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  #31081  
Old 05-19-2017, 02:16 PM
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Originally Posted by MCBanjoMike View Post
Ocean's Eleven (2001) just showed up on Netflix, so last night I finally watched it. Very entertaining movie, plenty of clever twists and turns, charming actors out the wazoo. But today I feel kind of bad about the whole thing, as if I ate a dozen doughnuts yesterday. Sure, they were tasty, but also completely devoid of substance. Clooney's Ocean is a super-genius whose plan never comes close to failing for the whole run of the movie. The crew is a total boys' club and the only woman in the movie has effectively zero agency, serving mostly to motivate Ocean and make him look really, really clever. But none of that changes the fact that I had fun while watching it. Is this the one night stand of movies?

Also, can anybody confirm my suspicion that the two sequels are basically the same thing but less good? I don't plan on watching them, but if one of them is a secret gem then I might give it a chance.
It's Soderbergh, so it's among the most well-crafted, artisanal popcorn you're going to get. I think it's a legit great movie.

Don't worry about seeing the sequels, Thirteen is pretty good but not in a way that differs from what Eleven already accomplished. Twelve tries to do something different but doesn't really work at all.
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  #31082  
Old 05-19-2017, 04:31 PM
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Also, can anybody confirm my suspicion that the two sequels are basically the same thing but less good? I don't plan on watching them, but if one of them is a secret gem then I might give it a chance.
Trust your instincts.
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  #31083  
Old 05-20-2017, 08:17 PM
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Originally Posted by Ample Vigour View Post
It's a damn shame that Shining readings have gone off the deep end in recent years, because you could devote years to that movie.
I think 2001 might be a useful tool in trying to comprehend dumb Shining readings. I used to appreaciate the movie on a purely aesthetic/tech level. Then I read and watched stuff that highlighted the transcendental stuff about tools and overcoming the limitations of human frailty that was plausible enough to be intentional for a sharp-as-hell filmmaker like Kubrick. Then I started getting into dumb death-of-the-author stuff that most likely arose out of the Kubrick being prenaturally fluent in cinematography (did you know the Monolith has the same ratio as widescreen, man?)

The issue with the Room 237 stuff is that it goes, like nine levels beyond that.


My Powell/Pressburger marathon didn't really get off the ground, but I did watch A Matter of Life and Death [/Stairway to Heaven]. Gorgeous movie. There's a singularly ethereal quality to early technicolor that this film really embodies, especially as it plays with and against equally striking b&w cinematography. The story is...sanguine? And there's a fun late-War aside in third act regarding British/American relations, but the Archers present it with such haunting panache that it really left a mark.
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  #31084  
Old 05-20-2017, 11:05 PM
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Originally Posted by Peach View Post
I think 2001 might be a useful tool in trying to comprehend dumb Shining readings. I used to appreaciate the movie on a purely aesthetic/tech level. Then I read and watched stuff that highlighted the transcendental stuff about tools and overcoming the limitations of human frailty that was plausible enough to be intentional for a sharp-as-hell filmmaker like Kubrick. Then I started getting into dumb death-of-the-author stuff that most likely arose out of the Kubrick being prenaturally fluent in cinematography (did you know the Monolith has the same ratio as widescreen, man?)

The issue with the Room 237 stuff is that it goes, like nine levels beyond that.
There are good outside-the-box readings of The Shining to be found (similar to Requiem for a Dream, the plot diagram of The Shining makes no sense until you realize the main characters are not the protagonists [RfaD's protagonist is addiction, Shining's protagonist is the hotel,]) and even Roger Ebert's just-the-facts reading pointed out that none of the central characters are reliable narrators. But holy fuckin shit the numerology and Room 237 style stuff out there is straight up schizophrenic ideation.
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  #31085  
Old 05-20-2017, 11:54 PM
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Originally Posted by Ample Vigour View Post
It's a damn shame that Shining readings have gone off the deep end in recent years, because you could devote years to that movie.
That scene where Danny is in the bedroom with Jack in that house coat having the most creepy conversation ever... this is like how I picture my dad from my 6 year old POV. Ech
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  #31086  
Old 05-21-2017, 01:24 AM
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The movie also managed to make long, uninterrupted shots of nothing whatsoever terrifying.
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  #31087  
Old 05-21-2017, 06:15 AM
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Justin Timberlake + The Tennessee Kids: RIP Jonathan Demme. This is just stunningly pulled off, and the charisma inherent in every single micro-gesture on not just Timberlake's part but the entire band's is really impressive. I also really loved the rundown during the credits detailing how the stage was actually constructed. It's something I've wondered a lot for huge, touring arena shows like this, and it reminded me of the similar credits sequence from Kubo and the Two Strings about how the puppeteers built the 18-foot-tall stop-motion skeleton. I love when movies use the credits for nuts-and-bolts stuff like that, actually related to the contributions of the crew, much more than Marvel-style teasers or jokes.
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  #31088  
Old 05-21-2017, 08:20 AM
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Originally Posted by chud_666 View Post
That scene where Danny is in the bedroom with Jack in that house coat having the most creepy conversation ever... this is like how I picture my dad from my 6 year old POV. Ech
I don't know what hellish vein Kubrick mined to protray the dread of living with an abuser so well, but it's all in there
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  #31089  
Old 05-21-2017, 10:47 AM
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It's a bit too real.

