Bradley Vaughn3 said:Quick question for all my fellow cinephiles out there... looking back over the last decade or so at films from around the region (like the US, Mexico, or Canada)...
I think ten years is being a bit conservative! 😕 For me, some of the absolute best classics from that era have to be: Samo ljudi, Birch, smallpox, collection center.
Honestly, Anthony Kim18, probably not much. It wasn't even a big theatrical release, and it definitely didn't have an Oscar nomination under its belt. It feels like the kind of film that only the local LGBTQ+ advocacy groups really talk about. 😍
Alice, you honestly have the entire funeral industry figured out better than anyone else through that series. I was just thinking about Six Feet Under again, and man, that show still hits me right in the feels. It’s one of those rare series where you can go back years later and find something entirely new to appreciate in the storytelling. There’s just something so incredibly raw and honest about how it handles life, death, and everything in between. I honestly don't think many shows on HBO today could capture that specific kind of magic.It’s all about a family of morticians—you know, the whole business of embalming and funeral services. But honestly, beyond the premise, it stands out as one of the absolute best series HBO has ever produced. You really have to commit to watching the whole thing from start to finish, because every single episode is just packed with corpses and grieving families. 😁:
And finally, I’ve got something that really hits home for me, though it's definitely quite Exotic: The death and funeral of an elephant... honestly, it’s such a heavy thing to wrap your head around, isn't it? There's just something about the passing of such a massive, soulful creature that hits you right in the gut. It makes you stop and think about the sheer scale of life and how much we all eventually have to say goodbye to. I’ve been thinking about Santa Sangre lately, and man, it really stays with you, doesn't it? It’s one of those films that just lingers in the back of your mind long after the credits roll..
This summer, I caught this program on ABC titled The Rat Awakening. It was honestly kind of ridiculous—they basically just translated Cyrillic text from some old tombstone (just names and surnames), and then in the parts where there was choral singing, they included these incredibly silly captions like the choir sings 🤮
Larry Martin11 As follows: Vienna, huh? The PianistIt’s such a perfect example of how the setting itself can become a vital character in a story, rather than just being a backdrop where things happen. 😍 Even though I absolutely love the novel, the director, and the movie itself, I just can't bring myself to forgive him for filming it in French—though, to be fair, both Isabelle Huppert and a surprisingly young Melvil Magimel were truly excellent. 👍 Honestly, it’s just one of those stories that absolutely HAD to be told in German...
You're absolutely right! That whole conflict between the mother and daughter, especially that slap from Annie Girardot, was just incredibly powerful. I hear you loud and clear! In German! What a shame. 😕 And what about my favorites? Paris is just something else, isn't it? Minn Tanenbaum Paris Paris. Diva Paris The Aviator
I’ve been looking forward to this one for ages, but honestly, it was a bit of a letdown. ''The movie is supposedly based on accounts from a survivor undergoing regression therapy...'' But get this: the film kicks off with some guy reminiscing about events he wasn't even present for—he doesn't even show up until halfway through! The whole plot feels messy and disjointed. It actually reminds me a little of that recent, much weaker remake of *The Hills Have Eyes*. And don't even get me started on the aliens... they really could have put in a bit more effort there. Just pathetic. 😕
Tyler Watson3 said:So, I caught this movie at the theater last night... and honestly? I walked out feeling pretty disappointed. Maybe I just went in with too much hype, but the whole thing felt underwhelming. Visually, it’s fine—actually, it looks great—but James Franco’s portrayal of Tristan was just off. He played him like some over-the-top tragic figure, which isn't how I've ever viewed the character. Sophia Myles was decent as Isolde, but Rufus Sewell was his usual reliable self playing Marka... As for the plot... I don't know. I’ve always seen the bond between Tristan and Isolde as this profound, tragic love—not something overly melodramatic like Romeo and Juliet, but not a fleeting fling like Guinevere and Lancelot either. It’s supposed to be real. But in this film, their relationship feels like a forced Shakespearean drama that revolves mostly around sex rather than actual deep emotion. Maybe it's because the leads just lack any real chemistry, or maybe the whole "falling in love" sequence was just poorly executed. I can't quite put my finger on it. Either way, I wasn't impressed at all.👎
You hit the nail on the head. She and James Franco just don't work as a couple.😎
This movie definitely isn't bad! 😠 It’s one of my absolute favorite themes to explore, and it always brings to mind King's books, like Carrie, IT, or Stay with me. You don't see many creators who really dive into the nuances of being a teenager and that whole process of growing up, whether it's in film or literature. That touch of pretentiousness can be a bit much for me too (which is honestly why I get so annoyed with Lost in Translation 🤮), but hey, you can't really argue with it when she's Coppola 🙄 The best part about this one is how it just wraps you up in that specific atmosphere and refuses to let go. I actually found myself watching it for the fourth time just yesterday! 😍
Don't get your hopes up just yet, though there's probably a 90% chance everything is already set in stone. But hey, if you've already got something drafted up (either in your head or sitting on your hard drive), go ahead and send it over. You never know what might happen... 😬
Joseph Lee3 said:I hope you’re aware, but there’s actually a very specific way to format a screenplay because you need to include all those technical bits regarding scene transitions, timing, location, whether it's an interior or exterior... basically, everything depends on it, but the final draft really needs to meet all the parameters that the standard industry format demands.
If you’re serious about getting into screenwriting, honestly, you can just toss those technicalities out the window. Nobody actually expects a writer to handle all that, and if anything, it’s just extra weight that slows you down—both for your own creative flow and for whoever you eventually pitch your work to. Just focus on being clear and easy to follow; make sure it's obvious what's happening on screen versus what's being said in dialogue. Once things move toward production, the director will be the one to put together the actual shooting script. 👍
northernangler17 said:I thought Bad Education was an absolute masterpiece!
I have to disagree there, honestly. For me, it felt like he let himself down a bit, though I still think his entire body of work is nothing short of incredible. The one thing I just can't sit through, though, is Talk to Her 👎
Betty Parker26, you should really give it another look. Before this one, he actually had two pretty rough films: Bad Education and Talk to Her. But honestly, what can you even do? I’m willing to forgive just about anything because of Volver. 😍 It’s not quite on the level of All About My Mother, and I have a feeling Pedro won't be making movies like that anymore... but man, after my third viewing, I'm finding so much more to love about it.
