Annuario 2015 | Calendario al post #1 | O ti guardi 400 film o sei out!

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Regà tra tesi e backlog videoludico è tostissimissima, non ho ancora visto Inherent Vice perdiana.

01. Calvary [John McDonagh] - B

02. Whiplash [Damien Chazelle] - A

03. The Drop [Michaël R. Roskam] - C-

04. Force Majeure [Ruben Östlund] - C

05. Still Alice [Richard Glatzer e Wash Westmoreland] - C+

06. A Most Violent Year [J.C. Chandor] - B+

07. The Theory of Everything [James Marsh] - C-

08. Big Eyes [Tim Burton] - C-

09. Foxcatcher [bennett Miller] - B-

10. Loitering with Intent [Adam Rapp] - D

11. Appropriate Behavior [Desiree Akhavan] - C+

12. The Disappearance of Eleanor Rigby: Him [Ned Benson] - B+

13. The Disappearance of Eleanor Rigby: Her [Ned Benson] - B-

14. Love is Strange [ira Sachs] - C+

15. '71 [Yann Demange] - B-

16. Mr. Turner [Mike Leigh] - C

17. Cake [Daniel Barnz] - D

18. Birdman [Alejandro González Iñárritu] - A-

19. Wetlands [David Wnendt] - C-

20. Tokyo Tribe [sono Sion] - B-

21. Listen Up Philip [Alex Ross Perry] - C

22. Tenshi no yokubou [Nagisa Isogai] - D+

23. Kami no Tsuki [Yoshida Daihachi] - C+

24. The Imitation Game [Morten Tyldum] - C-

25. Home [Tim Johnson] - D+

26. Kingsman: The Secret Service [Matthew Vaughn] - C-

27. Ex Machina [Alex Garland] - B

28. Omoide no Mani [Yonebayashi Hiromasa] - C

29. Red Army [Gabe Polsky] - B-

30. Going Clear: Scientology and the Prison of Belief [Alex Gibney] - B+

31. It Follows [David Robert Mitchell] - C+

32. The Voices [Marjane Satrapi] - C-

33. Kumiko, the Treasure Hunter [David Zellner] - C-

34. What We Do in the Shadows [Jemaine Clement, Taika Waititi] - B

35. Song of the Sea [Tomm Moore] - B

36. A Girl Walks Home Alone at Night [Ana Lily Amirpour] - B+

37. Gascoigne [Jane Preston] - C+

38. Respire [Mèlanie Laurent] - B-

39. Slow West [John Maclean] - C+

40. American Sniper [Clint Eastwood] - D+

41. Minions [Kyle Balda, Pierre Coffin] - D+

42. Demonic [Will Canon] - F

43. Avengers: Age of Ultron [Joss Whedon] - C

44. Manglehorn [David Gordon Green] - C+

45. Mad Max: Fury Road [George Miller] - B

46. Spy [Paul Feig] - C

47. Unexpected [Chris Swanberg] - D+

48. Kung Fury [David Sandberg] - C

49. Heaven Knows What [ben e Joshua Safdie] - B+

50. Results [Andrew Bujalski] - C-

51. We Are Still Here [Ted Geoghegan] - D

52. Jurassic World [Colin Trevorrow] - C+

53. The Duke of Burgundy [Peter Strickland] - C

54. While We're Young [Noah Baumbach] - B

55. Inside Out [Pete Docter] - C

56. Turbo Kid [François Simard, Anouk Whissell] - C-

57. 7 Days in Hell [Jake Szymanski] - C

58. Me and Earl and the Dying Girl [Alfonso Gomez-Rejon] - B+

59. Man Up [ben Palmer] - C

60. Mr. Holmes [bill Condon] - C-

61. Dope [Rick Famuyiwa] - B+
easy basta droppare i videogiochi :morris82:

 
Regà tra tesi e backlog videoludico è tostissimissima, non ho ancora visto Inherent Vice perdiana.

