What Emmanuelle Movie Did You Just Watch?

[Anderson]

Please, people have been flipping me off since I learned how to talk.

[Abraham Smashington]

and that's wrong.

You're making an argument for ignorance by using another construct for ignorance.

It doesn't matter how much you build upon it, if you say that you can enjoy something without thinking about it....THAT'S WRONG.

YOU CAN ENJOY SOMETHING WITHOUT OVER ANALYZING IT TO THE POINT OF ABSURDITY BUT JUST TAKING IT AT FACE VALUE. I NEVER SAID TURN OFF YOUR SHIT COMPLETELY, ZONE OUT, AND OW! MY BALLS.

[Anderson]

YOU CAN ENJOY SOMETHING WITHOUT OVER ANALYZING IT TO THE POINT OF ABSURDITY BUT JUST TAKING IT AT FACE VALUE. I NEVER SAID TURN OFF YOUR SHIT COMPLETELY, ZONE OUT, AND OW! MY BALLS.

Ha! I just needed to hear you say it.

[Abraham Smashington]

I've said that since we started this goddamn circle jerk. Fuck.

[Anderson]

I've said that since we started this goddamn circle jerk. Fuck.

Not exactly. But, we'll just leave this alone until the next time it festers up.

[IggytheBorg]

CALIFORNIA SUITE

It's essentially 4 unrelated stories happening in a California hotel at the same time:
- Maggie Smith and Michael Caine as an acting couple there for her Oscar nomination.
- Jane Fonda and Alan Alda as a divorced couple discussing what to do with their daughter.
- Walter Matthau as a guy visiting for a Bar Mitzvah who gets set up with a hooker by his brother.
- Bill Cosby and Richard Pryor as the husbands of two vacationing couples.

It's from a Neil Simon play and most of the lines feel like LINES, not like real language. Jane Fonda, in particular, has a hard time nailing the right cadence and tone.

Some of it's very funny. Matthau's situation gets pretty entertaining when his wife shows up and he's got a passed out hooker in his bed. That situation has the best resolution of any of the storylines. The Pryor/Cosby one is ok...essentially everything that can go wrong DOES go wrong, and they have pretty solid chemistry together. The comedy of those elements is tonally off from the rather serious stuff surrounding the Smith/Caine storyline and the Alda/Fonda storyline, resulting in some rather jarring shifts in tone throughout the film.

It was OK, not great. One and done for sure.

This would be worth seeing for the star studded cast alone. I would be particularly interested in how Cosby & Pryor worked together, since I know (assuming Eddie Murphy was accurate) that Cosby has little use for Pryor's brand of blue comedy, to which Pryor's famous reply was "Thell Bill I said 'Have a Coke and a smile', & STFU." I wonder if that translated into a lack of respect for the talents of the other by one or both of them?

[Matt]

There was a definite edge to their scenes. It's a very antagonistic situation that the two find themselves in, so I wouldn't be surprised if Cosby's attitude came through in his interactions with Pryor. Some pretty funny stuff, though.

[Captain Russ]

A twofer of sorts.

First up to bat was Kill List. This one had been in the queue for a long time and I'm glad I finally got around to it, as it was an impressive effort by Ben Wheatley.

Some elements weakened it for me, especially the editing choices in certain moments (though the cut into Jay acting like a crazed monkey wearing a suit was wonderful) dulled the effect of key emotional scenes. Reading about the incredibly fluid filmmaking style and heavy improvisation throughout I understand why the film was done this way and it does have stellar sequences to show for it, I just felt some of the edits were a bit too disjointed in parts.

That tunnel sequence though? Wow. My heart was racing.

Tyres was wonderful as Gal. Glad he picked something up for his performance.

If you like suspense, if like films shot in the documentary style, and if you like reading into things, then you will enjoy this film.

[Captain Russ]

The second film was Spring Breakers.

This has also been one I've taken my sweet time to get around to watching.

Korine continues to offer up the most terrifyingly accurate depiction of the degenracy of American youth I've ever seen. He knows the sleaze because he is the sleaze. And we can smell our own.

Anyway, the principle group are probably the worst part of the entire experience (intentional) whose deplorable behavior and even more horrid acting is then saved by the hilarious Malick-esque deep looks into the distance juxtaposed with the dialogue. By the end, those moments were pure bliss. Same goes with the moments on the bus with the hand going up to touch the window. Fuck it's awful and great in equal measure.

And I haven't gotten to the best part. James Franco is the greatest fucking thing in this film, bar none. He is the beating heart of America. He is the MTV American Dream rendered flesh. When he was poetically cataloguing "his shit" I was on board with him. Then I began to slacken in my enjoyment as the spotlight turned to the well-trodden ground of the master/apprentice rivalry, but then Alien brought it all back once he started to suck those gundicks. No one else would have sucked those gundicks like that. He was totally in the moment, sucking those gundicks.

By the time pervert messiah punctuates the scene with the "I think I just fell in love with both y'all" I was up from my couch, applauding like a braindead ape at a Big Bang Theory taping.

The final act is really fantastic in terms of the film's own logic and yet it made me somewhat solemn, as we will never have a Miami Vice film that embraces the heights of neon sleaze like this film ended up doing.

[Abraham Smashington]

sprriiinnggg brreeeaaaakkkkkk

[Anderson]

You guys have talked more about California Suite than anyone has in 35 years.

[BillyG]

What's this from?

[BillyG]

The second film was Spring Breakers.

This has also been one I've taken my sweet time to get around to watching.

Korine continues to offer up the most terrifyingly accurate depiction of the degenracy of American youth I've ever seen. He knows the sleaze because he is the sleaze. And we can smell our own.

Anyway, the principle group are probably the worst part of the entire experience (intentional) whose deplorable behavior and even more horrid acting is then saved by the hilarious Malick-esque deep looks into the distance juxtaposed with the dialogue. By the end, those moments were pure bliss. Same goes with the moments on the bus with the hand going up to touch the window. Fuck it's awful and great in equal measure.

And I haven't gotten to the best part. James Franco is the greatest fucking thing in this film, bar none. He is the beating heart of America. He is the MTV American Dream rendered flesh. When he was poetically cataloguing "his shit" I was on board with him. Then I began to slacken in my enjoyment as the spotlight turned to the well-trodden ground of the master/apprentice rivalry, but then Alien brought it all back once he started to suck those gundicks. No one else would have sucked those gundicks like that. He was totally in the moment, sucking those gundicks.

By the time pervert messiah punctuates the scene with the "I think I just fell in love with both y'all" I was up from my couch, applauding like a braindead ape at a Big Bang Theory taping.

The final act is really fantastic in terms of the film's own logic and yet it made me somewhat solemn, as we will never have a Miami Vice film that embraces the heights of neon sleaze like this film ended up doing.

sprriiinnggg brreeeaaaakkkkkk

http://vimeo.com/48702709

mah bed is a work of art!

[Captain Russ]

The Filth is the gif's origin, I do believe.

[Abraham Smashington]

indeed