RA Movie Thread (Read 5918 times)

stadjak


Interval Junkie --Nobby

    Snowpiercer (2014) - I saw this a few weeks ago and didn't write a review because I found the ideological premise of the movie confusing.  On the surface it's about a train, the last train, the last population of all of humanity.  We screwed up the world, and this is our ark.  However, it's stratified.  The rich sit up front near the engine.  They party, and dance, and do all the useless things the idle rich are meant to do.  As you  move back in the train you get poorer.  Some people have jobs.  Then at the very back of the train you have people who didn't fund the ark when it was being built, but were brought on because of a largess of the guy running the train.  Unfortunately, they live in squalor, barely surviving (yet reproducing -- and through that their only contribution to the train's existence).  The down-trodden are repressed and suppressed; fascist troops and a functionary, played marvelously by Tilda Swindon, keep the poor in the back of the bus.  They revolt and try to move forward through the train with the goal of taking the engine to ostensibly reverse their fortune.

     

    The SF is great.  Interesting world building and take on forever-train life.  There are surprises all the way through the train that make each compartment something the viewer looks forward to.  It's worth seeing if you like apocalyptic movies and are bored of zombies.   (3/5)

     

    [SPOILER AHEAD]

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    But here's the problem, the train is obviously a metaphor for class struggle.  The poor live in squalor, while the right dine on steak.  And  because the author isn't a complete ideologue, the poor contributed nothing to building, designing or funding the train.  They also only sacrifice their children to its continued existence.  We're left with: well, okay, but couldn't the rich do with less, and give more to the poor?  Couldn't they stop eating all the steak and leave some for the poor?  As the population is a pyramid, it's clear this won't really work -- it would just make everyone poor.  And what of the revolt?  The poor get to the engine and destroy their salvation.  The idea is dying in equality on an icecube is better than living in the stratified train.  Because while there is hope that the world is melting, it's pretty obvious that one little girl and a boy are not going to survive long once they exit the train.  Therefore, the entire human race will be extinct at the end of the week after the movie completes.  So, is this the punchline of the movie?  These are our choices?  Remain in our social class or face a doomed world?  Is this movie really just a justification for the status quo?

    2021 Goals: 50mpw 'cause there's nothing else to do

    mab411


    Proboscis Colossus

       

      [SPOILER AHEAD]

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      .

      .

       

      But here's the problem, the train is obviously a metaphor for class struggle.  The poor live in squalor, while the right dine on steak.  And  because the author isn't a complete ideologue, the poor contributed nothing to building, designing or funding the train.  They also only sacrifice their children to its continued existence.  We're left with: well, okay, but couldn't the rich do with less, and give more to the poor?  Couldn't they stop eating all the steak and leave some for the poor?  As the population is a pyramid, it's clear this won't really work -- it would just make everyone poor.  And what of the revolt?  The poor get to the engine and destroy their salvation.  The idea is dying in equality on an icecube is better than living in the stratified train.  Because while there is hope that the world is melting, it's pretty obvious that one little girl and a boy are not going to survive long once they exit the train.  Therefore, the entire human race will be extinct at the end of the week after the movie completes.  So, is this the punchline of the movie?  These are our choices?  Remain in our social class or face a doomed world?  Is this movie really just a justification for the status quo?

       

      [MORE SPOILERS]

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      .

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      I've been parsing through the deeper meanings of this one this morning, too.  Haven't gotten far, but it seems to me there's a heavy dose of some kind of religious commentary in there, too.  Might just be my background that has me looking for such things everywhere, but the backstory of Curtis ready to kill and eat the baby and Gilliam stopping him smacks of the Abraham/Isaac narrative, mixed in with Messianic overtones.  And the more I think about the relationship between Wilford and Gilliam, the more I think the writers were expressing some belief that God and Satan are complicit in the handling of world events.  My perception of Wilford as a Satanic figure is only furthered by the fact that, to me anyway, it's pretty murky whether he's telling the truth about Gilliam or not.  And he certainly displays a lot of traits that are often attributed to the Devil: handsome, a smooth talker (Gilliam exhorts Curtis to "cut out his tongue; don't let him talk"), tempting with desires of the flesh (steak) and power (the Engine).  There's even a "Hell" that he lords over, not just the Tail Section, but under the floor of his compartment.

