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Three Colours Trilogy Ranking

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Three Colours Trilogy Ranking

#41

Post by sebby » March 15th, 2013, 5:24 pm

bobbybrown on Mar 15 2013, 11:20:09 AM wrote:The Kieslowski hater closet is the one I'm afraid to come out of on these boards the most.
I'm readying the tar and feathers.

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#42

Post by brokenface » March 15th, 2013, 5:26 pm

sebby on Mar 15 2013, 11:24:14 AM wrote:
bobbybrown on Mar 15 2013, 11:20:09 AM wrote:The Kieslowski hater closet is the one I'm afraid to come out of on these boards the most.
I'm readying the tar and feathers.
:thumbsup: let's get him

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#43

Post by mightysparks » March 15th, 2013, 5:29 pm

I wouldn't think the Kiewslowski hater closet would be a terrible one to come out of, I hate far more 'loved' directors than that and I'm still alive :P
"I do not always know what I want, but I do know what I don't want." - Stanley Kubrick

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#44

Post by Kasparius » March 15th, 2013, 5:31 pm

mightysparks on Mar 15 2013, 11:29:01 AM wrote:I wouldn't think the Kiewslowski hater closet would be a terrible one to come out of, I hate far more 'loved' directors than that and I'm still alive :P
That's because you live in a remote part of the world, if you lived in Norway you'd be dead.

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#45

Post by bobbybrown » March 15th, 2013, 5:35 pm

mightysparks on Mar 15 2013, 11:29:01 AM wrote:I wouldn't think the Kiewslowski hater closet would be a terrible one to come out of, I hate far more 'loved' directors than that and I'm still alive :P
You won't fool me, you all want my neck in a noose.
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#46

Post by brokenface » March 15th, 2013, 5:37 pm

too right

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#47

Post by 3rd » March 15th, 2013, 5:38 pm

burneyfan on Mar 15 2013, 08:42:34 AM wrote:
3rd on Mar 15 2013, 08:41:03 AM wrote:
burneyfan on Mar 15 2013, 08:36:06 AM wrote:I'm taking comfort in the fact that there are four other people who checked the Blue, Red, White box, even if I don't think they've spoken up. I love all three films, but that's my order.
I'm one!
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#48

Post by 3rd » March 15th, 2013, 5:39 pm

themagician on Mar 15 2013, 08:46:08 AM wrote:
3rd on Mar 15 2013, 08:41:03 AM wrote:
burneyfan on Mar 15 2013, 08:36:06 AM wrote:I'm taking comfort in the fact that there are four other people who checked the Blue, Red, White box, even if I don't think they've spoken up. I love all three films, but that's my order.
I'm one!
I'm two!

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#49

Post by 3rd » March 15th, 2013, 5:40 pm

rokp on Mar 15 2013, 08:50:23 AM wrote:I'm three!
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#50

Post by kierkegaardian » March 15th, 2013, 10:27 pm

Jeden, Sześć, Pięć, Dziesięć, Dwa, Dziewięć, Trzy, Cztery, Osiem, Siedem.

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#51

Post by funkybusiness » March 15th, 2013, 10:58 pm

kierkegaardian on Mar 15 2013, 04:27:02 PM wrote:Jeden, Sześć, Pięć, Dziesięć, Dwa, Dziewięć, Trzy, Cztery, Osiem, Siedem.
Is that ascending or descending? If descending, pretty close. Six lower, 10 higher. :thumbsup:

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#52

Post by kierkegaardian » March 15th, 2013, 11:19 pm

Descending... er, ascending in rank number? Descending in quality? It's a countup, not a countdown.

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#53

Post by funkybusiness » March 15th, 2013, 11:39 pm

Right. Countup. 1-10 in rankings. Descending list. I think. :wacko:

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#54

Post by Limedebois » March 16th, 2013, 12:15 am

Rouge, Bleu and White Ribbon.

Btw the best Kieslowskl's films seem to be a team: Kiki, then, Zbigniew Preisner for the musics, and Krzysztof Piesiewicz for the scripts. So thanks to them (except Blanc) for all these marvelous films. The music is very specific (like a music in a Kusturica) and the scripts obviously are very originals too. Can we make a poll on who's the genuine master in the trilogy, Véronique and the dekalog?^

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#55

Post by Pain » March 16th, 2013, 6:58 am

I can't get the Kieslowski love, he's not even a good director, the only good film he made is A Short Film About Killing.

