list http://www.spout.com/ Recent community activity around Pi on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Pi/116036/default.aspx Title: Pi
Year: 1998
Director: Darren Aronofsky
Plot: Darren Aronofsky scripted and made his directorial debut with this experimental feature with mathematical plot threads hinting at science-fictional elements. In NYC's Chinatown, recluse math genius Max (Sean Gullette) believes "everything can be understood in terms of numbers," and he looks for a pattern in the system as he suffers headaches, plays Go with former teacher Sol Robeson (Mark Margolis), and fools around with an advanced computer system he's built in his apartment. Both a Wall Street company and a Hasidic sect take an interest in his work, but he's distracted by blackout attacks, hallucinations, and paranoid delusions. Filmed in 16mm black-and-white, the Kafkaesque film features music by Clint Mansell (of the UK's Pop Will Eat Itself band). Shown at the 1998 Sundance Film Festival where Aronofsky won the drama directing award. ~ Bhob Stewart, All Movie Guide
Times Tagged: 51
Number of Lists: 78
Number of blog posts: 10
Number of discussion threads: 17
SpoutRating: 4
]]>Sat, 15 Aug 2009 22:22:35 GMTPi1998Darren Aronofsky<a href="/players/P___235045/default.aspx" style='text-decoration:underline'>Darren Aronofsky</a> scripted and made his directorial debut with this experimental feature with mathematical plot threads hinting at science-fictional elements. In NYC's Chinatown, recluse math genius Max (<a href="/players/P___234901/default.aspx" style='text-decoration:underline'>Sean Gullette</a>) believes "everything can be understood in terms of numbers," and he looks for a pattern in the system as he suffers headaches, plays Go with former teacher Sol Robeson (Mark Margolis), and fools around with an advanced computer system he's built in his apartment. Both a Wall Street company and a Hasidic sect take an interest in his work, but he's distracted by blackout attacks, hallucinations, and paranoid delusions. Filmed in 16mm black-and-white, the Kafkaesque film features music by <a href="/players/P___235189/default.aspx" style='text-decoration:underline'>Clint Mansell</a> (of the UK's Pop Will Eat Itself band). Shown at the 1998 Sundance Film Festival where Aronofsky won the drama directing award. ~ Bhob Stewart, All Movie Guide51Tag Target (>10)7810174http://www.spout.com/ProductImages/t02166ojfew.jpghttp://www.spout.com/films/Pi/116036/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/15/39569.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/15/2009 3:00:55 PM
Body: Each day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Darren Aronofsky’s Pi (1998). Today’s story is a little shorter than the rest in this series, but it’s worth remembering because it involves another instance where one Sundance success directly resulted in the making of a later Sundance success (a la Slacker leading to Clerks). The earlier film in this case was Welcome to the Dollhouse, which Darren Aronofsky saw at the 1996 festival. In Peter Biskind’s book Down and Dirty Pictures, Aronfsky comments on the experience: “I thought it was such a unique, weird film, that it really gave me the courage to go back to New York and just try to throw something together.” That November he was in production on Pi. A little over a year later, the stylish black and white Pi premiered at Sundance. When he submitted the film, Aronofsky thought maybe it could fit into the festival’s midnight program. Instead, it was selected for competition, alongside High Art, Buffalo ‘66, Next Stop Wonderland and Slam, which would win the Grand Jury Prize. Aronofsky would go on to win the Best Director award, but that wasn’t until near the end of the festival. Days beforehand, the filmmaker was given a first impression that Pi might leave Sundance with bupkis. The first screening, an all-industry presentation, did not go so well. Miramax’s Harvey Weinstein apparently refused to see the film. October Films’ Bingham Ray reportedly hated it and walked out. When the movie ended, there was little applause and not one person asked a question during the Q&A. Fortunately, one important person eventually saw Pi and liked it enough to make it a modest hit while also taking Aronofsky’s promising career under his wing: Amir Malin, who’s company Live Entertainment would soon be renamed Artisan Entertainment and would soon explode as one of the most successful independent distributors of the late ‘90s. Below is the first 20 minutes of Pi. The rest of the film can be found on YouTube in segments if you get hooked. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 20:00:55 GMTSpoutBlogSpoutBlog on spout.com1/15/2009 3:00:55 PMEach day this week, Christopher Campbell will take a look back at a “classic” film that played the Sundance Film Festival. Today’s installment: Darren Aronofsky’s Pi (1998). Today’s story is a little shorter than the rest in this series, but it’s worth remembering because it involves another instance where one Sundance success directly resulted in the making of a later Sundance success (a la Slacker leading to Clerks). The earlier film in this case was Welcome to the Dollhouse, which Darren Aronofsky saw at the 1996 festival. In Peter Biskind’s book Down and Dirty Pictures, Aronfsky comments on the experience: “I thought it was such a unique, weird film, that it really gave me the courage to go back to New York and just try to throw something together.” That November he was in production on Pi. A little over a year later, the stylish black and white Pi premiered at Sundance. When he submitted the film, Aronofsky thought maybe it could fit into the festival’s midnight program. Instead, it was selected for competition, alongside High Art, Buffalo ‘66, Next Stop Wonderland and Slam, which would win the Grand Jury Prize. Aronofsky would go on to win the Best Director award, but that wasn’t until near the end of the festival. Days beforehand, the filmmaker was given a first impression that Pi might leave Sundance with bupkis. The first screening, an all-industry presentation, did not go so well. Miramax’s Harvey Weinstein apparently refused to see the film. October Films’ Bingham Ray reportedly hated it and walked out. When the movie ended, there was little applause and not one person asked a question during the Q&A. Fortunately, one important person eventually saw Pi and liked it enough to make it a modest hit while also taking Aronofsky’s promising career under his wing: Amir Malin, who’s company Live Entertainment would soon be renamed Artisan Entertainment and would soon explode as one of the most successful independent distributors of the late ‘90s. Below is the first 20 minutes of Pi. The rest of the film can be found on YouTube in segments if you get hooked. Originally posted on:SpoutBlog http://www.spout.com/groups/Worst_Movie_Ever/Re_The_Worst_of_2008/104/39238/1/ShowPost.aspx Post By: seely
Post To: Worst Movie Ever
Post Date: 1/8/2009 10:34:20 AM
Body: My first nomination: worst picture: Jumper worst screenplay: Jumper worst actor/actress: Hayden Christensen The plot was the only thing worse than Hayden Christensen's acting (or lack thereof). It wasn't even bizarre in an intellectually challenging Pi or Donnie Darko sort-of-way. It was just ridiculous, and somewhat pretentious when it had absolutely no right to be. This is one of the very, very few films that I could not stand to watch to the end.
]]>Thu, 08 Jan 2009 15:34:20 GMTseelyWorst Movie Ever1/8/2009 10:34:20 AMMy first nomination: worst picture: Jumper worst screenplay: Jumper worst actor/actress: Hayden Christensen The plot was the only thing worse than Hayden Christensen's acting (or lack thereof). It wasn't even bizarre in an intellectually challenging Pi or Donnie Darko sort-of-way. It was just ridiculous, and somewhat pretentious when it had absolutely no right to be. This is one of the very, very few films that I could not stand to watch to the end. http://www.spout.com/groups/sci_fi/Re_Sci_Fi_Recommendations/4/38624/1/ShowPost.aspx Post By: firegiver
Post To: sci-fi
Post Date: 12/19/2008 2:38:21 PM
Body: [quote user="mciocco"] [quote user="Risselada"] [quote user="firegiver"] I really enjoyed Primer and was wondering if anyone had any suggestions for movies that were in a similar vein. Thanks :) [/quote] I haven't actually seen it, but I heard this Spanish movie Timecrimes deals with a lot of similar types of ideas. [/quote] Timecrimes is definitely a great movie and well worth a watch if you like Primer. The time travel concept is a little more basic and easier to follow in Timecrimes, but it still works really well. I remember when Primer was showing at a local film fest, the buzz was that it was "the next Pi" (Pi isn't a time travel story, but it's an artsy math/paranoia movie - the first directed by Darren Aronofsky) If you liked Primer, I'd imagine you'd also like the storytelling of Charlie Kaufman (i.e. stuff like Eternal Sunshine of the Spotless Mind or Adaptation), though we're starting to get away from SF now... [/quote] Excellent suggtestions guys. I have seen Eternal Sunshine (one of my favorites) and Adaptation (it was less memorable but maybe I'll rewatch it.) Thanks again, Im definitely going to pick up Timecrimes soon.
