It is depressing enough to see the death of chivalry without it being replaced by outright rude, primitive behavior. Plus, you have to take into account the likelihood of a rather big age gap. If one person is drastically less mature than the other, it can potentially lead to an unexpectedly annoying conversation.
I just want to ad that I personally try to think about what I type before I type it. With this in mind, there is really not a whole lot of excuse for stupidity given that people have a bit more of an advantage by means of pausing to contemplate over a face-to-face conversation. Still, I often catch misspelled words and poor grammar issues in spite of my efforts to avoid such.
I humbly admit that I am no expert on anything really and that I still have a great deal to learn about a great many things. The same issue applies to editorial page letters, which even when they come from absolute raving cranks, have a name and address attached and, if they hope to see the light of day, a minimal amount of coherence, grammar, punctuation, etc.
Thanks to the Internet and message boards or comment sections attached to the online versions of print newspapers , one can just go online and spew attacks and obscenities. Obviously, but I still think the internet would be more bearable if all trolls drew their slurs from the pages of King Lear. My opinions tend to differ from yours more in intensity than in substance — I hated Hancock far more than you did, for instance. But I regard myself as a populist in philosophy rather than in aesthetics: I am amenable to accept widely-liked films as classics regardless of how I feel about them personally.
I find rather spurious the mainstream critical definition of a classic as a film that is intrinsically superior because of its subject rather than its quality. As a critic, you may have a different and more accurate perception. Although I find the Indiana Jones movies clumsily directed and interminably long, they are pop-culture artifacts, and that definition of a classic is as legitimate as any other, more elite definition. But I realize this is a choice I made long ago. At least people would have been able to pronounce it.
At the same time, I realize there are any number of reasons people use a screen name. It has to do with the use of them specifically for the purpose of waging an attack. On a completely unrelated silly side subject: how do you post in bold text so as to reference another bloggers post? The same process works for italics by substituting an i for the b.
Indeed that is a difference. One of my favorite letters to the editor that came my way never saw ink of print on that very basis. The level of discourse is generally pretty civil and intelligent — with notable exceptions, which are to be expected.
Then too, as a writer I treasure every opportunity for a distraction. Now there we part company. The desire for some weird form of instant gratification or perhaps instant validation? Your turn to be educational. What the hell movie is this? I guess in a sense my opinions are my work life. Hey, that looked pretty good. Do you carry it at Orbit? Anyways, at this stage of the game, we have no idea what films will survive the march of the eons. I must admit that I am pleased to have declared ignorance and sacrificed my dignity not really — this is just for dramatic effect for the sake of a greater good.
Thanks again Ken. The Weinsteins are botching it as we speak in a limited theatrical run. Well, it looks better than Dragonball Evolution , but I can see why they might think the market is limited. These, however, have a degree of merit if only because they have become nostaglia, where something like Raiders is this kind of pre-fab nostalgia.
And I suspect there are those who would say Raiders does this. I think I can go with that. I admit to prefering films that have a strong single point of view — usually the director, but not invariably. I think the argument could be made that there are similarities between the two, considering that they both originate from an excess of crap.
It does not hold quite the same impact today as it did back then, but it is still a very fond piece of childhood nostalgia for me. See, your reading of the film is a lot like my reading of the film — except, for me, the film is the lie. For the most part, society is mostly just indifferent. For me at least, dislike is way too strong. Of course, I also defend the Star Wars Prequels, so make of that what you will….
For my money, one of the best films of was Miss Pettigrew Lives for a Day , but very few critics even noticed it. My sentiments precisely. To dislike a film so exalted in its artistry is not only an error in judgment but an actual moral transgression. And indeed he must continue to live this lie, for he received not the love of the truth, that he might be saved, but had pleasure in unrighteousness. His eloquence in this review is merely an attempt to obscure his own doubts.
When we speak most fairly, then we think most falsely; against wisdom we work with deceit. Not so sure I can back you on the others. For my money, one of the best films of was Miss Pettigrew Lives for a Day, but very few critics even noticed it. I do think it essential that you back up your reasons for a subjective judgment — assuming you want to discuss it with any degree of seriousness.
But the idea that every — or even most — critics have seen every possible worthy film on such a list is pretty far-fetched. You can come to my house and find about 4, on hand.
I could give consideration to each of those. Should it be on such a list? Does Miss Pettigrew belong on such a list? Beats me. Gad, that Pijonsnodt fellow is a formidable opponent.
And whilst I do my penance, he can explain to me why those who attack me for this review are seemingly incapable of working a shift key.
The standards by which we evaluate cinema are certainly a priori , since artistic merit has no empirical basis. Still, I think that the evaluations we make based on those standards are slightly more objective, if only in their own terms.
Subjectivity comes into play when we evaluate exactly how well a particular movie adheres to those standards, what standards are more important than others, and whether adherence to one standard outweighs failure to adhere to another. Then, of course, there are the filmmakers who deliberately challenge the universal standards.
Just to clarify, I meant for specifically — certainly not for all time. Lovely movie, though. What I do care about is the reasoning behind ones thought process. We all come from different backgrounds with different insights, and that is OK. Friendly and intelligent debating can be a lot of fun as long as it meets the aforementioned criteria. It is entirely possible to keep an open mind without loosing track of where you stand, just as long as you are comfortable and secure with your own footing.
