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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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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
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DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato