Directed by: Marcel Blistène
(91,66 Pts, 1 Votes) , Top 1–10–50: 0–0–1
ICheckMovies: 1 Checks , 1 Favourites , 0 Official lists
Now this would be an opportunity to demonstrate your system of "objective critic" and "personal preference" ratings, tommy ..
While I didn't vote for this either, this sure deserves to have more voters.Tim2460 wrote: ↑April 11th, 2021, 11:01 pm #3649(NEW) The.Fisher.King (1991)
Directed by: Terry Gilliam
(91,29 Pts, 1 Votes) , Top 1–10–50: 0–0–1
ICheckMovies: 7090 Checks , 499 Favourites , 2 Official lists
List of Voters:Leopardi (24)
I think this used to be on my list a few years ago, but I dropped it when I raised the bar. Perhaps it's time to revisit, as it is a good film, I just don't remember it being a great film.
Tim2460 wrote: ↑April 11th, 2021, 10:41 pm #3520(NEW) Hoje Eu Quero Voltar Sozinho (2014)
[The Way He Looks]
Directed by: Daniel Ribeiro
(94,61 Pts, 1 Votes) , Top 1–10–50: 0–0–1
ICheckMovies: 792 Checks , 93 Favourites , 0 Official lists
List of Voters:Fergenaprido (15)
Aww, my two beloved orphans. Interesting to see how their overall rank has changed over time, as I don't think I've changed their ranks on my own list after I added them.Tim2460 wrote: ↑April 11th, 2021, 10:53 pm #3595(NEW) Moonlight.Mile (2002)
Directed by: Brad Silberling
(92,75 Pts, 1 Votes) , Top 1–10–50: 0–0–1
ICheckMovies: 572 Checks , 17 Favourites , 0 Official lists
List of Voters:Fergenaprido (20)
This is nominated for DTC, right? I should try and watch it this month.Tim2460 wrote: ↑April 11th, 2021, 9:52 pm #3360(NEW) Xiao shi da kan (2011)
Directed by: Hung-i Chen
(99,21 Pts, 1 Votes) , Top 1–10–50: 0–1–1
ICheckMovies: 38 Checks , 3 Favourites , 0 Official lists
List of Voters:Onderhond (3)
Might catch this one for the coming of age poll this month.
Same, and it looks like it used to have more voters by its history. I haven't seen it yet, though I keep meaning to. Maybe this year.Lonewolf2003 wrote: ↑April 11th, 2021, 11:28 pmWhile I didn't vote for this either, this sure deserves to have more voters.Tim2460 wrote: ↑April 11th, 2021, 11:01 pm #3649(NEW) The.Fisher.King (1991)
Directed by: Terry Gilliam
(91,29 Pts, 1 Votes) , Top 1–10–50: 0–0–1
ICheckMovies: 7090 Checks , 499 Favourites , 2 Official lists
List of Voters:Leopardi (24)
And this is another film I'm surprised only has a single voter, given it won 3 Oscars.
Blocho forgot to vote for this one.
OldAle1 wrote:I think four Aamir Khan films is enough for me. Unless I'm down to one film left on the IMDb Top 250 at some point and he's in that last film, at which point I'll watch it and then shoot myself having become the official-check-whoring person I hate.
PeacefulAnarchy wrote:Active topics is the devil. Please use the forums and subforums as intended and peruse all the topics nicely sorted by topic, not just the currently popular ones displayed in a jumbled mess.
maxwelldeux wrote:If you asked me to kill my wife and pets OR watch Minions, I'd check the runtime and inquire about sobriety requirements before providing an answer.
Torgo wrote:Lammetje is some kind of hybrid Anna-Kendrick-lamb-entity to me and I find that very cool.
monty wrote:If you can't take the heat, get out of the kitchen. iCM ain't for sissies.
mightysparks wrote:ARGH. RARGH. RARGH. DIE.
Kowry wrote:Thanks, Art Garfunky.
I've been including this on my relevant lists since the end of 2019. When is someone else gonna watch it?
