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Post an unpopular statement about a classic movie


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In reply to an earlier post on May 16, 2012 2:18:39 PM PDT
KinksRock says:
We're discussing "Tango & Cash"? We might as well talk about "Live Free or Die Hard" now.

Posted on May 16, 2012 2:20:11 PM PDT
Savage Lucy says:
You know what would have made Live Free or Die Hard acceptable?

Reginald Veljohnson.

In reply to an earlier post on May 16, 2012 2:28:11 PM PDT
SL: Google Dave Kehr's review. He got it in one. He said that it resembled nothing so much as the kind of queasy fever dream that might be brought on by eating pepperoni pizza at an Orson Welles film festival. (I quote from memory.)

How can you not love a film as utterly goofy as that?

In reply to an earlier post on May 16, 2012 2:30:39 PM PDT
Carma Chan says:
Baron, that's what I heard in recent months - that Terminator/Matrix/Cameron lawsuit, still pending I think, not sure we can get at the facts. Anyway, it happens and so what.

I'm going to say that I actually love Titanic, but I've learned not to argue with people who don't. My best friend hated it and no amount of discussion changed that. I also love True Lies. I don't hate Cameron. I didn't like the savagery in Avatar. The big difference between what he created and what I created is that - his is a brutal story about brutes. Mine is a clever story about brutes.

Posted on May 16, 2012 2:30:59 PM PDT
Savage Lucy says:
I didn't say I didn't like it. I own it. I just said that I didn't feel there was any sort of script involved. At least not a complete one when they started shooting.

Posted on May 16, 2012 2:31:08 PM PDT
Steelers fan says:
"Deliverance" remains the best film Burt Reynolds ever did, and features his best performance, although his more recent turns in "Striptease" and "Boogie Nights" were very good.

In reply to an earlier post on May 16, 2012 2:33:26 PM PDT
Carma: Certainly a best film could be a comedy. High on my list of great films would be Sullivan's Travels, The Palm Beach Story (in my view, the funniest film ever made), The Women (the original, please), or Some Like It Hot. A more recent comedy that just might be great--certainly it is clever, witty, and laugh out loud funny--is Down With Love. A proper appreciation of that film does require having seen the Ross Hunter / Doris Day comedies of the late 50s and early 60s--and among those, Pillow Talk may well be a great film as well.

In reply to an earlier post on May 16, 2012 2:37:08 PM PDT
Carma Chan says:
William,

Hard Candy.

That is, I think, possibly the most important film ever made. And it's well done. And it's perfectly flawed. It's plausible. It's intense from first to last. It's disturbing. And it's wonderful in a backward way - yes, for every child out there who has been duped like that, thank you for making that movie!

I hope it scares the h e double l out of pedophiles.

In reply to an earlier post on May 16, 2012 2:38:55 PM PDT
Carma Chan says:
I'll have to look those titles up - Sullivan's Travels, The Palm Beach Story, and The Women. Honestly never heard of them. But that's what happens when you grow up poor in Utah!

In reply to an earlier post on May 16, 2012 2:41:19 PM PDT
Carma Chan says:
Steelers: I'm with you on Deliverance. I liked it and I do think it's Reynolds' best dramatic work. However, I absolutely loved him and Sally Field and Jackie Gleason in the Smokey & The Bear movies - yes, I even liked the sequel, I couldn't get enough of those three. I love Jackie Gleason!!! Miss him.

Posted on May 16, 2012 2:42:15 PM PDT
Savage Lucy says:
Smokey and the Bandit.

Unless you're thinking of BJ and the Bear.

Posted on May 16, 2012 2:44:09 PM PDT
To my thinking, a great film has to have all the elements--a first rate screenplay, acting appropriate to the screenplay (self-conscious acting can really throw a film off--witness most of Richard Burton's work), intelligent direction, and first-rate cinematography and physical production (again, appropriate to the story--lots of overproduced films--Cleopatra being a prime example). But it has to have something more--something distinctive. To name a few films (not necessarily favorites, again) that fit those criteria, over and above ones mentioned earlier:

Lawrence of Arabia
Several Kurosawa films--Seven Samurai, Rashomon, High and Low, Throne of Blood
The Makioka Sisters
Children of Paradise
The Mysteries of Lisbon
Singing in the Rain
If

I'm also fairly certain that you can't call a film great until at least 10 or 20 years have passed, and you have seen it several times. Time is the great revealer of Art.

In reply to an earlier post on May 16, 2012 2:51:07 PM PDT
Carma Chan says:
I agree that to be a truly great film, it must stand the test of time.

However, I think it may be wise to separate categories. A spectacle is supposed to be a spectacle, as a comedy is supposed to be absurd.

A drama like Hard Candy or Dead Poets Society can never compete with a spectacle like Lawrence of Arabia or a musical like Singing in the Rain.