]]>Fri, 19 Dec 2008 19:38:21 GMTfiregiversci-fi12/19/2008 2:38:21 PM[quote user="mciocco"] [quote user="Risselada"] [quote user="firegiver"] I really enjoyed Primer and was wondering if anyone had any suggestions for movies that were in a similar vein. Thanks :) [/quote] I haven't actually seen it, but I heard this Spanish movie Timecrimes deals with a lot of similar types of ideas. [/quote] Timecrimes is definitely a great movie and well worth a watch if you like Primer. The time travel concept is a little more basic and easier to follow in Timecrimes, but it still works really well. I remember when Primer was showing at a local film fest, the buzz was that it was "the next Pi" (Pi isn't a time travel story, but it's an artsy math/paranoia movie - the first directed by Darren Aronofsky) If you liked Primer, I'd imagine you'd also like the storytelling of Charlie Kaufman (i.e. stuff like Eternal Sunshine of the Spotless Mind or Adaptation), though we're starting to get away from SF now... [/quote] Excellent suggtestions guys. I have seen Eternal Sunshine (one of my favorites) and Adaptation (it was less memorable but maybe I'll rewatch it.) Thanks again, Im definitely going to pick up Timecrimes soon. http://www.spout.com/groups/sci_fi/Re_Sci_Fi_Recommendations/4/38419/1/ShowPost.aspx Post By: mciocco
Post To: sci-fi
Post Date: 12/15/2008 6:02:14 PM
Body: [quote user="Risselada"] [quote user="firegiver"] I really enjoyed Primer and was wondering if anyone had any suggestions for movies that were in a similar vein. Thanks :) [/quote] I haven't actually seen it, but I heard this Spanish movie Timecrimes deals with a lot of similar types of ideas. [/quote] Timecrimes is definitely a great movie and well worth a watch if you like Primer. The time travel concept is a little more basic and easier to follow in Timecrimes, but it still works really well. I remember when Primer was showing at a local film fest, the buzz was that it was "the next Pi" (Pi isn't a time travel story, but it's an artsy math/paranoia movie - the first directed by Darren Aronofsky) If you liked Primer, I'd imagine you'd also like the storytelling of Charlie Kaufman (i.e. stuff like Eternal Sunshine of the Spotless Mind or Adaptation), though we're starting to get away from SF now...
]]>Mon, 15 Dec 2008 23:02:14 GMTmcioccosci-fi12/15/2008 6:02:14 PM[quote user="Risselada"] [quote user="firegiver"] I really enjoyed Primer and was wondering if anyone had any suggestions for movies that were in a similar vein. Thanks :) [/quote] I haven't actually seen it, but I heard this Spanish movie Timecrimes deals with a lot of similar types of ideas. [/quote] Timecrimes is definitely a great movie and well worth a watch if you like Primer. The time travel concept is a little more basic and easier to follow in Timecrimes, but it still works really well. I remember when Primer was showing at a local film fest, the buzz was that it was "the next Pi" (Pi isn't a time travel story, but it's an artsy math/paranoia movie - the first directed by Darren Aronofsky) If you liked Primer, I'd imagine you'd also like the storytelling of Charlie Kaufman (i.e. stuff like Eternal Sunshine of the Spotless Mind or Adaptation), though we're starting to get away from SF now... http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37652.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 7:01:15 PM
Body: Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 00:01:15 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 7:01:15 PMCatherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_29_Locked_Up/625/33362/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/31/2008 8:27:07 PM
Body: Well, one of my favorites has to be Dogville and the relentless imprisonment that Nicole Kidman's character must endure. However, not too many people tend to like that film. The Matrix et al is pretty much about the human race trying to escape being imprisoned. Similarly, Cube is all about a random group of people trying to escape a monstrous Rubik's Cube full of booby traps. The Silence of the Lambs is fantastic in the way it gets you to almost root for the cannibalistic imprisoned serial killer to escape his plate glass jail cell. And within the past few years there have been all of the Saw movies which everyone knows about. Some from my youth that scared the crap out of me are Flowers in the Attic, The People Under the Stairs, Carrie and The Goonies. All films about sick and twisted parental figures locking their children in various small, dank rooms of their house. An American Crime, with poor little Juno getting brutalized in a basement by all the neighborhood children and caretaker, could also go into this category. Lastly there are all those flicks about escapes one's self. Fight Club with Edward Norton's character trying to escape the entrapments of his own alter ego. Max in Pi ultimately resorting to extreme measures to release himself from his mind. And all the craziness of people entering into other peoples minds and getting trapped in Being John Malkovich.
