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Open Thread 08/31/2020 (Mon) 21:01:08 No.34
[JW01 ~ 08/24/2019] There aren't many people here, but this bunker needs more content. Post something interesting that doesn't fit into other threads.
Edited last time by Lensman on 09/02/2020 (Wed) 21:33:59.
>>1588 Didn't some Netflix employee get shot by the Juarez cartel while scouting shooting locations for Narcos Mexico? Seems like they don't have the best relationship.
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>>244 >At the age of 79, the Hungarian cartoonist, graphic artist, illustrator, cultural historian, and artist of the nation Marcell Jankovics has passed away, the Hungarian Academy of Arts (MMA) announced on Saturday. He was working on a new film too, fuck. I know Son of the White Mare is his most famous work but The Tragedy of Man is probably my favorite animated movie of all time .
>>1581 I can see the pirate networking being extra quick there so rips will be fast. >>1588 I can talk by personal experience, art scene around here is filled with jews really, they buy cheap and sell high in Scottsdale and also trade archeological findings too which is a felony but the real money makers are in the south, particularly in the capital city where politicians can fund museums and administer some resources for it, you can steal money from the Secretary of Education & Culture (aka SEC, the ones sending you funds to build/maintain it) and also grab from its treasury (objects, sold items). Because the one who is signing the income/outcome is also the one checking what went in and out, it's grounds for strange stuff to happen. Right now there's 150+ official museums in the capital and tons of funds go there despite many being eternally closed due to "repairs", in pandemic times i can only imagine how much they pillaged. Private museums are another story, that one is much more related to the money laundering schemes well known by the US/Europe (buy trash, sell art, clean the money of some philanthropic patron in your organization). The tax organization here, SAT (which are heavily armed and have the same cars as the feds) say 50% of all art activities are private transactions so you can imagine how much it is badly seen, hence why the cartels rarely mess with art nowadays, they rather buy/sell sport players/clubs or cars which they love to bits. In the case of this Mubi theater, it is located in the Cuauhtemoc District which is home of 80+ of those public museums already (not counting the private ones) so you can expect monkey business, then it's also in an infamous place too so double it, and what my suspicion of the deal is the treatment of the place as a culturally-important spot which means sponsorship of the government via SEC aka not paying much taxes if at all, that means the place can pay taxes but they might not be reported locally because it officially doesn't but the owners also might never know such exempt because the paperwork was done clandestinely someone is getting that money anyways, as little as it is. MUBI itself, i mean the HQ and/or the ones in charge, might not know all of this and operate it as a legit business outside while in Mexico it might be treated as a museum of sorts and just pay the owner's royalties while keeping a stash underhanded, that's what usually always happens with these bug-eaters. The building is already scummy in conceptual terms, it's a rigid and clever steel structure with pre-made concrete panels which means it was well-designed but also cheap as hell to build, the justifications for its form are also pretentious and hat rabbit-tier which already shows its shadow intentions, it probably means some elite art-scene player convinced some MUBI directives about the project (and scheme) and worked around it to make it sound like high-art when in theory it's a bike garage with a projector and 12 folding chairs designed by somebody in Milano who never visited the site; no popcorn machine either. Works both ways too, because it's artsy and tiny you can "customize" the customer attention and make everything by hand aka no logs in a machine, you can keep the tax money in your pocket and claim 200 people pay 10 bucks to use it a day (cleaning up to 1800 a day because no more than 20 people will walk that shitty place to watch an obscure Bollywood production) operational costs are almost nil because it's literally a garage without machines and with little light. Of course all of this could be a legit business decision with good intentions behind its unorthodox decisions but i've dealt and seen too much backroom talks to think sanely, so apologies if i wrote too much poison. As a side note the sports case i can attest first hand that they fake sport event entrances, they claim for example that 5275 went to watch sunday's game but the one trying to fill the entry report (not me) was given the number 2450 directly from the machine. What happens later depends on the team, in very small teams (like mine) if you don't have more than 3000 spectators you get a fine so they rather fake the number to not fuck your organization, but in bigger clubs they either bribe the commissioner or the report man (not me) which is usually a direct employee and all's settled. A small team, and by that i mean a very small one, can launder around 12k bucks a weekend if you fake 2500 entries, 34 games a regular season means you can clean half a million, which is not a lot but in the long run it's significant and that doesn't include selling players, a good one can go for 3 million and tons of the in-between money can easily disappear if the intermediary/player agent is a foreign citizen who can (he will not) pay taxes somewhere else. The operational costs pay themselves with sponsors so not a lot of trouble there either.
