2018 Movies

[OCClient]

The Playlist published their 100 anticipated films of 2018.

I saw 12 that look interesting in random order.

 

1. Boy Erased Lucas Hedges, Xavier Dolan (conversion therapy)
   
2. On The Basis Of Sex Armie Hammer, Kathy Bates (about R.B.Ginsburg)
   
3. Where’d You Go Bernadette? Cate Blanchett, K. Wiig (Director R Linklater)
   
4. Under The Silver Lake Andrew Garfield (A noir set in modern day Los Angeles)
   
5. The Old Man & The Gun Robert Redford, Sissy Spacek, Casey Affleck
   
6. Burning Steven Yeun (Director: Lee Chang-Dong)
   
7. The Death & Life Of John F. Donovan Kit Harington, (Director Xavier Dolan)
   
8. The Man Who Killed Don Quixote Adam Driver (Director: Terry Gilliam)
   
9. Suspiria Tilda Swinton, (Director Luca Guadagnino)
   
10. Isle Of Dogs (Director Wes Anderson)
    
11. The Irishman Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel (mobster flick)
    
12. If Beale Street Could Talk (Director Barry Jenkins)
    

[LoveNDino]

1. Boy Erased Lucas Hedges, Xavier Dolan (conversion therapy)
   

[LoveNDino]

1. The Death & Life Of John F. Donovan Kit Harington, (Director Xavier Dolan)
   

[OCClient]

I like Xavier Dolan a lot.

He takes some heat from all sides. He's gay. He's young and brilliant. He's French Canadian. Do those things might make him a target? I think so.

His Tom a la ferme (2013) was really interesting. It's a creepy, erotic thriller he wrote, directed and acted.

 

[LoveNDino]

I like Xavier Dolan a lot.

He takes some heat from all sides. He's gay. He's young and brilliant. He's French Canadian. Do those things might make him a target? I think so.

His Tom a la ferme (2013) was really interesting. It's a creepy, erotic thriller he wrote, directed and acted.

 

This movie was a great mind fuck in the best sense.

[samhexum]

The last time I went to the movies was July 1, 2009. (ICE AGE 3) I used to go often, but then my mobility began being compromised. Now I just don't have the patience or attention span anymore. It's been a few years since I've watched a movie on TV. Have there been any decent movies made in the last eight years?

 

I saw Brokeback Mountain 5 times in theaters. Since then, the only things that tempted me out were the first 2 ICE AGE sequels (the original is my favorite animated movie ever).

Edited December 25, 2017 by samhexum

[+ sync]

I stopped going to movie theaters some time ago when so much of the gun-play and other violence began to routinely transition from the screen to the audience seating area.

[TruthBTold]

Has anyone seen The Disaster Artist? What did you think of it?

[+ poolboy48220]

I saw the Disaster Artist about a month ago. I loved it. I'm a huge fan of "The Room".

 

https://www.companyofmen.org/threads/the-disaster-artist.131491/

[Guest RBmont-real]

The Disaster Artist opened in Brazil this week. I realized that many in Rio audience dint not catch nuawnces of Wiseau's speech patterned. Due PTG subtitle.

 

But more imptly i followed my habit of staying to the last of the endroll. And yes, there is a final short scene while the house staff are sweeping up popcorn.

[OCClient]

The Playlist published their 100 anticipated films of 2018.

I saw 12 that look interesting in random order.

 

1. Boy Erased Lucas Hedges, Xavier Dolan (conversion therapy)
   
2. On The Basis Of Sex Armie Hammer, Kathy Bates (about R.B.Ginsburg)
   
3. Where’d You Go Bernadette? Cate Blanchett, K. Wiig (Director R Linklater)
   
4. Under The Silver Lake Andrew Garfield (A noir set in modern day Los Angeles)
   
5. The Old Man & The Gun Robert Redford, Sissy Spacek, Casey Affleck
   
6. Burning Steven Yeun (Director: Lee Chang-Dong)
   
7. The Death & Life Of John F. Donovan Kit Harington, (Director Xavier Dolan)
   
8. The Man Who Killed Don Quixote Adam Driver (Director: Terry Gilliam)
   
9. Suspiria Tilda Swinton, (Director Luca Guadagnino)
   
10. Isle Of Dogs (Director Wes Anderson)
    
11. The Irishman Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel (mobster flick)
    
12. If Beale Street Could Talk (Director Barry Jenkins)
    

 

I saw Isle of Dogs today.

