Film The Movies I want to see thread

Some films to look forward to this year:

The Grand Budapest Hotel (Wes Anderson)
Gravity (Alfonso Cuarón)
Inside Llewyn Davis (Joel and Ethan Coen)
Nymphomaniac (Lars von Trier)
Monuments Men (George Clooney)
Twelve Years A Slave (Steve McQueen)
Mood Indigo (Michel Gondry)
Only God Forgives (Nicholas Winding Refn)
The Wolf of Wall Street (Martin Scorsese)
The Counselor (Ridley Scott)
Before Midnight (Richard Linklater)
Stoker (Park Chan-wook)
Don Jon's Addiction (Joseph Gordon-Levitt)
Trance (Danny Boyle)
To the Wonder (Terrence Malick)
I’m So Excited (Pedro Almodóvar)
Old Boy (Spike Lee)
The Place Beyond the Pines (Derek Cianfrance)
Mud (Jeff Nichols)
The Grandmaster (Wong Kar-Wai)
The Wind Rises (Hayao Miyazaki)
Princess Kaguya Story (Isao Takahata)
The Congress (Ari Folman)
La Belle et la Bete (Christophe Gans)
Gangster Squad (Ruben Fleischer)
The Zero Theorem (Terry Gilliam)
The World's End (Edgar Wright)
Labor Day (Jason Reitman)
Snowpiercer (Bong Joon-ho)
 
A few in there I didn't know about...

R.N7 said:
Some films to look forward to this year:

The Grand Budapest Hotel (Wes Anderson)
Gravity (Alfonso Cuarón) Looking intensely forward to this one, very curious as to the result
Inside Llewyn Davis (Joel and Ethan Coen) Didn't know the Coens had a film coming out, though looking at the synopsis, it doesn't make me specially impatient of seeing it.
Nymphomaniac (Lars von Trier) There'll be loads of boobs in this one
Monuments Men (George Clooney)
Twelve Years A Slave (Steve McQueen) Yes please! Can't wait for it, I'm expecting a lot if it.
Mood Indigo (Michel Gondry)
Only God Forgives (Nicholas Winding Refn) Didn't know about this one, could be good.
The Wolf of Wall Street (Martin Scorsese) Hadn't heard anything about this new Scorsese, we'll see... Will definitely go see it.
The Counselor (Ridley Scott) Fassbender, Pitt, Bardem... Could be really good.
Before Midnight (Richard Linklater) Don't give a shit about this one, didn't like the others, never managed to care much about them.
Stoker (Park Chan-wook)
Don Jon's Addiction (Joseph Gordon-Levitt) I like JGL, so I'll look forward to this. And Scarlett Johansson is in it, so ok.
Trance (Danny Boyle) Yep I like Boyle (mostly) so I'll definitely go see this one.
To the Wonder (Terrence Malick) Yes please!
I’m So Excited (Pedro Almodóvar)
Old Boy (Spike Lee) This one, I'm hoping for the best but preparing for the worst, I loved the original so I'm a bit on the fence about an American remake. But Spike Lee isn't a complete idiot, so it could be ok.
The Place Beyond the Pines (Derek Cianfrance)
Mud (Jeff Nichols)
The Grandmaster (Wong Kar-Wai)
The Wind Rises (Hayao Miyazaki)
Princess Kaguya Story (Isao Takahata)
The Congress (Ari Folman)
La Belle et la Bete (Christophe Gans)
Gangster Squad (Ruben Fleischer)
The Zero Theorem (Terry Gilliam) Love Gilliam so yep!
The World's End (Edgar Wright) YES! Can't wait for this one!
Labor Day (Jason Reitman)
Snowpiercer (Bong Joon-ho)
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I'm also looking forward to The Master, Django Unchained (which is out in 2013 in France), as well as Nightingale.

Also curious about World War Z though I'm almost sure I'll be disappointed.
 
kps88 said:
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This looks good. Gonna guess that Cooper has to kill Gosling in an emotional Heat style showdown at the end.

gambit28 said:
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Christ. I couldn't even be bothered to finish the trailer so feck the film. What a bag of wank.

"So how about there's like an earthquake yeah...and people get crushed and their arms ripped off and shit yeah....and then it's in a really run down shanty town right and so the survivors have to escape from all the rapists looters and psychpaths yeah....and someone gets their arm ripped off again...zzzzzzzz"
 
Watched Django Unchained yesterday, brilliant, witty dialogue, great character development, quality acting and the 2.5 hours of runtime just wizzes by in a flash. Highly recommended!
 
The only thing the Last Exorcism had going for it was that it tried to 'shake' up the exorcism-film sub-genre with the found footage idea (which has been used and overused everywhere else). The film was pretty poor as a whole, and the ending was dreadful. Doubt part 2 will be any better to be honest.

Generally speaking, I think the exorcism sub-genre has pretty much reached its limits, it's not exactly a genre that allows too many novelties (in filmmaking, in scenario, in narration, etc.) and it just feels like you're watching the same movie over and over again. The worst part being that they don't even make an effort anymore and stick useless uncharismatic actors who you don't care about in there, so you don't really care about what happens to them. At least in Friedkin's Exorcist, he took the time to set the scene and really flesh out his characters, so you actually wanted to know what was going to happen.
 