>>1588 >I'm particularly interested in cartels money going to Netflix That i don't know very much sadly, i've heard Netflix goons being hit like >>1590 said but that usually falls down to americans feeling cocky and going around thinking they are the king of the hill in a ghetto. But by the Juarez Cartel? in the 10's they haven't got that much of a presence anymore, their normal strong arm are literal gangbangers in beat-up cars bought in indian reservations and the elite soldiers are way too busy dealing with safehouses and new tunnels than bullying, let alone killing, an american film scout. But if that really happened and not someone (probably a southern immigrant) who assaulted him and claimed it was a cartel that practically stopped existing years ago, then usually the procedure i've heard to do anything at all in shady areas and avoid getting dusted is to contact the boss of a neighborhood who's usually a friend of the jefe de plaza (Sector Boss), the former is the one checking all safehouses are safe and to distribute the goods (also kill petty criminals if found because they might snitch to someone for favors/leniency), the latter is the distribution boss in a city or region, he does all the numbers and also controls the paramilitary units although since the 90's they delegate that labor to "special" groups (local hit squad, angry soldiers, greedy special forces, retired foreign special forces, guerrilla vets, hobbyist sociopaths, etc). So anyways the irony here is that the easiest way to talk to the most violent guy in town is talking to your local important pastor/father, cartel members are very catholic for some inane reason but sometimes the rare good pastors are the ones trying to help the most shitty places which are directly controlled by cartel men, and they will usually know how to find them. Then when meeting face to face you'll work a deal, they will give you access and protection but you will pay a fee (rarely) or make them a favor (usual deal). I've heard about some american production team in Sonoyta (border town to Lukeville, AZ) that was granted all access but was requested to produce the local boss daughter's sweet 16 party in terms of lighting and camera work, sounds hilarious to think some town girl had a literal Hollywood-tier crew making all the work for her dance routine but i don't doubt it for a second, a night's work of shooting and editing is significantly a small fee to be granted almost full power in a town for a couple of days. But at the end of the day it is a rare occurrence for americans to be entering the country for that kind of things, they usually stick to border towns in the US because some constructions are similar for a very shallow eye/oblivious audience and the people are already there (this sometimes backfires as not all immigrants have the accent or even know spanish). And you add a yellow/orange/red filter on top of the footage and many will think it's actually the other side of the border, it's hilarious but it worked in Villeneuve's Sicario (a man fond of the piss filter) and in Breaking Bad too (NM Albuquerque's poor 'hoods and a orange filter). Narcos Mexico wasn't that well received locally (yeah i know i always say the same) because they radically change a lot of facts/characters and that isn't very liked by some, especially when they are still alive unlike otherwise claimed and very much controlling hitmen in small towns. For example one of the main protags in Narcos MX re-appeared around the same months the series premiered and that made the main actor move out to the States although he doesn't like to admit this, yet for example in the soap opera of El Chapo the main actor was saluted by the guy himself in his own court hearing, man actually told his wife to wait while he went to shake the actor's hand (same thing happened to the Narcos guy portraying him). Being faithful to the real story is somewhat a kind of power among those actors
Who are your favorite directors?
