Roar!
 -Shark

Instead of doing a review I will just point out the crap that inhabits this film.

- The shark roars like a lion.
- Mario Van Peebles does a Jamaican accent
- The shark swims from New York to the Bahamas in less then 3 days.
- This is the sequel that popularized the tagline “This time it’s personal!
- African Americans feet apparently look Caucasian under water
- The god damn shark is hunting one family, even members that weren’t born yet during the last attack.
- The film tries to suggest that there’s some sort of psychic link between Ellen Brody (Lorraine Gray) and the shark
- Roy Scheider was hospitalized because he busted a gut laughing when offered a cameo in this film.
- In the 4 years since the last film the character of Mike Brody changed professions from engineer to marine biologist, got married and now has a 5 year old daughter.
- The shark is apparently a cyborg as you clearly see mechanical parts coming in and out of him throughout the film.
- The bottom of the ocean in the Bahamas looks incredibly like a swimming pool on occasion.
Ellen Brody continuously has flashbacks to events she never witnessed.
Mike Brody is not nearly alarmed enough when his mother’s prediction that a Great White Shark will show up in the Bahamas to attempt to kill him actually happens a few days later.
- Having sex with Michael Caine will make you forget that you were depressed about your son being killed by a shark 3 days ago.
- The shark is so scary that it can make blood appear in the water when it hasn’t attacked anyone yet.
-Michael Caine is so hot that his clothes instantly dry when drenched.
- Sailboats and sharks can bend space and time in the Bahamas (see ending)
- This shark is apparently not cold blooded, but has nitroglycerin pumping through it’s veins causing it to EXPLODE violently if punctured with ANYTHING taking out any large nearby structures with it.
- The fucking shark roars like a fucking lion.

via Letterboxd [x]

“The Wes Anderson Collection” video essay series continues with “The Darjeeling Limited,” the director’s comedy about brotherhood, death, and the limits of control.
Video essays zooming in on director Wes Anderson’s creative process.

A very handy YouTube channel filled with classic films that are now in the public domain. 

"

This movie.

This fucking movie, man.

This fucking movie is literally just 12 dudes arguing in a room for an hour and a half, and somehow it manages to be one of the very best things I have ever seen. It’s more exhilarating, more exciting, and more riveting than just about anything I’ve ever had the pleasure of viewing, and, as I said, it’s nothing more than a bunch of guys arguing for an hour and a half.

What the fucking fuck.

Want to know why this anomalous creation exists? Want to know why it’s so fantastic? Its script and its characters. We don’t even know the names of these characters, and yet the writing is so sharp and the characters so well-formed that every single one of them feels wholly unique and entirely genuine. Every single one of them from the white-wearing Henry Fonda (gee, wonder what that wardrobe might symbolize?) to that one boisterous bastard who’s more than a little overtly racist to the nasal-sounding fella whose testicles seem to drop a bit by the film’s end – in the span of ninety minutes, every single one of these characters is endowed with their own personalities, strengths, weaknesses, and character arcs that all come full circle by the time of the film’s end.

And that leads me into my next point. 12 Angry Men is a miracle of time management. All the exposition, character development, and plot development that takes place in this film is really quite staggering – and yet all of it is handled in the span of ninety minutes, and never once does it feel like it’s skimping on something or cutting something out. It’s perfectly paced, perfectly edited, and perfectly directed by Sidney Lumet, who, as evidenced later in his career with Network, has quite the knack for making very compelling and talkative films.

Oh, and never mind that on top of that Lumet also manages to work in messages about the imperfection of the legal system, the dichotomy of justice and law, the fragile nature of truth, the unreliability of perception, and even a little bit of racial commentary to go with it.

Seriously, man. This fucking film.

"
- A Review of 12 Angry Men on Letterboxd [x]
Due to his lengthy shoot, extensive post-production and global promotion tour for Django Unchained, we’d have to think Quentin Tarantino’s viewing log for

The Changing Shape of Cinema: The History of Aspect Ratio

7 years ago
tags: , video, film
"There’s a great interview online with Terry Gilliam, can’t find it at the moment sadly. But, what he says about modern blockbusters is so spot-on, which is basically that in all the great spectacle films, something like 2001, what makes these films work isn’t the special effects, but rather the high-concepts, new worlds, and new ideas that these films profess. Filmmakers are now substituting ideas for action, hoping to get the same reaction from audiences, yet clearly this is greatly lacking."
- Comment on Letterboxd [x]
7 years ago
tags: , quote, film