       

      ...but there's a whoooooole lot of other things in there that don't fit in with that interpretation.  However...I'm going at it from a Judeo-Christian worldview.  I'm not familiar enough with the mythology of other world religions, could very well be based on some other narrative, I would think something out of India would be a strong possibility, what with the strong emphasis on class and all.

       

      Or, maybe a train is just a train.  

       

      Also, I think the implication was indeed that the girl and boy were going to survive and propagate, as big of a strain to credulity as that is.  She's part Inuit, see, and there's a polar bear, an animal that is currently threatened with extinction.  And they're both at - or almost at - perfect breeding age.  As you say...not going to happen in the real world, but if the whole thing is a metaphor for religion or class struggle and the idea is that humanity can survive outside that world, the real-world outcome is irrelevant.

       

      Anyway, I agree Tilda Swinton absolutely ruled in this.  There are only a handful of movie villains I've been genuinely sad to see die because I wanted to see more of them, and that character is absolutely in that category.

      "God guides us on our journey, but careful with those feet." - David Lee Roth, of all people

      stadjak


      Interval Junkie --Nobby

        [SNOWPIERCER SPOILERS CONTINUED]

         

        Yes, the religious structure is there.  Though, I'm not sure it's presented in a very positive light.  And as you point out it's a bit confusing, if you try to map it to that structure.  You have Gilliam [messiah] and Wilford [satan].  Well, at least that's one way of looking at the poles.  And that's the one you present.  Gilliam does seem to be the moral figure, letting his people eat of his flesh, unless you listen to Wilford's interpretations.  Wilford claims the two are in cahoots, and that Gilliam helps organize revolts, that are meant to fail, each time the number of poor need to be culled because of lack of resources on the train.  You'd need to look closely to the earlier part of the movie to figure out if this has any merit -- but as the structure of a story usually goes, the truth is revealed at the end, not corrupted at the end.  The primary thing that  comes to mind is when Tilda comes back and states that 77% of them will die, or something like that.  There seems to be a plan in place to kill a certain number of them, and the revolt gives a very good excuse to do so.  You also have Gilliam and Curtis receiving messages from Wilford via the tubes.  I think we can assume that Gilliam knows these are from Wilford.  Again, this supports their cooperation theory.

         

        So, again, what does it mean if the messiah and satan are cooperating?  I think this again is direct criticism of how in capitalism [or a stratified class system] religion keeps the poor in check.  Historically, Christianity has been a very successful tool in keeping the status quo -- keeping the poor in line with a moral structure, and other-worldly promises, that help keep the rich in their lofty place.

         

        Another possibly anti-Christian commentary in the film is that Wilford [your satan] is actually the savior of humanity.  He invented and maintains the engine.  Probably the pro-Christian response through exegesis is to note that Wilford has only saved their material body, at the cost of everyone's mortal soul -- and that is a very Satan thing to do.

        2021 Goals: 50mpw 'cause there's nothing else to do

        RunJasonRun


          Eraserhead (1977)

           

          David Lynch has several interesting and odd films in his queue, but Eraserhead wins the "WTF?" award even by his standards.  This was my first time revisiting the movie in a long while, and I find that its themes about parental responsibility and such sink in a little more with age.  I'll never quite get used to some of the disturbing images, though.

          Nobody leaves this place without singing the blues.

          mab411


          Proboscis Colossus

            [SNOWPIERCER SPOILERS CONTINUED]

             

            Yes, the religious structure is there.  Though, I'm not sure it's presented in a very positive light.  And as you point out it's a bit confusing, if you try to map it to that structure.  You have Gilliam [messiah] and Wilford [satan].  Well, at least that's one way of looking at the poles.  And that's the one you present.  Gilliam does seem to be the moral figure, letting his people eat of his flesh, unless you listen to Wilford's interpretations.  Wilford claims the two are in cahoots, and that Gilliam helps organize revolts, that are meant to fail, each time the number of poor need to be culled because of lack of resources on the train.  You'd need to look closely to the earlier part of the movie to figure out if this has any merit -- but as the structure of a story usually goes, the truth is revealed at the end, not corrupted at the end.  The primary thing that  comes to mind is when Tilda comes back and states that 77% of them will die, or something like that.  There seems to be a plan in place to kill a certain number of them, and the revolt gives a very good excuse to do so.  You also have Gilliam and Curtis receiving messages from Wilford via the tubes.  I think we can assume that Gilliam knows these are from Wilford.  Again, this supports their cooperation theory.