>>1608 In fear of sounding like a pleb because i still need to explore a bunch of notorious scenes, eras and artists, i would say that right now the ones i recall most often and take inspiration from are the works of Akira Kurosawa, Alfred Zinnemann and Takeshi Kitano, to mention 3 and not 5 or 10. It is to take note that those fellows had particular hard-to-get traits and/or contexts that made them successful, Akira was a disciplined workhorse that slept little and didn't see his family often but that work ethic and "free" time made him overly detailed with his works which included the entire editing process and sometimes sets and costumes. Kitano is/was packed full of money from his comedy shows and tours so in his free time he carefully devised his personal style and exactly what he wanted to do without much stress other than having to commit to his "real" work and finding collaborative actors, but because he had a certain cult following his crew was fairly easy to get and motivate. Alfred Zinnemann was a jew plugged in Hollywood, not much to explain but he had some semblance of soul which made him act and work outside the usual charlatan, neurotic and conman antics of his damned kin. He was very methodical, his idea of making every scene have a meaning and count towards a goal is common sense but often forgotten, and also had an interesting philosophy bit that i learned the hard way later in my life: Doing things properly and like they should is paradoxically not an obligation but a privilege, hence the act of being able to make a good movie with all the powers behind you is a royal opportunity, it's a one-shot chance of placing yourself in time and all the efforts should be used to make it work like it should with planning and without cutting corners for the sake of saving some small time which can be reflected in decades to come when people rewatch your work. Most people will work for the sake of finishing something, and it's very often that they will wing it at some point to get it over quickly... that is fatal in the long run if you want to make a quality difference but the vast social context of most societies easily allow for this because it's an inertia created by low moral/"bad vibes"/no rewarding feedback, yet when you try to do something good the same context pressures you to rush it because they are not used to that doctrine. These are all very bizarre ideas taking into account where he came from but his latter opinions towards his own tribe do reflect he was at odds with most, and to be fair this idealistic thinking can only be constantly achieved with the big money (and influence) he had in his back, the major and sometimes only motivator for your crew. He did pull out good work outside that sphere of influence so he probably was a skillful motivator too apart from director. I can also pull out people like Takashi Miike or Paul Verhoeven but i don't understand their context that well, Miike for example had tons of groupies which might've influenced many works in his vast repertoire that changed in tone after they left (also it is said he had rare full yakuza backing) and the dutchman is a strange entity, he walks a thin line between being a very commercial craftsman with unusually high levels of self-awareness and taste or a quite artistic madman director that knew how to play the mainstream game and often conned big-time producers into doing bizarre projects that ended up working well; his projects are often mainstream products but stand out for their uniqueness in intentions and frankly very dark humor to the point of mockery but without overdoing it, like plenty of contemporary projects have done.
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The statue of Rev. Egerton Ryerson featured in R. Bruce Elder's Illuminated Texts was pulled down today by a mob.
>>1626 Ryerson Addio
>>1626 I didn't even know about the man until this little spergout by the leaf featherniggers (unsurprisingly, fomented by antifa). But I looked into him briefly, and now pretty much consider him a hero of the West. He refused to educate females past a certain age, since their duty was to the home, not a career. That alone makes him a man worthy of honor.
>>1628 Taking into account he was the guy in charge of educating the canadian injuns i say he did a pretty bad job, they are the most uppity ones in the entire region down to the Darien Gap and that's adding that they don't even have the hypothetical excuse the north american and southwest redskins have that they were relatively peaceful and got their shit slapped, the canadians were the ones who waged war with everyone all the time. His system also evolved later into taking injun kids, often by force, and handing them to newly-arrived immigrants who were in vast majority of european descent, to educate them and pretend they were their own which ended in many of them being psychopaths due to abuse and general dissonance. Also reason many of them have germanic surnames rather than color-animalism-action names (Timmy Yellowfeet, Bobby Redhawk, Johnny Flying Elk). Canadians did them weird, killed them like anglos do then tried to help them but not really and then gave them full rights out of thin air due to the french. Very different from Americans who killed them, secluded them and then started giving them rights little by little... or like Spaniards who killed them, segregated them and then educated those who wanted while further segregating the others and letting the educated red ones do away or force the others as time passed on. Still there's no reason to topple down history, forgetting it only leads to ignorance of societal context and disassociation with your nation (not that canadian nationalism exists anyways)
>>1629 I see. Well, meh. All your color commentary pales into insignificance relative to the absolute devastation that feminist golems have wrought on the Western Tradition. Sounds like the Spaniards had the best ideas related to the featherniggers, though.
