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David Poland

By David Poland poland@moviecitynews.com

BYOB 8814

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14 Responses to “BYOB 8814”

  1. Mike says:

    I’m running out of movies on my Netflix queue. Any suggestions?

  2. Triple Option says:

    Did you ever see “Tell No One”, French film? Came out 8-9 years ago. “Departures” is available for streaming as well. It was a best foreign film from like 6-7 years ago. Four Minutes was a German film that you might not have heard of. I got that one on disc. You didn’t specify disc or streaming. maybe some parameters in style or genre would help.

    I haven’t seen Turtles yet but I was wondering if this’ll do anything for Megan Fox’ career. Then I was wondering if she hadn’t been booted from Trans3 would that have done anything for her besides the big payday itself. Prolly likely she wouldn’t have done the last one. Jonah Rex and Jenny’s bod didn’t do anything. How much ahead of where she’s at do you think she would’ve been? Do you think there’s any linger poison about her? I don’t know how good or bad she may really be. Articles will mention her past w/Bay but nothing to point to the overall blowback she may’ve experienced.

  3. movieman says:

    2 largely overlooked gems eminently worth watching on Netflix:

    Jaco van Dormael’s “Mr. Nobody” w/ Jared Leto in an even better performance than his Oscar-winning turn in “DBC.”

    Arnaud Desplechin’s “Jimmy P.” (Benicio del Toro has never been better).

  4. Mike says:

    I’m not too picky on genre, and prefer disc to streaming. Here are some recent ones I watched and liked: Robot & Frank, Pariah, Ernest & Celestine, Devil. Maybe no docs. I tend to catch the big ones that seem worth watching, but there are so many foreign, indie and dependent ones that slip through the cracks now. I’ve seen Tell No One, but not the others – they’ll go on the queue. Thanks.

  5. doug r says:

    I dunno if it’s still in rotation, but Shakes the Clown is the Citizen Kane of alcoholic clown movies. And I saw Fantastic Voyage got added recently.

  6. cadavra says:

    Track down John Sayles’ HONEYDRIPPER. A remarkable film.

  7. Mike says:

    Seen Shakes. Loved some of Sayles, but sort of lost track of him. Passion Fish is a personal favorite.

  8. SamLowry says:

    MR NOBODY also showed up in my “recommend” queue and I agree that it’s a good movie; someone even came up with a PDF to explain all the possible timelines, which comes at the bottom of a lengthy article discussing the film.

  9. SamLowry says:

    Okay, it’s a jpeg, of a flow chart. My bad.

    Just don’t look at it until after you’ve seen the movie, not because it’ll reveal any shocking secrets but it’ll make you wonder “WTF is this?” and you might not want to watch it.

  10. Mike says:

    Triple Option, Departures was excellent! I’ll try Four Minutes soon.

    Also happened on Submarine, which knocked the socks off me. Then watched Cashback, which was god-awful.

  11. Triple Option says:

    Glad you liked it, Mike! Thanks!

  12. Hcat says:

    I couldn’t get through cashback either, but given the poster how do you not give it a shot. I’m a weak weak man

  13. Mike says:

    I kept waiting for Cashback to realize its whole premise was a setup for a darkly comedic rumination on working retail, and it just took itself SO seriously. Such an empty film.

    Departures has made me go back and watch After Life again, another Japanese movie about death and life. I haven’t seen it in years, but remembered loving it.

  14. movieman says:

    Another Netflix streaming title that’s definitely worth checking out is Zack Parker’s “Proxy.”
    It’s seriously fucked-up, but I mean that it in the nicest possible way.
    If Ti West is this generation’s John Carpenter, Parker could very well be the Millennial answer to Brian DePalma.
    And “Proxy” just might be Parker’s “Sisters.”

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The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

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DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
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