01. Calvary [John McDonagh] - B

02. Whiplash [Damien Chazelle] - A

03. The Drop [Michaël R. Roskam] - C-

04. Force Majeure [Ruben Östlund] - C

05. Still Alice [Richard Glatzer e Wash Westmoreland] - C+

06. A Most Violent Year [J.C. Chandor] - B+

07. The Theory of Everything [James Marsh] - C-

08. Big Eyes [Tim Burton] - C-

09. Foxcatcher [bennett Miller] - B-

10. Loitering with Intent [Adam Rapp] - D

11. Appropriate Behavior [Desiree Akhavan] - C+

12. The Disappearance of Eleanor Rigby: Him [Ned Benson] - B+

13. The Disappearance of Eleanor Rigby: Her [Ned Benson] - B-

14. Love is Strange [ira Sachs] - C+

15. '71 [Yann Demange] - B-

16. Mr. Turner [Mike Leigh] - C

17. Cake [Daniel Barnz] - D

18. Birdman [Alejandro González Iñárritu] - A-

19. Wetlands [David Wnendt] - C-

20. Tokyo Tribe [sono Sion] - B-

21. Listen Up Philip [Alex Ross Perry] - C

22. Tenshi no yokubou [Nagisa Isogai] - D+

23. Kami no Tsuki [Yoshida Daihachi] - C+

24. The Imitation Game [Morten Tyldum] - C-

25. Home [Tim Johnson] - D+

26. Kingsman: The Secret Service [Matthew Vaughn] - C-

27. Ex Machina [Alex Garland] - B

28. Omoide no Mani [Yonebayashi Hiromasa] - C

29. Red Army [Gabe Polsky] - B-

30. Going Clear: Scientology and the Prison of Belief [Alex Gibney] - B+

31. It Follows [David Robert Mitchell] - C+

32. The Voices [Marjane Satrapi] - C-

33. Kumiko, the Treasure Hunter [David Zellner] - C-

34. What We Do in the Shadows [Jemaine Clement, Taika Waititi] - B

35. Song of the Sea [Tomm Moore] - B

36. A Girl Walks Home Alone at Night [Ana Lily Amirpour] - B+

37. Gascoigne [Jane Preston] - C+

38. Respire [Mèlanie Laurent] - B-

39. Slow West [John Maclean] - C+

40. American Sniper [Clint Eastwood] - D+

41. Minions [Kyle Balda, Pierre Coffin] - D+

42. Demonic [Will Canon] - F

43. Avengers: Age of Ultron [Joss Whedon] - C

44. Manglehorn [David Gordon Green] - C+

45. Mad Max: Fury Road [George Miller] - B

46. Spy [Paul Feig] - C

47. Unexpected [Chris Swanberg] - D+

48. Kung Fury [David Sandberg] - C

49. Heaven Knows What [ben e Joshua Safdie] - B+

50. Results [Andrew Bujalski] - C-

51. We Are Still Here [Ted Geoghegan] - D

52. Jurassic World [Colin Trevorrow] - C+

53. The Duke of Burgundy [Peter Strickland] - C

54. While We're Young [Noah Baumbach] - B

55. Inside Out [Pete Docter] - C

56. Turbo Kid [François Simard, Anouk Whissell] - C-

57. 7 Days in Hell [Jake Szymanski] - C

58. Me and Earl and the Dying Girl [Alfonso Gomez-Rejon] - B+

59. Man Up [ben Palmer] - C

60. Mr. Holmes [bill Condon] - C-

61. Dope [Rick Famuyiwa] - B+
però hai visto earl e dope //content.invisioncic.com/a283374/emoticons/bzv7yXY.png

io invece ho visto

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Entertainment e volevo scrivere due cose ma meglio quotare chi lo sa fare davvero

