thetigeralex
http://www.flixster.com/user/thetigeralex
| Name | Alex Tiger |
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| Gender | Male |
| I'm From | St. Petersburg |
| Member For | 112 days |
| Last Login | Thu. May 15 |
| Profile Views | 408 |
| Age | 26 |
| MCT Score |
| Movie: | Braveheart, American Beauty, Back to the Future, The Good, the Bad and the Ugly, Love Actually, The Bothersome Man (Den Brysomme mannen), Nausicaä of the Valley of the Winds (Kaze no tani no Naushika), Garden State, The Incredibles, Ladri di Biciclette (The Bicycle Thief), Y Tu Mama Tambien, The Edukators (Die Fetten Jahre sind vorbei), Requiem for a Dream, Apocalypto, Evil (Ondskan), The Apartment (1960), American Splendor |
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| Actor: | Michael J. Fox, Audrey Hepburn, Clint Eastwood, Natalie Portman, Jennifer Connelly, Gael García Bernal, Matt Damon, Tom Hanks |
| Director: | Ingmar Bergman, David Fincher, Steven Spielberg, Alejandro González Iñárritu, Mel Gibson, Clint Eastwood |
| Quote: |
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I recommend you see...
Year of the Dog
by Cjposted 1 day ago -
Hello
My name is miss jenny
i saw your profile today and became interested in you,i will also like to know more about you,and i want you to send a mail to my email address so that i can give you my picture for you to know whom l am. i believe we can move from here.I am waiting for your mail to my email address above.Remember the distance or colour does not matter but love matters allot in life. Please reply me with my email address here (jenny_goodluck@yahoo.co.uk)
THANK YOU FOR YOUR CONCERN
YOURS jennyposted 1 day ago -
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I recommend you see...
Le Mépris (Contempt)
by ElviraAlthough, visually, it is highly poetic, and although Brigitte Bardot, Michel Piccoli, and Fritz Lang shine in certain scenes, Le Mepris drags its confusing message for an hour and a half of creative editing and stunning cinematography.
Apparently, Godard's film is a critic towards the Hollywood perspective of cinema. It is also an honest "scene from a marriage" because the conflicts between Paul and his wife Camille are absolutely believable.
Unfortunately, I found Godard's criticism to wear off after the first half of the film and the love/hate story also lost my interest towards that moment. I think perhaps he got lost in getting his opinion across, to the point he didn't bother to maintain the allure Le Mepris has during its first quarter. For example, the very opening scene in which Camille asks Paul whether he loves *all* of her is unique in cinema. But for the most part, the rest ranges from good to dull.
All in all, Le Mepris has some good scenes and dialog and it must definitely be seen for its value as one of Godard's most well-known and mainstream films, but I didn't find it to have the same innovative, rebellious, in-your-face attitude and energy as Masculin/Feminin, for example. Knowing how far Godard could go and how much he could challenge his audience, this film just seems a little tame.Hey, you should see this and share your opinion
posted 8 days ago -
Thanks for accepting, you got an eclectic taste for films which is quite rare on this site, I envy your ability to see such far ranging and rare cinema marvels.
posted 9 days ago -
I recommend you see...
Amores Perros
by ElviraAmores Perros was the first collaboration between Alejandro Gonzalez Iñárritu and Guillermo Arriaga. Both of them proved to be true filmmakers, talented, and, most importantly, two of the most relevant voices in New Mexican Cinema.
The plot is divided in three sub-plots: three love stories impacted by the same car crash. They are Octavio y Susana, Daniel y Valeria, and El Chivo y Maru. Besides the accident, they have but one thing in common: they depend more on dogs than other human beings. Dogs are the objects of their affection, their faithful companions, their gates to transgression. Arriaga found a way to involve the man-dog relationship intimately with the love chronicles recounted, and such is the closeness that at a certain point it seems the two are not parallel, but that they are intertwined within the psychology of the characters. This is already a fantastic achievement in screenwriting.
Although the violence and the blood are abundant, Amores Perros has a visceral force seldom present in contemporary filmmaking, especially in films in which aggression and brute force are as crucial. I think we have become insensible to gore; by itself, gratuitously, it hardly means anything today and hardly causes any other reaction than disgust. In Amores Perros all elements are skillfully interwoven, and so it impossible to unlink emotion and injury. The violence in this film, towards both animals and people, originates pain, impotence, frustration, and most importantly, a feeling that what we are watching is altogether wrong.