Rooney in Paris said:
The only thing the Last Exorcism had going for it was that it tried to 'shake' up the exorcism-film sub-genre with the found footage idea (which has been used and overused everywhere else). The film was pretty poor as a whole, and the ending was dreadful. Doubt part 2 will be any better to be honest.

Generally speaking, I think the exorcism sub-genre has pretty much reached its limits, it's not exactly a genre that allows too many novelties (in filmmaking, in scenario, in narration, etc.) and it just feels like you're watching the same movie over and over again. The worst part being that they don't even make an effort anymore and stick useless uncharismatic actors who you don't care about in there, so you don't really care about what happens to them. At least in Friedkin's Exorcist, he took the time to set the scene and really flesh out his characters, so you actually wanted to know what was going to happen.
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I agree with everything, these sort of film are my favs and I will watch them all but I have been very disappointed with them for a while, I even rewatched the Exorcist again a while ago and I thought it had dated very badly but still way better than the stuff being churned out today.
 
Tarantino didn't get nominated for best Director that's a shame. Quvenzhané Wallis is the youngest ever actress to be nominated for best actress award...age 9.

Christoph Waltz better win best supporting actor.
 
Never understood why cinematography gets such a low listing when it's equally as important as director.
 
That's not really even remotely true gambs.

Though I'll certainly agree that loads of people think a director does what a DOP does. The director is supposed to run the whole show from the casting, rehearsals & design stage right through to the editing, overseeing and instructing every crew on what he wants from them and bringing it all together (though obviously this depends hugely on the director) The DOP's only job is to understand what the director wants and frame it nicely.

If anything editing is the most important thing after directing.
 
Because at the end of the day, the director(and many, especially the big names with the power) tweak the cinematographers suggestion to their liking, and even do their own cinematography on plenty of key scenes.

The writers come closest to importance to the director really, which is why it's considered a "big" award to win.
 
Yes, you're right actually, writing is the most important. I'd somehow forgotten that. Possibly because I was thinking from a "crew" standpoint?

I'd also posit that good sound is arguably more important than good cinematography. Bad sound can absolutely ruin something, whereas bad framing/lighting isn't quite as fatal.
 
I know full well the roles people play and a good DOP is equally as important and is involved throughout the process especially in post where they make the final Cinema Package. His Job isn't just to frame it nicely.
 
Mockney said:
Yes, you're right actually, writing is the most important. I'd somehow forgotten that. Possibly because I was thinking from a "crew" standpoint?

I'd also posit that good sound is arguably more important than good cinematography. Bad sound can absolutely ruin something, whereas bad framing/lighting isn't quite as fatal.
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How often do films have bad sound though? You don't really notice the distinction between normal and really good like in cinematography. A cinematographer can have a massive influence on the looks of a film.

 
Actually sound is also equally as important for me. I do agree that the story is paramount but I don't consider all writers as being important. A good script can be ruined by a bad director. A bad script can made into a piece of art by a good director. A good DP can make the story look incredible. A bad DP can make it unwatchable. It is hard with the modern directors who are DP's as well, have skewed the view.
 
gambit28 said:
I know full well the roles people play and a good DOP is equally as important and is involved throughout the process especially in post where they make the final Cinema Package. His Job isn't just to frame it nicely.
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True, they light and often grade too, but to say they're equally important as a director is madness. Only as far as the look of the thing. A (good) director is responsible for everything else, and a good director should be telling the cinematographer what it is they want in the first place.

R.N7 said:
How often do films have bad sound though? You don't really notice the distinction between normal and really good like in cinematography. A cinematographer can have a massive influence on the looks of a film.
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Films with bad sound don't make it into cinemas is why. Sound doesn't make films, but it can certainly break them. A bad cinematographer will still get the gist of what's happening. Any old joe can point and shoot at the action. A bad sound guy can ruin the entire thing and make editing impossible. It's like referees, if it's good it shouldn't be noticed, but it's vital.
 
Mockney said:
True, they light and often grade too, but to say they're equally important as a director is madness. Only as far as the look of the thing. A (good) director is responsible for everything else, and a good director should be telling the cinematographer what it is they want in the first place.
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They first experiment create an overall visual theme. Plan out the camera movement and create the shot list and lighting plans scene by scene. They then work out which camera/s will they use, which lenses, which focal lengths, what aperture, which film stock, or digital, what equipment will be needed from rigs, vehicles, Neutral density filters and god knows how many other myriad small items that are needed. They will plot out the position of the sun throughout the days shoot when on external locations and work out how to control the light at any given place. They will then on the shoot utilise all of this and change everything so no matter what the director decides to do when they block the shot it is lit and every inch of footage matches. They will then also work with the editor and the colourist in post as well as advise an VFX work. Finally they will then work out the final cinema package. To just point and shoot is the job of a cameraman.

A good director does tell the cinematographer what he wants, but he does it in pre production and not on the set. That way it allows the Director to concentrate on the story and performance. The Dp then spends his time making the visual elements work.
 
Shane Hurlbut is currently doing camera tests for the Dreamworks Need For Speed film.
 
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