Hah. Isn't Emile Hirsch in that one? He tends to bring a decidedly "rich, suburban white kid" vibe to just about everything he does.

Bro.. timberlakes character cried before they killed that kid and kept saying "youre my boy youre my boy"

I just wanted to gank all they wallets

le weekend is the best film ever all yall are insane

same here. he's good at bamboozling the kids though. And i still love alphaville.


the cortázar story that inspired it ("la autopista del sur") is 10,000 times better, and it's actual art and not a tedious rant. and yes, i've long been over the impression it first made on me, but it's still a nice short story.

i'm starting to see godard more as an egghead buñuel. buñuel's political critiques (starting with l'age d'or in 1930) were much more poignant because they stayed within the dreamspace of film. godard managed that at times (e.g. alphaville, in spite of its clunky have man vs machine argument) but other times i think he was too enamored of his own "ideas" to be an artist.

so le weekend just gives you a fucking lecture. seriously, i don't want to watch a film that consists of people reading books at me like i'm functionally illiterate. i can read on my own without the interpretative dancers.

Ha ha. I kinda want to watch this shit now.

Timberlake's generally kind of a vag, but he is capable of transcending his image with the occasional bit of self-mockery (his Sean Parker was essentially a lazy, opportunistic "entrepreneur" version of.... Justin Timberlake; and in Llewyn Davis he took full comedic advantage of his own former pampered, preppy self-important brat image) ... So I can forgive him for quite a bit.

But Emile Hirsch... that little shit thinks he is just Joe Character Actor. Into The Wild would have been much more heartbreaking if I wasn't ready to kill the kid myself by the end. And he made my stomach turn in MILK (one of my favorite films of 2008) with his failed attempt to upstage or "out-character act" Sean Fucking Penn.

He needs to reel that ego in, or stick to movies like The Girl Next Door and.... this fucking abomination:

Timbuktu

Sad/beautiful/sad/infuriating/sad/beautiful/infuriating/sad

Beautiful

Genghis Blues - as documentaries go, this is pretty crappily made and a bit of a mess. The filmmakers were two recent college graduates with more balls than resources--and for that they deserve enormous praise. Still, formally, it's not such a great piece. But the subject matter and the music are soooo powerful that... wow... it blows you away. Definitely a must-watch.

Pacino was brilliant in this but they made the wife look like a selfish bitch

Smokey & the Bandit



Gator

Because sometimes it takes a couple of Burt Reynolds movies to get you through

you are describing every single experience I have had with Godard films....

Like some home movies, but quite a cool film!

I've seen almost every Godard film, barring some very hard-to-find things and some television stuff. Also, anything made in the past seven or so years because I gave up on him.

This is a confession, not a brag. There is exactly one which I sort of like (Masculine/Feminine). Some I "appreciate." Most I have forgotten entirely.

Has anyone bothered with his post-60s output? Did Numéro Deux draw your attention by being billed as a sequel to Breathless? (It isn't.) Anyone get conned into his King Lear? (Nothing to do with the play.) Or has anyone seen Soigne ta droite, which I'm told is a comedy? (It isn't).

If you're frustrated by Godard in his prime, you'll wish cinema had never been invented once he stopped giving a fuck.

I see someone took the time to review a lot of his more obscure stuff on IMDB. These reviews read better than films watch. Highly recommended, but don't let them inspire you to actually track down any of the films.

This is one of Russell Crowe's finest moments. What an incredible film. Again, this should have won Best Picture (I know I say that a lot, but that's because they fuck it up so much); it was so much more powerful and less pretentious than American Beauty. The fact that Crowe didn't win is probably the only reason he won for Gladiator.

I actually thought Crowe wasn't that great, he jumped around emotional states too much and overplayed the "but i love my family" card.. Pacino was the highlight

I don't mind his 1st few films, but even with those, he always seemed like he was trying a bit too hard, a bit too keen to impress. Although if there's one film from that period that I do really like, it's Le Mepris - but even with that, the things I like most about it are probably its least Godardian. Either way, everything else I can take-or-leave, at best, and I pretty much gave up on him altogether after the 70s.

Okay, I take it all back. Here's a chunk of Woody Allen in Godard's KING LEAR. Hilarious!

https://www.youtube.com/watch?v=4VJP43eAnQE

normally we disagree a lot on movies but here i don't blame you


yeah le mépris i really love as well, mostly for the great cinematography and fritz lang and let's admit it, brigitte bardot. oh, and jack palance as the ugly american! even though the ending is a bit facile, right? kinda like a kid's wishful-thinking revenge.

[ETA - rereading about this i had forgotten the whole ulysses/penelope/poseidon thing which is so very well done and why i loved that movie so much from the first time i saw it. just brilliant. a masterpiece.]


i watched the beginning and the usual godard noise-over-dialogue (it's like real life! or something...) was grating (as usual). then came the "clever" title cards and i hanged up. does woody stay after the "clever" title cards?

anyway last night i finally watched the legendary HOOP DREAMS.

which was 3 hours long

and so before we started i said "eh, it's so long, we can watch it on installments"

but then we couldn't turn it off and ended staying up late!

it was really amazing and the time went flying by.

the criterion disc comes with the siskel/ebert reviews in the extras, which are worth a good look not just because how much they loved this movie (best of the year/best of the decade) but also because they really shook up the establishment re: documentary oscars.

Hoop Dreams is good stuff.

You should watch the whole thing to find out.

Kidding.

No. He pops up 3/4 of the way through, has that "scene" and leaves.

But I've been poking around some Godard stuff online, and so many have gotten a lot out of even his most esoteric work, so there is the chance that he's simply too brilliant for my little mind.

Richard Brody from New Yorker says Godard's King Lear is "the greatest film of all time," so what the fuck do I know?

http://www.newyorker.com/culture/ric...at-twenty-five