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KK

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KK last won the day on April 16 2016

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About KK

  • Birthday June 13

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    Karl Ulrich Nikolaus Traeger
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    Canada

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  1. I liked the new one more than the last one. It still rings a little hollow for me, but it is impressive. Clearly, the films divided the plot material poorly. I'm glad it's doing what it is to generate box office interest, but the euphoria around it being the saviour of cinema feels silly. The score is less offensive to the picture than its predecessor, but it's still not very good. I listened to the sketchbook last night, and there's honestly some interesting stuff in there (unlike the drab colourless OSTs). If only Denis' musical instincts allowed more for that kind of material, these films could have been more imaginative and wild.
  2. Cool to hear him acknowledge here that the new Lion King was more or less a derivative knock-off. I think it's wise that Zimmer stepped out of the way, because I don't think he could recreate that sound himself anymore anyway (that's why we have Dune!). Hopefully, this will inspire HGW though. He's got it in him to write something good for this, as long he's not as bored as he's sounded for the last decade or so.
  3. Even at 92, this man is spinning gold in wisdom. Agreed, though I think this is a recent thing he's embraced. I feel like the same insecurities he speaks to have plagued him for much of his career in his prime. But now he seems to have let them go, especially since many of those institutions now celebrate him and his craftsmanship, a caliber and mode of working that has more or less disappeared across the spectrum, be it film or concert music.
  4. That series is dull and derivative. Occasionally shot nicely, but riddled, almost laughably, with sad drama clichés. Kidman verges on self-parody.
  5. Yikes. I hadn't seen this before. But this isn't very good, is it?
  6. Agreed. It's a remarkably empty film. Beautifully shot, and well-acted, but little more than a string of "shock" moments designed for TikTokers to foam over. Though it does have a particular fanbase. I don't think Babylon is by any means a "great film". I think it's very impressively made, but has little to say that hasn't been said before in better ways. All of it feels like imitative grandstanding. It's basically Boogie Nights (almost beat for beat) meets Singing in the Rain, and I'd rather watch both of those. But I'd take all three over Saltburn. It's great! Like a darker cousin to Spirited Away. It's messier than his other films, and is filled to brim with ideas (perhaps a bit too much so), but it's still lovely. Definitely worth watching it in the theatres.
  7. There are still films to see, but at the moment, these are the ones that would likely be on my list: Poor Things Killers of the Flower Moon The Zone of Interest Oppenheimer Anatomy of a Fall All of Us Strangers The Delinquents Past Lives I do think ultimately, Poor Things made for the most riveting cinema, just in everything it tries to do with its tools, even if some of the other films try to reach for bolder places. Films that I haven't gotten to yet that I anticipate will crack my top 10: La Chimera Perfect Days The Taste of Things Fallen Leaves Scores that I've enjoyed or have made an impression: Poor Things by Jerskin Fendrix The Zone of Interest by Mica Levi Spider-Man: Across the Spider-verse by Daniel Pemberton American Fiction by Laura Karpman Oppenheimer by Ludwig Gorannsson Poor Things is without a doubt, the most thrilling film score of the year in my opinion.
  8. Yes, but with how far technology has come with the degree of control of the theatrical experience, I think it's fair for the director to want to curate that experience as much as they can. And the variables around different theatres just randomly breaking up the film at any point of its duration without the director's knowledge...that is an understandably painful concession for any director, especially someone like Scorsese, who at this stage of his career, has definitely earned that level of command over how he wishes his films to be presented to the world. To your broader point, yes, I'm a big fan of bringing intermissions back for epics of this length. As long as they're built into the design of the work.
  9. Eh. I thought the album was okay. It kind of strips out the magic and musicality of many of the original pieces. A lot of it now just feels like pretty chords for piano and strings. Some parts of it are nice, but stuff like the "Hands of Fate" arrangement is dreadfully boring.
  10. Killers of the Flower Moon This is an excellent picture. It's a brooding, operatic meditation on Scorsese's familiar themes of power and corruption but in a far more compelling spiritual context. De Niro is absolutely terrifying in one of his best roles in years (decades?) and Lily Gladstone just draws you in from her very first frame. Beautiful visual gestures disrupt the narrative, evoking the metaphysical qualities of Scoresese's often-overlooked 21st-century masterpiece, Silence. The framing of his subjects and narrative just goes to show that Scorsese, as an inherently cinematic filmmaker, has still got that spark in a way I feel his contemporaries have lost over the years (I'm looking at you, Spielberg). The unreliable narration of the events of this epic draws our sympathies in directions that make the experience thrillingly ambiguous and uncomfortable. And while there is a point where the investigation starts to draw the spotlight away from the magnetic Gladstone and become a third-act courtroom drama that I thought would actively decenter the Osage people, the film doesn't get "lost" for too long and brings us back on track with a very thoughtful coda. Robertson's score remains the only uninspired facet of this production. When it works, it works, albeit often too buried underneath everything. But either the film needed a score with real personality or should have played out with no score at all.
  11. I did! I was trying to catch it at Cannes when I was there, but never made it work. So I'm glad I got to see it here. There were a couple of other great TIFF films too, which I'll spew about here eventually. Anatomy of a Fall Excellent courtroom drama on the paradox of vulnerability and doubt. Sandra Hüller is such a revelation (she's good in Zone of Interest too, but here she just gets to really shine), you can stare at her face for hours and watch everything she imbues onto the screen. The film feels really incisive and never really gets sensational. Love how it plays with language too.
  12. Zone of Interest Glazer's latest is a sort of essay on the banality and invisibility of evil. The film withholds and reveals information, playing with loaded (and potent) images with a sort of alien gaze that recalls Under the Skin. But there's a more rigorous formalism here, that even almost reaches a point of burning itself out before subtly shifting and surprising you. The more I think about it, the more it sticks with me. And that makes good cinema, right? Mica Levi's two bookend pieces for the film are absolutely fantastic.
  13. Blue is easily the worst of the trilogy. And it's depiction of the music world is laughable. White is my favourite. But Red is good too.
  14. I haven't heard the score, but that is some very Marianelli-esque harmony. I dig it.
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