]]>Fri, 01 Aug 2008 00:27:07 GMTmercurialWeekly Theme7/31/2008 8:27:07 PMWell, one of my favorites has to be Dogville and the relentless imprisonment that Nicole Kidman's character must endure. However, not too many people tend to like that film. The Matrix et al is pretty much about the human race trying to escape being imprisoned. Similarly, Cube is all about a random group of people trying to escape a monstrous Rubik's Cube full of booby traps. The Silence of the Lambs is fantastic in the way it gets you to almost root for the cannibalistic imprisoned serial killer to escape his plate glass jail cell. And within the past few years there have been all of the Saw movies which everyone knows about. Some from my youth that scared the crap out of me are Flowers in the Attic, The People Under the Stairs, Carrie and The Goonies. All films about sick and twisted parental figures locking their children in various small, dank rooms of their house. An American Crime, with poor little Juno getting brutalized in a basement by all the neighborhood children and caretaker, could also go into this category. Lastly there are all those flicks about escapes one's self. Fight Club with Edward Norton's character trying to escape the entrapments of his own alter ego. Max in Pi ultimately resorting to extreme measures to release himself from his mind. And all the craziness of people entering into other peoples minds and getting trapped in Being John Malkovich. http://www.spout.com/groups/Top_5/Re_Top_5_weirdest_movies/190/32464/1/ShowPost.aspx Post By: indieabby88
Post To: Top 5
Post Date: 7/12/2008 2:09:17 PM
Body: [quote user="Smooth_J"] Surreal, absurd, disturbing, or just plain strange movies. I got this idea from a discussion on IMDB, and I believe some movie website or magazine released a list of the top 20 a while back. In terms of overall weirdness, here it goes: 1. Un Chien Andalou The old Bunuel-Dali collaboration. This had me at the part where the eye gets sliced with a razor-blade. It is quite possibly one of the most disturbing images I have ever seen, and it was made in 1929. It is almost unsettlingly bizarre. This easily takes the cake at a whopping 16 minutes. Watching this film makes you realize how warped the human mind can be, and it's amazing. It is where every David Lynch film is originated, and really where the surrealist genre was created. 2. Eraserhead Not much about this film can be explained that hasn't already been said a million times. It is adequate to say that never has anything like it ever been seen, and it began a long and illustrious career of nightmares and dreamscapes. 3. The City of Lost Children This one is not quite surrealism, more like a plot-driven sci-fi nightmare that more than delivers on the absurdities. However, it also makes up for such strange detachment with likeable characters and genuine horror. 4. Brazil Also one of my favorite movies, it is the crowned jewel of Terry Gilliam's catalogue. The way in which the dream sequences are paralleled by Lowry's just as bizarre existence makes this a masterpiece of surrealism. 5. So many to choose from!!!!!! I can't pick this last one. So, I'll make a list of honorable mentions: Inland Empire, Mulholland Drive, Videodrome (and other Cronenberg), Dead Man, The Adventures of Baron Munchausen, Time Bandits (and most other Gilliam), 2001, Donnie Darko, all of Guy Maddin's shorts (some of which aren't in the Spout database......), Pi. Considering this is labeled "Top 5 Weirdest movies", I'm afraid to include 8 1/2, since it's not per se "weird", but more dreamy and surrealist, which does not necessarily mean weird in my book. All of the surrealist films I mentioned were really by-the-book WEIRD. Am I wrong here? [/quote] For some reason I don't like putting Giliam in the "weird" category, although I know his stuff generally is pretty off-the-wall. I grew up watching "Munchausen" and "Time Bandits," so I guess that kind of thing is just part of me. I've been sporadically watching "Fantastic Planet" lately. Now that is a weird movie. It actually feels like I'm watching a feature-length Gilliam animation from the old Monty Python series.
