What Emmanuelle Movie Did You Just Watch?

[Matt]

If they would've had competent representation and a sense of merit, they could've won that case. It's really sad as how everything kind of went to shit, even though they won in spirit.

Yeah make it really clear that they only 'lost' because of the technical bungles from their lawyer. To the film's credit, they weren't given a Hollywood ending with everything wrapped.up in a clean bow. They were more trailblazers than victors. Again, we really tried to find the documentary...apparrently, my MiL is in it for one scene in the background.

[Anderson]

I remember Skye was Bun Ja Men's woman at the beginning, but where the hell did The Loaf show up?

Meat Loaf introduces the bands outside of Gas Werks. He's the guy talking about The Shitty Beatles.

[BillyG]

Clever name.

[Captain Russ]

Meat Loaf introduces the bands outside of Gas Werks. He's the guy talking about The Shitty Beatles.

HE'S Tiny?

Holy shit.

[Mike]

About to watch the rest of Bourne Supremacy and then Bourne Ultimatum. I love this brief period where the instructors now have their baby bottles and nothing is on my plate for the next week or so!

[Captain Russ]

For my rubles, Supremacy has the best ending.

[Abraham Smashington]

HAve Burke and Hare to watch. MUST HAVE TIME TO DO THIS.

[Ben Thomas]

Ultimatum has the best setpiece.

[Ben Thomas]

But yeah, Supremacy probably does have the best ending. Almost stolen wholesale for Quantum of Solace too.

[BillyG]

HAve Burke and Hare to watch. MUST HAVE TIME TO DO THIS.

Shit is that out?! Have to check On Demand tonight.

[Abraham Smashington]

I dunno. Anderson hooked it up in a thread for me.

[Captain Russ]

WHORE

[Ben Thomas]

There Will Be Blood

Without question, the best American film of the last decade and one of the best since the seventies. The photography is subtly exquisite, the filmmaking untouchable and Daniel Day-Lewis gives a performance for the ages. What struck me so much this time is how deeply we understand the characters that surround Plainview and his relationships with them, often with very little screen time shared with any of them. Ciaran Hinds, for instance, barely has any dialogue and in the second half of the film is largely in the background of scenes, often not even in focus. But we understand the importance of this one honest, moral colleague - an equal - in Plainview's life to keep him focussed on what needs to be done.

Similarly, we have exactly one scene of young Mary watching young HW signing with his sign language teacher and we cut to their wedding day over a decade later, them signing their vows to one another (one of the most beautiful 30-second silent scenes ever put to film, in my opinion) and - admittedly with all that has gone before - understand their connection and why they love each other and how deeply that love goes. Look also at the one scene of adult HW's translator, translating his signing for Plainview. The passion with which he translates "I thank God there is none of you in me" for his own and Plainview's benefit, before silently walking away, refusing to translate Plainview's barrage of beratement. He loves HW and holds a position of utmost trust in his life. He is a companion the likes of which Plainview can never know.

Every facet of the film is rich with detail and yet often understatement - PT Anderson and Robert Elswit and, yes, Johnny Greenwood know exactly how little is necessary to convey everything. I could go on and on about Paul Dano's performance(s), or Kevin J O'Connor's (that tit from The Mummy is the same guy??), or the scene with William Bandy, or that extraordinary last reel, or the structure... But you get the point. Its a perfect film. One that - perhaps for the first time since Goodfellas - teaches you everything you would ever need to know about cinema and yet invents a couple of new moves along the way. Its a simple story, writ large in the boldest and the finest strokes imaginable. Its so good, it arouses me.

[Anderson]

There Will Be Blood

Without question, the best American film of the last decade and one of the best since the seventies. The photography is subtly exquisite, the filmmaking untouchable and Daniel Day-Lewis gives a performance for the ages. What struck me so much this time is how deeply we understand the characters that surround Plainview and his relationships with them, often with very little screen time shared with any of them. Ciaran Hinds, for instance, barely has any dialogue and in the second half of the film is largely in the background of scenes, often not even in focus. But we understand the importance of this one honest, moral colleague - an equal - in Plainview's life to keep him focussed on what needs to be done.

Similarly, we have exactly one scene of young Mary watching young HW signing with his sign language teacher and we cut to their wedding day over a decade later, them signing their vows to one another (one of the most beautiful 30-second silent scenes ever put to film, in my opinion) and - admittedly with all that has gone before - understand their connection and why they love each other and how deeply that love goes. Look also at the one scene of adult HW's translator, translating his signing for Plainview. The passion with which he translates "I thank God there is none of you in me" for his own and Plainview's benefit, before silently walking away, refusing to translate Plainview's barrage of beratement. He loves HW and holds a position of utmost trust in his life. He is a companion the likes of which Plainview can never know.

Every facet of the film is rich with detail and yet often understatement - PT Anderson and Robert Elswit and, yes, Johnny Greenwood know exactly how little is necessary to convey everything. I could go on and on about Paul Dano's performance(s), or Kevin J O'Connor's (that tit from The Mummy is the same guy??), or the scene with William Bandy, or that extraordinary last reel, or the structure... But you get the point. Its a perfect film. One that - perhaps for the first time since Goodfellas - teaches you everything you would ever need to know about cinema and yet invents a couple of new moves along the way. Its a simple story, writ large in the boldest and the finest strokes imaginable. Its so good, it arouses me.

I've been going back and forth on this, since I can't pinpoint whether Blood or No Country is the better film.

I view them both at that number 1 rung for the 2000s. It's like picking between the children you don't hate.

[Captain Russ]

Or they could just both be excellent on their own merits.

All I can say is that the last two months of that year were outstanding, film wise.

That and I miss the Magnolia. I miss the Angelika.