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Jules and Jim (1962)
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All reviews for Jules and Jim
THE VICIOUS KIND. Sundance 2009 ...
by
Karina
in
Karina on SpoutBlog
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"The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically. It’s something I very proud of. Maybe ... "
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THE VICIOUS KIND. Sundance 2009 ...
by
SpoutBlog
in
SpoutBlog on spout.com
hasn't rated it.
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"The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically. It’s something I very proud of. Maybe ... "
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Overrated.
by
Vettel
in
Vettel Blog
hasn't rated it.
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"Believe me, I like alot Francois Truffaut's work, but this is one film I find highly overrated. I saw Shoot the Piano Player, not expecting much, and enjoyed it much more than repeated viewings of Jules and Jim. "
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Catherine et Jules et Jim
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JScott
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JScott Blog
loved it.
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"Truffaut finds the perfect canvas to unite two of his favorite motifs; impossible, destructive, absolute love and the love for art. Art provides the chance for survival. He said, “Usually it’s literature that saves film, but here it is film that saved a great piece of literature.” It’s a unique achievement as normally books are only made into films if they already have a solid fan base. Jules et Jim features the first appearance to Jeanne Moreau (as Catherine). She was in The 400 Blows but only in a small role, she lost a dog. Catherine is an incredibly liberating expression of female’s sexual and intellectual freedom. Truffaut uses love triangles in many if not all of his films. The end of his films focuses on the left over member of the triangle, the survivor. Bernadette in Les Mistons, Antoine Doinel in The 400 Blows, Charlie in Shoot the Piano Player, and Jules, all offer their gaze to us and an ambiguous mix of solitude, and freedom. Thi ... "
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Righteous Baby Mama Returns to ...
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dibot
in
dibot Blog
is neutral about it.
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"Righteous Kill reunites two acting greats, Al Pacino ("Ocean's Thirteen") and Robert De Niro ("Stardust"). I was intrigued enough to get to the theater, but really the film is just a glorified made-for-TV cop drama. It's very predictable. Neither De Niro or Pacino really bring anything new to their roles of cops tracking a serial killer who is probably one of their own. I did enjoy seeing De Niro play the more angry role. Just wait for this to come on cable.With funnywomen Tina Fey ("30 Rock") and Amy Poehler ("Saturday Night Live") in the leads, Baby Mama should have been a big basket of funny. But, alas, it was not. Fey wants a baby, but is unable to conceive, so she hires Poehler to be her surrogate. Poehler is white-trash. Fey is upscale business. I guess writer/director Michael McCullers ("Thunderbirds," Baby Mama is his directorial debut) thought hijinks would ensue. However, the only funny bits were Poehler peeing in the sink and everything involving the doorman, Romany Mal ... "
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