version

Well-known member
I really went off the Coens a few years back. There was a point where they suddenly became really grating and I couldn't stand the tone and humour. The only ones I'd bother watching now are the ones where they spend less time trying to be funny, like No Country for Old Men and Miller's Crossing. I still like those two.
 

linebaugh

Well-known member
what's good about it do you think? the lanthemos (i think that's his name) ones i have a bit of a critique of. but with these paul thomas ones i feel like i'm looking past them. like they're trying to do something but i don't get it
I thought IV was boring too but for the ones I like the performances are really stand out and the score is compelling. Visceral, emotional films that are both cheap fun and a little heady. Lots of hammed up theatrical acting framed with just slightly off narrative arcs
 

version

Well-known member
watched inherent vice coz i'm on a california thing at the moment, finding that wave of retrospective california in the 40s / 70s etc pretty interesting. anyway it went straight over my head, did not get what they were going for at all. what is that thing that's going on in the last decade where there are these fairly big films which are all aestheticised recent-historical setting? that licorice pizza one is like that too and there's loads of it about.

Have you watched The Long Goodbye? That's good. Robert Altman dropping Chandler's Marlowe into 70s L.A.
 

linebaugh

Well-known member
my dad invited me to see boogie nights when it came out with the woman hed just left my mum for who id never even met. i didnt think that was entirely appropriate
There will be blood is the dark heart counter part to master and commander. Ian and gus and I watched it together and were hooting and hollaring.
 

shakahislop

Well-known member
i've seen both la la land and babylon in the last few months and, well, the style isn't exactly my thing, but both of them had quite a lot to like and quite a lot that needled me a bit, right up until the end, where in both films he (the director) does something i find incredibly profound and beautiful about memory, the link between the past and the present, the contingency of things and the nature of time. a pair of the most true and thought provoking things that i've seen for ages, they run through my head all the time. right at the end of movies which are nothing special for me.
 

version

Well-known member
watched inherent vice coz i'm on a california thing at the moment, finding that wave of retrospective california in the 40s / 70s etc pretty interesting. anyway it went straight over my head, did not get what they were going for at all.

The book is about grappling with the collapse of the 60s dream, Sportello wanders around bumping into the wreckage of the hippy generation and the forces that put them down, i.e. the cops, the FBI, COINTELPRO, drug traffickers, landowners. A lot of the political commentary was cut out of the film and it became more of a small-scale redemption thing about him helping a family get back together.
 

shakahislop

Well-known member
The book is about grappling with the collapse of the 60s dream, Sportello wanders around bumping into the wreckage of the hippy generation and the forces that put them down, i.e. the cops, the FBI, COINTELPRO, drug traffickers, landowners. A lot of the political commentary was cut out of the film and it became more of a small-scale redemption thing about him helping a family get back together.
yeah. the collapse of the 60s dream is probably something that's mostly relevant to americans i think. and its weird coz by this point anyone making films etc about it wasn't alive at the time, wasn't there. that film i just mentioned Babylon goes back a bit further but its still california in......i think the 50s....and there's the same sense in that, of a time that has passed. and the other one i saw recently was once upon a time in hollywood, which is exactly about the collapse of the 60s dream.

but that time and setting is nice to luxuriate in i find. even without the collapse component. california light, palmtrees, and all the money. girls taking their clothes off in the sun. cars on roads without traffic.
 
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