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>>1630 >All your color commentary pales into insignificance relative to the absolute devastation that feminist golems have wrought on the Western Tradition Agreed but i wouldn't say "pale into insignificance" because the guy practically erased most of the traditions of a good chunk of people, ones who were the closest to the secret of why some "pure-blooded" injuns had old european stock (irish/basque aka pre-indoaryan) in them meaning some earlier migration via either olde viking-tier travelers or something even older. The miscegenation of violent native apaches (who are from Canada, not the US like amerifats want to imply to justify the Indian Wars) with low-tier immigrants made some hellspawn that still roams middle Canada and Quebec with their passive aggressiveness and low-tolerance to alcohol. Also because the mistakes of the past have bigger connotations than today where most things are achieved already, one could banish the Zulu today and nothing would be really lost as most everything we could learn from them has been registered. But yeah, in general sentiment i am more concerned about commie women having rights... period, just extended myself long because Ryerson is the father of Canadian rural alcoholism. >Sounds like the Spaniards had the best ideas And mostly by accident but sure enough, injun peer pressure with their women wanting to adopt more of a comfortable sedentary life with european luxuries was much more effective than the sword of various mercenaries and royal soldiers. If not then we would have an entire mediocre continent dedicated to doing nothing but hunting and fishing, consuming crops of tobacco, coke and weed, where time is measured if it is day or night. Didn't intend to make that sound good but it just happened
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Is Vertigo worth watching
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New video essay on Nobuhiko Obayashi’s classic Hausu (1977) https://www.youtube.com/watch?v=Q13oNZlTr_o | https://yewtu.be/watch?v=Q13oNZlTr_o Hausu of the Rising Sun: Death of the Girl >Seven girls enter a house, only one emerges as the perfect embodiment of ideological womanhood. >This audiovisual essay explores the Japanese cult film Hausu (1977) and the ways in which it represents feminine/female coming-of-age as a bodily, psychological, and social process, as depicted in the fate of its protagonists.
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How do I undo this moronic change to the imdb page layout? Also how do I download imdb poster images without sifting through the page elements? I used to use the greasemonkey script IMDbcom_enable_right_click_on_images.user.js but it stopped working.
>>1779 You could search for "a ilha dos amores 1982" on Google images and it'll always show the imdb poster at the top. Just save the poster image from there, that's what I do.
>>1782 I could do that but I was hoping to get imdb to function as it used to. The script is pretty simple but I'm not a coder and I don't know what changed to make it stop working. Just need to force "Save image as..." to appear when right clicking on an image. // ==UserScript== // @name IMDb.com enable right click on images // @namespace https://openuserjs.org/users/cuzi // @license GPL-3.0-or-later // @copyright 2020, cuzi (https://openuserjs.org/users/cuzi) // @version 1.0 // @description Enable right click on images in the IMDb.com media viewer // @author cuzi // @include https://www.imdb.com/* // @grant none // ==/UserScript== (function() { 'use strict' window.setInterval(function() { document.querySelectorAll('div[class*="PortraitContainer"],div[class*="LandscapeContainer"]').forEach(function (div){ div.style.zIndex = 2 }) }, 1000) })();
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It's strange that multiple fires have occurred at Brazil's cultural archives. This article written in May blames poor facilities and govt neglect, then warns of a fire at the Cinemateca Brasileira, the largest audiovisual archive in Latin America. https://www.frieze.com/article/fires-consume-brazilian-cultural-heritage-could-cinemateca-brasileira-be-next The prediction came true a few days ago and 4 tons of historical documents were burned.
