Cinecast Episode 213 – Broadening Your Horizons by Telling You Something You Already Know

 
 
We still have not figured out that it is the ‘summer blockbuster’ season, so instead Kurt and Andrew decide to dig into one of the big Canadian films, (nominated for best foreign language Oscar) Denis Villeneuve’s Incendies (which we keep very light on *Spoilers*). An epic ‘what we watched’ section follows. Along the way, tangents on Lars von Trier and Cannes, the two fantasy epic mini-series on cable, Tree of Life, and Jodie Foster’s Beaver. There are lots of good DVD and Netflix picks to round out the show.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


 
 

 

To download the show directly, paste the following URL into your favorite downloader:
http://rowthree.com/audio/cinecast_11/episode_213.mp3

 
 
Full show notes are under the seats…



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IN-HOUSE BUSINESS:
Jawbreaker Blu-ray winner – Joe Pierce (Joe’s Movie Review Site)
– Kurt on the Documentary Blog Podcast

MAIN REVIEW:
Incendies


WHAT ELSE WE WATCHED:

Andrew
Network
In the Loop
– “Extras”
– “Camelot/Game of Thrones”

Kurt
Minority Report
Caliber 9
Fantastic Mr. Fox
Contact


DVD PICKS:

Kurt
The Hustler
5 Deadly Venoms

Andrew
The Other Woman
Hurry Sundown


OTHER DVDs NOW AVAILABLE:
Pale Flower (Criterion) [Blu-ray] Deep Red [Blu-ray] The Vanishing on 7th St.
Red, White and Blue
Diabolique
The Mechanic
The Rite
(Criterion) [Blu-ray] ESPN Films “30 for 30” (Gift Set Collection)
The Roommate
Elephant White
Daydream Nation

“All in the Family” (s9)
“The Twilight Zone” (s4) [Blu-ray] Jagged Edge [Blu-ray] Money Train [Blu-ray] Ju-On White Ghost / Black Ghost [Blu-ray] Sophia Loren Collection [Blu-ray]


INSTANT WATCH NEW RELEASES/EXPIRING SOON:

Kurt
Red, White and Blue (new)
Solaris (expiring)

Andrew
Jack Goes Boating (new)
Punch Drunk Love (expiring May 24)


OTHER STUFF MENTIONED:
Von Trier’s Press Conference


NEXT WEEK:
Pirates of the Caribbean: On Stranger Tides
The Beaver
Everything Must Go
Beautiful Boy
Bobby Fischer Against the World


PRIVATE COMMENTS or QUESTIONS?
Leave your thoughts in the comment section below, or email us:
feedback@rowthree.com (general)
andrew.james@rowthree.com
kurt@rowthree.com

 

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antho42
Guest

Spoilers

The Children of Men is not a Hollywood ending as you make it out to be Kurt. The ending is very ambiguous. Here’s the way I see it:
1) We never know whether Clive Owen’s character died.
2) We never know whether the ship seen in the end is part of the Human Project.
3) Even if it was the Human Project, we never know whether they are a “good” organization.
4) Furthermore, if they are a good organization, we never know whether it is too late to find the cure.

For starters, we do not whether Clive Owen’s character died.

antho42
Guest

The best science fiction ending of the last decade is the ending for Time of the Wolf. Now, that is how you end a film.

Kurt Halfyard
Admin

Dang, why did I leave CHILDREN OF MEN off my list over at TWITCH.. Thanks Antho!

Agreed on TotW. Marvelous ending.

Kurt Halfyard
Admin

But think of the ‘they are just stuck out there in the fog waiting’ – NOW THAT IS A FUCKIN’ Ending, especially in a movie that likes its long takes and casual realism….

