>News First lively thread in ages still doesn't reach bump limit Cars 3 is out! user watches Elephant Man user describes the Letterboxd experience user sums up /lbg/ user forgets everything AGAIN Unusual freak of nature user didn't see anything special in Wonder Woman
Mr. Reece Kitty gives Intolerance: Love's Struggle Throughout the Ages a 4 star rating
Charles Martin
...
Cameron Rogers
You do.
Luke Gomez
I do.
Nathan Martinez
He does.
Dominic Perez
He didn't give a review, so we don't know why he didn't give it a 5. Oh well, I guess we can only assume. Most likely it was because "muh boredom" but "pioneering" and "unrivaled spectacle" so 4 stars.
Chase Anderson
When you're representing human existence, you're bound to have "spectacle". Intolerance isn't really "intolerance", it's "Man". But Griffith already made Genesis, and Intolerance was equally an attack as much as an artistic statement. A vicious attack from god himself.
Jace Allen
Who gives a shit. It's fucking boring faggot. Napoleon is better.
OOh Boy! Loved the literal swinging of the camera on a rope! Really got my blood boiling! And the widescreen. EPIX!!
Juan Davis
EPIX!!!!!!!!!!!
Nicholas Price
You've been here for a year, and the only thing that's changed is your watched count. I'll spell it out easy for you. YOU WILL NEVER GET TASTE, GENES NO GOOD
Isaac Evans
haha they should put this on the poster of Napoleon :))
Anthony Bailey
Why is Intolerance better than Napoleon now? More specifically, do you have any reasons that don't involve sucking up to me?
Eli Bennett
>that doesn't belong on this list it's a list of all of the silent films I've seen, why wouldn't I put certain silent movies on there? Otherwise a very interesting game and I'm glad I got picked to be the first contestant, what do I win?
Connor Bennett
I LOVE GRIFFITH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Mason Wilson
wahoo!!!!!!!!!
Adrian Sanchez
Shouldn't be watching trash to begin with, aspie. Really? What have you seen by him?
Jonathan Harris
Oh you know, Birth of a Nation, Intolerance, Broken Blossoms, True Heart Susie, Orphans of the Storm, the list goes on!!
Christian Cooper
why did you spend your time making this and why is he a poop baby
Nolan Bell
what the fuck is this?
Ethan Baker
He's a model. An inanimate model, my puppet. He doesn't have a mind of his own after all. Only watches what I tell him to. See recent It's a model for the rest of you drooling slack-jawed drones.
Aaron Flores
>why is he a poop baby next best thing to nigger babies
Mason Morgan
>Only watches what I tell him to you didn't tell me to watch any of those
Christopher Martinez
Ooh boy, a list! Better add these to my watchlist
Xavier Kelly
...
Jayden Ramirez
What drove you to watch the Open Road and the Italian
Joseph Brown
seek help
Christopher Murphy
i saw the image in the thread and took it as a recommendation, i'm sorry if that bothers you
Little did the drooling slack-jawed drones know, I haven't revealed my whole hand. Thousands of works only I know of and have access to in archival prints.
Jonathan Lewis
I give them excrement, and *GASP* - THEY ENJOY IT
Caleb Sanders
>Thousands of works only I know of and have access to in archival prints. irrelevant
Colton Cruz
any good texts to read to brush up on my cinema analysis and critique?
Ethan Long
...
Dylan Richardson
the instructional guide on how to hang youself.
Jayden Moore
the instructional guide on how to hang youself.
Jose Barnes
Just listen to megaautist. He's an enviable resource.
Jack Hall
griffith was a wise man
Juan Brooks
The only one here with an ounce of taste, a refined gentleman.
Joshua Edwards
what if he changed it slighty so there were no strikes
Matthew Sullivan
>He's a model. An inanimate model, my puppet. >wahhhh wahh his taste sux!!!!!! looks like you're contradicting yourself tard boy
real cinephiles spam screenshots of other users profiles in Sup Forums
Blake Jones
>F for Fake anything higher than a 1 even though Flaherty already distilled the illusion of photographic reality is subtler ways CINEPHILES
Grayson Johnson
Oh but don't take my word, take Orson's. Even he agrees Flaherty doesn't constitute the vulgar medium known as """"""cinema""""""
Blake Garcia
>cinephiles *snorrrrrrrrrrts *spits in your face Oops!
Brandon Cooper
Damn, this guy is a god in terms of raw taste and intelligence.
Landon Price
>cinephiles embryo
Christian Morris
*snorrrrrrrrrrts *spits in your face Oops!
Ethan Russell
>cinephiles *snorrrrrrrrrrts *spits in your face Oops!
Christopher Wright
>cinephiles embryo
Sebastian Ramirez
>cinephiles *snorrrrrrrrrrts *spits in your face Oops!
Tyler Sullivan
>cinephiles embryo
David Howard
*trips you *walks over your back with steeltoe boots *steps and presses your head into pavement Oops!
Evan Moore
>cinephiles embryo
Levi Long
*trips you *walks over your back with steeltoe boots *steps and presses your head into pavement Oops!
Logan Rivera
Awww Bruce won't add any reviews because he knows they give me satisfaction :(( He thinks he can offend me, he thinks he can challenge me. "It is foolish for man to think he can challenge a mountain"
Dylan Collins
>cinephiles embryo
Charles Green
Change man with rat
Camden Diaz
No wonder everyone hates this place.
