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Dave Navarro recommended Ordinary People (1980) in Movies (curated)

"This one’s going to make you — well, I don’t know what you’re going to say to this, but Ordinary People, the Robert Redford film with Timothy Hutton, and Mary Tyler Moore, Donald Sutherland, [has] got to be one of the most emotional films for me, just seeing the middle upper class being stripped of the veneer and seeing the dysfunction within. That film really captures that more than any other, I think, and certainly of that time, it was such a dangerous statement for Robert Redford to be making in a film like that. Every time I watch that film — and I must have seen it over 100 times — I weep. And Mary Tyler Moore’s performance in that film, I’m telling you, man, growing up in LA, I knew women like her… That was my friends’ mothers, without a doubt. It’s so simple and it’s just beautiful story telling. Judd Hirsch as the therapist and the relationship he creates with Timothy Hutton in that film is pretty special. I feel that if that film doesn’t touch you on some level, that you’re not human. Looking back at it now, it may seem like a very after-school-special choice, but if you really visit that film again, it holds up, man. It’s pretty compelling. You got to see that, man, on a Sunday when it’s a little rainy out there. I don’t know if you have a boyfriend, or a girlfriend, but whoever that is, sit with them, put that on. I’m telling you, dude. It’s like… How do I put it? It’s like The Notebook for our generation, or my generation, you know?"

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LoganCrews (2861 KP) rated Changeland (2019) in Movies

Sep 19, 2020

Changeland (2019)

2019 | Comedy, Drama

9.0

(1 Ratings)

Movie Rating

An outright blast - a revitalizing, unfiltered tonic through-and-through. Would pair perfectly with 𝘛𝘩𝘦 𝘚𝘦𝘤𝘳𝘦𝘵 𝘓𝘪𝘧𝘦 𝘰𝘧 𝘞𝘢𝘭𝘵𝘦𝘳 𝘔𝘪𝘵𝘵𝘺 (2013) in elite-tier escapism pieces that so vividly believe in the curative power of getting away and living in the moment. Definitely one of the most depressing movies to watch during the COVID-19 pandemic in that it features some of the most beautiful location cinematography I've ever seen, a fucking *smashing* soundtrack + Patrick Stump score, and an absolutely infectious sense of healing and bliss delivered through an affable cast who fit spotlessly together. Reminded me a lot of something like 𝘗𝘳𝘪𝘯𝘤𝘦 𝘈𝘷𝘢𝘭𝘢𝘯𝘤𝘩𝘦 in the best way. Just people coming together and having a good time, impossible not to fall in love with - one of the ultimate hangout movies there ever was. Huge props to Seth Green, who this was an obvious passion project for. I can't lie and say that the story here is super compelling, it isn't really - it isn't bad by any means either, but it's effectively 𝘎𝘢𝘳𝘥𝘦𝘯 𝘚𝘵𝘢𝘵𝘦 for people who don't hate themselves (minus the towering quirk). But it's clear he feels for this material so deeply that it shows through bigtime in the final product. What could have been some cheapoid DTV shrug instead comes across as a full-bodied experience because of the chemistry onscreen and belief in the picture. And of course I'm just a sucker for late-career Macaulay Culkin, who in this gets blind drunk into a Thai boxing ring wearing a pair of his signature bunny ears. Oh and also Randy Orton gives an inspirational speech. I loved this film deeply.

Kudos

Kirk Bage (1775 KP) rated The Draughtsman's Contract (1982) in Movies

Jan 28, 2021

Quite often more interesting in theory than practice, the films of Peter Greenaway can be inaccessible, oppressive and pretentious in the worst way. He himself would say his work is half film, half art, without apologising for it, and why should he? Looking at his CV, I can say there have been some I have enjoyed, or at least marvelled at: The Cook, The Thief, His Wife and Her Lover being the obvious one. Drowning by Numbers being another – ambitious and ingenious constructions that are startlingly effective if in the mood for such conceits. Whereas things like Prospero’s Books and The Pillow Book cross the line of pomposity and pretentiousness just too far. So it was with trepidation I approached this one, expecting that the wigs and costumes would far outshine the content of the story. I was quite wrong.

The Draughtsman’s Contract is still difficult to engage with, especially on first viewing, as the plot is dense and often hidden within the trivialities, as it unfolds, however, it becomes an ingenious murder mystery with all the clues hidden in plain sight under the artifice of surface detail. The things that are happening are not the story, the story is underneath, much as the real humanity of these people is hidden under ostentatious wigs and skirts. Familiar British actors of the time such as Anthony Higgins, Janet Suzman and Hugh Fraser serve Greenaway as consummate storytellers in a borderline theatre style throughout. It shouldn’t work or be half as compelling as it is, but there is magic at work here of some kind. Unique and marvelous if not always easy. But that is Greenaway!