             

            So, again, what does it mean if the messiah and satan are cooperating?  I think this again is direct criticism of how in capitalism [or a stratified class system] religion keeps the poor in check.  Historically, Christianity has been a very successful tool in keeping the status quo -- keeping the poor in line with a moral structure, and other-worldly promises, that help keep the rich in their lofty place.

             

            Another possibly anti-Christian commentary in the film is that Wilford [your satan] is actually the savior of humanity.  He invented and maintains the engine.  Probably the pro-Christian response through exegesis is to note that Wilford has only saved their material body, at the cost of everyone's mortal soul -- and that is a very Satan thing to do.

             

            I agree with most of what you're saying here, and yes, if it is an allegory on Christianity, it isn't a favorable one.  I think the use of Christianity you mentioned (as a tool to keep the poor in check) could be said of most religions.

             

            I don't know that Wilford would be the "savior of humanity" in this allegory...yes, he saves them from freezing to death, but I would put that in line with promising material/physical safety and comfort in a chaotic environment, which is, in many extrabiblical stories about Satan, what he promises those who follow him (and some in Scripture, as well...Christ's temptation in the desert comes to mind).  In the Christian narrative, Christ doesn't promise physical well-being, but spiritual, which is what Gilliam ostensibly promises his followers.

             

            Gotta go for now, but whether I fully understand/agree with all the layers, great flick, one I enjoyed watching and may actually watch again.

            "God guides us on our journey, but careful with those feet." - David Lee Roth, of all people

            RunJasonRun


              A Most Wanted Man (2014)

               

              A Most Wanted Man, which stars the late Philip Seymour Hoffman in his final lead role and is based on the novel by John le Carré, is the third full-length film from director Anton Corbijn. I have been a longtime fan of Corbijn's work, dating back to his photographs, album covers, and music videos for bands like U2, Joy Division, and Depeche Mode during the 1980s and 1990s. Corbijn's first feature film, Control, was an impressive biopic of Ian Curtis, the lead singer of Joy Division who committed suicide in 1980. Corbijn's second feature film, The American, which starred George Clooney, was my favorite movie of 2010, although that film's deliberately laconic tone did not appeal to many moviegoers on these shores. Like The American, A Most Wanted Man showcases Corbijn's stunning visual talents and employs a luxuriously low-key pacing style that rewards the patient viewer with an intense payoff.

              Hoffman plays an experienced German spy who leads a team of operatives in Hamburg to gather intelligence from the Muslim community for anti-terrorism efforts in the wake of the 9/11 attacks. When a Chechen refugee arrives in the city and contacts an immigration lawyer, played by Rachel McAdams, he arouses the suspicion of Hoffman's character, who is also involved in the tracking of a philanthropist who may be funding terrorist activities. Hoffman delivers one of most effectively subtle roles of his career, and the movie's true tension is found in observing how his character's goals conflict with those of German security forces and an American agent played by Robin Wright. The film's bleak outcome may strike many viewers as a heavy-handed criticism of the American war on terror and the increased focus on security at the expense of personal freedoms, but I prefer to interpret it as a more intimate depiction of how differing viewpoints on how to keep the world safe can derail noble intentions by all involved parties. This film provides some fascinating food for thought, regardless of one's outlook on world events, and the intelligent script is given a vivid urgency by Anton Corbijn's camera eye in such a way that that every still frame image could stand alone as a work of art.

              Nobody leaves this place without singing the blues.

