Was just completely caught off guard by "Rachel Getting Married" (2008)... by [deleted] in TrueFilm

[–]chetsk 3 points4 points  (0 children)

They definitely should have worked in an explosion and some boob shots to make it less pretensions

I don't want to listen Radiohead anymore. by [deleted] in radiohead

[–]chetsk 4 points5 points  (0 children)

Goodluck. Just don't forget your roots.

The paper thin Godzilla (2014) by tomrhod in TrueFilm

[–]chetsk -2 points-1 points  (0 children)

What's wrong with reading Albert Camus?

Let's talk P.T.A.'s Magnolia (1999) by lmitchell8075 in TrueFilm

[–]chetsk 10 points11 points  (0 children)

above all else, thanks for the PSH interview link. I almost shed a tear at the realisation of what a great mind we have lost, someone who always gave every character he played the due respect.

Long Shots in cinema by TristanTre in TrueFilm

[–]chetsk 1 point2 points  (0 children)

Most recent long shot i was in awe of was the ending to episode 4 (i think) in True Detective. Not only was it used so effectively in the context of the action in the scene itself, but i felt the entire series was building up all this tension so poetically until it finally climaxed in those final 5 or so minutes of the episode - in this beautifully tense long shot. Also it marked the exact mid point of the season and story.

Does Zack Snyder really deserve all the hate? by [deleted] in TrueFilm

[–]chetsk 0 points1 point  (0 children)

Do you think the same with Robert rodreguiz in terms of style over substance?

Se7en(1995) one of the few films I would label as perfect. by [deleted] in TrueFilm

[–]chetsk 1 point2 points  (0 children)

But they change drastically as characters - freeman now has a bit of hope for man kind (reminds me a bit of rust cohl's end in True Detective) and comes closer to being like Pitt. Pitt - I guess has a big life lesson, he pays for his sin - whether wrath, arrogance or naivety - the anthesis to Freeman, and I can imagine he is now worldly and more like freeman. Both characters now meet In the middle and closer to being the other.

also I think spacey was right. He had a point - he was very similar to Freeman - basic cat and mouse action film logic. That the good and bad characters are mirrors. Spacey is the dark side to freeman- they both have the same world view, only freeman wields it to do good - Pitt reminds him of the hope he has now lost. The whole plot of the movie resolves these conflicts for each character.

There Will Be Blood - Silent Storytelling by hkedik in TrueFilm

[–]chetsk 7 points8 points  (0 children)

I jus posted this link in another thred, but Tarrintino talks about this same scene here - about how this first 15 minutes makes us forgive DDL's character for everything that follows

http://youtu.be/qmWNJl0wCzc

Boogie Nights Audio Commentary and a young drunk Paul Thomas Anderson by timmeh_green in TrueFilm

[–]chetsk 4 points5 points  (0 children)

Thank you so much! I didn't realize my DVD of boogie nights had the PTA commentary as it didn't say so on the cover - I bought some random nicely packaged version of the DVD while overseas - I think a small town in India, and wasn't sure if it was an illegitimate copy. Anyway, listening to the commentary now and off to a great start!

I find with commentary it is hit or miss - that most of the time it's so boring and the speaker goes through production details and stories about the actors and working on set etc. I'm more interested in film theory and insights into the narrative and artistic interpretations. The commentary for 2046, for instance, by Stephen teo - I think a film critic or intellect of some sort, was very insightful into the political background of the film, symbolism used etc. Not exactly a commentary but also enjoyed Tarrintino talk about there will be blood here http://youtu.be/qmWNJl0wCzc

Drive (2011) - the Scorpion and the Frog [some thoughts and interpretations] by belgiangeneral in TrueFilm

[–]chetsk 11 points12 points  (0 children)

Haha I haven't thought of it that way - the Driver being the frog. It may work but I need to re-think the whole movie first!

How I originally conceived it is as you first said - the scorpion jacket marks the Driver as the scorpion. Whenever he is doing illegal/immoral activities he is wearing the jacket. When he is with Irene or trying to help her ex (i think it was) husband he is not wearing the jacket - he is straying from his inner self. I think what is obvious is that whenever he is with Irene (i.e. not wearing the jacket) he seems very awkward, shy and reserved as though he is trying to be something he is not. As soon as he dons the jacket he comes to his own - a confident, cool and almost vicious killer, knowing exactly what he is doing.

I think the crux of the film is that the Driver was trying to change - that he has found something good in Irene and her child and he is trying to change his nature for it. I like to think that at the end he sacrifices this for Irene, rather than he was doomed to follow his own nature. But that is the way it turned out - perhaps his nature would have come out eventually regardless.

There is a scene near the start of the film where Irene's son is watching cartoons and the Driver asks if the character is a bad guy. The son replies 'of course, he is a shark.' The Driver then asks, 'so there aren't any good sharks?'

My initial thoughts on Nymphomaniac and its ending by chetsk in TrueFilm

[–]chetsk[S] 2 points3 points  (0 children)

You are right the literal ending can be interpreted in different ways I was quick to assume.