Filmmaker Rick Alverson has made some absorbing and intimate indie works. "The Builder" is a terrifically underrated gem, and “New Jerusalem” coaxes another strong lead performance from musician Will Oldham. But it's Alverson’s provocative and pointed collaborations with comedian Tim Heidecker that have proven to be layered and rich next-level works. The deeply misunderstood “The Comedy” — a hilariously confrontational, but also alarming examination of the age of ironic distance — is an incendiary piece de resistance. But Alverson may have outdone himself with “Entertainment,” an even more abrasive, alienating, and nightmarish masterwork about the cruel futility of connection, performance, and existence.
Comedian Gregg Turkington stars as Neill, essentially playing a loose riff on the actor's alter ego Neil Hamburger (the world’s worst, most insufferable comedian). An aging, inept stand-up with no discernible talents or skills, he tours the wastelands of the Californian desert with a young mime (Tye Sheridan) who is only slightly less useless at his trade. Estranged from a young daughter we never meet, Neill calls her from gig to gig, leaving lonely, near-pathetic voice-mails about the utterly unremarkable banalities of life on the road.

Every day on the third-rate comedy circuit is an unforgiving slog. Audience antipathy is the norm, and the coarse and vulgar Neill is always just a moment away from receiving a bottle upside the head. The venues are utter dives, the pay is wretched, and the clientele is largely trailer trash scum that Neill hisses contempt at during every show.

Yet Alverson and his co-writers Turkington and Heidecker (who only has a small role this time) — who I hope are contracted to write movies together until the end of time — find amazing, absurd, and twisted humor amid bleak existential despair. Neill's jokes — often a series of dumb questions aimed at celebrities — drip with acidity. Delivered with shrill toxicity, Neill’s bits are so purposefully bad, there’s a wonderful dementedness to them that’s idiotically funny.

As Neill trudges depressingly from gig to gig there are various supporting players that enliven the narrative. John C. Reilly appears as his faux-supportive, asshole-ish cousin, who isn’t very good at lending a hand, Michael Cera has a brief cameo, and Amy Seimetz shows up for a minute in a hysterically dark scene as trailer trash.

“The Comedy” was already an uphill challenge for most audiences, but “Entertainment” is an endurance test that recalls Vincent Gallo’s “Brown Bunny” (and the response from less receptive audiences may be just as venomous). Alverson’s uncompromisingly arid movie almost acts as a dare: it’s deliberately paced, and its joyless color palette is about as inviting as a urine stain.

But there are bizarrely entrancing riches beyond its perverse sense of humor, and Alverson creates a hyper-controlled space for the audience that’s often off-putting in every sense. Robert Donne’s moody score is haunting, especially during barren and desolate evening sequences in the Californian desert. DP Lorenzo Hagerman doesn’t presume to make any shots pretty to look at, but again, sequences in the coyote-lit twilight have their own lingering beauty. Alverson’s movies always have a choice (and usually obscure) soundtrack, and that much is true here as well (cuts by Bill Moss, Pompeo Stillo & The Companions, The Extensions, Frank Sinatra Jr. all feature).

Uncomfortably deadpan and awkward, Alverson and his creative team delight in squirm-inducing moments. This is not a movie for the faint-hearted casual moviegoer. The discomfort ranges from the amusing to the genuinely painful to watch, but the extremist tendencies go for broke in the nightmarish third act, channeling the spirit of an agitated David Lynch. The already weird and hostile encounters grow revolting and grotesque, but always with thought-provoking contours that are sure to disturb.