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#56

Post by bobbybrown » March 16th, 2013, 7:53 am

* everything in his films is soaked in deepity by means of very concerned and tense face expressions his characters exhibit just all the time, from 00:00 mark up to the end. "Sour shchi" instead of a face as we call it. And whereas say Cries & Whispers has actually complex and devastating dramatic core behind the acting, Kieslowskl always stays near the surface with his not manipulative enough story constructs.
* the stories braggingly reject Hollywood storytelling and indulge in screamingly spiritual explorations of such themes as fate and identity searching. But I can't help but be indifferent to it, because I feel he doesn't do enough to hide his intentions and have more counterarguments to his stance. It took me several episodes of Dekalog to recover from the first one. I'll take Ordet/Vredens dag/Bresson's works evedy day over Kieslowski even if I have some troubles enjoying them.
* a beautiful actress who always looks like she's 15 and 30 at the same time, which is double cute and mature and easy to relate.
* catchy eyecandish symbolism.

In other words, I don't get him at all and would like someone to shed light on why they prefer him over Dreyer or Bresson or - if we are talking about Blue - any other director who makes his characters go though soul destroying events like Trier or Haneke does.

*you better run all day and run all night
and keep your dirty feelings deep inside*

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#57

Post by mightysparks » March 16th, 2013, 7:59 am

^That's more or less how I'd describe the films of his that I don't like. I don't know what makes a few of his films work though.
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#58

Post by Pain » March 16th, 2013, 8:04 am

I wanted to bait the angry mob, but it looks like I encouraged you to state your hate, Bobby. tehe

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#59

Post by Kowry » March 16th, 2013, 8:15 am

mightysparks on Mar 15 2013, 11:18:13 AM wrote:Where are all the sane, correct and awesome people who voted for White, Red, Blue?
I'm one. Red's a very close second, though, really like both of them. Blue is okay.

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#60

Post by bobbybrown » March 16th, 2013, 8:48 am

Pain on Mar 16 2013, 02:04:50 AM wrote:I wanted to bait the angry mob, but it looks like I encouraged you to state your hate, Bobby. tehe
Who sent you? Whose orders are you following? Image

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#61

Post by Pain » March 16th, 2013, 9:12 am

bobbybrown on Mar 16 2013, 02:48:08 AM wrote:
Pain on Mar 16 2013, 02:04:50 AM wrote:I wanted to bait the angry mob, but it looks like I encouraged you to state your hate, Bobby. tehe
Who sent you? Whose orders are you following? Image
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I just want to see some mob action!

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#62

Post by Pretentious Hipster » March 16th, 2013, 9:25 am

Don't think that making a really angry mob here is possible with just taste. I barely got shat on for my comments on last year's list for hating on Leone's westerns.
My father didn’t have the skill of a professional cameraman. The result? Avant-garde cinema.

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#63

Post by Limedebois » March 16th, 2013, 10:33 am

bobbybrown on Mar 16 2013, 01:53:47 AM wrote:* everything in his films is soaked in deepity by means of very concerned and tense face expressions his characters exhibit just all the time, from 00:00 mark up to the end. "Sour shchi" instead of a face as we call it. And whereas say Cries & Whispers has actually complex and devastating dramatic core behind the acting, Kieslowskl always stays near the surface with his not manipulative enough story constructs.
* the stories braggingly reject Hollywood storytelling and indulge in screamingly spiritual explorations of such themes as fate and identity searching. But I can't help but be indifferent to it, because I feel he doesn't do enough to hide his intentions and have more counterarguments to his stance. It took me several episodes of Dekalog to recover from the first one. I'll take Ordet/Vredens dag/Bresson's works evedy day over Kieslowski even if I have some troubles enjoying them.
* a beautiful actress who always looks like she's 15 and 30 at the same time, which is double cute and mature and easy to relate.
* catchy eyecandish symbolism.

In other words, I don't get him at all and would like someone to shed light on why they prefer him over Dreyer or Bresson or - if we are talking about Blue - any other director who makes his characters go though soul destroying events like Trier or Haneke does.

