Enormous straw man. I am not Ray Carney. And even Ray Carney would agree that films take place in a world different but related to our own. That you think cinematic pragmatism is the same as photorealistic painting shows that you still have no idea what it means. But unlike Ray Carney, I don't hate narrative tricks, deconstruction, or symbolism (though Carney doesn't necessarily "hate" any of these things either, though he is more opposed to their use than me). Otherwise I would not be the huge fan that I am of films like Taxi Driver, Mulholland Dr, 2001, Persona, Sherlock Jr, Apocalypse Now, Raise the Red Lantern, Pulp Fiction, Chungking Express, or Fight Club. I just hate it when those things are shoved in your face for the sake of themselves rather than for the sake of an overall strategy by the artwork which is moving and significant and comes out of a deep understanding of experience rather than a pretentious and adolescent showoff fest of self-hatred and sentimental misanthropy like every Charlie Kaufman film.

Are you seriously implying Zack Snyder has ever directed anything good?

Anyway just saw Samsara. I liked it quite a bit (although it took me a little to appreciate what they were doing with the film). Cinematography obviously gorgeous. Music selection fantastic. The editing held the package together well and I enjoyed both the rhythm of the shots and the way in which they framed them (so basically I'm repeating myself). First totally non-narrative film I've given any amount of mental focus and time to. Two negatives of the experience. One the theater I was seeing it at for some reason had crackling audio that was somewhat distracting. What was exceptionally distracting were these two obnoxious old ladies who kept talking to each other in what I think was Italian through the whole fucking film. No maam I don't need you to point out that I'm looking at Mecca I already know that. And every time anyone shushed them they would just keep on talking louder. Wished I had been at an Alamo Drafthouse as they would have gotten tossed in the first 15 minutes. Overall good experience that made some interesting points about the assembly line nature of our culture and modernity and the disconnectedness it brings verses some of the great architectural works of the past, the natural world, and spiritual and social engagement.

Sanjy was right about Eric Rohmer. What a film My Night at Maud's is.

The Intouchables
8.3/10

How can the only film you direct be as amazing as The Night of the Hunter?

Ow dude I don't know how anyone could have ever made a film so good as The Night of the Hunter. Human beings have no business making such unattainable masterpieces.

Did the boy in Looper remind anybody else of this kiddo?

Has anyone seen the documentary Tarnation? Possibly the most inventive documentary I've ever seen outside of Su Friedrich.

I know, right? Where the fuck did that come from? Charles Laughton, you sunovabitch.

holy shit!

[youtube]http://www.youtube.com/watch?v=eUIjoYDKETM[/youtube]

Taste of Cherry - very good

man i was saying melancholia was optimistic way before zizek did, and i did it without a lisp too

For this film to be considered 'optimistic' we must first agree that Von Trier's vision was that of everyone accepting that the end of the film is widely accepted by all and that we should therefore continue living as we would. That's what most likely Trier's message was trying to convay to the audience....If this was the case than i agree with the dude with the 'lisp'.

Kill Bill Vol. 2 9/10. Not as good as Vol. 1 but still great in its own way. The music and rhythm of the shots is still pretty perfect and the dialog is as sharp as ever. Favorite scenes are the ones with Pei Mei, the wedding chapel, and the ending one with Bill.