Mike Rot
Member

Best that anybody intending to see Incendies not even listen to the talk here about it until afterwards, the more you emphasize something the more you as a viewer are going to look for it, and it ruins the experience. Just know the film is awesome. Still my favorite film of the year. I disagree with Andrew about any issue with the first half, I in fact can’t even think of what exactly is considered ‘typical’ about it – if talking about the bus scene, you are crazy. I disagree with Kurt if the implication was that Villeneuve is Haneke-lite… Incendies is as good as anything Haneke has made, it has extreme aspects but it is not sloppy… to me it feels like one of the best directed films in recent memory, it is so precise, so confident. I never felt a sense of it coasting on some convention. The Radiohead choices are awesome, they are not your conventional choices of Radiohead, they don’t speak directly in the lyrics about what is going on, but poetically they hit it perfectly.

Kurt
Guest

Did I say Haneke-Lite in the podcast? Villeneuve is more Haneke-like (I agree that it is one of the best directed films from last year) but a bit more human and a bit less insect like, but still not afraid to sting.

Marcus
Guest

Speaking of comparing Contact to 2001. Kurt, I know your a huge Kubrick guy, and you probably already mentioned this on a podcast I must have missed. What’s your feelings towards Eyes Wide Shut.

Kurt Halfyard
Admin

I really like EWS and rank it up there with some of Kubrick’s best. I am very happy to see a lot of folks are joining me in the love.

I believe I had a lot to say on the film here : http://moviepatron.com/blog/2007/10/31/cinecast-episode-66-affleck-affleck-and-affleck/

rot
Guest

*****Warning: Major Incendies Spoiler Ahead********************
*****Warning: Major Incendies Spoiler Ahead********************
*****Warning: Major Incendies Spoiler Ahead********************

reposting my comment from the Incendies thread:

Thinking about the use of Radiohead in the film it now seems apparent to me that it wasn’t without some consideration on the part of the filmmaker. The jarring effect of the modern Western music in a foreign landscape appear to conflate the two timelines of daughter and father. The song plays twice in the film, the other time it is when Jeanne is listening to it through her earphones on a bus. Thinking back on the overt use in the beginning you can see how it is like the film is making a point that the past begets the present… that this pivotal moment in her father’s life is what leads to her being born in the first place. The music is listened to by her only because of what happens in that scene. The song is a rallying cry to fighting oppression, but it is subdued (and sometimes incomprehensible due to Yorke’s singing) so that it kind of plays as both text and raw music. The chorus (which I had to look up) is “we ride tonight, ghost horses”. That is suitably abstract enough to not be blunt, but is also kind of awesome for what is about to happen to Nihad.

antho42
Guest

Contact — On Kurt’s recommendation, I watched the film. I like it, however, it is a somewhat disappointing experience. The film could of easily been a top 5 science film of all time if it would taken a gritty, Children of Men style approach. The film’s cheesiness and its unsublte approach does not correspond with the complex philosophical and religions questions that it raises. In other words, it should had been an art-house, not a blockbuster film.

It still a great, popcorn film, and in my opinion, better than District 9.

Robert Zermekis could of been the next Spielberg. Instead, he decided to make ugly looking, quasi animated features.

antho42
Guest

Spoilers:

In the end science wins because of the empirical evidence. So it is not faith based.

Additionally, the government should had repeated the experiment with other test subjects. .

antho42
Guest

Spoilers:
But the film wants it to have it both ways. I still like the film.

Ms Curious
Guest

Science never wins! Love will always trump science! This is the constant issue science has with everything, the unpredictable that it wishes to predict, hone, captualise. Kubrick got that straight away! That’s why his films linger, haunt, tease, scratch and dance. He defys the scientific stance, pokes fun at it and leaves audiences gasping.

Watch this film, but do so wih a martini, it will make it seem much more worthwhile. Best of all you’ll have a pip from the olive to throw at the screen when it ends!

Kurt Halfyard
Admin

Contact may not always be the smartest or subtlest in its approach, but how often do we get films that ask the really big questions squarely aimed at a wide audience. Contact is a gateway film for stuff like SUNSHINE, SOLYARIS, 2001: A SPACE ODYSSEY, and, I guess, TREE OF LIFE.

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