*you better run all day and run all night
and keep your dirty feelings deep inside*
Well, remember last night, talking after love about Brecht's distanciation effect? That's how I watch his films. Actually Piesiewicz takes a subject, like a imposed subject (or a command story) but he stays behind it. I don't think the dekalog by instance has religious meanings. Don't remember Blue or Ordet, but Ordet seems more symbolic and religious. Like also Bergman, Tarkovski or... Tarr, they all play with the distanciation effect which helps us to interpret the story by our own. Sometimes obviously asking to the spectator to create an interpretation instead of the story itself by a coherence and obvious meaning, you lost the audience, so it concerns a lot the feeling. That's where the distanciation effect fails: if there's some "politics" or "moral" meanings who cares, because everyone can interpret it by themselves. Only left the poetry. You can't understand the purpose of all of it, but you have to recognize (or not, it's about feeling) that this is visualy intriguing. The lacke of explanation push to understand, to put your own interpretation and that's fascinating or not. That's playing with the audience imagination, and sometimes as I said, you ask too much and you lose the spectator when it's too subjective, evocative for him and when the effect is too obvious. There's less poetry and mystery in Bresson: he wants to purify his story, keep the essencial, so I'm not sure this is the same thing.

It's just feeling. This films talk to me because I can put some meanings in it, whereas I can't, or I'm not interested to understand or put meanings on a Tarr film. Because there's always a start line on the story to suggest you to create from this start line. For instance, in a Short story of love, all dekalog films, Véronique, the main subject is obvious. You start to run your interpretations once the subject is there, and then you have to find the link between events. Some would say it's god or some mystic force, to me, it's always something like the hazard (or the strangeness of the hazard: the fate is not religious in Kieslowski, it's more a fact); even with a religious thema, I don't see religious approach, at the contrary. It's like a poem: you use symbolism, effects, rhymes, but this is only aesthetic stuff, there's no true belief behind events. It seems to have links between events, but this is focalization, not genuine mysticism. At least this is how I interpret it, if there was more obvious religious or irational stuff like Tar, I wouldn't like it. Kieslowski just laugh at the strangeness of life: why Veronique has two lifes? who cares, that's weird and it makes a charming film, no meanings behind it. It's a game, like SF: you don't have to believe that it's possible to enter into this world. The thema of shared destinies is quite common, no need interpretation, it's juste weird, and charming, like lifes in rhyme.

(fuck this post, I've no corrector/dictionnary)
Last edited by Limedebois on March 16th, 2013, 10:35 am, edited 1 time in total.

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#64

Post by bobbybrown » March 16th, 2013, 12:23 pm

But there often is a political layer in his films, Europe unification (Blue), French/Polish differences (White), the limits of state punishment (A Short Film About Killing). It's not only head-in-the-sky poetry.

I can see how people may enjoy Veronique the way you describe it, but in some way this reading is also an interpretation, and the one I recall seeing multiple times when I tried to make sense of this guy. But when I saw Vredens dag, one of the first positive reviews I found was about how the movie is dead on about satanic nature of women and how there is a new Inquisition to come soon which will clean the world from all the filth. You won't find a bullshit like this about Kieslowski movies, there are no militant atheistic lunatics praising Dekalog for whatever reason. It's a dubious way to measure ambiguity, yes, but why not.

And I can't shake the feeling that when a filmmaker uses that Brecht's technique not to the full extent but stopping half-way to create this homey relaxing feeling of everpresent mystery, whether it is a divine being or holiness of life or other humanless power, it's rather dishonest and, uhm, safe? You neither distract the viewers and make them feel uncomfortable about their values and feelings (with or without the purpose of stating some point, I think it doesn't matter) nor prevent them from indulging in pleasing escapism. There is nothing wrong in concept about it, it may even be very realistic in a way I'm yet to experience, but time after time such films like Veronique (*groans*) and Colors fail to move me half as much as they are meant to.

Maybe I'm just lazy. While I am okay with movies that deny interpretations, I need to see extreme points of view the ambiguous style shows in a movie and also an explicit paradox created when the points clashes. When I can't grasp these threads and feel only an open range of mysterious hints which don't have a tangible form and don't speak loudly about themselves, I get irritated. Dekalog was closer to what I'm talking about as most episodes are centered around moral puzzles, but again the Kieslowski's "touch" put me off.
Last edited by bobbybrown on March 16th, 2013, 12:25 pm, edited 1 time in total.

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#65

Post by esiersdale » March 16th, 2013, 1:33 pm

I knew JVV and i were friends for a reason, White, Blue, Red

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#66

Post by Limedebois » March 16th, 2013, 3:26 pm

bobbybrown on Mar 16 2013, 06:23:22 AM wrote:But there often is a political layer in his films, Europe unification (Blue), French/Polish differences (White), the limits of state punishment (A Short Film About Killing). It's not only head-in-the-sky poetry.