>>1808 This is in line with whats happening globally. Gotta destroy history so the slaves of tomorrow don't question their self-appointed rulers.
>>1808 I remember something in the line happening in Philippines i believe. Argentina and Brazil are the foremost countries in social studies and jewish populations in non-anglo America, one having the Council and the other being the house of the Sao Paolo School which is the american version of the Frankfurt School, so i suppose it's not strange to see such things happening in historical archives of any thing. But i doubt anything non-brazilian of value was lost and many countries are skeptic of Brazil being an hispano-american member, let alone the archivist of the region. But fun trivia, the original country that usually was in charge of doing so was Venezuela and shit hit the fan since the gommies took power in 1999. But >>1809 already said it, in global matters some countries are getting hit by bizarre "accidental" burn outs at historical places and not replaced in any shape or form.
>>1808 So the journalist is a spook who was informed of it before it happened? Nothing new there. >>1809 Tailoring history is an old game.
Yeah so much of the cultural destruction has been encouraged you have to wonder about these "accidents" that do the same thing I saw this quote posted a few months ago, then realized Milan Kundera wrote one of my favorite banned films https://ulozto.net/file/9t5se4OOhpoT/ https://www.imdb.com/name/nm0475081/
I was taken to Jungle Cruise today. It feels like if someone was trying to make something like the 1999 Mummy and almost doing okay, but then someone else says “how can it be indiana jones without nazis!” “But sir, it’s early 20th century!” “AH just get the WW1 nazis, also BE SURE TO ADD BOYS BEING CONFUSED BY A STONG WOMAN IN PANTS. However, when the overy british brother of the female lead we get to play our Jonathan ripoff has a moment, make sure to make it clear that he is a fag. I know it has nothing to do with the plot or his motivation. I’m sure the man he tells this to who was confused by women in pants is fine with buggery.” Just take the story beats of the mummy and try to mix it in with the story beats of indiana jones, and force it through with some unlikeable characters, and don’t even add a Beni! How you not gonna have a Beni! Sorry just wanted to vent at how much the movie irked me. They honestly did good in making it faithful to the rides corny puns and fake river cruise motif, but so much of the adventure side of it felt so forced and the characters weren’t likeable and the world was very based on OH MAN HISTORY HAS OPPRESSION OF WOMEN AND GAYS RIGHT? Fucking glad it is over.
>>1820 Thanks for the sharing. It isn't anything unexpected from a big budget PG-13 wide-released hollywood movie anyway, gotta propagandize hard. I would never watch that in the cinema in any circumstance lol
>>1820 It's so obvious to me that movies are written by clever talents who get the money for them, then are morphed into a different thing via the studio's script council and then left in a ready state on an archive, when the time comes it's pulled out and gets made but while doing it they churn in the current year bullet points and pervert some aspects of it to pander to vocal minority sensibilities. This last step is what gets me, studios still haven't been able to do it properly without looking and feeling forced as hell, be it a sore-thumb chinaman, an open homosexual or a talking monkey outside the zoo. And the cattle does notice this, everyone i talked to knows when something of that sort happens it doesn't work yet they ignore this because they tolerate it, they allow it to happen as part of the suspension of disbelief. This same mental mechanism is what drives fringe communities of weirdos and fetishists to pull their tricks in public, obviously with the complicity of certain other groups. The trick to know which group is to see who gets the villain role even when the context is outside their realm, in the case of historical movies is a strict and disciplined germanic armed force similar to the Reich's SS, i recall Wonder Woman having obvious SS troops despite being a fucking WWI movie (and them gassing a town despite the french being the ones who used gas the most), so no surprise a river boat movie pulled the same antic again and made by Disney too. I want to dynamite a bagel shop, in GTA. I remember The Critic mentioning this library of unmade scripts ready to go with even the equipment and crew allocations specified, waiting for a moment or an actor to trigger their activation.
