|
||
|
|
|||||||
| Welcome to the Exploding Garrmondo Weiner Interactive Swiss Army Penis. |
|
GFF is a community of gaming and music enthusiasts. We have a team of dedicated moderators, constant member-organized activities, and plenty of custom features, including our unique journal system. If this is your first visit, be sure to check out the FAQ or our GFWiki. You will have to register before you can post. Membership is completely free (and gets rid of the pesky advertisement unit underneath this message).
|
![]() |
|
|
Thread Tools |
In no particular order:
Transformers Before the Devil Knows You're Dead Redacted 300 American Gangster Rendition In The Valley of Elah Sunshine Elizabeth: The Golden Age No, that's not true. I would rather endure 300 and Transformers than to be subjected to any of their compatriots on this dismal index of movies that will be buried beneath greater, hidden treasures currently ignored, in years to come. Why Rendition and not Norbit, or why American Gangster and not National Treasure? For starters, I have not seen either of the latter in the pairing, which is entirely the reasoning: I do not have to see a Brian Robbins vehicle to know it will suck, or another Scary Movie clone (why? in case it may find its way onto my positive year end list?). Denicalis' Ghost Rider reasoning nails shut the coffins on the rest of the faux oscar baits, and why they are worse than the relatively harmless chafe most people see. To inject some positive into this thread/post: Do see Charles' Burnett's Killer of Sheep, filmed in '77 but incomplete until this year; The Coens' No Country for Old Men, whose bold framing and spiritiual crisis tear apart the 3 entries above fit for The Iraq War Hall of Shame; another one of Herzog's personal but best since his glorious 70s german movies, Rescue Dawn; Wes Anderson's The Darjeeling Limited, one I'm still trying to wrap my head around but may be his most clear-eyed of his filmography; Sarah Polley's Debut, Away from Her, which will earn Julie Christie an oscar (she or Marion Cotillard; bookmark this page, you read it here first); and Satoshi Kon's engrossing Paprika, where he ventures into David Lynch territory. Jam it back in, in the dark. |