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QI Films

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932303.  Tue Aug 14, 2012 11:47 am Reply with quote

Somehow I can't hear Ms Hepburn in a Birmingham accent.

Oceans Edge
932308.  Tue Aug 14, 2012 12:01 pm Reply with quote

djgordy wrote:
Despite their similarity, Tom Conway's career was nowhere near as succesful as George Sanders. He was very much the Liam to his brother's Noel, the Chris to his brother's Mick, the Frank to his brother's Sylvester, the thingy to his brother's know....Millibands... what are their names again?

Stephen to his brother's Alec; Joey to his brother's Mickey

ooooooooo do we need to start a new game in the Games area?

932332.  Tue Aug 14, 2012 2:49 pm Reply with quote

It turns out that these Falcon films are available on the iPlayer so if you didn't see them and want some undemanding entertainment I would recomment them.

Mick Jee
932675.  Wed Aug 15, 2012 7:32 pm Reply with quote

'Inglorious Basterds' was on TV again the other day but I can't decide whether it's a war film or a comedy film.
Any Q1 members from Nantucket? How'd you feel about having SS Colonel Landa as your neighbour?

932677.  Wed Aug 15, 2012 7:36 pm Reply with quote

All direct responses to be written in the from of a limerick.

932695.  Wed Aug 15, 2012 11:54 pm Reply with quote

Let Me In (Kodi Smit-McPhee, Chloë Moretz, Richard Jenkins) - 7.4. An English language remake of the Swedish vampire film Let The Right One In (Kåre Hedebrant, Lina Leandersson, Per Ragnar) - 8.2 which was in turn based on the book by John Ajvide Lindqvist. This is an interesting film that fills in some of the blanks about the practicalities of the bloodsucking lifestyle - OK, so not so much style as squalor but you know what I mean. Very much plot driven and not in any sense moralistic you'll probably find yourself rooting for the baddies in this one; if only because of the up front femme fatale first love aspect that, vampires aside, is the central theme. The question that Owen asks his father is the one that the director asks of the audience and the answer that his father gives is the one that the director seems to favour; under normal circumstances that seems fair enough but you can't help thinking that something has gone seriously astray somewhere along the line of escalation - even setting the multiple murders aside isn't there some uncertainty as to the validity of ethical egoism? Anyway what we have here is a film which, though unremarkably shot, might cause you to ask yourself some questions so that warrants a big thumbs up from me.

932766.  Thu Aug 16, 2012 6:52 am Reply with quote

I've been wary of the remake, as I enjoyed the original so much.

We do have a copy of it lurking in the Casa Tenic DVD Mountain, so I will watch it eventually, but I might have to watch the original one more time before that

932790.  Thu Aug 16, 2012 8:31 am Reply with quote

So, the Melbourne International Film Festival happened (technically it's still on, but I've just come back from the last film I was planning on going to). Here's what I saw:
- Safety Not Guaranteed (USA): Potential time travel, love. An extremely intriguing premise completely ruined by accessibility and mainstream sensibilities hiding behind faux-indie aesthetics.
- Carré blanc (France/Luxembourg/Switzerland/Belgium): Dystopia, love. Dark, bleak and absurd.
- Nameless Gangster (South Korea): Gangsters, more gangsters. Fun and intense in equal measure (although probably more fun, all things considered).
- Miss Bala (Mexico): Crime. taut and quietly horrifying.
- Berberian Sound Studio (UK): Horror (specifically Italian 1970s giallo), psychological weirdness. More dark, twisted and humorous.
- Metropia (Sweden): Conspiracy, dystopia. A bit standard considering its subject matter; still quite interesting and great at mood/atmosphere creation.

932807.  Thu Aug 16, 2012 9:58 am Reply with quote

I liked the original version of Let Me In better than the remake, but I did think it was an interesting concept in either version, and worth watching.

933008.  Fri Aug 17, 2012 6:27 am Reply with quote

Straw Dogs (the original). Incredible. Some parts felt frayed, but it made up for it in droves. Terrifying and terrific. On a side note, Home Alone is kind of like Straw Dogs for kids.

American History X. Some great moments of writing, as well as consistently good acting, but it's overall not fantastically shot or edited. On the other hand, Anne Dudley did the score and is generally an amazing composer. When I say "overall not fantastically shot" I mean there's no constant admirable cinematography, only select bits. Also, that ending was awful.

