Red Mosquito

durdencommatyler wrote:

LoathedVermin72 wrote:Rewatching The Post. Man, this movie kinda floors me. Spielberg's natural intuition for composition - and I mean everything that entails: blocking, framing, lighting, camera movement, editing - is just unparalleled. I didn't even notice the first time (and no one seems to be talking about) how many floating long-takes are used, which I think is because they are so organic and seamless - the opposite of the show-stopping showiness of someone like Alfonso Cuaron. He always thinks about how each shot and cut will affect the whole of the work. There's one beautiful one near the beginning where the camera tracks characters while being separated by a row of desks before cutting through an aisle to get closer and then following them into an office and gracefully moving around them to the other side of the room. Just effortless, fluid, magnificent. Never calls attention to itself - it simply breathes naturally. The film is buoyed by constant, subtle visual vitality.

On top of that, Spielberg's love of character idiosyncrasies is in full effect; again, I keep noticing things I didn't catch the first time around, especially with Streep's character. Taking off her large earring to answer a phone call, for example. Just an consistent stream of tiny details to give the characters (and the movie) a sense of life and personality. My god, what a talent he is.

Verm can you tell me more about the ghost/skeleton/shrouded figure please.

LoathedVermin72 wrote:

durdencommatyler wrote:

LoathedVermin72 wrote:Rewatching The Post. Man, this movie kinda floors me. Spielberg's natural intuition for composition - and I mean everything that entails: blocking, framing, lighting, camera movement, editing - is just unparalleled. I didn't even notice the first time (and no one seems to be talking about) how many floating long-takes are used, which I think is because they are so organic and seamless - the opposite of the show-stopping showiness of someone like Alfonso Cuaron. He always thinks about how each shot and cut will affect the whole of the work. There's one beautiful one near the beginning where the camera tracks characters while being separated by a row of desks before cutting through an aisle to get closer and then following them into an office and gracefully moving around them to the other side of the room. Just effortless, fluid, magnificent. Never calls attention to itself - it simply breathes naturally. The film is buoyed by constant, subtle visual vitality.

On top of that, Spielberg's love of character idiosyncrasies is in full effect; again, I keep noticing things I didn't catch the first time around, especially with Streep's character. Taking off her large earring to answer a phone call, for example. Just an consistent stream of tiny details to give the characters (and the movie) a sense of life and personality. My god, what a talent he is.

Verm can you tell me more about the ghost/skeleton/shrouded figure please.

Nope, I’m mystified. I kept my eyes out for it this time. It’s a little scary, TBH.

bune wrote:The last movie of his I watched was Colossal. That was such a good movie, and so different from what I expected from him as an actor. It started pretty much what I thought it would be like but it got pretty dark. Such a great movie.

Steve Albini wrote: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.

Steve Albini wrote: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.

tragabigzanda wrote:wife has never seen Training Day so we watched that. Still awesome. Are any other Fuqua movies worth my time?

tragabigzanda wrote:wife has never seen Training Day so we watched that. Still awesome. Are any other Fuqua movies worth my time?

The Argonaut wrote:Stumbled across an interesting movie on Netflix that I'd never heard of before: Last Knights. It stars Clive Owen and Morgan Freeman, and is kind of hard to explain. The best I can come up with is that it's a samurai flick that takes place in a post-racial dystopia 1000 years ago in the future. Really, it's just a samurai movie with a multi-ethnic cast and a white leading man, but whatever. Apparently, there was no U.S. theatrical release.
It's not stupendous or anything, but it's better than its 14% on Rotten Tomatoes, for sure. Worth a look. Good movie for a night of easy, action viewing.
It's also just perfectly in my wheelhouse: a samurai movie starring Clive Owen is the stuff of dreams for me.

tragabigzanda wrote:wife has never seen Training Day so we watched that. Still awesome. Are any other Fuqua movies worth my time?

Steve Albini wrote: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.