Profil użytkownika ChrisKnipp
Farewell, dreams of glory Matteo Garrone's new movie Reality is not as somber or realistic as his 2008 Grand Prize winner at Cannes, Gomorrah, about the Neapolitan crime network, or as creepy as his
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You had to be there Garrett Hedlund delivers a performance that will be hard to forget in On the Road as Dean Moriarity, the devastatingly charming, dangerously exploitative central figure of Jack Keroac's
A sexual social climber American reviewers have been brutal in their condemnation of this new filmed Bel Ami (it's been made into movies before) and especially of Robert Pattinson's performance as Georges
Mad chase Morten Tyldum is talented. "The Firm meets Blood Simple," one reviewer wrote. But there are lots more elements than that in the new Norwegian movie Headhunters: they include Hitchcock, Patricia
A runaway adolescent romance that's brilliant fun Mike D'Angelo, who saw Wes Anderson's new movie at Cannes, where it opened the festival, called it "easily the most Rushmore-y film he's made since,"
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For rough Polish rustics, a neighbor's property is fair game Wilhelm Sasnal is an acclaimed Polish painter and comic strip artist, who in collaboration with his wife Anka has now made a (77-min.) feature
Two young startup guys, Ben (Max Minghella) and Sean (Emile Hirsh) take their app to Moscow, where they find their unscrupulous Swedish rival Skylar (Joel Kinnaman) has bypassed them and stolen their deal.
The beginnings of venture capital and historic West Coast startups Venture capital and its key role in tech startups over the past four decades are the topics of this little documentary. It describes
I don't have a list. I could try to make one. But it's hard because I don't pick the best of the year, only the best ten unranked. I made a list of the best French films of the decade but it was a list of 45 films. http://www.filmleaf.net/showthread.php?2756-The-Best-French-Language-Films-of-the-Decade-2000-2009: I put a list of 90 for the decade, English and foreign, that I just made and I'll see if i can trim it down. It's on my website: http://www.chrisknipp.com/writing/viewforum.p
Well, yes, this is a better year but they're all better with ten nominees rather than five. That's why Winter's Bone is there I'd say. Though it's critical success represents a big leap for indie films in the US.
I like or even in some cases love: The Pianist Fantastic Mr Fox Hadewich Songs from the Second Floor Inglourious Basterds The Limits of Control Had forgotten about The Violin and The Temptation of St. Anthony. Thanks for reminding me. Not so carzy about The Wrestler or Sin City. But we have some tastes in common here, even if my list for the decade might be, would definitely be, different.
The Metacritic critical ratings show Slumdog was the preferred film that year. Milk came close, next Frost/Nixon, Benjamin Button, and The Reader far below the rest. For 1998 i'd have picked The Thin Red Line over Shakespeare in Line, but Life Is Beautiful had serious weaknesses, and Thin Red was too edgy for the Academy. I will be okay with the conventional King's Speech winning Best Picture over the smarter, more original The Social Network, but what did really hurt a lot was when Crash won
Everyone doesn't "hate" the new film Howl. It has a Metacrit rating of 70, which means, in the US, it has received "generally favorable reviews." http://www.metacritic.com/music/howl. It's received high marks from both critics and viewers, according to Metacritic. I don't feel entirely happy with Franco's performance and of his reading, but he brings a sexy charisma to the role Ginsberg would have liked. Jon Hamm's performance is moving and so is the trial's outcome for free speech and literary
The distribution story was a scandal. I love Malkovich's Ripley and think this the best of all the many film adaptations of Patricia Highsmith's greatest creation.
I am not a fan of mystical/magical stuff either, but the film is so good I swallowed it -- like a razor blade! Exacctly what cliodhna says. And the reappearances of the murdered man are in keeping with the killing scene, handled simply, without any annoying or extraneous special effects. Do not agree with the theory that remaining goodness is slipping away from Malik. He is seen in a quite positive light. That's how one can compare him with Prince Hal. Audiard does not treat him judgmentally
Michuk, we strongly agree sometimes and others equally strongly disagree, such as in this case. I do very much like Hadewijch, though, but also admire The White Ribbon and A Prophet. I more or less agree on Ajami, but one can see why it was nominated as a pioneering Palestinian/Israeli collaboration on raw, important material. I haven't the faintest idea about The Milk of Sorrow. The Best Foreign Oscars used to be a scandal, but the past couple years the nominations have been much better.
P.s. Michuk's comment, "The fact that it all happens in a dream within a dream within a dream adds complexity but doesn't add depth," echoes one that struck me from a critic I like, Walter Chaw of Film Freak Central. He said, "In lieu of depth, Inception offers complexity; it's the philosophical/existential equivalent of a Rubik's Cube." Yet it's a great-looking (and maybe -sounding) film, and so people are awed -- by the complexity.
I'm with you on this one, Michuk, as you know. My review and the discussion on Filmleaf are here: http://www.filmleaf.net/showthread.php?2879-INCEPTION-%28Christopher-Nolan-2010%29&p=24752#post24752. My reaction may seem negative and I agreed with The New Yorker's Denby that the theme is "overcooked," but I also added: Sure, INCEPTION is, as the summer's mainstream offerings go, a great movie -- compared to other new movies like THE SORCERER'S APPRENTICE or earlier releases like THE KARATE KID