Alexander Miller
So the thread is back to being shitty again. Good to know.
Robert Bennett
>WAHHHHHHHHHHHHHHHHHH WAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH I HAVE SHIT GENES :(((
Grayson Brooks
Ice cream? I love ice cream!
Samuel Hernandez
Mermaid Man won an Oscar in 1956
Blake Gonzalez
>he gave up AHAHAHAHAHAHAHAHHAHAHAHA
Jace Reed
For a long time I've considered posting in these threads, but now I must say I don't want to get bullied by megaautist. I don't have half as good taste as the people he does ridicule. And I mean I'm working on it. And I wish I could complain, but honestly elitism like that is what this board needs. So I'm annoyed but also kinda happy he's here
Henry Cook
>I don't want to get bullied by megaautist pussy
Carson Baker
George Clooney is a cunt.
Jose Ross
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA
Christian Anderson
I know. But I've never seen anything by Griffith or Flaherty. Hardly any films before the 40s or 50s actually. Which like I said, I'm working on. But I liked F for Fake and many other unacceptable films. And while I can defend why I liked them (I'm not tasteless, I do know what I like and don't) I also can't know if I would feel the same way if I'd seen the other supposedly better films and directors first. So I guess I'm more of an embryo then a pleb, I can defend my taste, but I haven't seen enough to justify anything
Jaxson Flores
FUCK YOU
Joshua Powell
YOU WHORE
Jacob Cruz
FUCK WOODY ALLEN
William Hernandez
YOU WHORE
Aiden Allen
EMILY JEAN IS BETTER THAN YOU.
William Roberts
Jesus These threads always feel the same Do something new for once
Wyatt Morgan
Griffith has never done a musical.
Brody Smith
...
Owen Young
come up with something new
Tyler Taylor
Only God Forgives is a decadent drag act
Ryan Gosling plays DiCaprio to Nicolas Winding Refn’s Scorsese–acting out an adolescent idea of manliness in Drive and now Only God Forgives. But sulky Gosling lacks DiCaprio’s hammy brio just as Refn lacks Scorsese’s flamboyance, so he mopes and broods; practicing a weak swagger amidst Refn’s brutal, grotesque, nihilistic stagings
Refn was praised for the derivative noir style of last year’s Drive so why not try to get away with it again? But sicker and darker this time? In Only God Forgives, Refn imitates the Asian noir of schlockmeister Park Chan-Wook (Oldboy) in this story of a ruthless Bangkok gangster Chang (Vithaya Pansringarm) waging battle with an American-boy reprobate: Julian (Gosling) is determined to avenge his sadistic brother’s death, egged on by his dragon lady mother, Crystal (Kristin Scott Thomas).
Like Drive, Refn repeats that neo-noir tendency for atrocity. Vengeance goes unexamined as psychology, it’s merely an opportunity for outre gore and repugnant spectacle. By scene three of Only God Forgives, the sight of one man’s cut-off arm, a slaughtered prostitute and Julian’s brother so beaten to death his blood is splattered across the room of a flophouse, our trust in life, morality and pop art is completely undermined. (Refn snarkily caps the sequence with Chang’s karaoke performance.) The cutthroat underworld Refn creates (where Western Caucasians are free to indulge an implied Eastern disrespect for life) is so exaggerated, feverish and slick you either laugh at it or fall for it then laugh at it.
Jaxon Anderson
The humorless appeal to adolescent taste ultimately infects Refn’s concept of heroism. Though Julian sometimes has psychic visions of dismemberment, he displays a catatonic chic. His confrontation with Chang is spoken with schoolkid childishness: “Wanna fight?” is an attempt at conveying innocent depravity. Such stupidity must strike Refn and his fans as cool. Given the film’s pervy, incestuous teases, Gosling is like a little boy wearing Mommy’s dress, necklace and high-heels. And director Refn is his playmate. Each of Gosling’s Refn roles is a drag act in which he strikes poses too grown up for his callow brooding and too silly for Refn‘s overwrought style. A truly cool actor might wink at Refn’s conceits but Gosling plays at intensity and mysterious depth that seems borrowed–and it is a drag. (Scott Thomas beats star and director at their game: her decadent, racist matriarch suggests the damnedest impersonation of Ellen Barkin in Johnny Handsome.)
This nonsense is so inorganic to any sense of globetrotter restlessness or anything explicitly or metaphorically to do with British or American colonialism that it just feels derivative. That Kubrickian scene in Drive of dead-eyed strippers watching an assault gets extended here in a more elaborate whorehouse sequence where catatonic hookers bear mute witness to instances of police corruption. Refn’s tableau of organdy-gowned call-girls listening to pop while watching violence in a bouquet-bedecked whorehouse is the ultimate David Lynch parody.
hello it's me again, the wonderful smart boy who is good and has simply wonderful (some might say perfect) genes
Brayden Morris
Gosling and Refn have art ambitions–a strange sense of fun. But how can film culture progress with fantasies like this? There’s no shock or outrage left. Refn relies upon a level of menace (unerotic, non-provocative) that precludes caring about or responding to violence, vulnerability, mortality. This is cinema for unsophisticated viewers who don’t already know Bunuel’s eye-slashing, Altman’s Coke bottle assault or Shakespeare/Julie Taymor’s Titus. Children of Kubrick, Friedkin, Lynch and Tarantino, they remain infantile about movies.