I’ve merged the two threads.
Scary Movie is a movie which is scary. It is, if you will, a scary movie. So if
you like movies which scare people, go and see Scary Movie.
Scary Movie 2, the sequel to Scary Movie, is another in the genre of “movies which scare people”. If you liked Scary Movie and enjoy being scared by movies, watch Scary Movie 2.
Scary Movie 3 is like eating a great steaming mound of walrus shit with a small plastic teaspoon. If you like eating great steaming mounds of walrus shit with small plastic teaspoons, seek professional help.
Jarman’s Blue works on two levels, both as postmodernist deconstruction and as visual feast. Shifting the semiotic plane as surely as he exploits camera angle, the director cocks a snook at normative social mores in a work that is as much tropic meme as memetic trope.
This is such a great thread! Thanx for creating it, Roger.
I loved “tropic meme as memetic trope.” Reminded me of the predominant proto-concept which confounds us all as an inextricable component of the hierarchical distinction between chaos and creation.
It wasn’t I who created it. Rather the thread created me.
A pretty obvious intertextual allusion, I would have thought.
And an obviously pretty interallusory text, as well.
The Lion, the Witch and the Wardobe is a movie about a bunch of hippies who find a magic camel while smoking pot. A truely epic slice of life that will make you re-evaluate your life.
Two men, a camera, and a town in Michigan that’s seen better days. There, in a nutshell, you have the premise of Michael Moore’s seminal work Roger and Me. But the attempt to distil the essence of this groundbreaking piece of cinéma verité is as futile as the attempt to squeeze the director into a pigeon-hole. There’ll always be bits sticking out the side and through the narrow opening at the front you’re meant to shove the letters through.
Commanding the vision of a latterday Emerson or Thoreau, Moore’s camera captures the chimera that is modern America. Subverting the normal order of things, Moore eschews the easy road for the one less travelled. Few people will be unmoved as the radical iconoclast holds a mirror up to the documentary production process and unveils a portrait that is shocking in its ugliness and brutality.
There’s a lot to be said for a truly feel good film It’s a wonderful life and Mr Smith Goes to Washington are perhaps the leading lights in this under-rated genre. I’m pleased to announce another entry to the canon. The seventh seal has it all, chess, dancing, and a terrific pay-off. If you need cheering up during these dark winter nights Bergman’s latest piece of froth is just for you.
Napoleon Dynamite is Hollywood’s latest biopic of Napoleon Bonaparte. Highlights include his frat boy days, escape from Elba, and defeat at Waterloo.
Le Passion de Jeanne d’Arc is less a movie than a cinematic experience. Like a fine Burgundy, the subtle aftertaste of its shaded nuances will be lost on all but the finest of palates. Defying the conventions of film noir, the foreshadowings of Bunuel and le wave nouveau make this a must-see for the cogniscento of cinéma vérité. The cadences of the French tongue blend seamlessly with the narrative and authenticate the eponymity of the titular heroine.
Hey, she wasn’t very titular in the movie I saw. In fact, she was downright flat-chested.
A) I haven’t seen the film - one doesn’t need to in order to comprehend its inner meanings and sense its textures B) Take your smut elsewhere - this is not The Pit.
I have no way of knowing whether you’re serious with the smut remark. If so, I truly didn’t mean to be offensive. If I’d meant to be offensive, I would have said… oh, never mind.
Just joking! Here’s another while I’m in the mood:
*All Quiet on the Western Front * is the definitive anti-war film. Not only did it inspire Lord Flasheart’s damning indictment of mindless conflict, “Just because I can give multiple orgasms to the furniture just by sitting on it, doesn’t mean that I’m not sick of this damn war: the blood, the noise, the endless poetry”, it acted as John the Baptist to Oliver Stone’s controversial Vietnam war trilogy. Never again will you sit through Heaven and Earth without thinking “you have a lot to answer for, you froggie bloke who wrote that book”.
This fragment is by far the best part of the review. :snort: 
There are several things one notes when one sees Theda Bara’s “Cleopatra”.
Chief among these is the smoldering quality to her work, so smoldering, indeed, that it’s a miracle that the film doesn’t burn up or explode.
The other thing one notices is the subtle quality to the work. Nothing is overblown, there’s not a trace of what the later generations would call “camp”, and Bara’s sexuality, while quite noticable (as stated above), is done in the best of taste.
In short, it is a masterpiece of its’ time, and it’s a pity that more people haven’t seen it.
Yeah, the if-it’s-in-French-it-deserves-a-frigging-Oscar mentality.
No, the fact that it’s a silent movie, so there are no “cadences of the French tongue” to hear!
See, I didn’t cheat. Never seen the thing!
Or heard it. But then that goes without, um, saying.