Flipside Movie Emporium

[mfritschel]

Rosemary's Baby (1968) - A great film that mangaged to be scary without implicating the scare tatics of suspense and scenes that make you jump out of your seat. Much more psychological and indepth. The scariest facet for me was I knew, for the most part, what was happening to her and yet you just had to sit and watch as her life was changed.

Miracle (2004) - At first I was skeptical that it would be another Mighty Ducks, but I was very pleasantly suprised. I enjoyed how the movie did not villianize the Russians to much. Sure they were the enemy/opponent, but they were never portrayed as cheaters or cheap shot artist. Rather they were just the best team, that happen to have more talent and out play the other teams.

City of God (2003) - I agree completely with Beltman on this one. It seemed to be a movie designed for the MTV generation. A series of 1 to 2minute shorts that loosely revolve around a some what coherent plot. It evoked no feelings, and I never found myself feeling sorry for characters or their situations. I think the major flaw of the movie, was that you never really got to know a character. Unlike in Goodfellas, which the movie has drawn significant comparisons to, were the movie centered around 3 characters and 1 in particular. This movie tries to do to much and is constantly jumping from one character to another, without really drawing a coherent picture of a single character were one is left feeling some kind of emotion for the characters. Whether it be hate, sorrow, or jealousy. It wasn't a bad movie, and besides the crafty cinematography, it reall doesn't have a lot to stand on.

[beltmann]

[matt header]

[the night watchman]

[The Third M?n]

[Rob Vaux]

[Rob Vaux]

[beltmann]

[the night watchman]

[the night watchman]

[The Third M?n]

[keyinblackman]

how do you delete posts?
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Recently Viewed:

Ratcatcher (Lynne Ramsay) - ***.5

Blow-Up (Michelangelo Antonioni) - ***.2

City of God (Fernando Meirelles) - ***.7

[keyinblackman]

The Exterminating Angel

Luis Bunuel

His contempt for the rich is highly stratified in this early film by him. Darkly satirical and all around allegorical to the lack of affirmation and will in society. I mostly loved watching the gradual class status lower as they get more and more frustrated to their surroundings and must resort to barbaric tendancies. Stripped away from their social ranking, they are nothing in the room, they cannot dictate or feel a tangible superiority. Although Bunuel's disdain is transmitted to a farce proportion it also packs within it various witty and clever nuances. Although I found the film highly intriguing it's lack of distinct plot development and motive was a bit distracting. I also wished he would use more of the repitition (as well as his token surrealism) that was used in the beginning of the film. All in all, it was a funny and ambigiously mystical film.

Dr Stranglove Or How I Learned To Stop Worrying And Love The Bomb

Stanley Kubrick

Another film that has forced my beloved "Election" down the list of best satires ever made. This film is so masterfully done, with the intricate web of events and the three parties (politicians, generals, and fighters) interweaving in and out all with an equal amount of humor and style, it's not only a great satire, it's one of the best films I've ever seen. Even when Kubrick makes a comedy he introduces art into the mix, from the ambitious and legendary war room, to the duplicate of a bomber plane all in highly defined and bold black and white that exploits all the features broadly but beautifully. A brilliant script and one actor playing three roles (very very well) this film carries some of the best jokes and historical film moments with as much gusto as it did upon it's first release. Truly a marvel of a film, that everyone should see, if not in a U.S. History class.

2001: A Space Odyssey

Stanley Kubrick

When people talk of "poetic" or "lyrical" films, they usually have no idea what they are saying ("All the Real Girls"), but if ever the words existed to serve utility to a film, it is Kubrick's "2001". The imagery hovers gracefully and goregeously in this ballet of outer space. Many feel that the film's longevity is forced profundity and pretentiousness, but I was hypnotized by the perfectly paired musical pieces and imagery, each having a hand of enhancing the other, a mutual bond of augmentation. Kubrick's use of silence for this cold, distant, and emotionally desolate space juxtaposed to the anxious frantic screamings of the apes, one can conjure the very essence of evolution. Although the birth symbolism was awfully thematically tyrranical, I admired all of it's subtleties. The cinematography has lasted the test of time, and will probably continue. If the date of this film was not remembered, I would easily take it as a film of todays standards. Beautiful sterile set designs, and the exuberant use of rich colors and espicially white (almost equated with the silence that Kubrick inspires and provoks thought with) all represent how magnificent the film looks. It's a ocular orgasm for the eyes and the ears, not once was I bored are wanderous when watching it. Although it's final ending was a bit too cryptic that didn't exactly fit the discreetness of the film for my liking, I can see why so many people love it. Although I can't truly literate my true feelings on this film, it has really changed my parameters of film. "2001: A Space Odyssey" is cinema defined to it's uptmost capability (at the time).

I'll post my thought on "City of God" later.
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Recently Viewed:

Ratcatcher (Lynne Ramsay) - ***.5

Blow-Up (Michelangelo Antonioni) - ***.2

City of God (Fernando Meirelles) - ***.7

[the night watchman]

[the night watchman]