933067.  Fri Aug 17, 2012 11:25 am Reply with quote

zomgmouse wrote:
On a side note, Home Alone is kind of like Straw Dogs for kids.

I can't imagine Dustin Hoffman doing the face though.

933288.  Sat Aug 18, 2012 7:32 am Reply with quote

Happiness. Pretty damn fucked up. I appreciated the lightness of the tone counterpointing the darkness of the subject matter. I kind of liked it, although the style's not really my type, so I'm not sure if I'd like Solondz' other stuff. Would I?

933781.  Mon Aug 20, 2012 5:58 am Reply with quote

Bernie. It was quite enjoyable. Further confirms my like of Linklater. Humorous, sweet and macabre. The talking heads with real people reminded me a bit of Reds. Also, I somehow only like Jack Black in Linklater films.

Romper Stomper. Highly disturbing. Great energy. Russell Crowe was pretty good, although seemed a bit too meek for the role.

934258.  Wed Aug 22, 2012 4:20 am Reply with quote

Insomnia (2002) (Al Pacino, Robin Williams, Hilary Swank) - 7.17. This remake of the 1997 film of the same name by Norwegian director Erik Skjoldbjærg has pragmatic homocide detective Pacino trying to catch out Robin Williams' calculating crime writer in the permanent daylight of the Alaskan summer and ignoring the rules in order to do so. One hesitates to use words like taught or tense but there seems little choice as the two main characters circle one another trying to gain an edge. All the while the danger of exposure seems equally disasterous for both men as Williams' liberty is staked against Pacinos' career and reputation. The progress of events and the latitude both contribute to Pacinos' sleeplessness his judgement becoming ever more questionable as time wears on unpunctuated and morals blur as seemlessly as the days do. Some beautiful panoramas together with a nice sense of the frustration and incapacitating effects of sleep deprivation add to credible portrayals from the leads to allow the viewer to share a sense of relief with the characters at the resolution. Swank lends a creditable hand as the younger cop who Pacino seeks to keep at a distance from the practicalities of his job as he knows it.

934266.  Wed Aug 22, 2012 5:18 am Reply with quote

Gattaca (Ethan Hawke, Uma Thurman, Jude Law, Alan Arkin) - 7.3. Sci-Fi geneticsy stuff, perfunctorily as the backdrop to a murder-suspense story but the underlying theme of the questionable wisdom and ethics of genetic manipulation is at least half the subject of this film. That said up front screen time is untroubled by the nitty-gritty of the science I'm happy to say since that would undoubtedly get in the way of a perfectly good plot. Because this stuff is so close to my heart I may not have as much detachment from the subject as I'd like; I'd like to see this film as it was 'meant'* to be understood however that isn't going to happen I fear - the bloody-mindedness of humans does shine through as a sort of anti-eugenic beacon of emotionality over cold, dispassionate logic. This is a vision of the future as it might become where the rich form themselves into a genetic overclass through screening and gene therapy. Those born without the scientific input are termed 'faith births' or 'degenerates' and are restricted to lesser roles in society. Knowing as I do that this is at least theoretically possible frankly it's all rather chilling - it gives me the willies anyway.

Very effects-light for a modern sci-fi film the lighting is striking in that the use of shadow is more widespread than you will usually see and some of the shots aquire a black and white feel as a result. Not really a noir film per se but with certain common elements - take Thurman's character for instance; her 'faults' are genetically upfront making her a sort of femme anti-fatale and it's Hawke's facade that hides a dark secret as he profits from Jude Law's misfortune. The script is almost inconspicuous but not so as to detract from the film at all; only the "... I never saved anything for the way back" line stands out in my memory but that for once is perhaps not a bad thing, clever dialogue might cloud the underlying issues of willpower and determination over supposed raw genetic talent. Ultimately the fact that we don't as yet fully understand how human genetics works underpins this work and allows, for the time being at least, a more egalitarian prospect for the future.

* without getting into the idea of authorial intent - after all in this context that smacks of intelligent design.

Last edited by Celebaelin on Wed Jul 30, 2014 8:05 pm; edited 1 time in total


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