A quote from a site :TraverseTown wrote: ↑April 12th, 2021, 5:00 amI've been including this on my relevant lists since the end of 2019. When is someone else gonna watch it?
Watched and rated it over 10 years ago. So current evaluation might be different if I re watched it. Or might be not. Anyway, this is how the rating stands now:Torgo wrote: ↑April 11th, 2021, 11:25 pmNow this would be an opportunity to demonstrate your system of "objective critic" and "personal preference" ratings, tommy ..
Plastic/shiny CG? Yeah no, not for me
Thanks Yeah, I dont ever compromise on my favorites list. It is all about how I felt about that film, irrespective of its critical stature. Pirates 1, Pirates 2, Ice Age 3, Armor of God: Operation Condor, [Rec], Gods Must be Crazy, Cars are all in my top 50 and wont ever go away just because others might think lesser of them.Coryn wrote: ↑April 12th, 2021, 6:47 am I absolutely agree with how you rate your moves Tommy, for me movies are about emotions.
Come and See is my top pick as it left me depressed for a week, Lord of the Rings is a top pick because it leaves me extremely euphoric and nostalgic.
Don't ever leave it from your list because critics or people on the forum think it's a lesser film than Citizen Kane.
Well, erm, that's an endorsement. I'll look into this one.Tim2460 wrote: ↑April 12th, 2021, 6:17 amA quote from a site :TraverseTown wrote: ↑April 12th, 2021, 5:00 amI've been including this on my relevant lists since the end of 2019. When is someone else gonna watch it?
WOW. I love this so much. It's as if Tarkovsky and Lynch fucked a Sega Genesis.
I don’t see Tarkovsky and Lynch fucking a 16-bit console to make a 8-bit film but yeah why not, if I can find it.St. Gloede wrote: ↑April 12th, 2021, 8:52 am
Haha, I was thinking the same thing. Either Master System or NES, looking at that trailer.
It certainly is a time-saver.Wonderful Rainbow wrote: ↑April 12th, 2021, 8:19 am Finally caught up with the results. The second half is the most exciting, as usual. I might switch to list similar do Dolwphin's, with a smaller ranked top, though rearranging the whole thing would be a chore. But that seems to be the only way to support the ones I'm most enthusiastic towards. The real winner this year is Idi i Smotri, let's push in the top 10 next year.
Oh and and Benning having no plot is only party true. The movies have a lot to do with you perception of time, of your ability to pay attention. Don't watch Small Roads when you're in a mood for a conventional film, rather see it as a from of meditation. Or like going to see landscape paintings, but instead of wondering for long you're supposed to spent time in front of a frame, Benning will give precise timing when to move to the next one. Maybe even start with RR, it's even more conventional that Small Roads, when compared to a few of his other films (I wrote my thesis on this subject, that's why I'm so protective )
He sure makes you ask questions like "what made people think they can destroy this beautiful, serene landscape by introducing these railroads tracks", or in case of 11x14 "oh my, that giant chimney won't ever stop, will it"
Its 82mins, free on YouTube/Vimeo, and perfect for the animation challenge that's happening this month I think.St. Gloede wrote: ↑April 12th, 2021, 8:52 am
Good pitch. Sold.TraverseTown wrote: ↑April 12th, 2021, 12:02 pmIts 82mins, free on YouTube/Vimeo, and perfect for the animation challenge that's happening this month I think.