>>1820 Mummy is great, this manufactured greenscreen monstrosity shouldn't even be mentioned in the same breath.
>>1824 Hard agree. The best example I can think of is Onward. The movie has a heart warmng solid plot about a younger brother yearning to meet his dad and realizing that his older brother has been his father figure all along, but then there’s a bunch of strong women and oh this one cop has to mention being a lesbian. Sure enough, there’s two main names in charge of the project. One is the writer and director, a white male who’s early life may as well be a copy paste of the main characters, raised by his brother, with this movie reflecting his own realization. The other is a disgusting looking leabian jew who was integral to a bunch of california gay law pushes. WONDER WHO WROTE WHAT.
>>1825 I can’t agree harder, Mummy may genuinely he my favorite movie, but this movie is clearly trying to rip it off while missing everything good. Instead of likeable qt librarian we get annoying cunt, both women find an artifact and have a scene involving losing balance on a ladder, both have a brother they drag along with who is very british (though one is funny and likeable while the other is just full retard), both meet some experienced strong man who knows much about the treasure, both movies involve a reawoken cursed man who original was motivated by love. It’s makes me angrier how shallow a copy it is.
>>1826 Hell they're really pushing degenerate LGBT shit upon children now. This world has gone fucking mad.
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>>1827 There's more to The Mummy than that. It was pretty much the last hurrah to the traditional adventure genre, being made on the very cusp of "digital revolution". It's shot almost entirely on locations and on big spacious sets hearkening back to the great historical epics of mid 20th century. Or otherwise superimposed on miniature work, using CGI only when absolutely necessary. There's always something tangible on screen and you can see where every single penny of the budget went. Then you also have the iconic score that you will recognize even if awaken in the middle of the night, that just screams "exotic adventure" at you https://www.youtube.com/watch?v=LWly0yvaY5M It's the definition of a fun spectacle cinema done right and the best fourth Indiana Jones film we will ever get bar The Fate of Atlantis. Now we have this fake conveyor-belt Mummy meet Pirates of the Caribbean wannabe which looks like every movie made in the last 10 years, shot almost entirely on green screen and tiny token sets that are photographed so flat they come off as a green screen anyway. Everything is digitally color corrected to the ugliest possible shades that might have looked better had they not touched them. Might as well be a cartoon honestly, at this point it's not CGI inserted into a film but some footage inserted into CGI. The direction is utterly flaccid, you can't grab a single screencap from this that will look appealing. It's all either shot reverse shot for efficiency coverage or the CGI cutscene where camera just flies wherever. It's a completely manufactured fake fun, helmed by fake manufactured "likable" personality the Rock, as apposed to actually likable and liked peoples champion Brendan Fraser. Ironically this isn't the first time they had Rock replace Brendan as the forced likeable lead. Nobody will remember this shitpile in 6 months when another "adventure film with Rock" that looks exactly the same comes out.
>>1830 Yeah. The CG in this gets especially bad in some parts towards the end. There’s so much stuff that could have been done with little to no CG instead but oh no better have someone run along the branch of a big CGI tree as it blooms and unblooms when you could cut that shit out completely. I only really came to appreciate The Mummy after someone I know who normally has hit or miss taste put it as her absolute favourite. She can recite the whole movie by heart, even parts like sighs and noises right on cue. I can think of so many great aspects of it. The scale of it, the music, the interesting fights, the sense of a grand adventure just knock it out the park. The villian is formidible and ever present, and the side characters have weird quirks and mostly die off like a table top campaign. Evie and Jonathan feel like regular people being swept into a fantastical journey instead of whats her face from jungle cruise who without any explanation can beat up the boys too and OH MY WE GOTTA BRING UP THAT SHE WEARS PANTS 10 TIMES MINIMUM. Just about every line and event in The Mummy is memorable and I’m having trouble remembering much of Jungle Cruise already.
