Frownland killed the mumblecore star.

My little sister (the one who met James Franco) is in five scenes in that movie. (But I still haven't seen it)

whoa does she have an imdb page/pics? Wanna see if i remember her

Pics plz.

RoboCop

awesome

Whoa, guys. I draw the line with family pictures at photos of my sleeping wife.

Finally saw Drive. Very interesting movie, and a very entertaining one, but I don't think it's the masterpiece many see it as. And it's hard for me to rate, really, because it's not, like, a well-intentioned movie with a couple big flaws or an ambitious film that oversteps it's bound - no, to me, the film's biggest flaw is the very nature of its thematic and stylistic exposition. Driver is a loner, an outsider looking in and trying to fit in, and the only way he knows how to do that is through the lens of the pop songs he listens to on the radio and the pop movies he drives for. His consciousness so thoroughly pervades the film that it becomes the sort of action film he no doubt drives in day after day - to the extent that it even incorporates the bad with the good. The script, for one, isn't very good and a lot of the dialogue is very dull and uninteresting. The plot is contrived - the bad guys being Shannon's partners from the beginning is a particular bit of laziness. And probably the most grating thing to me is the first time Driver takes Irene out driving - we get a montage of their activities and their occasional smiles toward each other without any substance of how they actually engage with each other. All this probably sounds a little harsh, and it shouldn't because, ultimately, I very much enjoyed the film - I was just a little disappointed expecting it to be up there with the year's best.

Why? It's normal in a fictional universe for the world to be set up so that meaningful conflict occurs more easily than it does in everyday life, especially if the point of the film is to illustrate cultural conflict through characters symbolically, rather than to show how realistic day-by-day action actually occurs.


To me, that's the point. Because Driver's consciousness is so influenced by pop culture and action films, his only way of relating to a woman is through situating her in a symbolic relationship to him. He can't actually be vulnerable because there's nothing there. Just endless masculine performance covering up an unknowable drive.

Do you want me to send you my senior thesis? It's half about Drive.

Yes, please do!

The score is fantastic. Have you seen Ivan the Terrible? It's even better (I definitely miss my university film library and mianly the free time to watch movies like this). I checked it out for the Prokofiev score and then went to Ivan the Terrible because of the similar pairing.

Brave
8.3/10

Can't wait to see how Armond White will accuse it of being misogynist.

Moonrise Kingdom finally came to Columbus. The funny bits were indeed humorous, but not really in a laugh out loud kind of way. Like, maybe I'll chuckle to myself, but there was definitely a great deal of sadness permeating underneath everything the adults did. Bill Murray chopping down the tree got some good laughs from the crowd, but I think that people find it funny because its what we've come to expect from Murray in an Anderson film. Murray's character isn't a whole lot different from his character in The Royal Tenenbaums, but everyone is a dick in that movie, so someone feeling sad for themselves isn't a shocker. In Moonrise Kingdom, the adults are sharply contrasted against the kiddies and their youthful exuberance (beach scene ). So when compared to Anderson's other films (which you can't help but do), emotionally, the highs are higher and the lows are lower.

It kind of felt like a greatest hits compilation, incorporating parts of his other films greatly. Auters gonna auter, I guess.

Jake B. Likeme made mention of it, and I felt the same way, that as the film was ending, you knew it was ending and you didn't want it to. Not because the ending was more interesting than the rest of the film or had some great secret to reveal. That feeling of closure, the finality of something ending, really takes it's toll. Like, when you're a kid on summer break, but you have to go back to school in a week. You look back on all of the fun adventures that you had and wax all poetic and shit. When something awesome starts (like summer as a kid, a new relationship, a vacation abroad, whatever), it feels like it will last forever, so when it ultimately does end, it hits home much harder.

Also saw this last night. I'm not really sure how I feel about it. I definitely enjoyed it and the young love story was heartwarming but I was also a little perplexed. It felt warm and quirky like all of his movies but I don't know if I can articulate much more.

I've only seen the commercials for it and it looks like Wes Anderson has his nose so far up his own ass I'm not sure I can bear to see it.