After watching the trailer, my opinion was settled. All that blather out of the way, I must say that I am tired to death of suburbia bashing. People grow up, sustain themselves by gainful employment, have children, and go about daily life in all its mundane glory.
Everyone has dreams and aspirations to live for and follow. They also have diapers to change, trash to take out, and collars to iron. Angst over these simple facts of existence feel an awful lot like the tantrums my daughter threw when she was 3. The pleasant things you skip while complaining about the unpleasant are lost to you entirely by your own laziness and folly. Making films about how awful it is to be a comfortable middle-class American just smacks of something a little to ironically selfish to induce me to praise it with my ticket dollars.
Bravo, Ken. Too few will admit the insipidity of this project because of the talent associated with it. I was refreshed and pleased to see your review. And hopefully, Mrs.
I find it a little strange that people are so often personally offended over such subjective subject matter as movies among other things. But it always tends to strike me that the people who get totally bent out of shape over a dissenting voice are insecure in their own opinion. They need the validation of others to shore it up.
Not a spectacularly large fee, but, yes, I do get paid to review films. On the other hand, I have only myself to blame for that second viewing. Arguing about art along with religion is one of the few things even more futile than arguing about politics. Suddenly, he falls over dead. Arguing about it — or discussing it — is one thing. It can be fun. It can be illuminating — sometimes a different take on something is useful. Attacking people over it is something else again.
Funnily enough it was this thread that somehow tweaked my interest. It stayed with me for days afterwards and I ended up talking about with lots of different people. It was her passion for the material that brought it into being she just happened to convince her husband to direct it — and that deep feeling for her character and this story was successfully translated into a beautiful and very sad film.
I highly, highly recommend this film. Yes, you might love it, you might hate it; to each his own as they say. Good review, Ken. I read the book not long ago and thought it was well written, if not an especially great book—though I did read some claim that it was to the fifties what The Great Gatsby was to the twenties. Make of that what you will. Thank you for the kind words about reading me, even if you disagree with me.
I believe you did get out of the film what the film wants you to get out of it. The problem for me — apart from not caring even slightly about the characters — is that I found it unpersuasive and artificial. I will say with regards to the movie of Revolutionary Road that it did a great job of transfering the book to the screen—though the movie was a load of bollocks. Good work, Mr. Hanke, you deciphered the gobbledygook.
That was an emotional post I wrote: too many thoughts and feelings, too few concrete expressions. Film and criticism are very emotional. Thank you. That may be true — at least for me — because nothing about the film made me even briefly consider picking up the novel. When I think of all the film adaptations that have driven me to read the source material, I see the point. Also, it is a superb adaptation of a book with such a strong emphasis on language as music.
The book of Revolutionary Road was well written and hooked me from the first chapter and made me want to read to the end, even though I guessed the ending a hundred pages or so before. But I felt it had the potential to do something, instead of just lie there like a belligerent corpse, which is what my final impression of the movie was. I certainly saw things like Dracula and Frankenstein long before I read the books.
A Clockwork Orange drove me to the book, but more that drove me to some other Burgess, which I liked even better. Having said that, I admit to being curious about Twilight , but only because I want to see if the book could possibly be as bad as the movie.
There are other works by Burgess that are amazing, but A Clockwork Orange has such a hold on me. The language makes me ga-ga. It is the sort of book I would want to write.
Burgess was remarkable, simply put. His knowledge of languages and music and myriad other subjects astounds me. The guy was mad, in the best way.
Added to which he had a benign brain tumor for over forty years that he felt was a partial source for his seemingly unlimited creativity. He wrote one of my favorite works on Shakespeare, as well.
Sometimes I really enjoy movie versions more than the original novels—About a Boy is a great example of that. I liked the book, to be sure, but I enjoyed the way the movie was handled much more. Frankenstein is another example. I like the book merely for the template. Supposedly, Guillermo del Toro is planning a new film version to be shot sometime in , after the two Hobbit movies. I feel like it would be more constructive staying in, being intimate with myself, then having a beer.
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Read full article. The Exception This drama film follows a German solider during World War II who is on a mission to find out if spies are collecting information on the old monarch. When it's available: July Sex and the City: The Movie The sexy foursome is back in Sex and the City: The Movie , and this time, they are all facing new relationships and obstacles in life and in the sheets.
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Sorry Angel Sorry Angel is set in France in and follows Jacques Pierre Deladonchamps , a single father in his late 30s who has a sour outlook on life, and Arthur Vincent Lacoste , an aspiring filmmaker in his early 20s, who together explore a new sexual relationship and ultimately a new way to live their lives as one.
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Goodbye Lover Patricia Arquette may look like a nice girl next door, but in Goodbye Lover she is much naughtier than that. A man and a woman admire each other across a crowded room, and they dance together. A man pats a young woman's shoulder he is her boss and they are in the office. A young woman admires a man on an elevator. We see a man in swim trunks bare back and chest are shown. We see a man wearing a tank T-shirt.
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A husband and a wife argue bitterly in several scenes. A wife talks to her husband about having an abortion. A man comes out of a hospital emergency room and it is understood that his wife is dead. A man is reprimanded by his boss.
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