 

I expect if you are a Wes Anderson fan like me, you will get a kick out of this movie. The story is set in Japan, but the theme is universal and apropos to our world today.

 

Edited April 5, 2018 by OCClient

[mike carey]

Review of a new gay-themed film from the Economist.

 

LGBT history

“120 BPM” is a passionate tribute to gay activism

 

Recreating the protests of AIDS campaigners in the 1990s, the film holds lessons for social reformers today

(Edited to add this image. I couldn't post it from behind the firewall when I posted the article, but The Economist tweeted it just now.)

IT is a successful time for films featuring gay subjects. From the Oscar-winning “Moonlight” (2016) to the celebrated “Call Me By Your Name” (2017), they are garnering critical acclaim and encouraging public discussion of how the struggle for acceptance endures today, even in societies which have legally enshrined equality.

 

“120 BPM (Beats per Minute)” is the latest such film. An unabashedly passionate depiction of the work of AIDS activists in Paris in the early 1990s, it has resonated deeply with audiences. At its premiere at the Cannes film festival last summer, critics were in tears; it won several awards, including the Grand Prix. At a recent preview in London, viewers sat dumbstruck during the credits before standing to applaud.

 

The film’s protagonists are part of the Paris branch of ACT UP—the AIDS Coalition to Unleash Power. The film shows the collective strategising and arguing over how to rouse a society that is, as they see it, callously indifferent to thousands of gay people dying from AIDS each year in France. Their protests form much of the film’s drama as they campaign for the release of AIDS treatments and challenge prevailing homophobic attitudes.

 

The film opens with them storming a medical conference, handcuffing its speaker to a post and covering him in fake blood. It’s an unplanned escalation which prompts questions about whether violent stunts alienate people who might sympathise or compel them to listen to the message. They continue to shock and provoke, breaking into the offices of a pharmaceutical company, dousing its walls with fake blood and accusing its staff of being “assassins […] with blood on your hands”. They forcibly enter a school and distribute condoms to its pupils.

 

Throughout these political statements, a tragic personal narrative anchors “120 BPM”. Nathan and Sean, the two main characters, fall in love; Sean subsequently dies of AIDS in his 20s. Their relationship is an assertion of the possibilities of love in the direst of times, and their intimacy is a fervent defence of gay romance and life in a society that often views gay people with contempt and devalues the lives of AIDS sufferers. In one scene at the school, Sean leans in to kiss Nathan in front of a student. The boy dismisses their protests saying: “I’m never going to get your AIDS bullshit, I’m not a fag.”

 

The truculent and captivating tactics are faithful to the spirit of ACT UP’s campaigning work and Robin Campillo and Philippe Mangeot, the writers, were involved with the organisation in the 1990s. Founded in New York in 1987, its activists’ work included marching up to the White House, dousing its fences in fake blood and throwing the ashes of one of their members inside its grounds to protest the first Bush administration’s fumbling response to the AIDS epidemic. ACT UP’s Paris chapter was founded in 1989 and its members used similarly public tactics to their American counterparts, including covering the obelisk of the Place de la Concorde with a giant pink condom. “120 BPM” also shows some stunts which Mr Campillo imagines the collective had staged, such as turning the River Seine red with fake blood.

 

Yet “120 BPM” is moving because it feels far more than a reflection on a bygone moment of AIDS activism and gay stigma. Despite its setting, the film’s close-up shots and its characters personal battles give it an urgent and perennial feel. In its portrayal of ACT UP’s indefatigable fight for medical treatments and equality, it captures the dogged persistence required to spur inert authorities and hasten social change.

 

These messages about the contingency of progress and the trials of activism remain applicable and instructive for gay people and AIDS sufferers, but also for other contemporary activist movements. Today’s political moment—in which some fear that populist politics are fuelling hatred towards racial, national and sexual minorities—may explain why the film has echoed with so many audiences across the world. “I think the film has been longed for because we still need this militant activism,” Mr Campillo told a French film website. His characters’ irreverent crusading and euphoric protest, even as death looms, are a fitting tribute to such work.

Edited April 11, 2018 by mike carey

[TruthBTold]

I think that one of the things that made this movement so different from its predecessors (like the Civil Rights Movement) was the fact that while many of its leaders (MLK, Medgar Evers) were killed, jailed and imprisoned there was the added urgency of the killing of the leaders of the movement by the disease itself, as well as being jailed. I am too old to know whether the history of the response to AIDS is even being taught in American schools. I bet not.