              Chantilly75


                Saw Nightcrawler  last week.  It was so good. Jake Gyllenhaal was totally creepy as a sociopath who knew all the right things to say in order to further his own agenda, but had no humanity whatsoever. But, somehow, it wasn't a downer of a movie, but, rather a thriller and exciting in many parts.

                "dancing on the path and singing, now you got away,

                you can reach the goals you set from now on, every day"

                Sonata Arctica

                 

                 

                 

                 

                 

                mab411


                Proboscis Colossus

                  A Most Wanted Man (2014)

                   

                  A Most Wanted Man, which stars the late Philip Seymour Hoffman in his final lead role and is based on the novel by John le Carré, is the third full-length film from director Anton Corbijn. I have been a longtime fan of Corbijn's work, dating back to his photographs, album covers, and music videos for bands like U2, Joy Division, and Depeche Mode during the 1980s and 1990s. Corbijn's first feature film, Control, was an impressive biopic of Ian Curtis, the lead singer of Joy Division who committed suicide in 1980. Corbijn's second feature film, The American, which starred George Clooney, was my favorite movie of 2010, although that film's deliberately laconic tone did not appeal to many moviegoers on these shores. Like The American, A Most Wanted Man showcases Corbijn's stunning visual talents and employs a luxuriously low-key pacing style that rewards the patient viewer with an intense payoff.

                  Hoffman plays an experienced German spy who leads a team of operatives in Hamburg to gather intelligence from the Muslim community for anti-terrorism efforts in the wake of the 9/11 attacks. When a Chechen refugee arrives in the city and contacts an immigration lawyer, played by Rachel McAdams, he arouses the suspicion of Hoffman's character, who is also involved in the tracking of a philanthropist who may be funding terrorist activities. Hoffman delivers one of most effectively subtle roles of his career, and the movie's true tension is found in observing how his character's goals conflict with those of German security forces and an American agent played by Robin Wright. The film's bleak outcome may strike many viewers as a heavy-handed criticism of the American war on terror and the increased focus on security at the expense of personal freedoms, but I prefer to interpret it as a more intimate depiction of how differing viewpoints on how to keep the world safe can derail noble intentions by all involved parties. This film provides some fascinating food for thought, regardless of one's outlook on world events, and the intelligent script is given a vivid urgency by Anton Corbijn's camera eye in such a way that that every still frame image could stand alone as a work of art.

                   

                  I dread seeing this one for the reason you mentioned in the other thread...after this one, no more PSH in the lead.   But I do plan on seeing it.

                   

                  I didn't realize it was based on a le Carre novel.  Means I better pay attention right from the start.

                  "God guides us on our journey, but careful with those feet." - David Lee Roth, of all people

                  RunJasonRun


                    The Hunger Games: Mockingjay - Part 1

                     

                    When I read The Hunger Games trilogy by Suzanne Collins a few years ago, my pulse was not particularly quickened by Mockingjay, the third book in the series, because I preferred the interactions in the actual games of the first two stories to the political themes and the more conventional action of the conclusion. The good thing about this film adaptation of the third book is that it showcases the media propaganda aspects of the story more effectively than its literary source. The bad thing about this film adaptation is that the decision to split the third book into two separate movies has resulted in a first installment where nothing really happens. Most of the scenes in Mockingjay - Part 1 consist of the main characters reacting to video transmissions, and the lack of any real action, even considering that this first part is a setup for an explosive finale, makes for a movie that feels just as confining and claustrophobic as the underground headquarters of District 13. Jennifer Lawrence, Liam Hemsworth, Woody Harrelson, Julianne Moore, Josh Hutcherson, Donald Sutherland, and, especially, Elizabeth Banks and the late Philip Seymour Hoffman are all quite good in their roles here, but the movie does not really give them a lot to do. The Hunger Games: Mockingjay - Part 1 is fun and engaging enough, but it is not quite as riveting as the first two films.


                    Fortunately, I enjoyed picking out the Atlanta location settings of this movie, and I was pleased that two of the most satisfying dramatic moments were filmed, respectively, at the Sweetwater Creek mill ruins and at Bellwood Quarry. The Atlanta Marriott Marquis, with its unique interior, once again makes an appearance as the Capitol City Tribute Quarters.


