Re: cinemapathetique
Well, I haven't actually seen any of the films you listed, but I'll take a shot at reviewing them anyway:
(Mendoza’s) Serbis;
Don't bother with this one. All those close-shots of vegetables while the narrator drones on and on about the importance of washing. And is the peeling sequence really to be seen as an allegory for our lives? I reject the peeling allegory, and even the washing. I like my carrots dirty.
(Manchevski’s) Shadows;
No again. Seriously, what is with film-makers these days? Can't they afford to bring in some lights? I could hardly see the wrinkles in the bedsheets so vigorously stained by our leading characters.
(Miklos Jancso’s) The Red and The White or Silence and Cry;
This one is a maybe. The scene where Rocko goes outside to "mow the ice" is priceless, as is the moment when Bimsby must choose between piano-sodomy or suicide. You'll be laughing your sneakers off, and perhaps considering making a late-night phone call to someone you barely know.
(Wajda’s) Katyn;
This is a film with all of the punch of an American Idol episode. Take that for what it is worth. It is like somebody's drunken uncle performing karaoke on a cruise ship during a wedding. And filming it.
(MG, LC, & BJ's) Tokyo!;
If you could know the true Tokyo, you wouldn't need this film; on the other hand, if you could view this film objectively, you would have no need for the true Tokyo. One hand washes the glove that feeds it. That's all I have to say.
(James Gray’s) Two Lovers;
If ever a couple needed to "get a room," these are they. He says she's all wet, and she makes things hard on him, in a loop that lasts at least until the climax, where she admits she has never felt so engorged, and he at last discovers that no, he cannot truly "eat" her. I won't give the ending away, but I will provide one word that is nearly an anagram for the film's title: leftovers.
and (Tommy Wisuea’s) The Room;
In a boundary-breaking borrowing from a T.S. Eliot poem, this film features women walking into and out of a room, talking of Michaelangelo. Why do they speak of this person, you may ask, but you will find no answers in this film. We get the feeling that as we view the film, we are edged ever subtly toward our demise. The Room, we finally see, is US.
Herring405
H
Herring405
(view)
Well, I haven't actually seen any of the films you listed, but I'll take a shot at reviewing them anyway:
(Mendoza’s) Serbis;
Don't bother with this one. All those close-shots of vegetables while the narrator drones on and on about the importance of washing. And is the peeling sequence really to be seen as an allegory for our lives? I reject the peeling allegory, and even the washing. I like my carrots dirty.
(Manchevski’s) Shadows;
No again. Seriously, what is with film-makers these days? Can't they afford to bring in some lights? I could hardly see the wrinkles in the bedsheets so vigorously stained by our leading characters.
(Miklos Jancso’s) The Red and The White or Silence and Cry;
This one is a maybe. The scene where Rocko goes outside to "mow the ice" is priceless, as is the moment when Bimsby must choose between piano-sodomy or suicide. You'll be laughing your sneakers off, and perhaps considering making a late-night phone call to someone you barely know.
(Wajda’s) Katyn;
This is a film with all of the punch of an American Idol episode. Take that for what it is worth. It is like somebody's drunken uncle performing karaoke on a cruise ship during a wedding. And filming it.
(MG, LC, & BJ's) Tokyo!;
If you could know the true Tokyo, you wouldn't need this film; on the other hand, if you could view this film objectively, you would have no need for the true Tokyo. One hand washes the glove that feeds it. That's all I have to say.
(James Gray’s) Two Lovers;
If ever a couple needed to "get a room," these are they. He says she's all wet, and she makes things hard on him, in a loop that lasts at least until the climax, where she admits she has never felt so engorged, and he at last discovers that no, he cannot truly "eat" her. I won't give the ending away, but I will provide one word that is nearly an anagram for the film's title: leftovers.
and (Tommy Wisuea’s) The Room;
In a boundary-breaking borrowing from a T.S. Eliot poem, this film features women walking into and out of a room, talking of Michaelangelo. Why do they speak of this person, you may ask, but you will find no answers in this film. We get the feeling that as we view the film, we are edged ever subtly toward our demise. The Room, we finally see, is US.
Herring405
