What are some of your personal DVD recomendation?
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MorbidAngel4Life
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[quote name='Scorch']
I thought this would be a pretty stupid movie, but it was freaking hilarious. It pokes fun of extremely hardcore christians that try to live their life by the book.. it's hilarious.[/quote]
And come on, you know, for the obvious reason: MANDY MOORE IS
ING HOT!
I thought this would be a pretty stupid movie, but it was freaking hilarious. It pokes fun of extremely hardcore christians that try to live their life by the book.. it's hilarious.[/quote]
And come on, you know, for the obvious reason: MANDY MOORE IS
ING HOT!
doubledown
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[quote name='Riptard']Anyone know when the special edition of donnie darko comes out 
[/quote]
check the other thread in DVD deals....called Donnie Dark DC:Coming soon
Feb 2005
[/quote]check the other thread in DVD deals....called Donnie Dark DC:Coming soon
Feb 2005
Nirvanaguy777
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Anything that kevin smith has worked with
fieldkillah
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Straw Dogs
Man Bites Dog
Suspiria
They Live
Man Bites Dog
Suspiria
They Live
jetblac
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I Just rented that yesterday, Haven't watched it yet. It came highly recommended.Reality's Fringe said:
MY LIST:
American Psycho
The Killer (John Woo's Best and it will stay that way)
Clerks (Not the cartoon version)
Airplane
Unbreakable (The Grapevine says they're scripting part 2)
I just want to second a few movies:
Being John Malcovich
City of Lost Children
Equillibrium
craven_fiend
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give Mystic River a try
Reality's Fringe
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[quote name='jetblac']
Reality's Fringe]Death Race 2000 . Hands down one of the said:
doubledown
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How about we just list our favorite movies....sheesh.
Scarface
Godfather
Pulp Fiction
Horror:
Dagon
N. Elm Street
Halloween
F13th
Wrong Turn
House 1000 Corpses (I liked it)
Texas Chainsaw (both versions)
Dog Soldiers
Ginger Snaps
Wicker Man
these lists can go on and on
Scarface
Godfather
Pulp Fiction
Horror:
Dagon
N. Elm Street
Halloween
F13th
Wrong Turn
House 1000 Corpses (I liked it)
Texas Chainsaw (both versions)
Dog Soldiers
Ginger Snaps
Wicker Man
these lists can go on and on
P0ldy
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[quote name='norkusa'][quote name='P0ldy']Mulholland Drive (2001, Lynch)
Hud (1963, Ritt)
The Bicycle Thief (1948, De Sica)
A Woman is a Woman (1962, Godard)
City Lights (1931, Chaplin)
Modern Times (1936, Chaplin)
Persona (1966, Bergman)
Night and Fog (1955, Resnais)
Network (1975, Lumet)
Talk to Her (2000, Almodovar)
There are 10 great films to get you started.[/quote]
Nice to see somebody with good taste in film. I agree with every single one of those.
You sure Eraserhead isn't on Netflix? I could have sworn it was on there at one point. That movie is a "must buy" anyway, so anyone would be better off just purchasing it from davidlynch.com instead.[/quote]
Yeah, I'm sure. Unfortunately there isn't a Region 1 DVD, so they don't have it. Yeah, it can be bought off his site for about 40 bucks as a Region 0 (-free), but Netflix is too cheap to buy something not produced by a major studio. They have just about all of his other films, though.
[quote name='Parathod']The only two Lynch movies I ever really appreciated were Elephant Man and Lost Highway. The rest are either too weird or too cheesy.
Edit: If you haven't taken a philosophy course yet, you might want to check out the film Waking Life.[/quote]
I can see how you could find something like Blue Velvet or even Mulholland Drive cheesy, but in the end I just see it as beautiful filmmaking. Mulholland Drive especially over Blue Velvet, perhaps because of Naomi Watts amazing, AMAZING performance. (Where was Roger Ebert's "one of the greatest female performances ever on film" praise for her, I wonder.) And Lynch's camera is so purposeful, so controlled, so subtle that it shows the viewer the underbelly of the film before you reach the end. Watch the scene where Betty goes to the set to meet Adam, the director. The opening MCU shot filming the singers, then the camera zooms out slowly revealing the sound board, the first hint of falsity of the scene, and then pulls back even more to reveal that it's in a movie studio (another layer of falsity), the entire scene is simply stunning.