The characters are surprisingly realistic. There is no "good" guy, or "bad" guy. There is no black and white, but half-tints, like it is in life. As men and women we are inherently weak, we make mistakes, we have silly illusions, we negate reality, we succumb to temptations, and we feel remorse... above all, we are not always coherent and we are not always well-intentioned towards others. We have interests, we have friends, enemies. All these facets of human nature are present in the film. A few random examples: the fact Ramiro hits Susana doesn't make her prefer Octavio, who treats her well. The fact Daniel looks after Valeria doesn't mean she will be thankful, and so on: selfish, unpleasant realities, but nothing less than true. By the end, we get the feeling that Octavio, Susana, Valeria, Daniel, El Chivo, Maru, and all the dogs, do in fact exist, somewhere in Mexico City, and it is completely due to the excellent script by Guillermo Arriaga, who managed to dissect three pairs of soul and transfer them, dirt and all, to the silver screen.A contemporary classic, one of the best Hispanic films ever. Kicks Babel's ass, in my opinion, and Babel is a terrific film. Great performances, great direction, fantastic script... WATCH IT.
posted 11 days ago -
I recommend you see...
Lust, Caution (Se jie)
by ElviraLust, Caution is a film of epic proportions. Every aspect of filmmaking reaches the kind of quality that makes me want to poke my eyes out when I have to watch our modern-day crap at the theater. Lust, Caution has everything down: perfect character development, perfect performances, flawless art direction, amazing music. It has all the spirit of a classic, even despite its rather explicit sexual content which might make it less accessible to massive audiences. In the future, though, I'm sure it will be appreciated for what it truly is and people will choose to see it for its quality and its emotional force, regardless of whether they feel awkward about its NC-17 aspects.
I know just about nothing about the context here, which is the Japanese occupation in China, but the message came across clearly. The plot, in itself, is quite complicated and I feel it's useless to write it down here, mainly because I would hardly say that's L,C's principal attractive. Most importantly, at the core of the film, is a torrid, mainuplative, violent, sexual affair between Tang Wei's character and Tony Leung's. She has to get close enough to kill him, and the way to get there is too often through encounters in hotels where they don't speak to each other, they just... do it, Their communication takes place on a different level than conversation, and during those brief rendez-vous it is possible to see how they might be falling for each other. But what could be more tragic, inconvenient, and impossible than that?
Ang Lee's film has the strength of a space rocket. The emotional tension between characters and situations is such that an audience can become deeply involved in it, forget the outside world so to speak. Lee makes some not very likeable characters into people with souls and horrible conflicts. In that sense, it would be easy to catalog Lust, Caution as a tragedy, rather than a drama: sadness, sacrifice, atonement, emptiness constitute the drive behind the action, and little more. Beneath the political and moral implications, there's a huge problem worthy of Greek theater: two people desperately in love with each other, who also happen to have an unexpected, dangerous control over the other's life, and strings that attach them to causes and interests ready to pull the arm at any time. The girl has to be around the man knowing that she can't be as emotionally close as she wants to, knowing that any false step would make him kill her, and yet completely aware of the fact that she wouldn't have it any other way.Hey, you should really see this!
posted 12 days ago -
I recommend you see...
A History of Violence
by ElviraMind-blowing story about a seemingly "innocent" act of violence that unleashes a series of chaotic events. A family crumbles down.
It's useless and unfair to tell the whole story because the twists are what makes it all the more shocking, but it suffices to say that Cronenberg has yet again made a film that works almost exclusively on an intellectual level, tackling moral issues that can never be entirely resolved. Visually, it is nothing outstanding because we shouldn't be focusing on what is on the screen as much as what's beneath the image. The violence portrayed is brutal and comes at unexpected times, but surprisingly enough it is almost always necessary for the development of the plot.
Although it's not my favorite Cronenberg film and although I prefer by far Eastern Promises out of the two Viggo-Cronenberg collaborations, it's still a good film by one of the most talented directors working today. I think he could have profited more from the plot and provided a lot more insight about Tom Stall, but it still works.
