BP Movie Journal 12/3/15

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9 Responses

  1. Mike says:

    Two things about ‘Spotlight’. Well, two things about one of the actors.

    1. It’s Brian d’Arcy James, not Brian James d’Arcy.
    2. It’s a shame he is the guy no one has heard of, considering he’s a three-time Tony nominee.

  2. Lindsey says:

    I totally was at the New Beverly and was looking for Bax really hard. Could not spot him. Curses!!!!

  3. Jackson H. says:

    That “Wins Without a Knife” reference…so great.

  4. Aaron M says:

    David, why do you comment on how Netflix is not a sponsor, therefore you shouldn’t call them out by name and yet you name multiple theaters/locations that you’ve seen movies at? I don’t have a problem with you naming multiple theaters that I’ll probably never have the opportunity to go to, but if you review a movie that you’ve seen on a streaming service, I can actually go to that streaming service and watch that movie, so I would encourage you to please continue to mention where you watched a movie if you have seen it on a streaming service, simply because it will more easily facilitate your listeners seeking it out.

  5. Ray (@RaySquirrel) says:

    What a coincidence that you should release this episode on the day that I received my Criterion Bly-Ray of ‘Hiroshima Mon Amour’ in the mail. It may be difficult to understand what was so compelling about this film as well as ‘Last Year At Marienbad’ is because the techniques Renais pioneered with this films have become so commonplace. The scene where Emanuelle Riva watches Eiji Okada’s had twitch, then cutting directly to a two second match cut flashback (or as my Film Theory professor Bruce Kawin whould call a “mindscreen.”) was something that had never been seen before at the time. At the time the standard model for presenting a flashback was the ‘Roshomon’/’Citizen Kane’ presentation where some off or on-screen narration establishes the time jump for the audience and a visual transition demarcates what is clearly present from past. Resnais was one of the first filmmakers to intercut past and present-tense narrative settings as they occurred in the minds of the characters. The same way we can’t truly experience how influential Griffith was for intercutting between two present-tense settings because it has become so commonplace. Might be a good thing to discuss for the eventual “framing devices” episode you’ve been talking about.

    Also have you heard ‘Sicario’ director Denis Vilenuve is directing the ‘Blade Runner’ sequel? Considering how mood and atmospher was so integral to that film I think it’s a good choice. Who wants to bet it will be called ‘Replicant’ because that guy has a thing for one word titles.

  6. Caleb says:

    I’m so fuuuucking excited for In the Heart of the Sea. Disappointed to hear it’s not very good.

    My main reason for wanting to see it though is that
    A) I love to swim
    B) Underwater monsters (sharks, mutants, aliens, fucking white whales, basically anything underwater – especially if you can’t see it coming) scare the ever-living hell out of me.

    Also: the trailer freaked me out. Caught it in LieMAX before The Walk and I was cowering in my seat.

  7. Scott L says:

    The discussion of In the Heart of the Sea made me start wondering if there are any movies with good framing devices. Usually, it seems the best it could be is unnecessary. Often it’s a distraction and/or the means by which a ridiculous twist is delivered.

    The Usual Suspects, I guess, is a ridiculous twist but still kinda of works.

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