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  3. The SephG Top 250 [movies] - Topic II: the top 75

User Info: ExThaNemesis

4 weeks ago#271
that's one I wish I hadn't seen
"undertale hangs out with mido" - ZFS
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User Info: Mr Lasastryke

Mr Lasastryke
4 weeks ago#272
i managed to see citizen kane without having the ending spoiled for me!
Geothermal terpsichorean ejectamenta

User Info: Mythiot

4 weeks ago#273
CaptainOfCrush posted...
I took my brother to see it last summer during its 50th anniversary re-release, and man, it's also an AMAZING theater movie. The sound overpowered me in that IMAX theater.

Went to see that too. The screech the monolith makes in the film's middle hurt my ears, but the rest was amazing.
I just can’t get anything out of 2001.
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Throw that junk.
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(edited 4 weeks ago)
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User Info: KingButz

4 weeks ago#277
While we are on the subject of our movie ignorance I must admit I've only seen 3 of the 7 movies so far.
rip imgcake

User Info: Nelson_Mandela

4 weeks ago#278
There's not a single movie in the Top 10 that I wouldn't recommend to anyone, so hopefully it inspires some watch-throughs!
"A more mature answer than I expected."~ Jakyl25
"Sephy's point is right."~ Inviso

User Info: Nelson_Mandela

4 weeks ago#279
#3. A Clockwork Orange
Dir: Stanley Kubrick
Genre: Suspense/Thriller, Crime
Year: 1971

SephG Superlative: The greatest suspense/thriller ever; the greatest adaptation ever; the greatest British movie ever; the greatest European movie ever; the greatest movie of the 1970s

Watching A Clockwork Orange is like a masochist getting smacked in the face for the first time. At first you’re shocked, kind of disturbed at what just happened. But as the sting settles in, you start to realize, against all sense of logic and human evolution, that you really enjoyed it, and you want more. I must have been like 12 or 13 when I watched A Clockwork Orange for the first time. It left me feeling pretty weird and bad at what I just watched--as it would make most people that age feel. But as the final note of Beethoven’s Ninth kept lingering in my head, I knew that I had to have more. And my journey into Kubrick and into arthouse cinema began.

A Clockwork Orange is a rare instance of an adaptation of a literary classic done right--precisely because Kubrick made it his own. Everything from the colors to the costumes to the eerie electronic soundtrack is just brimming with originality and creativity. To this day, there has been nothing quite like that opening pan across the Korova Milk Bar with Alex and his droogs sitting upon the colorful nude mannequins. It evokes a feeling that’s incomparable and hard to describe. But that’s A Clockwork Orange in a nutshell.

A Clockwork Orange is sometimes criticized for being exploitative--violence for the sake of violence, with no real purpose. However, this is a lazy misreading of the film, in my opinion. Perhaps more than any of Kurbick’s major films, A Clockwork Orange has a real moral truth to it: that humans can be inherently evil, and society’s attempt at blanket rehabilitation is an ultimately fruitless and dangerous endeavor. All of this is telegraphed in one look, one stare from the inimitable Malcolm McDowell at the very end, as Beethoven’s Ninth reaches a climax and that lingering note sticks in your brain--when you realize you liked the feeling of that smack across the face, and you want more.
"A more mature answer than I expected."~ Jakyl25
"Sephy's point is right."~ Inviso

User Info: Nelson_Mandela

4 weeks ago#280
#2. Mulholland Drive
Dir: David Lynch
Genre: Drama, Mystery
Year: 2001

SephG Superlative: The greatest drama ever; the greatest movie of the 2000s

Mulholland Drive is the final culmination of everything avant garde cinema has been building toward for a century. No, that is not an overstatement. Mulholland Drive is weird, abstract, impossible to dissect in a logical manner. But it’s also the best representation for why that doesn’t necessarily matter in the world of filmmaking. It can still leave you breathless anyway.

David Lynch’s magnum opus opens with a dreamlike swing dance competition set against a generic purple backdrop. Betty/Diane (Naomi Watts) enters the spotlight and is crowned the winner. That’s where the traditional narrative of Mulholland Drive ends, and the phantasmagoria begins. The first half of Mulholland Drive is a neo-noir, Nancy Drew-like mystery wherein Naomi Watts tries to help a stranger with amnesia find out her identity. The mystery is absorbing in itself, but it’s the seemingly unrelated side stories--a director getting strong-armed by the mob, a hitman trying to find a mysterious black book, a nightmarish homeless man living in a man's dreams and behind a diner (the scariest 2 seconds I’ve ever seen in a movie), and a stage play that doubles as a window into another reality--that really brings the intrigue to a whole other level.

I won’t even begin to talk about the second half in the hopes that someone reading this can watch the movie for the first time without any preconceptions, but let’s just say that it’s one of the most insane and engrossing pivots of all time. The tonal shift accompanies this change in narrative and the fantastical first half seems to devolve into a true nightmare in the second. And this is where the avant garde finally reaches its natural apex. Without any push from the narrative, we start to understand what is happening through nothing more than symbols, lighting, cinematography. The film strip itself takes over and tells us all we need to know to reveal the story, and it is a transcendental experience. Some may get it right away, others may require repeat viewings. But one thing is for sure: Mulholland Drive is the product of a true artist creating his own abstract take on Hollywood and what it means to have an identity in that city--a story that could only be captured by film itself.
"A more mature answer than I expected."~ Jakyl25
"Sephy's point is right."~ Inviso
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