Red Mosquito

dimejinky99 wrote:

durdencommatyler wrote:

dimejinky99 wrote:

durdencommatyler wrote:Wait, is dime talking about Kelly Marie Tran?

That's the one. John Boyega tweeted welcoming her as a new lead and apparently that's the rumour. She's Hans daughter.

I like that Han does not discriminate -- he's an equal opportunity f*cker.

Well he's broken up with Leia. Man has needs.

tragabigzanda wrote:

durdencommatyler wrote:

E.H. Ruddock wrote:

durdencommatyler wrote:

LoathedVermin72 wrote:

durdencommatyler wrote:

LoathedVermin72 wrote:

durdencommatyler wrote:

LoathedVermin72 wrote:Name one great movie that is great only because of its story

Well, plot and story are different things. Every great movie is great because of its story. Not every great movie is great because of its plot.

That is absolutely ridiculous. No great movie is great because of its story. Not a single one.

Untrue.

Name one.

All of them. I can't name a single great movie that doesn't have a great story.

That isn't what he's saying, though, Joey. Great story alone does not make the great movie

Of course. But I can't think of a movie, a truly great movie that doesn't have a great story. That doesn't mean there aren't some terrible movies with good stories, too.

Late to the topic, but there's a whole swath of great films that exist without any discernible story. Boyhood, Gummo, Baraka, etc...

tragabigzanda wrote:Boyhood has no clear story other than "boy grows up." If you're placing more weight on one point of the film and considering it a plot point over another part that you consider a passing event, I think you've misunderstood the film.

tragabigzanda wrote:I'm not going to argue the merits of Gummo; it's not a film I enjoy now. But it was hugely influential when I first saw it in highschool, because I'd never seen anything like it. It was a gateway film to a whole approach to cinema I had never considered. And in my mind, that makes it great.

tragabigzanda wrote:A non-narrative approach that was completely visceral. Everything you just said about the film is true; but it was also hugely effective for me. I had never seen a film so lacking in plot, yet still so impactful. It didn't change my world outlook, but it certainly changed my ideas about how a film can operate. I've since learned there are lots more films like it, and I wish Korine would do something that felt good, rather than taking the cop-out path of "gratuity=compelling." But it was the first of its type I'd ever seen, and it compelled me to seek out more like it (Pink Flamingos, Baraka, Santa Sangra, etc).

tragabigzanda wrote:

durdencommatyler wrote:

tragabigzanda wrote:Boyhood has no clear story other than "boy grows up." If you're placing more weight on one point of the film and considering it a plot point over another part that you consider a passing event, I think you've misunderstood the film.

What? I have no idea what you're accusing me of having done here.

You've suggested that Boyhood has some sort of narrative construct. It doesn't...
I don't like the word "accusing," 'coz I'm not mad with you durds. I'm merely suggesting that if you're seeing some sort of plot or story in the film, that what you're doing is placing weight on moments that are specifically designed to not have any greater weight than another scene. For example, if you think that the scene in which the stepdad hits Patricia Arquette is part of the plot, while the scene with Ellar walking home after school with the girl is something less important, than you've misunderstood the film. The whole point of the film is that life is not easily summed up by clearly identifiable moments; it's really just a never-ending series of events, and the narratives we attach to those events are just the results of our personal constructs. So whatever parts of the film you've identified as plot or story are actually just a reflection on your own life experience, of what you think defines Ellar's life.

tragabigzanda wrote:

durdencommatyler wrote:

tragabigzanda wrote:A non-narrative approach that was completely visceral. Everything you just said about the film is true; but it was also hugely effective for me. I had never seen a film so lacking in plot, yet still so impactful. It didn't change my world outlook, but it certainly changed my ideas about how a film can operate. I've since learned there are lots more films like it, and I wish Korine would do something that felt good, rather than taking the cop-out path of "gratuity=compelling." But it was the first of its type I'd ever seen, and it compelled me to seek out more like it (Pink Flamingos, Baraka, Santa Sangra, etc).

I see. Well, then I suppose it has some tangential value. And I'm glad it was able to do something positive for someone. Though, I'm 100% positive if you told Korine all this, he'd call you a pussy and laugh in your face.

No doubt. I saw him do a Q&A after Mister Sunshine, and he was an arrogant shit.

tragabigzanda wrote:What's the narrative of Boyhood, Joey?
(And I'm heading out for the day, will check back later).