                    I enthusiastically recommend The Hunger Games: Mockingjay - Part 1 if you are a fan of the series, but with the warning that much of this film keeps us below ground, literally and figuratively, in anticipation of Part 2.

                    Nobody leaves this place without singing the blues.

                      Finally saw 20 Feet from Stardom, on Netflix. Truly outstanding documentary. Anyone who likes music should see this movie. And who doesn't like music?

                      Dave

                      TeaOlive


                      old woman w/hobby

                        Calvary (2014)  John Michael McDonagh - writer/director  Brendan Gleeson - star.  Rated R.

                         

                        Rented this on iTunes last night and thought that it was excellent.  I believe that it was only ever on limited

                        release in the US.

                         

                        The movie opens with an Irish priest, Father James, being confronted in the confessional by a man

                        claiming to have been a victim of child sexual abuse by a priest. The man explains he plans to kill Fr. James on

                        the next Sunday giving him a week to get his house in order.   Even though Fr. James is a good priest

                        and has never harmed any one the man feels that killing an innocent priest will make a bigger statement than

                        would be made if he were to kill a guilty priest.  The movie then follows the priest over the following week as

                        he deals with his widely varied parishioners and other folk in the small town.

                         

                        ***Very gritty movie.  Any one sensitive to explicit description of child sexual abuse, other violence and strong

                          language etc probably won't want to see this movie.

                        steph  

                         

                         

                          I hated this movie which really surprised me.  It's one of those small indie movies that I usually love.  Plus, we've seen a bunch of other Brendan Gleeson movies and he is always such a good actor even in this.

                           

                          However, everyone in this town was so friggin' miserable and the ending was absolutely horrible.  Wish we had skipped watching it.

                           

                          Calvary (2014)  John Michael McDonagh - writer/director  Brendan Gleeson - star.  Rated R.

                           

                          Rented this on iTunes last night and thought that it was excellent.  I believe that it was only ever on limited

                          release in the US. 


                          No more marathons

                            Saw Nightcrawler  last week.  It was so good. Jake Gyllenhaal was totally creepy as a sociopath who knew all the right things to say in order to further his own agenda, but had no humanity whatsoever. But, somehow, it wasn't a downer of a movie, but, rather a thriller and exciting in many parts.

                             

                            DW and I have now seen this twice - once when it first came out, and yesterday with DS (home for the holidays) since there was nothing else worth watching.

                            jake gyllenhaal is just as creepy the second time around.

                            Boston 2014 - a 33 year journey

                            Lordy,  I hope there are tapes. 

                            He's a leaker!

                            FSocks


                            KillJoyFuckStick

                              The Hundred Foot Journey - The Kadam family leaves India for France where they open a restaurant directly across the road from Madame Mallory's Michelin-starred eatery. (IMDB)

                               

                              Rented this from the box of red over the weekend.  Moderately enjoyable movie with some good acting from Helen Mirren and Om Puri.  The 2nd half of the movie devolves into the contrived and standard fare and I found myself becoming less interested as the "faux" drama ramps up.   Charlotte Le Bonn reminds me of a young Juliette Binoche and there's certainly nothing wrong with that.

                               

                              6.5/10 Socks

                              You people have issues 

                              stadjak


                              Interval Junkie --Nobby

                                Frequencies (2014) - Indie SF film about how the discovery of people's attunement with Nature determines their place in society and how people interact with them.  Those with high frequency get "lucky" a lot (never miss or even wait for a train, find money on the street, and other things of 'good fortune').  Those with low freq are unlucky.  So, the plot is a love-story of two people from the extremes who can only be together for one-minute before nature starts throwing fits.  Much of the movie is the pursuit of extending that minute.   But here's the thing, that really only scrape the surface -- the 3rd act unveils another layer that is so wonderfully in tune with the rest of the film that it reminds you to wish more SF films weren't one-trick ponies. (4/5)

                                 

                                On Netflix streaming, currently.

                                2021 Goals: 50mpw 'cause there's nothing else to do