And you are spot on about Waking Life. Couldn't stand that postmodern existentialist we're-nothing-but-a-collection-of-monads nonsense.
Hud (1963, Ritt)
The Bicycle Thief (1948, De Sica)
A Woman is a Woman (1962, Godard)
City Lights (1931, Chaplin)
Modern Times (1936, Chaplin)
Persona (1966, Bergman)
Night and Fog (1955, Resnais)
Network (1975, Lumet)
Talk to Her (2000, Almodovar)
There are 10 great films to get you started.[/quote]
Nice to see somebody with good taste in film. I agree with every single one of those.
You sure Eraserhead isn't on Netflix? I could have sworn it was on there at one point. That movie is a "must buy" anyway, so anyone would be better off just purchasing it from davidlynch.com instead.[/quote]
Yeah, I'm sure. Unfortunately there isn't a Region 1 DVD, so they don't have it. Yeah, it can be bought off his site for about 40 bucks as a Region 0 (-free), but Netflix is too cheap to buy something not produced by a major studio. They have just about all of his other films, though.
[quote name='Parathod']The only two Lynch movies I ever really appreciated were Elephant Man and Lost Highway. The rest are either too weird or too cheesy.
Edit: If you haven't taken a philosophy course yet, you might want to check out the film Waking Life.[/quote]
I can see how you could find something like Blue Velvet or even Mulholland Drive cheesy, but in the end I just see it as beautiful filmmaking. Mulholland Drive especially over Blue Velvet, perhaps because of Naomi Watts amazing, AMAZING performance. (Where was Roger Ebert's "one of the greatest female performances ever on film" praise for her, I wonder.) And Lynch's camera is so purposeful, so controlled, so subtle that it shows the viewer the underbelly of the film before you reach the end. Watch the scene where Betty goes to the set to meet Adam, the director. The opening MCU shot filming the singers, then the camera zooms out slowly revealing the sound board, the first hint of falsity of the scene, and then pulls back even more to reveal that it's in a movie studio (another layer of falsity), the entire scene is simply stunning.
And you are spot on about Waking Life. Couldn't stand that postmodern existentialist we're-nothing-but-a-collection-of-monads nonsense.
Parathod
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Blue Velvet was what I was referring to as "too cheesy" (along with Twin Peaks and Dune). I actually own Mulholland Drive and I do appreciate Lynch's little touches, but the overall film I just can't understand. My one friend is a director (T. Lang) and he keeps urging me to watch the movie over and over, but after two times watching it, i'm convinced that i'll never quite grasp what Lynch was trying to portray with the film. The odd part about the whole thing is that I understood Lost Highway the first time I seen it, and my friend has yet to "get it".
P0ldy
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Yeah, a director friend of mine doesn't like Mulholland Drive either because he "doesn't like movies [he] can't understand."
It's actually not that difficult, though.
*Spoilers* for people who haven't seen it and desire to.
It's first and foremost an indictment of Hollywood. I originally thought to compare it to The Player, but Altman's film is a satire, whereas MD is just a surreal, condemning portrayal. Ok, so we have Betty, young wide eyed beautiful blonde exceptionally talented actress. Her narrative collides with Rita's, who's a helpless, lost, cumbersome woman that is now attached to Betty. So enter Adam, the director, who serves for Lynch as somewhat of a talented director who's being beaten back by the corporate forces that you never really see, and are just ordered to follow (hence the middlemen, the guy in the wheelchair (an Oz figure), everyone falling over themselves not to displease these guys who start or shut down productions. Enter the cowboy, kind of a caricature of these corporate faceless order-men who has no talent in making films, but Adam still has to do what he says.
Cut to the two guys at the restaurant. They serve just mainly as a function in the narrative to introduce the restaurant and the man behind it (kind of a Dreammaster, you might say). Now cut to the hitman. This guy's a halfassed screw-up, someone who came to Hollywood looking for something more than a silencer and wound up doing what he had to do to survive.
