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Teen-o-Rama, Tell yo Mama!
In this world, image is human and human is born.
Watch…
Paranormal Activity 3 will be seen by everyone not immediately akin to the rational or the explainable. Whoever sees this movie with the mind’s eye of a cynic will not enjoy themselves being treated to the shocks and surprises intended to be made unknown. Nor will they come expecting something less than a recyclable gimmick which in all bearing proves once again the highest form of cinematic fright comes by the simplest, cheapest means. In the words of Re-Animator Herbert West, “the damned thing works”.
Audiences will not find the facts behind the clues and feel any less tormented. This is just another sequel, told as a prequel, and it is very scary.
Where were You? You let a boy die. You let anything happen. Why should I be good? When You aren’t?
— The Tree of Life
My fifth movie
If a girl looks swell when she meets you, who gives a damn if she’s late? Nobody.
— J.D. Salinger, The Catcher in the Rye
The Marx Brothers, Groucho, Chico and Harpo, play along the formal lines of anarchy in this hilarious film about the dynamic trio trying to help a couple of opera singers earn their spotlight. A Night at the Opera doesn’t match Duck Soup’s no-look-back, sharper-than-sharp wit and political hilarity but it is just as charming and delightful. Seeing the musical serenades of Chico and Harpo is more than enough to keep on loving these goofy characters forever.
If ever there were an 80-minute film that captured the lives of several teens so hauntingly real and disturbing, it is Gus Van Sant’s Elephant.
This is not just a movie or a fact/fiction documentary, it’s a testament in time for a generation trapped in the middle of a chaotic tragedy. We see Van Sant create a world of pure realism and it is frightening to know that every character handled here is as close to adolescent society or ideology as I think I’ve ever seen on screen…tale of truth. A lot of the astonishment for making such a natural film belongs to the director and his cameraman. Together they make no allusions at all the precise moments of action. Their camera survives inside conversations and intercut dialog without even a tad of it appearing staged. Its seamless work gives hardly an impression of attention and instead focuses more on the simplicity of moving characters.
In addition to this, Van Sant decides to replace stereotypes with differentiating personalities that young men and women can find totally relatable in their own every-day. But that’s when the true nature of our actions becomes a sad and tragic commentary of a kid’s life. It is when Gus Van Sant shows tragedy that we realize just how gruesome and pitiful reality has become. There is also imagery: clouds are shown to give a sense perhaps of time and wonder for the present. While only we remain steady with place and frame of mind.
This is one true film that should be taught in classes nationwide. The reason would simply be this: show them just how real reality is when the grasp of it becomes senselessly lost.
With the charming wits of Clark Gable and the soft glitter-smile of Claudette Colbert, It Happened One Night remains as funny and as socially apolitical as ever. Although I would have preferred a more appealing lead character in Peter Warne to identify with, the film does a great job in keeping its attempted short distances from the two lovers-to-be. The movie’s director, Frank Capra, times his comedic dialog for his actors at the precise time one character is due for a laugh. With its intended happy ending, and not feeling forced at all, this picture manages to remain good-hearted and full-spirited even after 77 years.
Volume 2 of this bloody epic standoff leads us to the remaining assassins left on The Bride’s (Uma Thurman) hit list. This time around there are deeper compelling flashbacks of The Bride, aka Beatrix Kiddo, that give us the impression that once upon a time this was a woman without sorrow and without sadness, her happiness coming to an end only at the hands of Bill. The film adds to the fact that it is now her personal will to regain her happiness, her daughter. Unlike its adrenaline-pumped counterpart, this one deals more with the unforgotten memories of pain and survival.
Kill Bill Vol. 1 is like being awaken by the devil himself. It is a rush and a wild ride that takes us into the stories of revenge with deeper and bloodier repercussions.
Filled with characters who scream life to the screen, Vol 1. takes the tale of a bride left for dead by her jealous and murderous husband. She is now on a mission to get him but she must first battle out with his deadly crew of assassins. The results are unspeakably exciting and fascinating.
With Quentin Tarantino’s usual blend of amusing and inviting dialog, he takes an old genre and turns it into something from a world of never-ending danger. It is Tarantino’s pastiche style that allows his story to unfold beautifully without a single flaw that neither bothers nor bores.
The poppy music, the comical thuds and the bloody samurai swords all contribute to the film’s extraordinary greatness. Just take a look at the creative visual artistry of the anime sequence. You won’t believe such talent made a film like Kill Bill both gruesome and intimate.
If no one minds, I think I’ll just stay in bed until next year.
Goddamn old feelings crawling back in.
:)
http://www.youtube.com/watch?v=buqtdpuZxvk&feature=relmfu
(Source: 0f-all-the-gin-joints)
