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kacey18
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The Killing (1956)
Kubrick
Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubrick Kubruck KUBRICK kUburickKubrick Kurbeic Kriublic KUrblic Kubrick kubrick Kubrick Kubrick Kugrick Kubrick Kubrick Kubrick Kubrik Kubrick Kubrick kubrick krubriuc krucj kubrick Kubrick Kubrick. First of all, this is a movie by Stanley Kubrick. Stanley Kubrick is the best director who has ever lived before. You might not have heard of him because your stupid and dumb and you like to watch dumb movies like "Dude, Where's Your Car". It's because of people like you that Kubrick died starving and penniless and everyone thought he was a jerk and said stuff like "You're such a jerk, Kubrick. You think your movies are totally cool and artsy and stuff, but you know what?, they're not." And then they kicked him and he died.
In the Bedroom (2001)
Stick to acting, Todd
Ah, Domestic Turmoil, woe is me! Papers told me this was "emotionally devastating", devestating for sure. Critics loved it, even Ebert who I most consistantly agree with it. And friends of mine liked it too. Well, I warn't to impressed to tell ya mahself. I sincerely hope the Academy would leave this one alone but I seriously doubt that. They have a pension for this sort of thing, the Artsy Tearjerker.
Let's get down to the nitty gritty, so to speak. First of all, THIS SCRIPT SUCKED! The dialogue was the worst part-e.g. the pointless conversation about Disneyworld and that amazing pass you can buy that lets you on all the rides without having to wait in line! Brilliant! Does that have some deep intellectual meaning relating to the characters emotional crises. No! But if you throw in empty dialogue in a pretentious film, people will be confused, doubt their intelligence and understanding, and then jump to the conclusion that it might just be too deep and insightful for them to comprehend.
And then there's the speech about the lobsters at the beginning. Right when he started in on it, I could tell it apart from the rest of the film like a huge signpost that read, "Remember this speech, because it is indespensable to the overall message!"
I know a movie is bad when I get up and go the bathroom, not because I have to relieve myself, but because the movie is just too painful to watch and I need an excuse to escape. I never leave the theatre, even at a film I am mildly enjoying, but the bad ones...Let me just say this, the last two movies I went to the bathroom at are 13 Ghosts(only bareable for the fact that I was on a date) and Say It Isn't So-remember that one? I didn't think so. If you do, all you should recall is the agony. !!!!!!!!!!SPOILERS!!!!!!!!! Right after the tragedy occurs the rest of the film is focused on little events that remind the couple of their loss. A slip of the tongue by a well-meaning friend, a remembrance of little one enjoying his daddy-built tree fort, and so on and so on. It becomes utterly monotonous and you sit there waiting for the next unnecessary helping of grief salad.
The acting is good, though. I won't deny that. But it can hardly redeem this movie. The ex-husband was best.
Some people might say that I'm extremely cold and heartless for not being moved by such an honest and heartfelt picture, but I really feel that's not the case. There are films which can make me cry every time I see them, because these are beautifully sincere and well-crafted and unique. This is none of those.
One more thing. If you were a grieving couple coping with the loss of your young son, would you place the newspaper article of his murder on your refrigerator door? What, is it a keepsake item or something? "Hey honey, remember when this happened? Those were the days."
Possession (1981)
a film about tortured and obsessive relationship
Zulawski's Possession is painfully honest in its depiction of love gone horribly wrong.
Both of these characters start the film together in a state of pain, and they end the film together, once again, only this time in a bloody puddle and spray of bullets.
Each of their deaths occur entirely upon acts of their own doing. After they die, horrible unfeeling clones of what they once were, assume to take over the roles of now dead Neil and Adjani.
The first time i saw this film i didnt know what the hell to think. Why did they're kid drown himself and why the clones just standing there at the end? I saw a lot of the screaming and horror to be somewhat pretentious, but after further thought, I realized it contains a lot more symbolism than i had expected(think Eraserhead or Jodorowsky)
Definitely a high water-mark of films during the Eightees.
La voie lactée (1969)
a horrible, jumbled and boring mess of a film
I really wanted to like this movie, really. But about half way through it I realized that I genuinely hated it. It is dull, unfocused, boring, pretentious, heavy-handed, and overwrought. Bunuel constantly drives his distaste for the Catholic Church into the viewer over and over and it gets old really fast. Its not even entertaining either.
It's bad, boring, pointless surrealism. The surrealistic moments are fatuous and dont have any deeper undercurrent of meaning like most good ones do. Go straight to Jodorowsky or for a better Bunuel, The Discreet Charm of the Bourgeousie.
Woyzeck (1979)
Intense, Powerful, Disturbing
One of Werner Herzog's most unrecognized films, Woyzeck is utterly brilliant.
Few films succeed at portraying frustration and madness as much as this. Among them are Scorsese's "Taxi Driver" and Lodge Kerrigan's "Clean Shaven"
Klaus Kinski's performance is so good that just watching him is tiring, and the viewer is left anticipating when he will finally snap. Few films stick with me as much as this one and the sped up opening sequence is one of the most memorable opening scenes of any film I've seen.
Giù la testa (1971)
Definitely Sergio Leone's most unrecognized and unappreciated film
This is a beautiful film with colorful characters, great scenery, wonderful music(By Ennio Morricone), kickass explosions, and an unexpectedly heartfelt ending. James Coburn and Rod Steiger turn out good performances and the egg-sucking General-villain is enigmatic and vague but understandably hateful. Leone's directing is in top form with his harsh close-ups and epic structure. The best thing about this film, to me, is that it has the most impressive explosion I've ever seen. It builds up the tension and once the explosion occurs, it pays off. Its utterly convincing and I don't think any special effects were used. Shear pyrotechnics!
I consider it a sin against mankind that this film is not available in widescreen on DVD and VHS along with Once Upon A Time in the West. Until it is, my life is void and meaningless.