"I just came here from Deep River, Ontario, and now I'm in this... dream place."
- Betty, Naomi Watts
So as these places and characters interweave through the first hour and 50 minutes, Betty, who's a good person, helps Rita as much as she can, even growing to love her. She doesn't meet Adam because she promised to take Rita somewhere. They go to "Rita's" house and see something, a dead body it seems. Rita starts wearing a wig to imitate Betty's natural hair color, who she wants to be, to whom she's most grateful, whom she loves. So post-lesbian sex scene, they go to the Club Silencio. They listen to a woman sing Llorando ("Crying"), are brought to tears, and then watch her fall over, the song keeps playing, never having sung a note.
"Il n'y a pas de orchestra."
"There is no band, and yet we hear a band."
"It's all recorded."
"It's all a tape."
- Club Silencio owner
This scene shows both Betty and Rita losing their innocence. They already loved each other, but now their eyes are open to the real world, i.e., they see Hollywood for what it is as well. Naomi and Laura's acting during this scene is just great.
So Betty pulls open her bag and finds the cube. Then in the bedroom, Betty disappears, and Rita is there, and turns the key into the cube. This is kind of like a pandora's box for dreams: once you open it, the dream ends.
Cut to Naomi Watts getting up in bed. Knock on door. "Diane, where have you been?" She's just woken up from the hour and 50 minutes that we've just watched, watching her dreams. We find out that the real Naomi, Diane, came to LA after winning a jitterbug contest (remember the opening scene, remember her winning, remember the people standing behind her after she won). Her acting was never really good, she didn't have much talent. But she found Camilla, supertalented, who kind of liked her and helped her originally.
In the dream, she morphs Camilla into someone who is clinging to her instead of her clinging to Camilla. She became what she wanted Camilla to be - a good person. Instead of not meeting the hotshot director like she did, Camilla/Laura Elena Herring blew off Diane when she needed her. She tried to drive her away instead of being a good person. Diane morphs herself into someone with all the talent, instead of being a helpless, lost, cumbersome woman that she is in real life. She gives the name "Camilla" in the dream to someone who is being pushed to the top by the Oz-like hazy corporate execs that you never see. She's fine with that, knowing she has real talent, because she's in love with Rita, and that's more important to her. Camilla/Laura Elena Herring never thought this way, like Diane wanted her to. And Camilla becomes "Rita" in the dream probably because Diane came to Hollywood with Rita Hayworth as an idol, one of the biggest women ever in Hollywood, wanting to be that big. Obviously, she couldn't.
You see her masturbating and fantasizing about Camilla, really pounding herself doing it. (Little tidbit, Lynch actually made Naomi masturbate for the shot, and she kept saying ' you, David' as she was doing it.) So then at the party all the characters are shown in real life and you see where Diane got them from in her dream. The shot from Mulholland Drive/Mulholland Dream overlooking LA is a throwback to A Star is Born, the Judy Garland biopic film from '54.
In the end, Naomi blows her brains out after paying for Camilla to be killed. The "little people" as some people call them are her parents, chasing and ridiculing her for never making anything of her life.
So, yeah, I put this together after my 3rd viewing of the flick.
It's actually not that difficult, though.
*Spoilers* for people who haven't seen it and desire to.
It's first and foremost an indictment of Hollywood. I originally thought to compare it to The Player, but Altman's film is a satire, whereas MD is just a surreal, condemning portrayal. Ok, so we have Betty, young wide eyed beautiful blonde exceptionally talented actress. Her narrative collides with Rita's, who's a helpless, lost, cumbersome woman that is now attached to Betty. So enter Adam, the director, who serves for Lynch as somewhat of a talented director who's being beaten back by the corporate forces that you never really see, and are just ordered to follow (hence the middlemen, the guy in the wheelchair (an Oz figure), everyone falling over themselves not to displease these guys who start or shut down productions. Enter the cowboy, kind of a caricature of these corporate faceless order-men who has no talent in making films, but Adam still has to do what he says.
Cut to the two guys at the restaurant. They serve just mainly as a function in the narrative to introduce the restaurant and the man behind it (kind of a Dreammaster, you might say). Now cut to the hitman. This guy's a halfassed screw-up, someone who came to Hollywood looking for something more than a silencer and wound up doing what he had to do to survive.