I don't think spectacles are more important. If anything, comedy is the most important genre. But it's hard to write great comedy, few people can, that's why there isn't enough of it. And it's harder still to be universal, since so much of comedy depends on culture.

Hey - change of subject - have you seen Burnt by the Sun? Russian film. Really fantastic!

In reply to an earlier post on May 16, 2012 3:09:49 PM PDT
Carma Chan says:
Yes, Lucy, Smokey and the Bandit. :)

In reply to an earlier post on May 16, 2012 3:41:08 PM PDT
[Deleted by the author on May 16, 2012 3:57:01 PM PDT]

In reply to an earlier post on May 16, 2012 3:54:45 PM PDT
Last edited by the author on May 16, 2012 3:58:04 PM PDT
stevign says:
re: "I would say that it must be taut from beginning to end. Dramatic tension in every scene."

I doubt film makers would agree. There must also be release, just like a good song, tension and release, tension and release.

Tension, Release, and Synchronization:

All of the tools, the choreographic processes, and the editor's sources of intuitive knowledge about editing a film's rhythm are used by editors in service of fulfilling rhythm's purposes in film. The question in this chapter is: What are the functions of rhythm in film? The following discussion suggests that the functions of rhythm are to create cycles of tension and release and to synchronize the spectator's physical,emotional, and cognitive fluctuations with the rhythms of the film.

TENSION AND RELEASE
One function of rhythm in film is to shape, modulate, stimulate, and elevate the movement between tension and release. This movement is particularly crucial to drama, as John Sayles, American independent film director, reminds us:. . .

"Movies depend on tension and release for their impact. . . . The audience is made to expect something, the event draws nearer and tension builds, then the thing happens and the tension is released."

The shaping of tension and release is also a function of rhythm in documentaries, in which tension may be created about, for example,the outcomes of events or the answers to questions, and in films other than dramas and documentaries, which might rely on a more directly visual, aural, or kinesthetic mode of tension and release.

http://webcache.googleusercontent.com/search?q=cache:i3XeSUKY9AQJ:www.artoftheguillotine.com/download_files/trs.pdf+filmmaking+-+tension+and+release&cd=1&hl=en&ct=clnk&gl=us

In reply to an earlier post on May 16, 2012 4:00:55 PM PDT
Carma Chan says:
Stevign, you're right of course. I didn't mean it the way it came across.

In reply to an earlier post on May 16, 2012 4:01:19 PM PDT
Will A. Smith:
>"Citizen Kane, if I may be reductive, is a head movie."<

Man passing through: "We saw that last night..."
Enthusiastic Woman: "That's a great film ... when you're high."

They were talking about Renoir's 'Grand Illusion' there, in 'Annie Hall'.
One of the great lines about turning a straight-up classic movie, into a head movie classic!

And like 'The Wizard of Oz', it came from the same pre-WWII era.

In reply to an earlier post on May 16, 2012 4:04:51 PM PDT
William A. Smith says:>"I'm sticking with brain-dead."<
`

You're still intending to vote for Mitt Romney then?

`
{...couldn't resist....}

Posted on May 16, 2012 4:06:37 PM PDT
RLSinSF says:
I hate "It's a Wonderful Life." Manipulative, sappy, plodding, and kind of a strange moral when you think about it. I have never understood its popularity.

In reply to an earlier post on May 16, 2012 4:12:57 PM PDT
KatieHepburn says:
Well said, S. Well said. My hero... <8^P

In reply to an earlier post on May 16, 2012 4:22:18 PM PDT
stevign says:
I should have figured as much. (hug)

Posted on May 16, 2012 5:00:26 PM PDT
KinoChelovek says:
"Annie Hall" - just shows you how bad of a talent that hack, Diane Keaton, really is!

Posted on May 16, 2012 8:47:04 PM PDT
Miami Nights says:
I finally saw La Dolce Vita (the 1960 movie by Federico Fellini). I had heard a bit about the famous fountain scene, off and on, over the years and after seeing both it and the movie, I was underwhelmed. Maybe the famous fountain scene was provocative for its time, but I thought it was going to be a magical, timeless scene. I am a fan of movies from around that time and even earlier, so that it's an "old" movie isn't an issue.

In reply to an earlier post on May 16, 2012 9:20:44 PM PDT
re: 'La Dolce Vita'

Miami Nights says: "I am a fan of movies from around that time and even earlier, so that it's an "old" movie isn't an issue."<

Aww, I see... just admit it, Miami, the real reason you don't like it is because of the Black (...and white) thing, innit?

Not ageism, but colorism!
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Discussion in:  Movie forum
Participants:  226
Total posts:  2297
Initial post:  Feb 9, 2010
Latest post:  Nov 16, 2014

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