Cinecast Episode 419 – One Take Only, Vasily

We completely failed at trying to do this all in one take. Can you spot the cuts? Creed and Victoria both have their moments when it comes to the long take cinema technique. Kurt and Andrew start with the latter and Matt Gamble signs on to talk the former. We dig into the Rocky legacy as a whole and more or less espouse our love for Stallone. Matt briefly (and very spoiler free) talks about his press screening of The Revenant. He’s pretty sure you’re going to like it. We conclude with more priest pedophilia this week as well as Marvel on Netflix and 86 hours(!) of reliving HBO.

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

 

 
 

 


 

TIME TRACKS:

See comments for time track listings – thanks to listener, Ultimolee, for the extra elbow grease!

 

MAIN REVIEW:

Creed

 

VOD REVIEW:

Victoria

 

THE WATCH LIST:

ANDREW
Rocky, Rocky II Rocky III, Rocky Balboa
– “Jessica Jones” (8 episodes)

KURT
Deliver Us from Evil
Flickering Lights

MATT
– “The Sopranos”

 

NEXT WEEK (MAYBE):

Krampus
– MacBeth
– Legend

– All new top 5 list

 

RSS AND CONTACT INFO:

show content

 

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UltimoLee
Guest

Opening:
In-house business: 1:01
Victoria [SPOILERS] 2:50
Matt Gamble on The Revenant: 23:25
Creed [SPOILERS] 29:50
The Watch List: 105:46
Next Week: 1:40:02
End: 1:48:14

devolutionary
Guest

John Avildsen also directed Rocky V although I think Sly’s writing is more to blame for that lowpoint. For the most part, his career began a steep downturn after Karate Kid though I hear Lean On Me is pretty solid (w/ Morgan Freeman)?

Andrew James
Admin

I haven’t seen Lean on Me in years – but I loved it as a younger man. I would bet that if it were released today it would be considered very “Oscar-baity”. I should rewatch it soon.

#HNIC

Kurt Halfyard
Guest

It was Oscar baity then, and would be now. little snobby 15 year old me even noticed it with Lean on Me back then.

Also, if Morgan Freeman locked the doors of the school in that fashion today, he’d be jailed for the rest of his life, and utterly castigated on social media. it was a simpler time.

Matt Gamble
Guest

He wouldn’t need to now, inner city schools already lock all the doors and shuttle all traffic through one main entrance.

Kurt Halfyard
Admin

Good point.

La Menthe
Guest

Having just rewatched The Wire, Michael B. Jordan keeps taking me back to his young, teenage character Wallace from the show, whenever he talks. He still sounds the same, and pretty much looks the same too.

Rick Vance
Guest

There are TV shows that I like more than The Sopranos however there are none better than it.

It is also singular in terms of the shows it spawned because it perfectly stradles the line between single episodes and long reaching plotting and slow burns that premiere TV has all only become.

Sooooo good.

La Menthe
Guest

That is actually what I would say about the The Wire. Personally, I loved every moment of The Sopranos (it is like episodes of Goodfellas at times), and still consider it and The Wire to be the best TV series ever created. They (and to a degree Six Feet Under, Deadwood and Rome) did after all kick off the Golden Age of Television, and gave HBO the name and reputation it has today. Whenever I rate series, I usually exclude these two, as there is literally no way to reach their quality and achievements, and the huge amount of influence they have had on later series on their respective genres. They altered the terrain of television completely.

Aside from the high quality direction, they are also rich in thematic content. Both portray the cripplingly industrialized situation in America, an aging empire in a state of decay and economical suicide. The Sopranos also gives us brutally honest family drama and psychology lessons. The Wire is incredibly realistic (almost to the point of scary) look at the institutional structure of crime and corruption in different aspects of our society, and just as accurately blames our power systems for it. As one of the characters said it in season 4:

“You put a textbook in front of these kids, put a problem on the blackboard, teach them every problem in some statewide test, it won’t matter. None of it. ‘Cause they’re not learning for our world; they’re learning for theirs. They know exactly what it is they’re training for and what it is everyone expects them to be. It’s not about you or us or the test or the system. It’s what they expect of themselves. Every single one of them know they’re headed back to the corners. Their brothers and sisters, shit, their parents. They came through these same classrooms. We pretended to teach them, they pretended to learn and where’d they end up? Same damn corners. They’re not fools, these kids. They don’t know our world but they know their own. They see right through us.”

These shows have it all. Sophistication. Characters. Willingness to be daring. Consistency. Influence on the medium. They are ambitious, creative, and audacious dramas that not even later great TV shows, like Mad Men and Breaking Bad, can compare to.

Rick Vance
Guest

I don’t actually think the filming technique behind Victoria is in this case a Gimmick I think it is the perfect one that fits the nature of the story as I heard at TIFF at one of the bars I was at, it is a movie about things that once you put into motion they can no stop also being a movie that is one crazy night, therefore not letting even the camera stop greatly adds to the film.

However having seen this on the big screen it probably plays very different when you are completely dark and locked in that room.

Kurt
Guest

I would never argue that it doesn’t add something to the film, but also filming it that way subtracts 100 other possible things from the film. The question is whether or not the story benefits net positive from using such a limited set of tools…I do get the single take adding momentum, but so can absolutely GREAT editing.

Rick Vance
Guest

I think it is more than just Momentum, the spiral of events that start out of that chemistry that can’t be ignored by either person mirrors the fact that by its very nature the camera can’t stop shooting and the film can’t stop moving. Editing wile adding other stuff would take away from that.

Kurt Halfyard
Guest

I see what you are saying, but I disagree with it. I liked VICTORIA. I was really, really happy with the acting, and the last act is amazing.

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