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ol' eddy wrecks

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ol' eddy wrecks last won the day on January 13

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  1. ol' eddy wrecks

    To Kill A Mockingbird

    I'm only 1/2 hour into this revisit (last time was probably 10th grade, so 25 years). In terms of camera work, I remembered the opening credits were supposed to be interesting (at least to high school students) - and that actually held up. That was interesting (visually). If Paul had no expectations going in, maybe that really stuck in his mind. I'm at the night time visit to the Radley place; the camera work has appropriately shifted to feel a bit like a horror movie - and the shadow of Radley on the wall seems like a direct allusion to Murnau's Nosferatu - which seems appropriate. I don't think that's that avante garde (if the rest of the film felt like the opening credits - which it doesn't so far, and in my memory, it doesn't - I could see that label a bit more). I'll post anything else that sticks out to me, but I don't think there's much.
  2. ol' eddy wrecks

    The Silence of the Lambs

    Aside comment - the podcast mentioned how this was the rare (only?) Oscar BP that was released in February. My recollection is, it came out in February, but then was re-released close to the end of the year when they felt they had a shot at the Oscars (admittedly a memory from when I was a teenager, and as I write it, it feels weird that that is something I think I remember). One of the more overt Oscar campaigning practices.
  3. ol' eddy wrecks

    The Silence of the Lambs

    In thinking of horror/thriller movies (well, horror) that I'd probably prefer to be on the list, Night of the Living Dead came to mind. If you're going for influence (e.g. true-crime craze), I would think NotLD would have to go on there, for (as far as everything I've heard, and have not see a counter-example) it invented what we think of as the zombie (apocalypse) genre. Of the movies that I do not necessarily want on the list, but also influential, Halloween is credited for starting the slasher craze we associate with the 80s (even though Black Christmas by all accounts was getting to it first, and I don't know how The Texas Chainsaw Massacre doesn't seem to get credit for that, despite being iconic and coming out in '73 - which is also a movie with the killer influenced by Ed Gein). But what came to mind: Night of the Living Dead, The Exorcist, The Texas Chainsaw Massacre; since the AFI is fine appropriating British films, I'd assume Canadian ones are also up for grabs, so something like Videodrome or The Fly (I'd already want enough Kubrick films, I wouldn't argue for The Shining). Psycho is already on the list. I did really enjoy Silence of the Lambs in this revisit, and it's well made, I just end up going through all these other films I'd prefer, I'd suspect I'd run out of space fast, so I guess, I'd be a "no," but at the same time, I'd say, compared to other films on the list, it doesn't make me scratch my head (after this revisit) as some other movies do. But then again, looking through the 400 films in the 2007 AFI ballot, maybe I'd have a really hard time coming up with 100 films from their curation.
  4. ol' eddy wrecks

    Tootsie

    He's chasing after a number of women at his birthday party (the point of the film, somewhat aggressively). I think the journey isn't supposed to be love, but rather the ability to empathize from her perspective and not just an object of desire or an abstract notion of love without a real concept of what's inside.
  5. ol' eddy wrecks

    Tootsie

    As a movie, my thoughts were, "it was alright, I guess. Some funny lines here and there. It felt like it was setting up some topic to be re-examined later (namely Sandy), which, well, it didn't." Which doesn't really stick out in my mind as great. This was a movie that I think I was only vaguely aware of its existence (didn't even know the basic premise) prior to the Criterion release. And when it did, I was like, "huh. I didn't realize/think there was anything that really set this 80's comedy apart any other movie of that era. It doesn't feel like I hear it get referenced that much." After watching it, I'm still feeling the same way. Not entirely sure what put it on Criterion's radar. Maybe Sydney Pollack being the director? I guess I'm just not getting the strong appeal of this one. Just checked, weirdly, Kenneth Brannaugh really likes it. https://www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/1020
  6. ol' eddy wrecks

    Tootsie

    I haven't listened to the episode yet, but all I could think of was in the All the President's Men and the part about the director complaining about Hoffman over-acting. As Michael, Hoffman is fine, but as Dorothy, all I could think was he's going full-on Chickenlady with his mannerisms and tics.
  7. ol' eddy wrecks