Drunken resentment "problems with the ol sperm bank"
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  #31090  
Old 05-21-2017, 10:52 AM
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The main difference between the movie and the book (besides the ending) is that in the book, Jack gave the impression he was recovering from being a monster.

In the movie, he was just taking a break from it.
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  #31091  
Old 05-21-2017, 11:46 AM
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Very much so. The novel spends a lot of time in Jack's head, and it's clear he's stuffed with regret over what he's done under the influence, and he's doing everything he can to make up for it and do right by his family. I may disagree with Stephen King's take on Kubrick's version (I like both about equally), but I perfectly understand where he's coming from.
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  #31092  
Old 05-21-2017, 12:40 PM
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Very much so. The novel spends a lot of time in Jack's head, and it's clear he's stuffed with regret over what he's done under the influence, and he's doing everything he can to make up for it and do right by his family. I may disagree with Stephen King's take on Kubrick's version (I like both about equally), but I perfectly understand where he's coming from.
There are few moments where Jack's face shows his total relief at having an excuse to lash out at Wendy. It's the only time he's not white-knuckling his way to a sense of control. His only relief from the torture is drinking too much and brutalizing his wife, but he won't admit that this is because he drinks too much and brutalizes his wife.

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Originally Posted by chud_666 View Post
It's a bit too real.

Drunken resentment "problems with the ol sperm bank"
Exactly. Todd Alcott points out that Jack as portrayed in the first few minutes seems like he'd be totally on board with chopping up Wendy then cracking open a bottle for a job well done. Most damning is how Grady only has to convince Jack that he needs to "correct" Danny - killing Wendy is already on the to-do list.

Last edited by Ample Vigour; 05-21-2017 at 01:00 PM.
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  #31093  
Old 05-21-2017, 01:31 PM
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Originally Posted by Ample Vigour View Post
Exactly. Todd Alcott points out that Jack as portrayed in the first few minutes seems like he'd be totally on board with chopping up Wendy then cracking open a bottle for a job well done. Most damning is how Grady only has to convince Jack that he needs to "correct" Danny - killing Wendy is already on the to-do list.
I only watched the movie after reading the book, and that was my first hint that something has gone terribly askew re: Jacks character
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  #31094  
Old 05-21-2017, 02:05 PM
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Quote:
Originally Posted by Ample Vigour View Post
There are few moments where Jack's face shows his total relief at having an excuse to lash out at Wendy. It's the only time he's not white-knuckling his way to a sense of control. His only relief from the torture is drinking too much and brutalizing his wife, but he won't admit that this is because he drinks too much and brutalizes his wife.



Exactly. Todd Alcott points out that Jack as portrayed in the first few minutes seems like he'd be totally on board with chopping up Wendy then cracking open a bottle for a job well done. Most damning is how Grady only has to convince Jack that he needs to "correct" Danny - killing Wendy is already on the to-do list.
A very willful boy.
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  #31095  
Old Yesterday, 10:00 AM
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I saw the Netflix distributed Mindhorn, a British comedy about a washed up TV actor. It has one joke, that no one remembers the 25 year old detective show that main character famous, and it repeats it for 90 minutes. I don't know that it is a good movie, but I liked its joke is most of the permutations that it was told. It was a comedy and I laughed pretty consistently. I would also watch the fake TV show Mindhorn, a detective show about a man with a robot eye that can see the truth.
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  #31096  
Old Yesterday, 10:25 AM
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I would also watch the fake TV show Mindhorn, a detective show about a man with a robot eye that can see the truth.
"No one can pull the wool over my left eye!"
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