Not sure if anyone has upped this yet, but the big, low budget film of this year is going to be Iron Sky. Apparently made on a pittance with some FX that put big budget films to shame, it looks like a tongue-in-cheek winner:

check out The Woman, if you are a horror film fan.

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Originally posted by DJ RANN Not sure if anyone has upped this yet, but the big, low budget film of this year is going to be Iron Sky. Apparently made on a pittance with some FX that put big budget films to shame, it looks like a tongue-in-cheek winner:

Saw it last night . Way more fun than I expected. I didn't like the first 4 minutes or so on the moon, though; Didn't think the effects/stunts looked as cool as they could've.

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Last edited by netroM on Apr-23-2012 at 20:59

I recommend Cabin in the Woods to all horror movie fans. Given the title I expected a lame cliche piece of crap but it's actually the first good 2012 movie I've seen.
It's quite clever and entertaining throughout. Weaknesses are that it could and should have been even more clever and that the "punchline" has some logic holes. But it works well as an allegory on horror movies and, in that genre, is one of the very rare interesting things to hit the screen.

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Then stop coloring and visit Meat187's mix archive!

you've probably seen this before

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Originally posted by Lagrangian you've probably seen this before

Good film, but has zero re-watch factor. I watched it the second time and the way all the characters moan in that sort of ad lib style pissed me right off the second go round.

They got the 80s feel spot on. When I first watched it I found it difficult to accept it wasn't filmed in the 80s. This film depicts with 100% accuracy the mood of the time.

anyone in US who has netflix, The Big Combo is on streaming. Classic b movie film noir. Wonderful stuff for those who like that kind of thing.

Here are the opening titles. in fact you can watch the whole thing on youtube. Great use of black and white cinematography and fog.

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X-MIX 1 The MFS Trip

This guy needs to come back

I've decided to watch all Michael Haneke's films (have only seen the recent ones).

Here's what I thought about his debut:

I thought I knew what Haneke was capable of, but The Seventh Continent still managed to shock me by turning itself into an utter nightmare that left me staring at the screen with my mouth open.

We follow a family of three (mother, father and a little daughter) living in Austria at the end of 1980s. Right from the beginning you know this film is something different - Haneke often doesn't allow us to see the protagonists' faces and instead shows us their hands interacting with their surroundings (paying for their shopping, turning off the radio). While this seems as a cold and distant method of filmmaking, it actually leads to stronger immersion of the viewer as we are carefully drawn into the film as another protagonist, as a complice. Usually, when watching a classically narrated film, our emotions come from empathizing with the characters. Here, we involuntarily become a part of the family, which is why the second half of the film is so intense and shocking. In short, this is a disturbing study of a repetitive and depersonalized life in a consumerist society which is even more impressive considering that it was made more than 20 years ago in a small country in Central Europe.

Now, comparing The Seventh Continent, Haneke's debut, with his latest films like The White Ribbon or Hidden, it seems clear how his style has changed. There seems to be a shift from this radical expression which challenges established modes of filmic storytelling to careful ïncorporation of these distinct elements into what is now considered the prevailing art cinema filmmaking. In other words, Haneke's journey as a director is completely opposite to someone like Malick who, on the other hand, goes from "telling a straightforward story in a bit different, unique way" (Badlands) to "strongly impressionistic filmmaking completely liberated from a cause-and-effect linear narrative" (The Tree of Life).

Why are you talking about a film in a movie thread? Keep your artsy fucking feelings out of this thread, please. Explosions and side-boobs only please!

http://fr.wikipedia.org/wiki/%C3%80_bout_de_souffle

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À bout de souffle est un film français, emblématique de la Nouvelle Vague, réalisé par Jean-Luc Godard, sorti en 1960. Michel Poiccard, jeune homme insolent, vole une voiture à Marseille pour se rendre à Paris. Mais en route, lors d'un contrôle, il tue un policier qui le poursuivait. Arrivé à Paris, il retrouve la jeune étudiante américaine Patricia, avec laquelle il a une liaison amoureuse — on comprend qu'il la connaît depuis peu, et qu'il a passé quelques nuits avec elle avant de descendre sur Marseille. Elle veut étudier à la Sorbonne et, pour se faire un peu d'argent, elle vend le journal Herald Tribune sur les Champs-Élysées. Tout au long du film, Michel essaiera de la persuader de coucher à nouveau avec lui, et elle lui résistera un certain temps en affirmant qu'il ne l'aime pas vraiment. Michel veut quitter la France pour l'Italie (plus précisément Rome) où il pense trouver refuge. La police l'a déjà identifié comme étant l'assassin de la N7 et sa photo figure dans tous les journaux. Patricia, tout d'abord, ne dit rien par amour pour Michel. Celui-ci rencontre plusieurs amis délinquants pour récupérer de l'argent. En attendant que l'un d'entre eux l'aide à encaisser un chèque barré, Michel va se cacher avec Patricia chez l’amie d'un ami dans le quatorzième arrondissement. La veille de leur départ présumé pour l'Italie, Patricia le dénonce à la police afin de le forcer à partir loin d'elle. Mais Michel refuse de prendre la fuite et, abattu par un policier, s'écroule au carrefour de la rue Campagne-Première et du boulevard Raspail, « à bout de souffle ». Avant d’expirer, allongé sur le bitume, Michel dit à Patricia : — « C'est vraiment dégueulasse. » N'ayant pas compris, la jeune femme demande aux policiers : — « Qu'est-ce qu'il a dit ? » À quoi on lui répond : — « Il a dit : vous êtes vraiment une dégueulasse. » — « Qu'est-ce que c'est dégueulasse ? » demande-t-elle enfin1.