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ol' eddy wrecks

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ol' eddy wrecks last won the day on January 13 2019

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  1. ol' eddy wrecks

    The Gold Rush

    I wish I could have my turning moment on Chaplin that Paul seems to have had with silent films in general, but I think I might just not like Chaplin's style. This is caveated with realizing it's unclear how much Chaplin I've seen. Within the last decade it's been City Lights, twice, and now The Gold Rush. Comedy can be rough if you just aren't laughing. I found The Gold Rush to be sprawling (in a bad, unfocused way). Which is to say, I am echoing @sycasey 2.0's surprise Paul and Amy swooned over this one. At least in terms of wasn't expecting it. Speaking of other acclaimed 1925 silent films (mentioned in the podcast) - I also did not like Battleship Potemkin. It's the only Eisenstein I've seen and it was only once, so it's possible I can be swayed. I am admittedly not that well versed in early silent films, but I've found at least some that I like.
  2. ol' eddy wrecks

    The Gold Rush

    Amy & Paul dig into 1925’s chilly Charlie Chaplin comedy The Gold Rush! They wonder whether the Tramp smells bad, learn about the tradition of Christmas crackers, and ask if this is the best Chaplin film on the AFI list. Plus: Composer Cliff Retallick talk about what it’s like to compose for silent film screenings. How would you cast a modern version of The Wild Bunch? Call the Unspooled voicemail line at 747-666-5824 with your answer! Follow us on Twitter @Unspooled, get more info at unspooledpod.com and don’t forget to rate, review & subscribe to us on Apple Podcasts. Photo credit: Kim Troxall HEAR THE EPISODE
  3. ol' eddy wrecks

    Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb

    Okay, that's fair. My comments were meant more with the guess that you had voted (and had voted, yes). I've been mostly interpreting the question recently more as, "would it be on your ballot," as opposed to "should it be on the final list," which gives the individual the freedom to say, "this movie just didn't work for me for some reason." Well, I also imposed on myself a "let's make it the top 25 of these movies, so some non-passive decisions have to be made."
  4. ol' eddy wrecks

    Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb

    In terms of re-evaluating pop-horror movies, back in the 70's Warhol (or at least his cadre) seemed big on doing it with the Universal horror movies they grew up with. Though it seemed more in line of re-interpreting or re-creating them, more akin to Tarantino does now with 70's genre films (and Spielberg and Lucas did with the 50s serials for Star Wars and Indiana Jones). The most notable I can think of were the Paul Morrissey movies Flesh for Frankenstein and Blood for Dracula (sometimes known as Andy Warhol's Frankenstein and Andy Warhol's Dracula. Famouse producers get their names on stuff). But there was also Jack Smith's Normal Love, which admittedly seemed more a mixed media presentation, though maybe I just didn't really get it. But it did trade in imagery and costumes of those horror creatures.
  5. ol' eddy wrecks

    Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb

    Jaws I never followed up in our conversation in the Star Wars thread (short of time/etc) - but with that question I was just toying with the idea of someone going, "Here's a list of the greatest 100 American Movies of All Time. Included: A comedy that I do not find funny." Admittedly, Strangelove is that odd case where I can imagine a case being argued ("While I found the intended comedy too flat and calculated, I did find the American deterrence strategy terrifying and absurd when thought about. And no other movie I can think of conveyed the stupidity of it, and possible all human extinction, as aggressively as it did." But still, it is odd to see someone say a movie, that to them effectively failed in one of its key presentations - to make the viewer laugh - is better than possibly some other political commentary movies that did not fail in its genre (to the viewer making the list). I'm assuming you voted "yes" in the poll, since no one has voted "no" yet. However, you may have abstained (in which case my comments aren't relevant). It feels like these things ebb and flow. Kubrick himself said he wanted to do a horror movie because these other respected directors had made these great horror movies (I believe Rosemary's Baby, and The Exorcist were the two he was thinking of). And I think The Shining initially had troubles just because it was longer than what the public's attention span had become. Hence the European cut being about 1/2 hour shorter (Kubrick re-cut it after its initial release was disappointing in Europe. Though I've never heard of it struggling in the US like The Thing did). I think the respect the genre had started to gather started to plummet in the 80s with the rise of the slasher franchises. Anyhow, fwiw, on the BFI poll, you don't see any of the non-Pyscho type of horror movies in the top 100, but if you look in the next 100, you see Don't Look Now, The Shining, and The Texas Chainsaw Massacre at spots: 127, 154, 183. A little further down still and you see Videodrome at 202 (because I guess The Fly and Naked Lunch are just too mainstream). And on the They Shoot Pictures variant for horror movies, "They Shoot Zombies Don't They - top 1000 horror movies of all time" (which is supposed to be an aggregate of various lists found over the net), up until a few years ago, The Shining was at the top of the list. Then at some point, it slipped to number 2 behind The Exorcist. Me, these days, the Kubrick I put right up next to 2001 as being my choice for best Kubricks is Barry Lyndon. How "American" it is, I'd just leave it to other people to debate.
  6. ol' eddy wrecks

    Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb

    Do you feel you understand its comic greatness?
  7. ol' eddy wrecks

    Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb

    One connection between this and 2001 they didn't mention in the podcast (maybe this is apocryphal), but at one point Kubrick was planning to end 2001 with the Star Baby coming back to earth, triggering all the nuclear missiles, wiping out humanity, making way for the new type of man (repeating the theme of advancement in the Dawn of Man scene being advancement leading to the destruction of the old). But ultimately decided, he just ended his last movie the exact same way, so no. The decision to make the president not sickly/etc, was, if the logic of the scene needed a comic straight man for everyone to play off against. You can still things like tissues in some of the scenes because they had already started filming it with him sick.
  8. ol' eddy wrecks

    Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb

    apologies the video I found has an a/v sync issue
  9. Paul & Amy sap your bodily fluids with 1964’s Cold War satire Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb! They unpack how director Stanley Kubrick manipulated his cast to get the best performances, learn the origin of Strangelove’s voice, and play a Strangelove-inspired song by a classic SoCal punk band. Plus: recapping the Golden Globes! What other satires would you add to the AFI list? Call the Unspooled voicemail line at 747-666-5824 with your answer! Follow us on Twitter @Unspooled, get more info at unspooledpod.com and don’t forget to rate, review & subscribe to us on Apple Podcasts. Photo credit: Kim Troxall This episode is brought to you by Sonos (www.sonos.com).
  10. ol' eddy wrecks

    Best of the Decade Part 4

    Slight addendum to my previous post: looking at Producer Josh's list, it does look like it's purely US films.
  11. ol' eddy wrecks

    Best of the Decade Part 4

    I noted this as well (because my best film of the decade isn't eligible for the list - both foreign and a documentary). I think Amy & Paul stuck to that criteria (or tried to) during their episodes (going year-by-year). e.g. When they mentioned Raw, it was as an "extra movie, but not choice because it's French and therefore not eligible for the list." When asking guests their best movie of the decade, it's not surprising they didn't bother to adhere to AFI list criteria/probably weren't told/didn't care/etc. I suspect Josh and Devon, in not sticking to the AFI criteria for their lists, probably just ignored it, since they already have their top 100 (or whatever) for the decade which already takes a lot of effort, and imposing "American-only" seems like an arbitrary restriction when talking about the best films you've seen this decade (e.g. imagine being someone who does a best-of list, and then asked, "oh by the way, can you choose just the films eligible for the AFI list." It'd feel like something was lost. That's just my 2 cents.)
  12. ol' eddy wrecks