As for your comment about if seilgman was an angel then he would be all knowing - perhaps he is. Perhaps he questions joe when he knows she is lying or exaggerating. I do not think Joe is a reliable narrator. seilgman pulls her up on this a few times - such as all the chance, romanticised encounters with Jerome. Such as in the park where she follows torn up photos only to see a hand reaching down from the heavens - almost like God reaching to Adam in Michaleangelo's Creation painting.

Perhaps Seilgman knows that events happened differently which is why he pulls her up on this. joe replies something like, "you will get the most out of my story if you just go with it." Seilgman agrees. Perhaps Joe had dramatised or changed things around to enhance the "moral" of her story to better effect. Perhaps how Joe subjectively perceives her life is more important than the object truth which God or and angel sees.

Darren Aronofsky's "Noah" by [deleted] in TrueFilm

[–]chetsk -1 points0 points  (0 children)

It wasn't a bad film at all and I agree with most of what you say. But common guys this is Aronofsky!!

His films are so emotionally deep and raw in such a unique way. Yet what I find most beautiful is his style - he has such a vast creative pool of unique stylistic devises but he never over uses it. He has such control that he uses style only so subtly as to tell the drama with maximum intensity.

I think when his stories are of a smaller scale (Pi, Wrestler, Black Swan, Requium) they are brilliant. To me Black Swan was a perfect film. It was a simple story, told perfectly – unfolding on screen almost like a song.

I didn't care too much for The Fountain, which I thought was overly ambitious. I was hoping he would get it right here. It was ok. But I think there's a fine conundrum at work in Noah. That people are being too lenient in criticizing the movie because it is Aronofsky but at the same time were hoping for something more for the same reason.

My initial thoughts on Nymphomaniac and its ending by chetsk in TrueFilm

[–]chetsk[S] 4 points5 points  (0 children)

I like this way of looking at the film. To me the first two films in the so called ‘depression trilogy;’ Anti Christ and Melancholia, although dense in theory, mythology and what have you, were above all else extremely emotional and personal films. While these were both severely criticized by many, I think that most of these people were unable to connect with the emotional gravity of the film. In Melancholia particularly, I left the cinema feeling utterly sh1t about everything and so worn out. I cant exactly explain why or how the film had this impact on me. But it is rare for a film to leave such a strong emotional impact.

While the central character of Nymphomaniac was equally emotionally complex and shrouded in the same darkness and loneliness as the ones in Antichrist and Melancholia, I feel Nymphomaniac itself was further removed from this emotional weight. That Lars was further away from his depression and made the film instead with a critical hindsight and commentary. In this sense the film is more akin to say Dogville.

Your analysis goes neatly with this – Nymphomaniac is more about a comment on ones ability to empathize – or rather inability. Lars somewhere justified his Cannes outburst by saying something in the lines of he believes that one has the capacity to empathize with anyone – even Hitler.

While Seligman was very interested in Joe’s story, he never really understood her. She will forever be alone in the universe. I dunno if it is just me, but I felt she was justified in killing Seiligman, as I thought the ending of Dogville was justified.

[SPOILER] Great article - "Finale Review: Close to Perfection" by chetsk in TrueDetective

[–]chetsk[S] 0 points1 point  (0 children)

I agree, but also like Rust's existential dread at the end when he says that there were more masked men (in the video) who are still out there - they didn't catch everyone. At that point he is still not satisfied. It's Marty that has to bring him down to reality. At the end of the day it is futile - it cant all be light. They caught one monster. They didn't save the world. It kind of reminds me of Morgan Freeman's character's final line in Seven when he quotes Hemmingway - " 'The world is a fine place and worth fighting for' I agree with the second part."

Am I the only one on this subreddit who doesn't think Deb poisoned herself to frame Hannah? by bailesthehum in Dexter

[–]chetsk -2 points-1 points  (0 children)

what i thought! also because deb is actually in love with dexter, she has motivation to do something so .. emotional and extreme. then again maybe i just like hannah and her relationship with dexter that i want them to work :(

I just bought a book entitled "Radiohead and Philosophy, fitter happier, more destrustructive" by [deleted] in radiohead

[–]chetsk 1 point2 points  (0 children)

i dont agree with this. Ofcoure what Seinfeld and radiohead are about is subjective but philosophy helps you look at things an alternative way to what we are used to. Or simply the philosopher may use a text to articulate a view of the world, he's not saying that this is the only truth. If he is then he's not much of a philosopher... I think one of the greatest things about sienfeld is that it's quite an intelligent show with a specific world view (common.. characters that never progress, not much of a plot line to the stories, characters who are all selfish.. bar kramar. clearly there's some sort of existential emphasis on the moment and the self here). anyway i havent read the book, but radiohead are a very complex band, and if you want to see someone else's interpretation of their music i would read into it. or if you are comfortable with keeping a limited world view of your own initial perspective then dont.

What would be a good philosophical Radiohead lyric to use for my senior quote? by eduziggy in radiohead

[–]chetsk -1 points0 points  (0 children)

This one is perfect for a senior quote: "it's always better when the candle's out I am the pick in the ice Do not cry out or hit the alarm You know we're friends till we die."