Say you forgot. Then you're okay. (/Steve Martin)
Heh.
Two simple words in the English language. I forgot.
"I forgot ... armed robbery ... was a crime."
A place to talk about movies--old and new, good and bad, high art and high cheese. It's the place to place your kittens on the award winners, gossip about upcoming fims and discuss DVD releases and extras. Spoiler policy: White font all plot-related discussion until a movie's been in wide release two weeks, and keep the major HSQ in white font until two weeks after the video/DVD release.
Say you forgot. Then you're okay. (/Steve Martin)
Heh.
Two simple words in the English language. I forgot.
"I forgot ... armed robbery ... was a crime."
Someone needs to start passing out the white suits and bunny ears, stat.
Well, it's a good thing you learnt the truth in time to not kill Mr. Bay. Because that'd get a lot of yelling. The Island not withstanding, it's for the best.
Is Wes Anderson all that without the Big O?
Dammit, I've been saying this about Owen Wilson's Rushmore commentary for years!
But there are clues. The Criterion Collection DVDs of Rushmore, Tenenbaums, and the recently released The Life Aquatic With Steve Zissou contain revealing audio commentaries, especially Rushmore's. Both Anderson and Wilson—neither of whom went to film school—come off as formidably conversant in cinema, Blockbuster autodidacts for whom a camera angle or line of script conjures up a stream of movie references. And both men are appealingly generous but unshowy with their knowledge, demonstrating copious wit and insight and sensitivity. Of course, we've long been told all this about Anderson, but it comes as a surprise how much it's equally the case for Wilson.
Ben Stiller once described Owen Wilson as having "a library in his head," and hearing his Rushmore commentary bears that out. He calls Max Fisher a "James Gatz" figure, which is the kind of Great Gatsby reference dropped by people who have actually spent time with the book.
Just watched Blood Simple. Good stuff. I really liked the use of silence. There's like a twenty-minute stretch with no dialogue, in addition to all the many times the camera just sits there on an actor who's not talking. You learn to read a face. I also liked the many dissolves through space and time, connected by a common background or action. And finally, I liked the examination of what it takes to kill.
One question: how did Visser doctor the photos? I don't know much about photography, but they didn't have Photoshop back then. The fakes looked pretty convincing.
As for the ending, I was kind of hoping Visser would end up killing Abby, and thus kill the people he was paid to kill in order to get away with killing someone else in order to not kill them in the first place. But I also liked that she thought it was Marty after her. Heh.
I couldn't get the Yahoo Elizabethtown trailer to load but I still have the two on this page so I suppose I'll just re-watch what I've got.
It's all Orlando all the time, isn't it?
In a perfect (for me) world? Yes.
A world of yes.
A quirky girl without a bra teaches him to live. A quirky girl without a bra teaches him to love. A quirky girl without a bra teaches him to wear cotton knit.
Still, the curiosity factor and the male pretty will get me there.