>>1828 >now
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I always enjoy when Tuesday Weld appears in some random film I'm watching from the 60s/70s. She usually outshines the rest of the cast, making me wonder why she wasn't more famous. Here's a well-written article posing the same question before delving into her enigmatic career. https://lithub.com/inside-the-career-of-tuesday-weld-a-hollywood-poet-of-failure/ With reference to this 1971 episode of Dick Cavett https://yewtu.be/watch?v=Dvl9j8foex4
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>Be having a cheeky wank with a segment from a modern french movie, watched from random video in a pronz site >Day later (today) Youtube recommends me out of nowhere the soundtrack for said movie >Never used Youtube for anything film related and movie is obscure enough to never show up anyways EVERY THING IS IN THE BOTNET
>>1881 I feel like a schizo when that happens
>>1882 Video also literally has only 5 views, so not really a 10k views video which coincidentally appeared in the main feed near the top in an act of synchronicity. I was convinced before, now even more. No happy fappy time again for this chappy, at least for a while. >>1883 >Luc Besson That reminds me i need to post about someone in that director hate thread.
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Roman Polanski playing chess in Saint-Tropez, 1979
>>1908 death to pedophiles
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Criterion Forum Top 100 Films of each decade (as voted in the mid 00s) https://www.criterionforum.org/forum/viewtopic.php?f=24&t=94 Rankings are always interesting but I think these lists are more useful for finding new titles to watch As a sample here is their 1940s list (which stops at 88) 1. Day of Wrath (Dreyer, 1943) 2. Notorious (Hitchcock, 1946) 3. The Magnificent Ambersons (Welles, 1942) 4. Citizen Kane (Welles, 1941) 5. Ivan the Terrible (Eisenstein, 1945-46) 6. Late Spring (Ozu, 1949) 7. My Darling Clementine (Ford, 1946) 8. His Girl Friday (Hawks, 1940) 9. To Have and Have Not (Hawks, 1944) 10. The Big Sleep (Hawks, 1946) 11. The Lady from Shanghai (Welles, 1947) 12. I Know Where I'm Going! (Powell and Pressburger, 1945) 13. Black Narcissus (Powell and Pressburger, 1947) 14. The Third Man (Reed, 1949) 15. Meshes of the Afternoon (Deren/Hammid, 1943) 16. Letter from an Unknown Woman (Ophuls, 1948) 17. Monsieur Verdoux (Chaplin, 1947) 18. To Be or Not to Be (Lubitsch, 1942) 19 .The Shop Around the Corner (Lubitsch, 1940) 20. (Tie) Shadow of a Doubt (Hitchcock, 1943) The Red Shoes (Powell and Pressburger, 1948) 22. Beauty and the Beast (Cocteau, 1946) 23. Double Indemnity (Wilder, 1944) 24. Meet Me in St. Louis (Minnelli, 1944) 25. Cat People (Tourneur, 1942) 26. Fantasia (Disney, 1940) 27. Life and Death of Colonel Blimp (Powell and Pressburger, 1943) 28. Orpheus (Cocteau, 1949) 29. The Great Dictator (Chaplin, 1940) 30. Sullivan's Travels (Sturges, 1941) 31. Brief Encounter (Lean, 1945) 32. Les Dames du Bois de Boulogne (Bresson, 1945) 33. Rome, Open City (Rossellini, 1945) 34. (Tie) The Bicycle Thief (de Sica, 1948) The Treasure of the Sierra Madre (Huston, 1948) 36. Scarlet Street (Lang, 1945) 37. King-Size Canary (Avery, 1947) 38. The Reckless Moment (Ophuls, 1949) 39. The Best Years of Our Lives (Wyler, 1946) 40. Red River (Hawks, 1948) 41. (Tie) Children of Paradise (Carn�, 1945) Christmas in July (Sturges, 1940) Germany Year Zero (Rossellini, 1948) La Terra Trema (Visconti, 1948) 45. (Tie) Le Corbeau (Clouzot, 1943) Miracle of Morgan's Creek (Sturges, 1944) 47. (Tie) Force of Evil (Polonsky, 1948) Out of the Past (Tourneur, 1947) 49. Laura (Preminger, 1944) 