    Upcoming Episodes

    To mimic rolling a 50 sided die, they could also just divide the d100 roll by 2. Though the proper algorithm* for generating a random permutation requires decreasing n by 1 (of the, pick a random integer up to n) for each pick they make, so eh. *: So you didn't not have to worry a out re-rolling, and keeping the probability uniform for every possible pick (going to the nearest unpicked one increases the odds of selecting ones next to previously picked one, eventually resulting in clusters of numbers that are likely to be picked**). **: Back of napkin math reasoning, that has the possibility of being flawed.
  8. I was a little surprised they were doing this movie because it is by no accounts, a bad movie. Maybe it's just the reputation of sequels-in-name-only films, but I feel Prom Night 2 >>> Prom Night. (Admittedly, my memory is a little shaky here, I haven't watched either in about 6 months). When Paul said he liked how they mixed the 1950's and 1980's era stuff, my mind went to, "he should watch Night of the Creeps," and I was hoping someone was going to introduce themselves as "Tom Atkins' Mustache," but that probably would have been too oblique (and the 80s part anyways). On the portal shredding trope, as I was channel surfing, Demons 2 came one, and it also had a scene like that. And I was thinking, "man, they also did this in Demons." And then I come on here, read this, and think, "man, they were doing this a lot back then." For some weird reason, I kept thinking this was all somehow Alien chest-bursting influenced. But I don't know why. Especially breaking it down, I think there was a scene in The Stuff that also had a similar effect and was probably more akin (with the lack of blood). Man, it's been forever (decades) since I've seen The Stuff. I guess we should point out coming out of the tv, I mean the trunk, covered in liquid is probably copying the firm rules of interdimensional spirits established in Poltergeist. Another movie with a woman walking around for an extremely extended period of time without any clothes. I'm starting to think this movie just has every movie.
  9. ol' eddy wrecks

    All the President’s Men

    Well, it affects how I feel about the quality of a film overall, and how I feel about its various strengths or weaknesses. A lot of movies are concerned about depicting human beings in a way that seem human like (maybe not Tommy Wiseau movies, but most movies). Movies based on real events are also at least somewhat concerned about depicting those events accurately. In theory. In practice, I find that they usually don't. I think a line from the movie feels apt: Which, since I haven't read All the President's Men or know the details, I can't say the movie fails one of the very lines it gives. I find myself coming out of movies based on real events suspecting that they usually do. Especially as they start to resemble what resemble fictional films. This is actually my first time watching it, and with my usual reservations about the true-events based movies, I'm overall positive on this one. It probably helps that I do like the cinema verite style used in some of the 70s films. Some criticisms though: I was concerned about how much it flirted with being a political thriller (as it progressed it made sense, but the all-encompassing conspiratorial nature of it, thinking of the early librarian phone call, seemed a little dubious in how it was portrayed). Though, this weirdly does add another texture to my memory of The Conversation. Just the phrase, 70's paranoia. I think this is influenced by a growing sense of, "man, a lot of today's crooks just seem too... dumb. Just too dumb to pull of a conspiracy." I also wonder if we could have gotten some more background texture beyond news events for conveying the sense of the passage of time (unless I missed something throughout the film). e.g. changing of seasons. They were on this story for a few years. Watergate was probably too sprawling of a thing to do everything, but I believe there were more breaks in the story than just what Woodward and Bernstein covered (though, as the line goes, "Watergate wasn't an issue, until it was." I know we got the NY Times story on the banks, but I think long term, having slightly more of those in the movie probably would have given a better texture to it all. Though, maybe that would have gotten us back into sprawling territory that wouldn't have feasibly fit in a 3 hour movie or would have been too unfocused. Watching this has got me wanting to go back and re-listen to the Slow Burn, season 1, podcast, which I did listen to the first episode again.
  10. ol' eddy wrecks

    All the President’s Men

    I expect to see you back when they get to the Godfather movies.
  11. ol' eddy wrecks

    Snow White and The Seven Dwarfs

    I know this won't change any minds, but it's pronounced, bio-pic. It's a misle word. It's one I used to mispronounce. I kind of like the sound of the mispronunciation more, but it is a mispronunciation. I also used to use "nonplussed" incorrectly for years. Just mentioning that, because they use it incorrectly a lot on HDTGM.
  12. ol' eddy wrecks