    Best of the Decade Part 4

    Between Lady Bird and Eighth Grade, I'll mention in terms of coming of age stories, while probably not a best of the decade, but We Are The Best! was a lot of fun and pretty good. So, if you liked those other two movies, you might want to check it out if you haven't seen it. /random thought of movie from past decade coming to mind.
  13. ol' eddy wrecks

    Favorite Movies of 2019

    IDK what hardware/app you're using, but sometimes when watching a movie on my firestick, I need to go into installed apps and do a force stop, clear cache, launch application. The main offender is usually the Shudder app, primarily with its "live" channels feature.
  14. ol' eddy wrecks

    Best of the Decade Part 4

    I listened to the episode this morning, so I've already forgotten what exactly were on Devon's & Josh's lists. I just remember Adam McKay had the same film of the decade as me (The Act of Killing) - go figure. It was hard getting it down to 10 and there were some definite mental debates I had, but the following 5 (unranked) seemed to be the definites on the list (with the exception of The Look of Silence, but only because The Act of Killing was already there, but the more I thought about it, the more I felt it needed to be there): The Act of Killing + The Look of Silence: I'm surprised both Amy and Adam look at it and feel some hope because one of the killers felt remorse at the end. I mean, it was one killer, and it was more anguish as he started to be able to imagine what it must have been like for the people he killed (and it was mentioned before he was having issues sleeping), but for the most part, I came away thinking, that the people who did this are not going to have any type of mea-culpa about this. The fact that so many of the people in the credits are listed as anonymous emphasizes that. The Master: Rather than take Amy Adams as The Master, I took the movie to be a reflection on such things as religion, and its role in society. Such as to give focus and direction to those in society who desperately lack it and the responsibility to do so - even if the foundation of it all is made up. And the rituals, people, and ideas (and ideas of people) we willingly subjugate ourselves to in order to get that direction. It's Such a Beautiful Day (aka The Everything will be Okay trilogy, or The Billogy (another Don Hertzeldt animated short, World of Tomorrow was mentioned on the podcast - 16 minute animated short on Vimeo). I don't know if this counts as part of this decade since I think the first two parts of the trilogy came out last decade. However, the third part, and the release as one complete film happened this decade. This movie gives me a weird emotional gut punch of acceptance and hope in the third chapter that it became something I found myself returning to not infrequently (the short runtime, roughly one hour probably helped). World of Tomorrow starts of stronger, and has its second chapter (mentioned in the podcast), but it's clear there's still another chapter to go, and until that happens, and I see it, I prefer It's Such a Beautiful Day. World of Tomorrow starts off stronger in its first chapter. Inside Llewyn Davis: I feel like I have a much more depressing take on this than producer-Josh (I think it was). But I'm running out of time and need to go to bed. Next set of movies to round out the top 10: Under the Skin (I'm surprised Paul was surprised by people mentioning this one a lot. Lots of people loved this movie when it came out) Berberian Sound Studio Sorry to Bother You The Death of Stalin Moonlight Just missed the cut (and were in my original top 13 which I couldn't pare down until now) Greenberg Anomalisa Annihilation I will say as someone who owns both Kill List and A Field in England (but I own more movies than I should) - Kill List is a lot more accessible. A Field in England is more like... The Lighthouse in terms of opaqueness - but with much thicker accents - but with the outfits of The Witch. I can't tell clothes apart.
  15. ol' eddy wrecks

    Raging Bull

    Well, we're going at this for different reasons. For me, the point of watching movies on a list is the idea of being exposed or revisiting movies that I think are worth my time in some way. Ranking on the movies seen seems more like an afterthought or exercise (technically, the people who voted for the actual list didn't rank most of them either). I don't get to watch as many movies as I'd like, so I'd rather spend what movie watching time I have to watching movies I want to see, rather than go back and confirm movies I strongly suspected I wouldn't like (or have seen and knew I wouldn't like) that I don't/still don't like them. But I guess it all comes down to a prioritization of time and what on wants to get by following along with the podcast.
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