I can see how people may enjoy Veronique the way you describe it, but in some way this reading is also an interpretation, and the one I recall seeing multiple times when I tried to make sense of this guy. But when I saw Vredens dag, one of the first positive reviews I found was about how the movie is dead on about satanic nature of women and how there is a new Inquisition to come soon which will clean the world from all the filth. You won't find a bullshit like this about Kieslowski movies, there are no militant atheistic lunatics praising Dekalog for whatever reason. It's a dubious way to measure ambiguity, yes, but why not.

And I can't shake the feeling that when a filmmaker uses that Brecht's technique not to the full extent but stopping half-way to create this homey relaxing feeling of everpresent mystery, whether it is a divine being or holiness of life or other humanless power, it's rather dishonest and, uhm, safe? You neither distract the viewers and make them feel uncomfortable about their values and feelings (with or without the purpose of stating some point, I think it doesn't matter) nor prevent them from indulging in pleasing escapism. There is nothing wrong in concept about it, it may even be very realistic in a way I'm yet to experience, but time after time such films like Veronique (*groans*) and Colors fail to move me half as much as they are meant to.

Maybe I'm just lazy. While I am okay with movies that deny interpretations, I need to see extreme points of view the ambiguous style shows in a movie and also an explicit paradox created when the points clashes. When I can't grasp these threads and feel only an open range of mysterious hints which don't have a tangible form and don't speak loudly about themselves, I get irritated. Dekalog was closer to what I'm talking about as most episodes are centered around moral puzzles, but again the Kieslowski's "touch" put me off.
Poetry is not just "head in the sky". This is bad poetry, like pretencious Malick (who's good when there's a story but when it's all for the "mystical" message, that's shit -- my own taste huh). This is another example that films, and art in general, are principally, experiences. Brecht could pretend insert politics in his plays, it's always pure subjectivity. A film, a story deliver NO message. Even when it's obvious. If you show the violence in a film to condamn it... bang people like it because the violence in the film is photogenic. Films like Natural born killers, American History X, I guess Fight club, all films with a "message" failed and are watched and liked for the thing they wanted to denounce. If you want to say something write an essay because art is the best way to be misunderstood.

So, I have no clue what was Kieslowski and Piesiewicz hidden subject and I don't care. Whatever they tried to do they would have failed. With a thema, still a context. Religious thema is not very interesting and don't talk to all people, but talking about moral, education, couples, children, solitude, that's universal themas. You don't need to understand what is the hidden purpose, you just have to follow the events. They will talk to you or not. That's totally subjective, like loving a poem rather to another. You can try to understand what you've liked in a film, you can try to understand and interpret it, that's your own, and the authors can do nothing on it. Even a false interpretation worths to the one who makes it... If it talks to him in that way. That's how it is poetry. And that's almost just aesthetic approach. Some people like the camera moves, OK, whatever. In general we like more sophisticated or in contrary more simple approach; that's also poetry. In Kieslowski films, no need to understand, you can be moved by the repetition of the music, the mood, because the themas evoke something personal to you.

And I don't think it's totally a "Kieslowski touch". OK he will show you in a specific way, but this is never the technique, like it's never only the subject, and that's why it's pure experience. If it was "his touch" we would be moved by all his films in the same way, although there's some dekalog I don't like, I don't get. I have the same feeling with Tarkovski for instance. The Mirror is 100% abstruse, it talks to you or not. That's the same thing for every Tarko's films. You can pretend to understand the subject in Starlker, Nostalghia, whatever you will say it will be a interpretation; some things are more obvious than other, but the author alternate the level of obscurity, of distanciation. Films like that just recall us that a film is only a matter of subjectivity, and directors who pretend to make something else, even when it's a blockbuster like Natural born killers, should know that, because if you say something, there's 100% chance that you won't be understood. And that's why it's a matter of taste. There's not bad and good tastes, but only personal tastes, we watch through our own perception, history, feelings, desires, etc. We could class and join people by tastes, they will pretend share a same conception of films, pretend understand and see the same things, they will do nothing else than pretend. People have to recognize themselves through other people eyes, so they see connexions, correlations between them and they think there's a meaning behind this. With all these believes you can built consensus on which films or directors are important. OK Citizen Kane is a masterpiece. Hey what? I don't get what is so good in it, can you explain it? No, because behind the interpretation of the story, the stakes, the subjective interest to the plot, the characters, and behind all the techniques, the effects, the virtuosity, nothing left but our experience, our fellings and our subjectivity. If art was an issue of rationality, we would prefer essais, theorems and danses of numbers. A mental defective can like art, films, poems, nobody can say to him that he has to like something else. You can't educate art, you educate yourself. We would be "moved" by vulgar humor, then by some more sophisticated themas, because we are human beings and we like to understand sophisticated stuff, and then, the sophistication is too precious, pretencious, vain, obscure, distant, and we wouldn't get the point; but it's not the level of sophistication which is challenged, it's our level of taste. And by taste, I don't mean there's low, high tastes, at best there's "sophisticaded" tastes, but it doesn't say much on the quality (if the quality depended on a max sophistication, we'd love to read the financial international rules; there's some beauty in simplicity, aslo).