"I just came here from Deep River, Ontario, and now I'm in this... dream place."
- Betty, Naomi Watts
So as these places and characters interweave through the first hour and 50 minutes, Betty, who's a good person, helps Rita as much as she can, even growing to love her. She doesn't meet Adam because she promised to take Rita somewhere. They go to "Rita's" house and see something, a dead body it seems. Rita starts wearing a wig to imitate Betty's natural hair color, who she wants to be, to whom she's most grateful, whom she loves. So post-lesbian sex scene, they go to the Club Silencio. They listen to a woman sing Llorando ("Crying"), are brought to tears, and then watch her fall over, the song keeps playing, never having sung a note.
"Il n'y a pas de orchestra."
"There is no band, and yet we hear a band."
"It's all recorded."
"It's all a tape."
- Club Silencio owner
This scene shows both Betty and Rita losing their innocence. They already loved each other, but now their eyes are open to the real world, i.e., they see Hollywood for what it is as well. Naomi and Laura's acting during this scene is just great.
So Betty pulls open her bag and finds the cube. Then in the bedroom, Betty disappears, and Rita is there, and turns the key into the cube. This is kind of like a pandora's box for dreams: once you open it, the dream ends.
Cut to Naomi Watts getting up in bed. Knock on door. "Diane, where have you been?" She's just woken up from the hour and 50 minutes that we've just watched, watching her dreams. We find out that the real Naomi, Diane, came to LA after winning a jitterbug contest (remember the opening scene, remember her winning, remember the people standing behind her after she won). Her acting was never really good, she didn't have much talent. But she found Camilla, supertalented, who kind of liked her and helped her originally.
In the dream, she morphs Camilla into someone who is clinging to her instead of her clinging to Camilla. She became what she wanted Camilla to be - a good person. Instead of not meeting the hotshot director like she did, Camilla/Laura Elena Herring blew off Diane when she needed her. She tried to drive her away instead of being a good person. Diane morphs herself into someone with all the talent, instead of being a helpless, lost, cumbersome woman that she is in real life. She gives the name "Camilla" in the dream to someone who is being pushed to the top by the Oz-like hazy corporate execs that you never see. She's fine with that, knowing she has real talent, because she's in love with Rita, and that's more important to her. Camilla/Laura Elena Herring never thought this way, like Diane wanted her to. And Camilla becomes "Rita" in the dream probably because Diane came to Hollywood with Rita Hayworth as an idol, one of the biggest women ever in Hollywood, wanting to be that big. Obviously, she couldn't.
You see her masturbating and fantasizing about Camilla, really pounding herself doing it. (Little tidbit, Lynch actually made Naomi masturbate for the shot, and she kept saying '
you, David' as she was doing it.) So then at the party all the characters are shown in real life and you see where Diane got them from in her dream. The shot from Mulholland Drive/Mulholland Dream overlooking LA is a throwback to A Star is Born, the Judy Garland biopic film from '54.In the end, Naomi blows her brains out after paying for Camilla to be killed. The "little people" as some people call them are her parents, chasing and ridiculing her for never making anything of her life.
So, yeah, I put this together after my 3rd viewing of the flick.
Duo_Maxwell
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I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.
P0ldy
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[quote name='Duo_Maxwell']I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.[/quote]
Difference between Mulholland Dr and something like Donnie Darko is that there's substance to MD's complexity, making it worthwhile. And all of Lynch's projects are rather weird, so it's not like it's a gimmick or he's writing out of character. It's just Lynch. Some people have a problem with "it's just Lynch", though, and it's understandable...
Difference between Mulholland Dr and something like Donnie Darko is that there's substance to MD's complexity, making it worthwhile. And all of Lynch's projects are rather weird, so it's not like it's a gimmick or he's writing out of character. It's just Lynch. Some people have a problem with "it's just Lynch", though, and it's understandable...
