that avoids "middle class querk" in the choices on offer(Leviathan is probably as far away from that as its possible to get) which was part of the reason I didn't have any US/UK choices such as the above. Could have had Blue Valentine I spose which whilst it has some of that style arguably picks it apart but I think Blue/The Life of Adele does the same kind of thing better/smarter. I think part of the reason it caused such fuss wasn't just the sex but that its not the expected "gay cinema" were bigotry is the target, its actually much more about class and arguably the kind of people who were likely to comment on/review it in the media were part of the target.
     
    Last edited: Feb 9, 2019
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  19. Bullitt68

    Bullitt68 Senior Moderator Staff Member Senior Moderator

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    If this ends up pissing you off the way that my liking the Sylvester Stallone Get Carter remake better than the Michael Caine original pisses europe off, then allow me to apologize now, but I much prefer Mel Gibson's Payback to Lee Marvin's Point Blank. To add salt to the wound: While I prefer the remake of Get Carter, I still really like the original; however, I not only prefer Payback, I don't really even like Point Blank. At least, I didn't the last time I watched it, which was probably close to if not over a decade ago (the first time I watched it was actually in film school during a course called "Films of the 1960s" and while I thought that it'd be one of the surefire awesome movies on the screening list I was super bummed when I ended up disliking it).

    Hmm. My first instinct is to disqualify what I'll broadly call "art cinema" from my pantheon of nonverbal acting awesomeness since the slowness, the quietness, the introspection, etc., which is manifest in the performances in a lot of those films is simply a consequence of the style of the filmmaking. In other words, it's less about the actors making choices or plumbing the depths of characters (like Brando in On the Waterfront or McQueen in The Sand Pebbles) and more about filmmakers slotting actors in and dancing them around like puppets. To go way back, the genius of The Passion of Joan of Arc is the genius of Dreyer and his vision (though that's not to say that Maria Falconetti deserves no credit). If you then go to On the Waterfront, the genius there is Brando (though that's not to say that Elia Kazan deserves no credit).

    Of course, this is mere quibbling about who/what deserves the most credit, however we define/calculate that. If you look at the history of film holistically, then I think that you're right that there's a distinct branch of filmmaking which prizes and elevates (and certainly a handful of specific filmmakers who prize and elevate) the nonverbal on the level of performance. I'm just always going to be more impressed when I see that in contexts in which you wouldn't expect to see it, like McQueen in Bullitt or De Niro in Heat.

    Really? I think it holds up very well. Then again, I've been watching some of these recent SMC picks like Blade Runner 2049 and Ready Player One and finding that the visuals are lame as fuck yet people are acting like they're giant leaps. I wonder what that's about. When I saw Sin City and Avatar in theaters, I can remember so vividly not just thinking but feeling that movies would never be the same again. I imagined that what I was feeling had to be what people felt when they first saw 2001 and Star Wars. I also felt when watching Ready Player One last week what I imagine people felt, after seeing 2001 and Star Wars, when they saw Silent Running: It's not bad, but, with how much better shit that came out before it looks, that's really the best they could do?

    Any time I bring up that franchise, a friend of mine brings that up as if to disqualify any and all of those movies from conversation :oops:

    [​IMG]

    Michael Biehn has simply never gotten the credit he deserves for being as awesome as he is. Simple as that. But no, he's never gotten the kudos coming to him for The Terminator (hell, even our boy Dave Saunders throws him under the bus :() and he's never gotten the oodles of kudos coming to him for The Abyss, which is easily one of the most underrated performances out there.

    Excuse me? This coming from the guy who goes on to say that Mad Max: Fury Road "puts other action movies to shame"?

    [​IMG]

    I actually haven't seen Allied. The trailer didn't really grab me, but I'm not surprised that she's great in it.

    To your question, La Vie en Rose is the obvious one. That was the movie she got her Oscar for and that was the first movie I saw her in. (That was also back when I watched literally every new movie each year so that when awards season rolled around I'd seen every movie nominated for anything in every show. Now when I watch an awards show I don't know any of the movies or the people. Sigh.) Then I watched A Very Long Engagement in a class in film school. She's phenomenal in that.



    She's clearly one of those "eyes are the window to the soul" actors (it helps that she has very large eyes) but the way that she can channel emotions is very impressive, perhaps nowhere more so than in the above scene where she goes through and back-and-forth between so many. I also liked her a lot in Love Me if You Dare, The Immigrant, and yes, obviously, in Inception ;)

    I've just yet to see her in a movie where she wasn't great, so I have no reason to think that she's not great in Two Days, One Night.
     
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  20. moreorless87

    moreorless87 Disarming Posting

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    I'v never actually seen Stallone's Get Carter but I'd agree that Gibson's Payback was much better than expected, maybe a bit more conventionallt heroic but certainly a level above what he and Cage have often ended up with in the last decade or so,

    I'd agree there are certain films you can probably put more of the credit for whats onscreen to the actor but equally I do think they play a very significant part even with a great director who values that kind of performance. Mentioning Tarkovsky for example I think that his last couple of films post USSR suiffer from not having Solonitsyn in them, the comparison between Nostalgia and Stalker being rather similar in style I think made that more obvious.

    At the extreme end I think you often saw the undervaluing of physical performances most obviously with someone like Arnie, obviously not a great verbal actor but what he brought to Terminator and Predator was more than just being a muscle monster when it came to physical performance. On the artier side I think you had the same thing with Johansson in Under The Skin more recently, I remember seeing a lot of comments that her performance was "just looking attractive" rather that well judged physical movement and subtle facial expression.

    I didn't think there was anything technically lacking in BR 2049 but I would say that as with other Denis Villeneuve films there feels like theres an unwillingness to really push it visually. Feels like he's almost afraid really push his neck out like Scott did in the original for fear of being seen to try too hard and ends up with a lot of "tasteful minimalism" instead.

    Probably the last time I was really wowed by modern FX was Jacksons Lord of the Rings films, that felt like the point at which CGI stopped being an Emmerichian "explosion of the year" and was pushed more towards something of character and drama. The dust storm in Fury Road would probably be the most iimpactful CGI sceen I'v seen since then.

    You could argue I spose a good example of a good physical actor needing to work with a director who's strengths are in the same area, he never quite seemed to reach the same level as in those Cameron films elsewhere. The Abyss especially is a truly great performance IMHO with that character really making much of the appeal of the ilm for me.

    Yeah I'd agree that's what always stood out about her for me, the intensity and emotion she can get across with her eyes and Two Days, One Night probably focuses more on that than anything else I'v seen her in, indeed as I said I think she got the Oscar a bit too early in that case as she perhaps deserved it more here for me. Along the same lines with exrpressive facial features in these films I remember reading Exarchopoulos claiming she was cast by Kechiche in Blue is the Warmest Colour for her mouth(Zer reply incoming? ;)).
     
    Last edited: Feb 12, 2019
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