50. Women of the Night (Mizoguchi, 1948) 51. Louisiana Story (Flaherty, 1948) 52. (Tie) Leave Her to Heaven (Stahl, 1945) Record of a Tenement Gentleman (Ozu, 1947) 54. (Tie) How Green Was My Valley (Ford, 1941) Pasian (Rossellini, 1946) 56. (Tie) Cluny Brown (Lubitsch, 1946) Spellbound (Hitchcock, 1945) 58. (Tie) Jour de f�te (Tati, 1949) Lifeboat (Hitchcock, 1944) White Heat (Walsh, 1949) 61. The Philadelphia Story (Cukor, 1940) 62. (Tie) Casablanca (Curtiz, 1942) The Lady Eve (Sturges, 1941) 64. (Tie) The Heiress (Wyler, 1949) The Little Foxes (Wyler, 1941) 66. Unfaithfully Yours (Sturges, 1948) 67. (Tie) A Matter of Life and Death (a.k.a. Stairway to Heaven) (Powell and Pressburger, 1946) Rope (Hitchcock, 1948) The Battle of San Pietro (Huston, 1945) 70. I Was a Male War Bride (Hawks, 1949) 71. The Maltese Falcon (Huston, 1941) 72. Utamoro and His Five Women (Mizoguchi) 73. (Tie) Screwball Squirrel (Avery, 1944) Suspicion (Hitchcock, 1941) 75. The Pirate (Minnelli, 1948) 76. Quai des Ofevres (Clouzot, 1947) 77. (Tie) Odd Man Out (Reed, 1947) Prison (Bergman, 1949) 79. I Walked with a Zombie (Tourneur, 1943) 80. Red Hot Riding Hood (Avery, 1943) 81. (Tie) Gun Crazy (Lewis, 1949) The Devil and Daniel Webster (Dieterle, 1941) 83. Stray Dog (Kurosawa, 1949) 84. The Southerner (Renoir, 1949) 85. Key Largo (Huston, 1948) 86. Ossessione (Visconti, 1943) 87. Rebecca (Hitchcock, 1940) 88. It's A Wonderful Life (Capra, 1946)
>>1966 granted the 1940s lists doesn't have many unknown titles...
>>1963 go back to cuckchan and stay there.
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>>1966 Those guys are knowledgeable but the main drawback is that their choices are dependent on home releases. It was hard to find films elsewhere 15 years ago and the overall availability of them was much more limited at the time. It's interesting they still ranked Rose Hobart as high as they did. That short is better in theory than in execution. Rules of the Game is pretty good but I don't understand the wide appreciation for Grand Illusion. Even though I listened to the commentary track after watching, I thought it was bland and forgot it existed.
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A very new "movie database for cinephiles". Something to watch and see how it grows. https://www.kinometer.com/intro I tried it out a little bit. My main complaint is that many functions require registration. I'd definitely like to use something besides IMDb. (They recently had another awful redesign.) I'd like a site that's a lightweight mirror of IMDb with whatever added features.
>>1979 A joke trendy name for sure but the features seem promising, extensive which makes me believe it will take a while to organize unless they have 100 or so people willing to pull weight in the first months. >>1970 >Those guys are knowledgeable but the main drawback is that their choices are dependent on home releases. I want to call this out too but it kinda happens to me, i want to watch certain movies and the subtitles just aren't there. A home release might be the same thing, one can check a movie in a national cinetheque but doesn't mean they will have subtitles unlike an official release, which are the key for most audiences. Truth be told there's plenty of decent stuff, perhaps not great but still, that are locked into their small original audiences. Recently i've experienced this with some obscure yugo stuff and a couple of chinese movies, hell not even the slant eyes are safe because plenty of their own stuff is only available in their hastingly-made dirt cheap english dubs done for the american audience.

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