CrimsonGeist
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Yeah Dr.Strangelove too
MadMrBacon
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I highly recommend Waking Life. A great head trip. Also Dazed and Confused and Slacker.... basically anything Linklater is going to be good.
xzafixz
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[quote name='Duo_Maxwell']I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.[/quote]
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.
zionoverfire
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[quote name='xzafixz'][quote name='Duo_Maxwell']I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.[/quote]
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.
xzafixz
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[quote name='zionoverfire'][quote name='xzafixz'][quote name='Duo_Maxwell']I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.[/quote]
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.[/quote]
Momento is filed under the movies that you can only truely enjoy once. The same with all the M. Night Shamylan movies.
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.[/quote]
Momento is filed under the movies that you can only truely enjoy once. The same with all the M. Night Shamylan movies.
zionoverfire
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[quote name='xzafixz'][quote name='zionoverfire'][quote name='xzafixz'][quote name='Duo_Maxwell']I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.[/quote]
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.[/quote]
Momento is filed under the movies that you can only truely enjoy once. The same with all the M. Night Shamylan movies.[/quote]
hmmm, I find as long as I watch it with someone who hasn't seen it I find it quite enjoyable each time.
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.[/quote]
Momento is filed under the movies that you can only truely enjoy once. The same with all the M. Night Shamylan movies.[/quote]
hmmm, I find as long as I watch it with someone who hasn't seen it I find it quite enjoyable each time.
xzafixz
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[quote name='zionoverfire'][quote name='xzafixz'][quote name='zionoverfire'][quote name='xzafixz'][quote name='Duo_Maxwell']I didn't care much for Mulholland Drive either, not because I couldn't understand it, like you said it wasn't that hard (epecially after a 2nd viewing). However, I don't like it when it seems like the writers and directors go out of the way to make a film overcomplicated seemingly on purpose, to me Mulholland DR. is one of those films.[/quote]
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.[/quote]
Momento is filed under the movies that you can only truely enjoy once. The same with all the M. Night Shamylan movies.[/quote]
hmmm, I find as long as I watch it with someone who hasn't seen it I find it quite enjoyable each time.[/quote]
Well I guess during those occasions it could be fun, but otherwise, I would never be sitting by myself rewatching The Village, the whole premise of the movie, the shock value is gone.
Mulholland Drive was terrible, I can't stand the mentality that some people have about movies whereas if you don't understand it, or need to watch it 10 times to understand it, it is automatically awesome.[/quote]
Yes but momento was good and that look several watching, but then of course you understood it by the end of the first time through, all the other times I watched it was to look for clues I missed. Other than that, I never really enjoyed movie like Mullolland DR, just a bit to wierd for me.[/quote]
Momento is filed under the movies that you can only truely enjoy once. The same with all the M. Night Shamylan movies.[/quote]
hmmm, I find as long as I watch it with someone who hasn't seen it I find it quite enjoyable each time.
[/quote]Well I guess during those occasions it could be fun, but otherwise, I would never be sitting by myself rewatching The Village, the whole premise of the movie, the shock value is gone.
zionoverfire
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Oh I totaly understand not rewatching the village, I don't watch M. Night Shamylan movies a second time but I find momento different because I like to watch people try and puzzle through it.
zionoverfire
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[quote name='xzafixz']Aqua Teen Hunger Force dvds, don't know if thats been mentioned but should be.[/quote]
I'll follow that up with Sealab 2021 my favorite of the 2
and Full Metal Jacket, although I think I might have already posted that
I'll follow that up with Sealab 2021 my favorite of the 2
and Full Metal Jacket, although I think I might have already posted that
The Successful Dropout
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confidence
basketkase543
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Memento
Butterfly Effect
Super Size Me
Spellbound
Butterfly Effect
Super Size Me
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The Successful Dropout
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[quote name='kaji7p56'][quote name='trustcompany1013']confidence[/quote]
Did you ever watch "Heist" with Gene Hackman? Pretty much the same plot but executed much better. PLus, it came out way before Confidence.
Go watch Heist.[/quote]
watched and enjoyed plenty thanks for reminding me that I had this title
Did you ever watch "Heist" with Gene Hackman? Pretty much the same plot but executed much better. PLus, it came out way before Confidence.
Go watch Heist.[/quote]
watched and enjoyed plenty
thanks for reminding me that I had this title
bread's done