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AlmostAGhost

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Everything posted by AlmostAGhost

  1. AlmostAGhost

    To Kill A Mockingbird

    also the person who makes these brilliant posters has made a website to collect them all: https://www.unspooledart.com/
  2. Other non-musical movies would be welcome, but I do like having some sort of 'limits' on it, so it's not just 'here's a movie'. Cam Bert's idea of doing a round of different genres might be interesting.
  3. AlmostAGhost

    Musical Mondays Week 65 Cold War

    I honestly started watching it, but just wasn't in the mood so I stopped after 10 minutes. Then I never went back to it. Not real sure if it was the movie, or me.
  4. AlmostAGhost

    The Silence of the Lambs

  5. AlmostAGhost

    Upcoming Episodes

    i believe Vertigo is #50. i have 47 films on my Letterboxd list as of last week
  6. AlmostAGhost

    Upcoming Episodes

    5/9 - Silence of the Lambs 5/16 - To Kill A Mockingbird 5/23 - Vertigo
  7. AlmostAGhost

    Tootsie

    Yea definitely. It's not like there isn't some feminist messages in there, but as I said in my Letterboxd, it's basic. Almost too basic, if you ask me. So basic that it might even hamper the film's points entirely.
  8. AlmostAGhost

    Tootsie

    I don't think it does pass, come to think of it. No two (real) women talk to each other that I can recall.
  9. AlmostAGhost

    Tootsie

    Brannaugh's description is wild: "Tootsie is a superb comedy of deceptive simplicity. It at once parodies satirises and glorifies art, acting, cinema, TV and modernity at large. Hoffman is magnificent, Murray is sublime, and Jessica Lange's radiance is heart-stopping." It's like the feminist parts of it don't exist. He loves it for spoofing television! Out of all of Tootsie's points, "look how crazy soap operas are" is pretty far down the list.
  10. 511 minutes too short
  11. AlmostAGhost

    Tootsie

  12. AlmostAGhost

    Tootsie

    No I get it, and that's true. The point to me though isn't "is this funny enough?", it's "is it quality enough?" It's definitely sharper comedy than Bosom Buddies. It doesn't necessarily do anything better to get its points across though, except having a bunch of actors act as if it were a drama I guess. (That's the part I like about this.) Though looking at this through a lens of film genres, it's using screwball comedy situations, but I dunno, I still question these plot points as not being the best choices they could have made. I definitely agree that it's good that his drag-ness isn't a punchline, but like Roz said on the pod, he's in drag for the purpose of work/conniving a job/stealing a role from a real woman; not a lifestyle choice. I find that limits its effectiveness. Yea maybe Les is just more an awkward thing. But still, the end result is 'omg he actually fell for a guy' and whether that's for laughs or pity, it's still there. Also when Les finds out, his first reaction is to want to punch him. Doesn't he say something like "you're only alive because we never kissed"?
  13. AlmostAGhost

    Tootsie

    One thing I've been thinking about lately and really noticing is the sort of cinematic language that these films use. It's why I defended Chinatown in the face of a general indifference: I think it really has its own language in how it tells its story. Paul kept saying Tootsie was more than just Bosom Buddies, and that's sort of true in some regard: but also not so much. Take all the actions of the story: now he has to take care of a baby, oh now he is in some vaguely homophobic misunderstanding because a man is in love with him (his love interest's dad no less!), etc. These plot points are not any different than what you'd see on Bosom Buddies. So even if they're making a valid statement, or being funny!, it's just not done in a quality way with any sort of originality or creativity. Oh and how about the numerous music montages? Great films don't get to use that shortcut so many times in one movie. By my count, there were five. That's ridiculous. All the decisions they made to tell this story are not at all elevated from any old '80s drag comedy, even if maybe the acting is better. There's just not enough here for me to think it should be a classic to any level, and I'm totally baffled that it is. I have it last on my list of the 47 movies we've seen. I may enjoy it a little more than some of the others down near the bottom, but that's not all we're looking at here. I can sort of accept the pioneering nature of it, but even there, I'm not sure it's enough. One thing I think would improve this is though Hoffman's character dresses as a woman, he never truly identifies as one, so the perspective offered seems very narrow to me. I think what Bill Murray said about Hoffman and Pollack was illuminating: they had no idea what they were making. They should have let Bill direct it and turn it into what he was seeing could be.
  14. AlmostAGhost

    Upcoming Episodes

    Oh oops why did I think Boyz N The Hood was on the list? My bad
  15. AlmostAGhost

    Upcoming Episodes

    Surprised next week isn't Boyz N The Hood but 5/7 - Silence of the Lambs
  16. AlmostAGhost

    Chinatown

    NOthing was more antagonistic in anything I said than you going "But if you tell me it’s significantly different, then I’ll just take your word for it." There's no other way to read that. You started with "Taking the conversation back to the film itself..." and I apologize for following the conversation. Since when did I imply ANYWHERE that you were an idiot? Do not put those words in my mouth. If this is how discussions are taken on this board, I'm out.
  17. AlmostAGhost

