Alrightee gang, help a brother out.

The feedback question on The Matineecast last weekend revolved around the format of the show. Yesterday brought with it some decent conversation on Twitter, which leaves me hungry for more ideas. Here’s what I’d like to know:

Should the reviews on The Matineecast start becoming full-on spoilerific?

I have a thought or two on the matter but would really like to know what general consensus is from my ten or twelve listeners.

But enough about me. There was lots happening this past week, and even more to come over the weekend. It all begins tonight when I head over to The Lightbox to listen to a conversation with Guillermo del Toro (!!!)

For your listening and reading fulfillment, I give you…

This week’s podcast link is a no-brainer for me. If it wasn’t cool enough that Some Cast It Hot posted a new episode, the awesome went through the roof that I’ve spent most of the last week hanging out with the two voices you’ll hear in the recording. It’s the first time any of the Some Casters have ever been in the same room, and amusingly enough, you’ll hear me get mentioned a few times within the episode.

Also setting up camp at Toronto After Dark is the frequently-wrong Bob Turnbull (ask him about microwaves). He took in the film that was dubbed as the freakiest film of the festival – ABSENTIA – and seems to have enjoyed himself. I wonder if he liked it more than PULSE?

Back during TIFF, there was one film I saw that I decided not to write about – Michael Winterbottom’s TRISHNA. In part I skipped it because it was the final film I saw and I was just too damned wiped, and in part I shrugged off writing because I didn’t much care for the film. Well it turns out Simon Columb did write about it after his experience at LIFF…and likewise it looks like he dug it more than I did.

Any day that someone starts falling for Terrence Malick it’s a good day. This week it was Jessica’s turn.

If you know me, you know I can’t resist a great CITIZEN KANE discussion (“Watch it Again!!”). Univarn has an interesting angle this week, and expresses his case quite eloquently.

Finally Ruth is trying to expand her scope and get a better appreciation for short films. take a look at the rather lively discussion she has sparked and add in suggestions of any great shorts yet to be mentioned.

Then, for the Tweet of The Week, there’s the fact that I never entirely know what to make of the always unpredictable paolo…

[blackbirdpie url=”http://twitter.com/#!/paolocase/status/129271567501885440″]

Enjoy!

 

15 Replies to “Everybody’s Talkin’ 10 – 27 (Chatter from Other Bloggers)”

  1. Thanks for the link Ryan! I didn’t realise you saw it! Why didn’t you dig it? Looked stunning, brilliant actors, classic – in terms of being a literary classic – story … what’s not to like?

    1. The narrative felt a little off to me…like Winterbottom was so enamoured to be shooting in India that he felt the need to get in as many montages as he could.

      I also wasn’t so fussed about the very end (which, I do understand is more to do with the source material than the film)

  2. Cheers for the linkage! Well my love for him isn’t yet without reservations, but I guess I’m slowly getting into his universe. Days of Heaven was certainly easier to embrace than some other stuff I’ve watched. And still just as pretty.

    1. I’ll be curious to hear what you think of BADLANDS, which is by far his most accessible film…and I can’t recall, but I think you still have THE THIN RED LINE to watch as well, right? That one is more philosophical and poetic.

      He’s an interesting case as a director as he’s one of the few I can think of whose films should be watched in chronological order for maximum results.

      Lookin forward to hearing your reactions!

      1. Yep. I haven’t seen either of those movies yet, but I’ll definitely get to them. I think too that watching him in a chronological order probably is recommended.

        1. Funny thing is though, most directors you don’t need to. There’s nothin to be gained from taking Scorsese chronologically or Hitchcock for that matter. Somehow though, Malick has continued down this straight philosophical path that grows with each film.

          Pretty unique!

  4. I’ve been trying to come up with a way of saying thanks for linkage that doesn’t seem as if I’m just copying and pasting other people’s thank yous. Naturally my first thought was to type “You’re and gentlemen and a scholar, dear sir” but I worried that would go to your head so I instantly scrapped that idea. For a brief period of time I thought spinning ‘holla at ya boy’ to ‘thnx 4 hollaing [¿?] at ya boy’ until I remembered that typing something like that with the intention of someone earnestly reading it was counter-productive, and a tad insulting. After that came the inevitable bout of depression and heavy drinking. Not alcohol, mind you, but I did down a third a gallon of OJ… Though in that fruit enriched stupor I came upon an epiphany. If I just type out all the random thoughts that pop into my mind, wrap them around a stupid, albeit possibly amusing narrative, and end it with the word thanks then there is absolutely no way one could mistake the level to which I went to say thank you!

    Thanks.

  6. Looks like I’m the sole remaining person in your list of links that has yet to thank you this time around…And even though you snarked out all over me, I’ll throw a word of thanks at ya anyway – especially since you pointed to a spiffy little film like “Absentia”. My other review (so far) from After Dark is for another great little film called “Midnight Son” that I think really deserves a whole lot more attention.

    As for the wrongness of my microwave recollections, well, that’s just faulty miswired memory. When it comes to stating reasons why a film like “Pulse” is great, that’s when my rightness kicks in and stomps you down deep into the mud…B-)

    I’m cool with you not digging it (apparently subtlety is simply not your bag…), but it truly is wonderfully built – conceptually, thematically, visually and sonically. If it appears “familiar”, it’s likely because other films copied it (it was released in 2001). Of course, it borrows a whole lot from Japanese film of the 60s (seriously, these guys knew how to use sound to their best advantage).

    Interestingly enough, a lot of comments I heard at After Dark were about the sound field design of some of the movies – even the lower budget ones. “Absentia”, for example, or the Canadian “The Corridor”. Both “The Woman” and “The Innkeepers” also had fabulous soundscapes – the former being more aggressive in its use while the latter played more delicately with it.

    What we can no doubt agree upon is that it sucks that Alex has to go back home…

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