What movies are you watching?

[BurtReynolds]

The plot isn't important for that movie. Just enjoy the ride.

[tragabigzanda]

Whenever there's active promotion on the part of somebody else, whenever I see somebody all dolled up for a fancy photograph and someone's handing out flyers or whenever there's active promotion for something like that, as an imposition on my day, I hate all those people and I want them to fail. I have a visceral reaction to advertising and promotion. There's just something about salesmanship that grates on me on a very base level and I react very negatively towards it. I want those people to suffer and I want their enterprises to fail.

[epilogue]

Yeah, team Burt

I usually take this as a warning sign.

Listen, I'm just as freaked out about it as you are. Probably only half as offended by it as Burt though.

[Malloy]

I agree w nate that Inherent Vice is intentionally difficult, but i really love everything about it.

[Malloy]

the narrative arc of the movie, and in much of Pynchon, is like the feeling oedipa has in the beginning of Lot 49 when she arrives in San Narcisco.

“She drove into San Narcisco on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull-brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narcisco, a revelation also trembled just past the threshold of her understanding. Smog hung all round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed park at the centre of an odd religious instant.”

[lennytheweedwhacker]

Inherent Vice is meant to be intentionally confusing I think, often to its detriment. But there's still a lot of great stuff in it. It's a really pretty movie to look at.

i think i agree

[lennytheweedwhacker]

the narrative arc of the movie, and in much of Pynchon, is like the feeling oedipa has in the beginning of Lot 49 when she arrives in San Narcisco.

“She drove into San Narcisco on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull-brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narcisco, a revelation also trembled just past the threshold of her understanding. Smog hung all round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed park at the centre of an odd religious instant.”

i read song of solomon a month or so back, and after finishing i searched here and the archive to see what rm had to say...i discovered a lovely battle between yourself and littlewing

[Malloy]

what Pynchon and Anderson know in the 21st century, and what a serious doper who is pretty smart begins to intuit in 1970, is the extent to which the promise of the 60s has been corroded and commodified. for us it’s straightforwardly inevitable. for doc it’s a feeling clouded by lots of drugs. i love the narrative’s hazy paranoia and I especially love how this movie is filmed and lit

[Malloy]

the narrative arc of the movie, and in much of Pynchon, is like the feeling oedipa has in the beginning of Lot 49 when she arrives in San Narcisco.

“She drove into San Narcisco on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull-brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narcisco, a revelation also trembled just past the threshold of her understanding. Smog hung all round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed park at the centre of an odd religious instant.”

i read song of solomon a month or so back, and after finishing i searched here and the archive to see what rm had to say...i discovered a lovely battle between yourself and littlewing

fuck. should have “we had the best time at your party’”ed those

[lennytheweedwhacker]

the narrative arc of the movie, and in much of Pynchon, is like the feeling oedipa has in the beginning of Lot 49 when she arrives in San Narcisco.

“She drove into San Narcisco on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull-brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narcisco, a revelation also trembled just past the threshold of her understanding. Smog hung all round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed park at the centre of an odd religious instant.”

i read song of solomon a month or so back, and after finishing i searched here and the archive to see what rm had to say...i discovered a lovely battle between yourself and littlewing

fuck. should have “we had the best time at your party’”ed those

ha...but why?

[Malloy]

the narrative arc of the movie, and in much of Pynchon, is like the feeling oedipa has in the beginning of Lot 49 when she arrives in San Narcisco.

“She drove into San Narcisco on a Sunday, in a rented Impala. Nothing was happening. She looked down a slope, needing to squint for the sunlight, onto a vast sprawl of houses which had grown up all together, like a well-tended crop, from the dull-brown earth; and she thought of the time she’d opened a transistor radio to replace a battery and seen her first printed circuit. The ordered swirl of houses and streets, from this high angle, sprang at her now with the same unexpected, astonishing clarity as the circuit card had. Though she knew even less about radios than about Southern Californians, there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out); so in her first minute of San Narcisco, a revelation also trembled just past the threshold of her understanding. Smog hung all round the horizon, the sun on the bright beige countryside was painful; she and the Chevy seemed park at the centre of an odd religious instant.”

i read song of solomon a month or so back, and after finishing i searched here and the archive to see what rm had to say...i discovered a lovely battle between yourself and littlewing

fuck. should have “we had the best time at your party’”ed those

ha...but why?

i suspect I’ll be embarrassed by what I wrote. I remember reading the novel, but I don’t remember what, if any, operative ideas about art were in my head then. I’m not sure if I had anything but feelings to counter little wing with. A dumber, less dope-addled sportello

[Malloy]

i don’t even know if difficult is the right word to describe IV. so much of its comedy is derived from the absurdity of these narrative dead-ends doc finds himself in. it’s a mistake, or futile, for doc to pursue them seriously. yet he does. why do we think anderson intends for the viewer to seriously pursue them? because the protagonist, a man who has tethered his identity to a historical moment that’s passed, does?

involution is the source of its narrative play and aesthetic pleasure.

[Farmer John]

Did a Christopher Abbott double feature of Black Bear and Possessor (Uncut) which made for an interesting evening that I'm still recovering from.

Really loved Black Bear even though I'm still not completely sure how to interpret it.

Possessor was great as well. I'm guessing the uncut version upped the gore factor a bit? I normally don't mind a bit of gore, but I definitely had to look away a few times.

[Mickey]

I don't remember Possessor being THAT gory so I suspect you're right. I thought Black Bear was interesting but flawed, a little half baked on the concept side. Really enjoyed Possessor though

[lennytheweedwhacker]

what's your favorite gory movie, mick?

[Anders]

Watched Cat On A Hot Tin Roof this evening. Just fantastic acting. They don’t make them like they used to. Timeless story.

[LetMeSleep]

Juliet, Naked. It's a warning, folks. Sad musical obsessives.

[oasisfan35]

Watched Death Proof last night. Not entirely sure what took so long but it is the last Tarantino film I had to see.
As I was watching I kept commenting that Tarantino really could do a solid, smart slasher film but I highly doubt painting himself in to that corner will be his swan song:

I realized I couldn't do a straight slasher film, because with the exception of women-in-prison films, there is no other genre quite as rigid. And if you break that up, you aren't really doing it anymore. It's inorganic, so I realized—let me take the structure of a slasher film and just do what I do. My version is going to be fucked up and disjointed, but it seemingly uses the structure of a slasher film, hopefully against you.

I think he misses the mark pretty egregiously, by trying to make it his own he dabbles in a little bit of this-n-that enough to completely take away from the final product. This really is nothing new for Tarantino but I was semi-hopeful, Russell also seemed incredibly under utilized.

[Mickey]

Juliet, Naked. It's a warning, folks. Sad musical obsessives.

Not a great movie but I enjoyed this one.

[VinylGuy]

Logan Lucky.

It was ok. Fun i guess. Too much of a great cast underused.