    Chinatown

    And all I was doing was offering the counter-opinion to analogizing it to just another noir with nothing new to say. Is that not what we do here? I was hashing out the definition of noir and the quality of the film, I thought. What else is this forum for? I liked the movie and didn't want the only opinion on here to be "it's like Daredevil". How is this any different from any other thread? Apathy? OK, that was not coming across in your post either. I'd love to know if anyone here reads you as even remotely apathetic.
  18. AlmostAGhost

    Chinatown

    Uh putting the words "cinematographic film" in there doesn't tell anyone anything. What does that phrase mean to you? It definition just says 'marked by pessimism, fatalism, and menace.' It totally ignores and dismisses all the stuff you conveniently want to ignore and dismiss: the shadows, angles, voiceovers, black & white, but that's the cinematic language that needs to be included, as I think Chinatown subverts it to go somewhere new. Don't be rude. I'm not gonna take your word for it being a lame Daredevil movie either.
  19. AlmostAGhost

    Chinatown

    I could go deeper? There's a vast difference in showing one man being tempted by crime, and say, showing a whole corrupt society hidden in plain sight. To me, the main point is that society is fucked up; not one man being corrupt(ed). That's a huge difference to me, that classic noirs don't usually do. (I'm sure someone will 'well actually' that with some example, but in general.) By that vague definition you found though, almost anything could be noir (i'd argue Treasure of the Sierra Madre fits it). It totally ignores the cinematic conventions of a typical noir. We're talking about cinema. You have to include some cinema in the definition; and that is what Chinatown subverts and establishes its own self. What is the similarity here between this and Double Indemnity? There's very little besides the time period and a story centered on crime. I just don't see how it's the same key. Maybe you don't find it interesting, but it's not that similar. I would say it is Hendrix's "All Along The Watchtower", easy. Dylan's original is the best, but the cover goes places the original never imagined.
  20. AlmostAGhost

    Chinatown

    Chinatown totally deserves to be on the list, and it would wild for it to not be on a list of top-100. Maybe it doesn't break new ground, and no offense, but calling all the noirs the 'same dish' seems to be missing a lot about Chinatown, imo. I don't see it as the same as those other noir at all, and I'm not even sure it is one either. Regardless, I gather it may have started as one, but it dropped a lot of the main characteristics (voiceover, black & white, etc.) and it became its own individual film. That's why the filmmaking is impressive, imo; all those decisions that turned it into a masterpiece. (Not to mention the writing and acting which are all perfect too.) I think because of this, it's an even bleaker commentary on humanity than even the darkest noirs. Everyone liked the bleakness of man revealed in Sierra Madre; why not here? It's easy to distance yourself from Double Indemnity and be like, I wouldn't fall for this, it's just a character, etc. Here, you can't avoid it. *shudders* I loved the film before I listened to the pod, and interestingly, hearing Amy & Paul talk about it - even though they didn't love it, it seems - made me like it more! They did a great job bringing up all the details and layers I hadn't considered in first watch -- similarly to what they did that increased my enjoyment of All About Eve.
  21. AlmostAGhost

    Chinatown

    He stole that lyric from an Elvis song, but yea if I'm not being hypocrite here, maybe my test needs some reworking. Don't want to defend Lennon, he's not my favorite at all. But it does lead to a wider question though - do artists get to create characters? Is everything they write supposed to be heard or seen as autobiography? What if like George Harrison wrote a "Run For Your Life"? Can someone write a song about angry jealousy, or is it just verboten?
  22. AlmostAGhost

    Chinatown

    Yea, everyone can and should make their own threshold of tolerance for these things. But my line is generally: I can keep things separate for the most part, but I think about whether I'm participating in their perversion. For instance, Miles Davis and John Lennon don't actually write songs about domestic abuse, so it feels safer to enjoy their art -- their real and artist personas feel more separate, and their art can live on its own. R. Kelly, though, writes "Age Ain't Nothing But A Number." It's right there, and you can't avoid it and it's gross. There's a lot of examples now, and I guess basically I take it on a case-by-case basis. I definitely understand though if people can't listen to like Michael Jackson or watch Roman Polanski anymore though. (And I definitely agree, re: new media from anyone like this.) Right this is true, but I take it as the growing pains of a new cultural action, basically. We should get more nuanced. We may wrongly sweep some tolerable actions into the intolerable category, but maybe that's what has to happen here at the start of this valid movement. As you say it's not perfect, but I think it could and will move towards being more perfect in time. (Nothing's ever totally perfect.)
  23. AlmostAGhost

    Chinatown

  24. AlmostAGhost

    Musical Mondays Week 64 The Wicker Man

    I already am! https://letterboxd.com/almostaghost/list/bond-james-bond-007/ I have two Bond films left in my ordered rewatch
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