Nov 10, 2016

 

Nov 16, 2016

@Twan @Dew @Woody @Vahn @Swizz @Michael Myers

apologize if I forgot anyone

Have you guys checked this out yet?


https://watch.filmstruck.com/#!/filmstruck

 

Nov 16, 2016

interstellar. cried/10

 

Nov 17, 2016

it's a really great service so far, some movies are in hd quality despite not being released in bluray in this country yet (tarkovsky's stalker) and most of the streams are hd but some still haven't been remastered yet like jeanne dielman or marriage of eva braun (im sure there are plenty more but havent had enough time to scavenge through video quality), great collection although it's a little disappointing that not every film in criterion is on it but filmstruck adds more films outside that collection that deserve to be in it which is a great plus

 

Nov 17, 2016

Also for last movie watched- really beautiful, loved the third act and how circular and complete it felt, prolly a 9/10 for me and best movie this year although I'm very much looking forward to LaLa Land (of course a completely different tone and genre and not comparable to this film but here's hoping it's as moving in a different way)

 

Nov 17, 2016

The Sacrifice

Im still confused af

 

Nov 17, 2016

Recently saw this on Netflix..and while it had many bad reviews from critics; I loved it. The film is beautifully shot, with a mildly fast pace. You can connect with Simon Pegg's character through out the film, great ending as well. It definitely doesn't deserve the negativity...especially when the films main concept is to be positive.. 8/10



Nothing really needs to be said about this.. 10/10

 

Nov 17, 2016

i'm addicted to movies

 

Nov 24, 2016

Guys go see The Edge of Seventeen

 

Nov 26, 2016

Biutiful: heres my response i wrote for film class.
Alejandro González Iñárritu’s Biutiful follows a man’s, Uxbal (Javier Bardem), struggle to accept his impending death. Inarritu conveys Uxbal’s struggle from the moment you see his face claustrophobically suffocating the frame in the film’s first real life scene of him getting check out by a doctor. In this shot, Inarritu doesn’t cut away from Uxbal resulting in the camera shaking from the action of using a handheld camera. In doing this, Inarritu aligns the camera’s struggle with Uxbal’s effectively allowing a connection to form with the audience. Therefore, Inarritu use of a handheld camera in this shot adds a level of authenticity to the film. In a sense, we become locked in his world through this action to make us the camera’s eyes. For example, Uxbal jumps at the nurse messing up the syringe we jump with him. In theory, Inarritu has reduced us to mere subjects while he toys with our emotions. Therefore, we feel every bit of Uxbal’s struggle throughout the film from the result of this connection; Inarritu truly makes the audience care. For example, the blank stare Uxbal gives the camera when he finds out he’s going to die is the same blank stare we give back to the theater screen. Inarritu makes every pain conveyed from Uxbal’s face manifest itself on his audience. We are truly at his mercy. A truly breathtaking film.

 

Nov 26, 2016

Did u see Allied yet?

 

Nov 26, 2016

Haven't watched a movie in months

 

Nov 26, 2016

 

Nov 27, 2016

The Revenant (once again posting my reacting from film class its long af) 10/10:

Alejandro González Iñárritu’s The Revenant uses a series of carnage filled long takes to allow the audience to fill the absolute struggle filling up the screen. For example, the long take of the Native American’s attacking Hugh Glass’(Leonardo Dicaprio) camp. Innaritu starts the take with a group of men dragging back a dead body with blood streaking his backside to convey a sense of impending carnage. Moreover, he has the Native Americans running across the top of the frame to convey the power position they hold over the Americans. Inarritu moves the camera towards the Americans’ faces showing them in a state of fear. The camera is shooting from a low angle allowing a complete portrayal of how scared these Americans are of the Native Americans. In doing so, Inarritu gives an emotion for the audience to connect with resulting in the fear manifesting itself onto the viewer. In a sense, Inarritu allows the audience to prepare itself for the incoming bloodbath. However, Inarritu keeps the camera moving around the victims rather than the shooters keeping the element of surprise alive. Inarritu’s refusal of using a cut f---s with our preconceived notions of how editing in a film works. The audience’s struggle with a film breaking outside standard editing technique aligns itself with the Americans struggle to escape the bloodbath; we’re praying for a cut while there praying for the ability to survive.