In the above comments, I think I have clarified where we do and do not agree on this point. I do not disagree that "the film media" itself has fostered a subculture, but that not all film viewers are informed in the same way by this culture (in fact, people seem to define what this "film culture" is very differently), and that viewer differences, inclusive of one's "biases," are the greater determiners of what we pay attention to, as much as to what we do and do not like.tobias wrote: ↑April 11th, 2021, 5:09 pmWell, if your wife studied marxist philosophy, you probably know a lot of the inns and outs, so I'll spare you now - for what it's worth, I don't entirely buy Marx' materialist reading of history at least not in the way he lays it out I am also on a personal level very interested in the strains in philosophy that go against Hegel and even in anthropology. But I find as a tool to analyze society, Marx' materialism is very useful. I'm always suspicious if people point to immaterial causes. For example (as it's also film-industry-related) the way these Metoo cases and other sexual allegations are portrayed in the media is in my view largely a right-wing narrative that focuses on "the evil perpetrators" instead of the system that made them or enabled them (which is not surprising because at least American mass media is mostly right-wing). I tend to sepparate the personal and the political here the same way one should not equate personal finances with state finances . For example personally I like Hoelderlin and Rilke so much better than Brecht - and Rilke was famously a fascist supporter at the end of his life but honestly it doesn't really make a difference to me. One reason however why I tend to be especially insistent on materialism in the political sphere is because the modern left increasingly forgets about it.cinewest wrote: ↑April 11th, 2021, 1:17 pm Regarding the "cultural, tribal, economic" thing, we should probably table that for now. My live in girl friend for much of my 20's studied marxist philosophy as an undergrad, and considered Angela Davis (whom she studied with, and, being biracial, identified with to some extent) her mentor, but she finished her PHD with a dissertation on Kant, if only because Marx is on the outs in most Western schools of philosophy these days. We actually met during a philosophical argument she was having with another student in a cafe near school, and as you might imagine ,I've had plenty of discussions along these lines with her in the past. I might liken my own perspective on human behavior and organization to that of a cultural anthropologist, and tend to believe that while I think we are capable of tremendous growth, even great shifts in our sense of our own identities during the course of our lives, the majority of people "stay fairly close to home in their thinking and perspectives on most things, and that includes how they view movies.
I love what you wrote about the "derivative culture of cinephilia," and fully identify with your description of a great way to approach and engage the movies we see, especially those that are operating beyond the familiar. I would argue, though, that we also take our "biases" (and I don't necessarily mean this critically) to the movies with us. I would further argue that the "rules we have been conditioned to accept" have everything to do with culture.
My Ex wanted to do her dissertation on Hegel, but was advised otherwise. I remember she was a big fan of Herbert Marcuse, and one book I always meant to read is Eros and Civilization.
What I meant by "derivative culture of cinephilia" is excactly that it's not really the same as our daily life culture. For example there are a few films from Schleswig-Holstein and Jutland at large that I will very intimately be able to understand from the culture I experience in the day to day. If I were a 24 y/o guy who had never seen a film before, these would probably still intuitively make a lot of sense to me. Recently I watched a Miniseries set where I live but made by a Swabian director and without any lead actor from Schleswig-Holstein and there were so many things that were off to me. Examples like this in my view are really your firsthand culture mirrored in film.
I see this "derivative culture of cinephilia" as just one of many subcultures that may have more or less influence depending on the movie watcher. Using Martel again as an example, I wouldn't bet on her necessarily being any more popular in her native Argentina than she is abroad, if only because she doesn't make movies that are popular with the general public. Her biggest fan base is in arthouse fare (perhaps a derivative of a derivative, using your terms), which has a fair amount of support on this board, except, as I have pointed out, when it comes to certain genders in certain parts of the world
However I think mostly what happens is that when we watch a film is that we engage with derivative culture. When we don't really have first-hand experience, our understanding of media emerges primarily from media itself. Now you could claim that for example your exposure to primarily American films in your youth is still part of your culture and I would agree with you but in my view this distinction implies that if neither of us was involved in the mob millieu and neither of us would have ever seen a mob film, our starting point is possibly quite similar regardless of where we are from. I'll admit that there are some films - like the ones Scorsese made - that contain possibly so much nuance and detail in their characterization of these millieus that there are a lot of things one could possibly latch onto that could serve to build a connection but most mob films are way more fantastical than Goodfellas and don't contain this level of historical detail at all. I even heard a story of a mobster who watched the film with his girlfriend who had little idea of what the mafia were doing - and then she asked him if it's really like that and he says and he plays it down by saying that Hollywood of course cares primarily about a good story - next thing: his name is mentioned. He is portrayed as a character in the film. He since reconsidered how close to reality it was.