]]>Sat, 12 Jul 2008 18:09:17 GMTindieabby88Top 57/12/2008 2:09:17 PM[quote user="Smooth_J"] Surreal, absurd, disturbing, or just plain strange movies. I got this idea from a discussion on IMDB, and I believe some movie website or magazine released a list of the top 20 a while back. In terms of overall weirdness, here it goes: 1. Un Chien Andalou The old Bunuel-Dali collaboration. This had me at the part where the eye gets sliced with a razor-blade. It is quite possibly one of the most disturbing images I have ever seen, and it was made in 1929. It is almost unsettlingly bizarre. This easily takes the cake at a whopping 16 minutes. Watching this film makes you realize how warped the human mind can be, and it's amazing. It is where every David Lynch film is originated, and really where the surrealist genre was created. 2. Eraserhead Not much about this film can be explained that hasn't already been said a million times. It is adequate to say that never has anything like it ever been seen, and it began a long and illustrious career of nightmares and dreamscapes. 3. The City of Lost Children This one is not quite surrealism, more like a plot-driven sci-fi nightmare that more than delivers on the absurdities. However, it also makes up for such strange detachment with likeable characters and genuine horror. 4. Brazil Also one of my favorite movies, it is the crowned jewel of Terry Gilliam's catalogue. The way in which the dream sequences are paralleled by Lowry's just as bizarre existence makes this a masterpiece of surrealism. 5. So many to choose from!!!!!! I can't pick this last one. So, I'll make a list of honorable mentions: Inland Empire, Mulholland Drive, Videodrome (and other Cronenberg), Dead Man, The Adventures of Baron Munchausen, Time Bandits (and most other Gilliam), 2001, Donnie Darko, all of Guy Maddin's shorts (some of which aren't in the Spout database......), Pi. Considering this is labeled "Top 5 Weirdest movies", I'm afraid to include 8 1/2, since it's not per se "weird", but more dreamy and surrealist, which does not necessarily mean weird in my book. All of the surrealist films I mentioned were really by-the-book WEIRD. Am I wrong here? [/quote] For some reason I don't like putting Giliam in the "weird" category, although I know his stuff generally is pretty off-the-wall. I grew up watching "Munchausen" and "Time Bandits," so I guess that kind of thing is just part of me. I've been sporadically watching "Fantastic Planet" lately. Now that is a weird movie. It actually feels like I'm watching a feature-length Gilliam animation from the old Monty Python series. http://www.spout.com/groups/Top_5/Top_5_weirdest_movies/190/32168/1/ShowPost.aspx Post By: Smooth_J
Post To: Top 5
Post Date: 7/5/2008 11:01:33 PM
Body: Surreal, absurd, disturbing, or just plain strange movies. I got this idea from a discussion on IMDB, and I believe some movie website or magazine released a list of the top 20 a while back. In terms of overall weirdness, here it goes: 1. Un Chien Andalou The old Bunuel-Dali collaboration. This had me at the part where the eye gets sliced with a razor-blade. It is quite possibly one of the most disturbing images I have ever seen, and it was made in 1929. It is almost unsettlingly bizarre. This easily takes the cake at a whopping 16 minutes. Watching this film makes you realize how warped the human mind can be, and it's amazing. It is where every David Lynch film is originated, and really where the surrealist genre was created. 2. Eraserhead Not much about this film can be explained that hasn't already been said a million times. It is adequate to say that never has anything like it ever been seen, and it began a long and illustrious career of nightmares and dreamscapes. 3. The City of Lost Children This one is not quite surrealism, more like a plot-driven sci-fi nightmare that more than delivers on the absurdities. However, it also makes up for such strange detachment with likeable characters and genuine horror. 4. Brazil Also one of my favorite movies, it is the crowned jewel of Terry Gilliam's catalogue. The way in which the dream sequences are paralleled by Lowry's just as bizarre existence makes this a masterpiece of surrealism. 5. So many to choose from!!!!!! I can't pick this last one. So, I'll make a list of honorable mentions: Inland Empire, Mulholland Drive, Videodrome (and other Cronenberg), Dead Man, The Adventures of Baron Munchausen, Time Bandits (and most other Gilliam), 2001, Donnie Darko, all of Guy Maddin's shorts (some of which aren't in the Spout database......), Pi. Considering this is labeled "Top 5 Weirdest movies", I'm afraid to include 8 1/2, since it's not per se "weird", but more dreamy and surrealist, which does not necessarily mean weird in my book. All of the surrealist films I mentioned were really by-the-book WEIRD. Am I wrong here?