As warped and sadistic as “Entertainment” is, its brilliance is in the embrace of humiliation and failure, and the way it forces us to confront and sit with those embarrassing, uneasy feelings. Unwilling to bend in the slightest, “Entertainment,” which features a gloriously angelic ending, plays out like the harsh and cruel joke of life. It’s not God laughing at your plans, it’s the universe cackling at every excuse you’ve made to justify existence. [A-]
 
easy basta droppare i videogiochi :morris82:
Più probabile che droppi la tesi di dottorato //content.invisioncic.com/a283374/emoticons/emoticons_dent1005.gif

però hai visto earl e dope //content.invisioncic.com/a283374/emoticons/bzv7yXY.png
io invece ho visto

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Entertainment e volevo scrivere due cose ma meglio quotare chi lo sa fare davvero
Visti con colpevole ritardo tra le altre cose, appena riesco mi guardo anche Z for Zacharia e Tangerine //content.invisioncic.com/a283374/emoticons/sisi.gif

 
:l4gann:dimenticavo victoria
Non c'è niente da fare, sono quel tipo di struttura che non mi interessa //content.invisioncic.com/a283374/emoticons/emoticons_dent1005.gif se ho tempo un'occhiata la do comunque, ma c'è anche troppo da vedere

 
Victoria, Sebastian Schipper - [A+]

Entertainment, Rick Alverson - [B+/B]

I Smile Back, Adam Salky - [B-]

American Ultra, Nima Nourizadeh - [B-/C+]

 
Ultima modifica da un moderatore:
Victoria :morris82:
In due parole, il piano sequenza di 2 ore e 15 si rivela funzionale e non un semplice esercizio di stile garantendo un'immersione totale ad un film che avrebbe comunque funzionato benissimo a prescindere, quindi è un +. Attori fenomenali, buona anche la scrittura nel complesso realistica.

poi girarlo deve essere stata una follia, se dopo 2 ore succedeva qualcosa, qualcuno si sparava lol

 
Ultima modifica da un moderatore:
In due parole, il piano sequenza di 2 ore e 15 si rivela funzionale e non un semplice esercizio di stile garantendo un'immersione totale ad un film che avrebbe comunque funzionato benissimo a prescindere, quindi è un +. Attori fenomenali, buona anche la scrittura nel complesso realistica.
poi girarlo deve essere stata una follia, se dopo 2 ore succedeva qualcosa, qualcuno si sparava lol
Frecciatina a Birdman/Arca Russa? :lol:

Sto vedendo veramente poca roba :tragic:

 
Frecciatina a Birdman/Arca Russa? :lol:
no no, è per sottolineare il fatto che in un'operazione del genere il rischio di cadere nel mero virtuosismo è dietro l'angolo, invece il film ha basi solide.

 
Ottimo allora, credo di non averti mai visto dare il voto massimo //content.invisioncic.com/a283374/emoticons/emoticons_dent1005.gif

 
Appena visto anch'io Victoria, grazie per averlo segnalato visto che mi interessava da Berlino e non sapevo che fosse disponibile. L'ho gradito ma molto meno del previsto, la prima ora ha quel respiro generazionale che io adoro sempre nei film e aiutato dalla sceneggiatura riesce veramente a far entrare nell'atmosfera della capitale tedesca e nelle vite dei personaggi, il piano sequenza in quest'ottica è veramente funzionale e qualcosa che secondo me andrebbe ripetuto in futuro. Poi però arriva la svolta thrilling e tutto l'impianto costruito fino a quel momento cade, i personaggi da essere in primo piano diventano balie di una sceneggiatura sempre meno credibile che li affossa, sembra quasi che il regista volesse per forza far succedere "qualcosa" in quelle due ore e abbia trovato come risposta una soluzione narrativa che, paradossalmente, cozza proprio con il piano sequenza alla base del film. Mi è parecchio dispiaciuto perché poteva essere molto di più, in ogni caso interessante.

 
Ultima modifica da un moderatore:
Certo che a ripensarci visto l'anno Il racconto dei racconti di Garrone spicca...

 
Nel senso che ti ha fatto schifo? //content.invisioncic.com/a283374/emoticons/emoticons_dent1005.gif

 
A me non ha fatto impazzire. Provi a vedere The Tribe così confermi che ti fa schifo e posso vincere la scommessa? Che già mi hai fatto perdere troppi soldi con il cinese, finisco per indebitarmi con mio fratello così:kep88:

 
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