I think our different backgrounds, involvements, and individual natures differentiate our cultural influences. When I spoke about cultural bias, I did not mean to suggest one is participating in unison (the differences among the taste of the participants on this board probably reflect the differences that exist in filmmaking itself), but was commenting on what I have perceived about the "composite" culture reflected in the various poll results.
There are large cultural differences even within countries. There are a couple of German films where I really feel a first-hand connection to it. For instance Große Freiheit Nr. 7 which is set in Hamburg and deals with a seaman turned red-light district singer, that one hits very close to home also because of some of the finer nuances, like the accents in which they speak, etc. However say a film from Bavaria or a dubbed one from France, would that necesarilly make a difference to someone from here (assuming the dub is good)? I don't really know. If we go on the other side of the border (I grew up bilingually, so I speak both Danish and German natively and most of my close family lives in Denmark) a film like e.g. Ordet (1955) which is set in some small village in the middle of Jutland hits very close to home for me. With modern films set almost entirely in Copenhagen however you're really starting to stretch it. I've actually been there quite a number of times in recent years for various reasons but I still feel so little connection to that place (and with how anglo-crazed people are it is legitimately alienating, once I was mistaken for a Swede two days in a row and I speak Danish since, well, always...). Actually I would go so far to say that a rural Bergman film (i.e. most of them) again hits much closer to the culture I know and understand (that's what the Copenhageners get for mistaking me for a Swede!). Similarly I was in Småland a couple of weeks last year and even though because it was so isolated and because of pandemic reasons we didn't interact that much with the locals, to me it feels as though I almost intrinsically have an understanding of that place, at least along the general lines. Anyway what I'm really trying to say here is that when I watch Fanny and Alexander my reaction is "oh, I know this, people live like this and celebrate christmas like this, etc." but the sample size of films that trigger a first hand cultural reaction like this is not all that large. I could probably draw you a circle on a map and say that outside of that I increasingly don't notice anything that significantly pertains to the lived culture I personally know.
Yes, I don't disagree with what you are saying here. In fact, all of the films on my short list reflect to various extents my own cultural background
My suggestion is that for most of us in reality this cultural circle is not enormously big and films from the outside we have all been inducted into. For me to include all of Germany in that circle you would already have to introduce such a lose definition of culture that I would be skeptical if it means anything. Of course I realize that it's not quite as black and white but I would insist on that a lot of our film-viewing culture is lifted directly from media itself, not from what we would clasically call "our culture".
Could you send me the link? I can't find it.TraverseTown wrote: ↑April 12th, 2021, 12:02 pmIts 82mins, free on YouTube/Vimeo, and perfect for the animation challenge that's happening this month I think.
St. Gloede wrote: ↑April 12th, 2021, 3:19 pmCould you send me the link? I can't find it.
I'm a big fan of The Way He Looks! It doesn't make my all-time favorites as is. If I doubled the length, then probably. There are just so, so many films I love.Fergenaprido wrote: ↑April 11th, 2021, 11:47 pm Aww, my two beloved orphans. Interesting to see how their overall rank has changed over time, as I don't think I've changed their ranks on my own list after I added them.
The first I kind of expected more people to see and enjoy. The second I know I'm a big outlier, but I'm still going to keep voting for it.
Yeah, they’re definitely both nostalgia pastiches for obsolete media. The chief difference is DHMIS quite cynical comparatively in my opinion. I’d say Tux and Fanny is a bit gentler, more meditative, and there’s no real “moral/message” and the comedy isn’t nearly as dark.
Never heard of this before (how would I), but I love the cover artwork!TraverseTown wrote: ↑April 12th, 2021, 12:02 pmIts 82mins, free on YouTube/Vimeo, and perfect for the animation challenge that's happening this month I think.
hehe, that was me saying that and it was more like a witty comment on how Tim's tool extracted a plot summary of just "0" for a Benning film, of all films where such an error could happen ..
I have tried 15 mins and I might stop here. Some of these 1-minute sketches are funny but it is more or less a low-brow (8-bit) Don Hertzfeldt.