The best film which could make a "sophistication" at his best is maybe A separation, but only with the plot; except the plot, that's clear. And another reason you can hardly have a message is that a piece of art is rarely a message from an author to his audience. There's a script, the director makes his own interpretation, then the actors, the composeur, etc. That's a cacophony.

So yes, Kieslowski is 100% poet, like all others. And like all poet he can moved, leave the spectator cold, indiferent. If a director would like that the cinema talks to the audience, delivers a message... he'd be totally wrong; even Godard with his wordplay makes poetry. If there's a religious or other message delivered in Kieslowski's films, I can't see it; and I would see it if by chance I'm concerned. It's like astrology: why people believe in that shit? because it talks to them, in a certain way they interpret what they see in the stars by the light of their life. Art and astrology propose, the audience disposes. We write the messages in the films, we make interpretations, not the films or the authors. What Kieslowski does is nothing but let us to dispose to our own imagination; if it doesn't work, it doesn't mean the film is bad, it means the film doesn't use the right tools for us, the right combinaison, the right keys for our locked minds.

And obviously, Blanc is not a bad film because I can't get it, or enter into it, understand, or because I'm the wrong key for the oustanding lock, but because it's clearly, bad. Julie Delpy is truly annoying, there's no debate, that's not my taste, that's 100% rational.
Last edited by Limedebois on March 16th, 2013, 3:32 pm, edited 1 time in total.

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#67

Post by bobbybrown » March 16th, 2013, 4:56 pm

I think you certainly have a point there about poetry in his films that I may have overlooked, even if I believe that the greatest power of cinema is its ability to deceive and put all kinds of messages in viewers heads (on purpose or not, again, doesn't matter). I don't share the view that striving to connect with people is a bad thing, and subjectivity topic is out of my competence.

But thanks for the response, it seems I'm still alive. Maybe it's that "24 hours to leave town" rule I see so often in westerns.

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#68

Post by brokenface » March 16th, 2013, 5:34 pm

Pain on Mar 16 2013, 12:58:29 AM wrote:I can't get the Kieslowski love, he's not even a good director, the only good film he made is A Short Film About Killing.
:satstunned:

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#69

Post by Limedebois » March 16th, 2013, 5:57 pm

brokenface on Mar 16 2013, 11:34:09 AM wrote:
Pain on Mar 16 2013, 12:58:29 AM wrote:I can't get the Kieslowski love, he's not even a good director, the only good film he made is A Short Film About Killing.
:satstunned:
Yeah pliz, start a topic about "what's a good director".

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#70

Post by Lonewolf2003 » March 18th, 2013, 2:50 pm

burneyfan on Mar 15 2013, 08:58:20 AM wrote:
themagician on Mar 15 2013, 08:46:08 AM wrote:
3rd on Mar 15 2013, 08:41:03 AM wrote:I'm one!
I'm two!
rokp on Mar 15 2013, 08:50:23 AM wrote:I'm three!
I am working on the secret handshake. :cheers: :thumbsup:
You can teach me it as well, cause I'm part of the club :cheers:

Blue (great)
Red (very good)
White (good)

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#71

Post by Pain » March 18th, 2013, 2:52 pm

brokenface on Mar 16 2013, 11:34:09 AM wrote:
Pain on Mar 16 2013, 12:58:29 AM wrote:I can't get the Kieslowski love, he's not even a good director, the only good film he made is A Short Film About Killing.
:satstunned:
:rolleyes:

