Red Mosquito

LoathedVermin72 wrote:

The Argonaut wrote:

LoathedVermin72 wrote:

The Argonaut wrote:The Godfather and The Godfather Part II, but especially the first, are in many ways movies about male responsibility to family.

Ehh, I don't think that's interesting at all. I think the family themes are mostly superficial. To Coppola's credit, they create some moments of great drama and keen observation, which results in something that feels compellingly authentic, but I think they are far from the most important element of this series.

I find the parts with Connie being part of meetings having to do with family business and giving orders that Vincent then follows very wrong. It doesn't work with the way that the family works in the first two movies, or even with the way her character is in the first two movies.

It's been decades since the first two movies. Part of the whole point is that Michael is very different man now. Hell, he keeps saying so over and over. He doesn't want to be the one making those decisions. It's the worst part of his life. He hates it, and he hates that its sucking Vincent into it.

Connie was radicalized by the events of the first two movies, and didn't find the longing for redemption Michael did, which I think has a lot to do with him being in power and her not. It's a logical (and interesting) progression for her character.

Also, a helicopter comes and shoots everybody.

And? It's a good set-piece.

Also, Sofia Coppola's acting in this may be the worst acting I've ever seen in a real movie.

As mentioned previously, I don't think it's that severe.

Also, Robert Duvall is missing.

His character is irrelevant.

The Argonaut wrote:The most quoted moment from III, "As soon as I think i'm out, they pull me back in" or whatever, takes place in a little kitchen. The setting doesn't match the moment. It always felt off to me.

I think that's on purpose. The whole tension of the film lies in Michael's struggle between legitimate family life and his mob ties. The setting should be intimate and family-centered because that's where he wants to be. It's the perfect place for such a vulnerable lament. The movie is filled with moments of intimate, vulnerable fragility from Michael; the settings should reflect that.

Where were you in 2008 when I originally made that post?
http://archive.theskyiscrape.com/viewto ... 9#p2408904

i don't know

theplatypus wrote:

LoathedVermin72 wrote:

The Argonaut wrote:

LoathedVermin72 wrote:

The Argonaut wrote:The Godfather and The Godfather Part II, but especially the first, are in many ways movies about male responsibility to family.

Ehh, I don't think that's interesting at all. I think the family themes are mostly superficial. To Coppola's credit, they create some moments of great drama and keen observation, which results in something that feels compellingly authentic, but I think they are far from the most important element of this series.

I find the parts with Connie being part of meetings having to do with family business and giving orders that Vincent then follows very wrong. It doesn't work with the way that the family works in the first two movies, or even with the way her character is in the first two movies.

It's been decades since the first two movies. Part of the whole point is that Michael is very different man now. Hell, he keeps saying so over and over. He doesn't want to be the one making those decisions. It's the worst part of his life. He hates it, and he hates that its sucking Vincent into it.

Connie was radicalized by the events of the first two movies, and didn't find the longing for redemption Michael did, which I think has a lot to do with him being in power and her not. It's a logical (and interesting) progression for her character.

Also, a helicopter comes and shoots everybody.

And? It's a good set-piece.

Also, Sofia Coppola's acting in this may be the worst acting I've ever seen in a real movie.

As mentioned previously, I don't think it's that severe.

Also, Robert Duvall is missing.

His character is irrelevant.

The Argonaut wrote:The most quoted moment from III, "As soon as I think i'm out, they pull me back in" or whatever, takes place in a little kitchen. The setting doesn't match the moment. It always felt off to me.

I think that's on purpose. The whole tension of the film lies in Michael's struggle between legitimate family life and his mob ties. The setting should be intimate and family-centered because that's where he wants to be. It's the perfect place for such a vulnerable lament. The movie is filled with moments of intimate, vulnerable fragility from Michael; the settings should reflect that.

Where were you in 2008 when I originally made that post?
http://archive.theskyiscrape.com/viewto ... 9#p2408904

i don't know

I can't believe Kevin Costner used to post here

tragabigzanda wrote:

VinylGuy wrote:Dog Eat Dog.

FUCKIN AMAZING. PURE CINEMA. NICK CAGE YOU FUCKERS.

VinylGuy wrote:Tangerine.

Ok, consider me a big Sean Baker fan...I loved Starlet and with Tangerine he just stepped up his craft. The movie looks GORGEOUS and it was shoot on a fuckin Iphone...great music, great cast...
Whenever i see one of those corporate boring movies like the skeleton twins ill remember his movies.

This is indie film fuckers. This is cinema.

Why does VG always get angry with us when he really likes a film?

tragabigzanda wrote:

LoathedVermin72 wrote:After completing my rewatch, The Godfather: Part III is absolutely my favorite of the trilogy. The last five minutes are overpowering.

I saw this coming the moment he started watching the trilogy. Still disheartening to see it play out.

theplatypus wrote:Nocturnal Animals was spectacular. There are some slightly frustrating things about it-- some of the David-Lynch-perfume-ad indulgences, and a few really dumb lines of dialogue-- but I found it altogether engrossing, affecting, generous. It's precise but visceral, sumptuous but gritty. Beautiful score, gorgeous cinematography, and remarkable performances from just about everybody in the cast. Michael Shannon especially. I really loved it

theplatypus wrote:Aaron Taylor Johnson was great as Basically Kaius.

This may or may not be one of the best films of 2016, but it’s absolutely one of the most interesting. Or maybe I should say least boring. If I sound puzzled, it’s because I am. Sort of. A little bit. “Nocturnal Animals” is a work of exceptional, undeniable craft, but it’s also a movie that’s meant to stick to you a little bit. Indeed, so vehement is writer/director Tom Ford in articulating his vision at times that you think he’d be disappointed by a viewer that wasn’t at least a little bit angry with him over the movie.

durdencommatyler wrote:

theplatypus wrote:Aaron Taylor Johnson was great as Basically Kaius.