Moreover, this long take sets up the final long take of the sequence starting with a close up of an unnamed man killing a Native American with the butt of his gun. In this shot, the promised bloodbath is fully realized through tracking multiple characters through the carnage. The man’s face is one of absolute anger mixed with a little satisfaction reflecting a common belief throughout the film of white people seeing the Native Americans as savages. A belief that doesn’t lie within the main character Glass reflecting his role as the holder of morality within the film. Inarritu follows this satisfaction with an arrow to the face projecting a little karma towards this misguided man. The camera then moves to track the man’s killer, a Native American, right up to his death. In doing so, Inarritu highlights the carnage of the battle being on both sides resulting in a sense of struggle for the audience in deciding who’s in the right? Inarritu through tracking the Native American on the horse allows the audience to develop a little understanding of his psyche; in the brief time, the camera tracks him we’re forced to make a connection with him. The audience sees the terror on his face when he falls to the ground allowing us to feel bad for the fact he's going to die. In the end, Inarritu forces the audience to realize there’s always two sides. Moreover, the physical struggle of people trying to avoid death throughout the take again aligns with the audience’s own struggle with Inarritu’s refusal to offer us a break from the carnage.

The struggle against death is most prevalent in the long take of Glass’ fight with a bear, my god what a terrifyingly spectacular scene. After a couple establishing shots conveying Glass being overpowered by nature’s vastness, Inarritu tracks Glass through the woods where encounters a couple bear cubs then circling the camera around the surroundings right back up Glass’ rifle towards a close of his face. Glass’ face is stricken with an expression of fear with a hint of “oh s---” resulting in the camera moving past Glass to reveal a full charging Grizzly bear. The bear viciously attacks Glass conveyed through the camera tracking his body while it flies in the air, gets torn apart, and finally positioned face first with his eyes looking at the camera. Glass’s facial expressions through the rest of the take are the embodiment of what it means to struggle. Every facial expression he has just makes you feel agony for him. Inarritu just knows how to connect the emotions of his characters with the audiences' emotions. The pain in Glass’ face is legitimately heartbreaking for the viewer. You feel his struggle in every pain ridden face his makes. Moreover, Inarritu makes the audience feel part of the scene through having the camera fog up when the bear breathes on it. In doing so, he makes the camera a part of the scene effectively making the viewer feel like he/she is a part of the scene. The low angle shots of the bear standing on top of Glass obviously conveys the bear’s power over him bringing back the idea of nature overpowering him. A power he mistakenly tries to take back with the action of trying to s---t the bear when it first leaves him alone resulting in more bear beat down. However, Glass eventually does k--- bear overcoming the struggle conveyed through Inarritu shooting the final part of the take from a high angle with both bear and Glass at an equal level. Therefore, Glass has overcome the power of bear foreshadowing his eventually overcoming of nature. Honestly, the whole take is mesmerizingly brilliant. By the way, it’s really hard to watch more than once.

Overall, The Revenant is a must watch film from every aspect: technically, narratively, acting. It has everything you could hope a movie could have. Obviously, this is a well-known fact given its Academy Awards performance but it’s a film that truly deserved those awards. Moreover, DiCaprio’s performance was outstanding with his ability to convey a number of emotions without speaking for well over 30 minutes of the film. As mentioned above, Inarritu direction is just mind-blowing. For example, his use of dreams and nature to juxtapose the absolute carnage of the rest of film to give the audience the ability to breath. The juxtaposition subtly allows you to understand the vast amount of beauty there is in the carnage filled world Inarritu portrays. I’m truly going to recommend this film to every person I’ve ever met. So please go watch it.

Alejandro González Iñárritu’s The Revenant uses a series of carnage filled long takes to allow the audience to fill the absolute struggle filling up the screen. For example, the long take of the Native American’s attacking Hugh Glass’(Leonardo Dicaprio) camp. Innaritu starts the take with a group of men dragging back a dead body with blood streaking his backside to convey a sense of impending carnage. Moreover, he has the Native Americans running across the top of the frame to convey the power position they hold over the Americans. Inarritu moves the camera towards the Americans’ faces showing them in a state of fear. The camera is shooting from a low angle allowing a complete portrayal of how scared these Americans are of the Native Americans. In doing so, Inarritu gives an emotion for the audience to connect with resulting in the fear manifesting itself onto the viewer. In a sense, Inarritu allows the audience to prepare itself for the incoming bloodbath. However, Inarritu keeps the camera moving around the victims rather than the shooters keeping the element of surprise alive. Inarritu’s refusal of using a cut f---s with our preconceived notions of how editing in a film works. The audience’s struggle with a film breaking outside standard editing technique aligns itself with the Americans struggle to escape the bloodbath; we’re praying for a cut while there praying for the ability to survive.