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#72

Post by Pain » March 18th, 2013, 2:52 pm

Limedebois on Mar 16 2013, 11:57:50 AM wrote:
brokenface on Mar 16 2013, 11:34:09 AM wrote:
Pain on Mar 16 2013, 12:58:29 AM wrote:I can't get the Kieslowski love, he's not even a good director, the only good film he made is A Short Film About Killing.
:satstunned:
Yeah pliz, start a topic about "what's a good director".
Haha sorry Lim, I won't fall for this trap. B)

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#73

Post by 3rd » March 18th, 2013, 2:54 pm

Lonewolf2003 on Mar 18 2013, 08:50:22 AM wrote:
burneyfan on Mar 15 2013, 08:58:20 AM wrote:
themagician on Mar 15 2013, 08:46:08 AM wrote:I'm two!
rokp on Mar 15 2013, 08:50:23 AM wrote:I'm three!
I am working on the secret handshake. :cheers: :thumbsup:
You can teach me it as well, cause I'm part of the club :cheers:

Blue (great)
Red (very good)
White (good)
:cheers:

Blue (good)
Red (meh)
White (meh)
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#74

Post by Pain » March 18th, 2013, 2:55 pm

3rd on Mar 18 2013, 08:54:17 AM wrote:
Lonewolf2003 on Mar 18 2013, 08:50:22 AM wrote:
burneyfan on Mar 15 2013, 08:58:20 AM wrote: I am working on the secret handshake. :cheers: :thumbsup:
You can teach me it as well, cause I'm part of the club :cheers:

Blue (great)
Red (very good)
White (good)
:cheers:

Blue (good)
Red (meh)
White (meh)
It's funny how all these people are cheering when they're losing. :teehee:

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brokenface
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#75

Post by brokenface » March 18th, 2013, 2:58 pm

Pain on Mar 18 2013, 08:55:55 AM wrote:It's funny how all these people are cheering when they're losing. :teehee:
the only losers on this thread are the HATERS -_-
Last edited by brokenface on March 18th, 2013, 2:58 pm, edited 1 time in total.

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#76

Post by Pain » March 18th, 2013, 2:59 pm

brokenface on Mar 18 2013, 08:58:03 AM wrote:
Pain on Mar 18 2013, 08:55:55 AM wrote:It's funny how all these people are cheering when they're losing. :teehee:
the only losers on this thread are the HATERS -_-
http://www.imdb.com/list/-1gOHF-iXYo/

#40

:rolleyes:

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3rd
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#77

Post by 3rd » March 18th, 2013, 3:04 pm

Pain on Mar 18 2013, 08:55:55 AM wrote:
3rd on Mar 18 2013, 08:54:17 AM wrote:
Lonewolf2003 on Mar 18 2013, 08:50:22 AM wrote:You can teach me it as well, cause I'm part of the club :cheers:

Blue (great)
Red (very good)
White (good)
:cheers:

Blue (good)
Red (meh)
White (meh)
It's funny how all these people are cheering when they're losing. :teehee:
Not quite as funny as you think we compete. :D
Neither a prude nor politically correct!
Minst sex års kritiskt granskande!

https://www.icheckmovies.com/profiles/3rd/

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brokenface
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#78

Post by brokenface » March 18th, 2013, 3:09 pm

Pain on Mar 18 2013, 08:59:47 AM wrote:
brokenface on Mar 18 2013, 08:58:03 AM wrote:
Pain on Mar 18 2013, 08:55:55 AM wrote:It's funny how all these people are cheering when they're losing. :teehee:
the only losers on this thread are the HATERS -_-
http://www.imdb.com/list/-1gOHF-iXYo/

#40

:rolleyes:
stop confusing me :wacko:

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#79

Post by Pain » March 18th, 2013, 3:16 pm

brokenface on Mar 18 2013, 09:09:04 AM wrote:
Pain on Mar 18 2013, 08:59:47 AM wrote:
brokenface on Mar 18 2013, 08:58:03 AM wrote:the only losers on this thread are the HATERS -_-
http://www.imdb.com/list/-1gOHF-iXYo/

#40

:rolleyes:
stop confusing me :wacko:
I wanted to see some angry reactions but I failed. :( Maybe I should've been more harsh.

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brokenface
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#80

Post by brokenface » March 18th, 2013, 3:24 pm

I recommend my new method of criticism with bad poetry :thumbsup:

Red or white or blue?
They're all a pile of poo
etc.

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