Comments for R, and G, and B

Comment on NOTES: The Innocents (1961, Jack Clayton) – 6.7 [up from 5.5] by Blake Williams

Blake Williams — Sun, 30 Oct 2011 16:36:23 +0000

Actually, that jumbled sentence in the ‘The Future’ post has me committing to writing thoughts on films I’ve seen before, not first-time screenings (90% of everything I see).

Re: Quai des Orfevres, I’m going to have to watch again or something, because I couldn’t place why the film bored me senseless for its middle 45 minutes. Given the general love for it, I figure it was a mood thing (though I felt fine). That, and I enjoyed the last 15 minutes enough to give it another look. I usually struggle the first time I see movies that are riddled with dislikable characters.

Comment on NOTES: The Innocents (1961, Jack Clayton) – 6.7 [up from 5.5] by md'a

md'a — Sun, 30 Oct 2011 14:33:03 +0000

So much for only doing notes on films seen for the first time. Not that I’m complaining. Would have been curious to see how you managed to be so underwhelmed by the glory that is QUAI DES ORFEVRES.

Comment on Cannes 2009 Predictions/Winners by Blake Williams

Blake Williams — Mon, 24 Oct 2011 05:58:29 +0000

“2010 Palme d’Or prediction – Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul)”

Holy shit. I rule.

Comment on DVD: Sleepaway Camp (Hiltzik, 1983) by sc83x

sc83x — Sun, 02 Oct 2011 00:53:23 +0000

i have never seen the ending described as it actually happened with me or described as it should be described. brilliant.

Comment on Mid-August lunches by Blake Williams

Blake Williams — Thu, 18 Aug 2011 15:22:27 +0000

Yeah, the more I thought about it the more I’ve begun to like the discrepancies between their lifestyles and what I perceive to be the lifestyles of today’s teens. Mitchell comments on the changes I was looking for (re: phones, internet, etc.) simply by letting them be absent. The main issue remaining for me is that, like Malick’s vision of his own childhood, the world he shows just seems way too ordinary and universal.

Comment on Mid-August lunches by md'a

md'a — Thu, 18 Aug 2011 08:42:39 +0000

I doubt Mitchell would admit it, but my sense is that to the extent AMERICAN SLEEPOVER is set in the present that’s entirely for budgetary reasons. He’s clearly attempting to depict his own adolescence in the ’80s, and I imagine the film plays better for viewers my age who are more likely to recognize their own experiences. I found it refreshing not to be distracted by period detail, even though I enjoyed that element of SUPER 8 more than the story.

Comment on TIFF 2010 Heirarchy by Mark Brown

Mark Brown — Tue, 21 Sep 2010 08:05:51 +0000

great break down, thanks. Here’s a couple web sites for further info on “Promises Written in Water” and one with other current (unmentioned here) Vincent Gallo film projects:

http://www.promiseswritteninwater.com

http://www.vincentgallofilms.com

Comment on Long Shots by Blake Williams

Blake Williams — Wed, 30 Jun 2010 13:51:53 +0000

probably not until late September, at the earliest. It’s less a video ‘essay’ than just a work that definitely has these ideas in mind.

Comment on Long Shots by HarryTuttle

HarryTuttle — Sun, 27 Jun 2010 19:33:15 +0000

Looking forward to watching your video essay. When will you be able to show it?

Comment on Long Shots by Underground Film Links: June 27, 2010 | Bad Lit

Underground Film Links: June 27, 2010 | Bad Lit — Sun, 27 Jun 2010 13:01:53 +0000

[...] Williams looks at the evolution of the long, static shot between film and video, focusing specifically on Michael Snow’s seminal Wavelength and the more recent film by James [...]