Viggo Mortensen is excellent, but Maria Bello also stands out in the role of the wife.Hey, you should check this out
posted 14 days ago -
I recommend you see...
Hiroshima Mon Amour
by ElviraA French actress shooting a film about peace in Hiroshima meets a Japanese man in a bar. They decide to go together. They fall in love. The woman describes to the man her past in France: her adolescence, her first love, her first loss, her madness.
The backdrop of Hiroshima, Mon Amour, is obviously the horrors left behind by the atomic bomb. The woman herself acknowledges the irony of falling in love in a place like that. The images of disease and misery, in contrast with the lovers', constitutes a great deal of the poetry the film involves.
Throughout most of the story, both characters are shown in moments of intimacy: either having face-to-face conversations, or in bed, sharing their deepest secrets and most bizarre thoughts. In a way, their love is born out of interest, or need: both characters have survived tragedies (linked also to the war in one way or another), and that particular point in common is what brings them together. They find in each other a space of trust to let out their pain. They re-imagine the situations of their past including the other: their connection is so profound that it seems, as they often repeat, impossible to envision life without the other.
Hiroshima Mon Amour is a very experimental, poetic film. Alain Resnais's masterpiece is the precursor of such beautiful films as Before Sunrise, or Lost in Translation, or A Man and a Woman, only that the waters here run deeper and darker. Resnais shapes his characters out of the cries and the loss of World War II, showing his audience just how much damage the conflict caused. Thousands of stories of abandonment behind the faces of 2 characters. At the same time, it's also a film that exemplifies with unbelievable beauty the mystery of love: The relationship between the leads is unforgettable, epic, transcending chemistry or compatibility. But why in Hiroshima? Why this man, or this woman? Why now? Resnais manipulates their memories, their perceptions, time, and space, to create one of the most intense love stories I've ever seen onscreen, even when the most evident expression of physical love he allows himself to show is but a kiss.
The image of the woman's hand on the man's back is an icon of French new wave, and one of the most significant representations of intimacy world cinema has ever produced.Hey, you should really see this!
posted 18 days ago -
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I recommend you see...
Cria Cuervos
by ElviraAstonishing, powerful, quiet classic. As far as I've seen, it might represent the pinnacle of 70s Spanish cinema.
An adult Ana reminisces about the events of her childhood and their consequences, especifically her mother's death and her turbulent relationship with her father.
I can say that without a doubt Cria Cuervos is the most realistic depiction of sadness and nostalgia I have ever seen. Ana Torrent as the young Ana brings an emotional credibility to her characters that is without precedent in child performances. She doesn't limit herself to putting on a sad face because her mother died. Ana continues to see (imagine) her mother, and the contrast between the bliss of these illusions/memories of happyday-to-day life with her mother, and the awfully lonely reality that she experiences is literally heartbreaking.
Geraldine Chaplin plays Ana as an adult and also Ana's mother. I can barely remember a performance or a scene as mortifying as Ana's mother agonizing in bed shortly before her death. Chaplin plays to perfection an unhappy wife, purposefully nonchalant about her husband's infidelities, with an immense need for love. Little Ana remembers her mother's pain and most likely what brought her the disease that killed her, and so she develops a horrible hate for the people who are left alive.
The best thing about Cria, though, is that Carlos Saura doesn't idealize or soften the real, raw, ugly process of mourn that Ana has to undergo: the things she misses, the things she remembers, the things she clings to, the search for new people to love. Also, after her father dies, Ana and her 2 sisters are left under her aunt's care, and Saura doesn't try to maker her into saint, or a devil. She is only a woman dealing with a sudden responsiblity, and making mistakes, out of nervousness or inexperience, that mark Ana's life forever. That's real life -things happen that you can't predict, or control. But it also goes on, and that's what happens here.
The cinematography is beautiful, haunting, as is that eternal theme song that is often played throughout. Ana Torrent is even better here than in The Spirit of the Beehive, and Geraldine Chaplin is wonderfully adorable and melancholy. Beware people with a weak stomach or who cry easily. Cria Cuervos is a masterpiece of cinema, the closest portrayal of mourn on film.Hey, you MUST see this!
posted 25 days ago
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