]]>Sun, 06 Jul 2008 03:01:33 GMTSmooth_JTop 57/5/2008 11:01:33 PMSurreal, absurd, disturbing, or just plain strange movies. I got this idea from a discussion on IMDB, and I believe some movie website or magazine released a list of the top 20 a while back. In terms of overall weirdness, here it goes: 1. Un Chien Andalou The old Bunuel-Dali collaboration. This had me at the part where the eye gets sliced with a razor-blade. It is quite possibly one of the most disturbing images I have ever seen, and it was made in 1929. It is almost unsettlingly bizarre. This easily takes the cake at a whopping 16 minutes. Watching this film makes you realize how warped the human mind can be, and it's amazing. It is where every David Lynch film is originated, and really where the surrealist genre was created. 2. Eraserhead Not much about this film can be explained that hasn't already been said a million times. It is adequate to say that never has anything like it ever been seen, and it began a long and illustrious career of nightmares and dreamscapes. 3. The City of Lost Children This one is not quite surrealism, more like a plot-driven sci-fi nightmare that more than delivers on the absurdities. However, it also makes up for such strange detachment with likeable characters and genuine horror. 4. Brazil Also one of my favorite movies, it is the crowned jewel of Terry Gilliam's catalogue. The way in which the dream sequences are paralleled by Lowry's just as bizarre existence makes this a masterpiece of surrealism. 5. So many to choose from!!!!!! I can't pick this last one. So, I'll make a list of honorable mentions: Inland Empire, Mulholland Drive, Videodrome (and other Cronenberg), Dead Man, The Adventures of Baron Munchausen, Time Bandits (and most other Gilliam), 2001, Donnie Darko, all of Guy Maddin's shorts (some of which aren't in the Spout database......), Pi. Considering this is labeled "Top 5 Weirdest movies", I'm afraid to include 8 1/2, since it's not per se "weird", but more dreamy and surrealist, which does not necessarily mean weird in my book. All of the surrealist films I mentioned were really by-the-book WEIRD. Am I wrong here? http://www.spout.com/groups/Criterion_Collection/Criterion_Predictions/115/31486/1/ShowPost.aspx Post By: leeroy711
Post To: Criterion Collection
Post Date: 6/21/2008 12:42:33 AM
Body: From the Criterion FAQ page: How does Criterion decide which films receive the “Criterion Treatment”? We aim to reflect the breadth of filmed expression. We try not to be restrictive or snobby about what kinds of films are appropriate. An auteur classic, a Hollywood blockbuster, and an independent B horror film each has to be taken on its own terms. All we ask is that each film in the collection be an exemplary film of its kind. Of course we can’t just pick movies and put them out. The process of getting the rights to release a film can take years. Even if we want a film, we can’t work on it unless the film’s owners grant us the rights. Why so few films from South Asia or China?”—and we’re continually working to fill those gaps. So, we've got the discussion of which films we think should get the treatment. Are there any films you guys think will get the treatment. It also seems that Criterion releases titles that typically don't allready have a "special" or "collectors" edition released by their studios. This makes sense, I'm sure MGM or Artisan is going to much more reluctant to grant Criterion the rights to release a copy that's going to be better than the one they just released. Some I think may be seen someday. Miller's Crossing - I think there is a Coen Brother box set coming out that does not include this one. And I just think this one has a lot of potential for extra features and great artwork. Pi - This is an indy classic that doesn't really have a great release 1984 - To the best of my knowledge, there is still no dvd release availiable for this movie.
]]>Sat, 21 Jun 2008 04:42:33 GMTleeroy711Criterion Collection6/21/2008 12:42:33 AMFrom the Criterion FAQ page: How does Criterion decide which films receive the &ldquo;Criterion Treatment&rdquo;? We aim to reflect the breadth of filmed expression. We try not to be restrictive or snobby about what kinds of films are appropriate. An auteur classic, a Hollywood blockbuster, and an independent B horror film each has to be taken on its own terms. All we ask is that each film in the collection be an exemplary film of its kind. Of course we can&rsquo;t just pick movies and put them out. The process of getting the rights to release a film can take years. Even if we want a film, we can&rsquo;t work on it unless the film&rsquo;s owners grant us the rights. Why so few films from South Asia or China?&rdquo;&mdash;and we&rsquo;re continually working to fill those gaps. So, we've got the discussion of which films we think should get the treatment. Are there any films you guys think will get the treatment. It also seems that Criterion releases titles that typically don't allready have a "special" or "collectors" edition released by their studios. This makes sense, I'm sure MGM or Artisan is going to much more reluctant to grant Criterion the rights to release a copy that's going to be better than the one they just released. Some I think may be seen someday. Miller's Crossing - I think there is a Coen Brother box set coming out that does not include this one. And I just think this one has a lot of potential for extra features and great artwork. Pi - This is an indy classic that doesn't really have a great release 1984 - To the best of my knowledge, there is still no dvd release availiable for this movie. http://www.spout.com/groups/Movie_Games/Re_Pick_a_Pair/598/31485/1/ShowPost.aspx Post By: leeroy711
Post To: Movie Games
Post Date: 6/21/2008 12:16:19 AM
Body: Cube followed by Pi These films both prove that math is evil.
]]>Sat, 21 Jun 2008 04:16:19 GMTleeroy711Movie Games6/21/2008 12:16:19 AMCube followed by Pi These films both prove that math is evil. http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
Number of films tagged: 8748

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