    Snow White and The Seven Dwarfs

    I feel like one could also breakdown what they mean by most influential. I feel like there's a lot of, "most well known," or "referenced (in the Simpsons)" or is meme-able statements when that's being said. And people are free to care about what type of influence they care about, but I find for answering, "is this a good/great movie," I don't know how much currency that type of influence has with me. I don't want to say it has none, but I don't find myself consciously wanting to use it as an argument. Then there's actually altering how film goes about conveying its narrative or story. This can be such things as editing techniques that convey a certain mood (which I could say is subtle, but Breathless was not subtle in its editing - and also had a lot of shallow mimicry in its time). There's also a question of how incremental it was, was it going to happen with or without the film. I mean, I ultimately decided to vote "no" now as well, but even the latter version of "most influential," Snow White does pretty well.
  13. ol' eddy wrecks

    Snow White and The Seven Dwarfs

    I think this came up the last time we discussed animated films on the list, but I'm not really a Disney person. Though, the one early-ish Disney film (I'd be down for watching The Black Cauldron again, though, it doesn't come to mind as a top 100 film) is Alice in Wonderland. Fwiw, or context or perspective, I prefer Totoro to Spirited Away. The latter had higher production values, and that first night as dusk sets is truly amazing, but the actual character progression of the child protagonist in Totoro is more complicated and seems more interesting to me than character development through questing - which I guess contradicts picking Alice in Wonderland above, but honestly, I have a hard time thinking of major American animated films that go that route. AiW just has a kooky, fantastical world that I just enjoy.
  14. ol' eddy wrecks

    City Lights

    I'm holding off on watching this until the criterion channel launches next week because it's probably going to be on there (and doesn't make much sense for me to rent it in that time). It looks like I last saw this five years ago, so my memory is spotty, but I seem to remember thinking her response was more of an, "ooohhhh..." which was a likely precursor to rejection. But that's a vague memory to a movie that didn't really leave much of an impression on me. (If I were to vote for this movie, it'd be like The Searchers, mostly in deference to the critical consensus). I did want to throw out a couple of topics on silent movies though. One reason I've heard cited as to why they didn't want to move away from silent to sound was the international appeal. You can easily translate a silent film internationally without much if any loss of quality by just changing the intertitle cards. I can't help but wonder if some of Chaplin's lasting international popularity was... amplified by his major successes were probably amongst the last major US films that international audiences could easily watch. Just a thought. Based off of my recollection of Chaplin and the majority of this comes from that "recent" rewatch of City Lights, I'm not really that big on Chaplin, but did enjoy Buster Keaton shorts I watched (not so much The General, more-so the The High Sign sticking in my memory - mainly because I enjoyed his deadpan a lot more). Granted, I'm also recalling that some of my favorite silent film experiences were when they were accompanied with live music that was often anachronistic for the film (e.g. the afore-mentioned Buster Keaton shorts were accompanied by people playing blues-grass and I remember seeing a Lon Chaney film where he was a double-thumbed murderer/thief working at a circus where the band played amongst other things, an instrumental rendition of The Pixies' Where is my Mind?). I mention that with regards to how Paul tends to tune out after a bit while watching a silent film. I wonder how much the music choice might be affecting his viewing experience. Though I found Man with a Movie Camera, The Passion of Joan of Arc, and Cabinet of Caligari all really good regardless. Though, those are older silent films. I wonder if Paul likes Mel Brook's Silent Film. More modern silent films that I can think of are mainly Guy Maddin's films (e.g. Cowards Bend the Knee), but that's probably more arthouse than what a lot of people here would like (based on what I've seen people say they hate - Man with a Movie Camera would also probably fall into this category since it was consciously trying to be experimental).
  15. ol' eddy wrecks

    West Side Story

    My Shakespeare reading was mostly limited to high school (I'm sure I saw film adaptations as an adult, but really not that many), but did he have any other comedies where the main characters died at the end? To get to evRoberts comment about the absurdity of the situation, I would also use that language, and say, this play reads more like a dark comedy to me. But I think that's more of my personal take from modern sensibilities. I don't think that's how it was intended and am not sure if the notion of dark comedies existed back then (at least, like they do today).
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