Moreover, this long take sets up the final long take of the sequence starting with a close up of an unnamed man killing a Native American with the butt of his gun. In this shot, the promised bloodbath is fully realized through tracking multiple characters through the carnage. The man’s face is one of absolute anger mixed with a little satisfaction reflecting a common belief throughout the film of white people seeing the Native Americans as savages. A belief that doesn’t lie within the main character Glass reflecting his role as the holder of morality within the film. Inarritu follows this satisfaction with an arrow to the face projecting a little karma towards this misguided man. The camera then moves to track the man’s killer, a Native American, right up to his death. In doing so, Inarritu highlights the carnage of the battle being on both sides resulting in a sense of struggle for the audience in deciding who’s in the right? Inarritu through tracking the Native American on the horse allows the audience to develop a little understanding of his psyche; in the brief time, the camera tracks him we’re forced to make a connection with him. The audience sees the terror on his face when he falls to the ground allowing us to feel bad for the fact he's going to die. In the end, Inarritu forces the audience to realize there’s always two sides. Moreover, the physical struggle of people trying to avoid death throughout the take again aligns with the audience’s own struggle with Inarritu’s refusal to offer us a break from the carnage.

The struggle against death is most prevalent in the long take of Glass’ fight with a bear, my god what a terrifyingly spectacular scene. After a couple establishing shots conveying Glass being overpowered by nature’s vastness, Inarritu tracks Glass through the woods where encounters a couple bear cubs then circling the camera around the surroundings right back up Glass’ rifle towards a close of his face. Glass’ face is stricken with an expression of fear with a hint of “oh s---” resulting in the camera moving past Glass to reveal a full charging Grizzly bear. The bear viciously attacks Glass conveyed through the camera tracking his body while it flies in the air, gets torn apart, and finally positioned face first with his eyes looking at the camera. Glass’s facial expressions through the rest of the take are the embodiment of what it means to struggle. Every facial expression he has just makes you feel agony for him. Inarritu just knows how to connect the emotions of his characters with the audiences' emotions. The pain in Glass’ face is legitimately heartbreaking for the viewer. You feel his struggle in every pain ridden face his makes. Moreover, Inarritu makes the audience feel part of the scene through having the camera fog up when the bear breathes on it. In doing so, he makes the camera a part of the scene effectively making the viewer feel like he/she is a part of the scene. The low angle shots of the bear standing on top of Glass obviously conveys the bear’s power over him bringing back the idea of nature overpowering him. A power he mistakenly tries to take back with the action of trying to s---t the bear when it first leaves him alone resulting in more bear beat down. However, Glass eventually does k--- bear overcoming the struggle conveyed through Inarritu shooting the final part of the take from a high angle with both bear and Glass at an equal level. Therefore, Glass has overcome the power of bear foreshadowing his eventually overcoming of nature. Honestly, the whole take is mesmerizingly brilliant. By the way, it’s really hard to watch more than once.

Overall, The Revenant is a must watch film from every aspect: technically, narratively, acting. It has everything you could hope a movie could have. Obviously, this is a well-known fact given its Academy Awards performance but it’s a film that truly deserved those awards. Moreover, DiCaprio’s performance was outstanding with his ability to convey a number of emotions without speaking for well over 30 minutes of the film. As mentioned above, Inarritu direction is just mind-blowing. For example, his use of dreams and nature to juxtapose the absolute carnage of the rest of film to give the audience the ability to breath. The juxtaposition subtly allows you to understand the vast amount of beauty there is in the carnage filled world Inarritu portrays. I’m truly going to recommend this film to every person I’ve ever met. So please go watch it.

 

Nov 27, 2016

Nerd.

 

Nov 27, 2016

great movie

 

Nov 27, 2016

real dope watch if youre a godzilla fan. gotta get through the subtitles because it isnt dubbed in english yet, but still probably my favorite adaptation of godzilla so far. has a good story line as to how he is what he is, trying to combat him, and theres also 4 forms of him in this one, he actually evolves throughout the movie which is pretty f---in dope if you ask me.
in the beginning when he first makes landfall the cgi looks like s--- and you think the movie is ruined but gets much, much better throughout his evolution. definitely worth a watch for any godzilla fan

 

Dec 6, 2016

Just watched The Arrival yesterday. Enjoyed the whole movie. powerful at the start and even sadder when you see the ending.

 

Dec 6, 2016

He got game. JESUS SHUTTLESWORTH

 

Dec 6, 2016

I'm going to see it tomorrow. I hope it will live up to my expectations.