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About Morlock

  • Birthday 12/11/1986

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    Jerusalem, Israel

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  1. Boring trainwreck, I'd say. I was falling asleep in the last hour. Saw The Hong Kong movie The Stool Pigeon, by someone names Dante Lam. Atrocious. Also saw Errol Morris' Tabloid. Terrific.
  2. Once Upon a Time in The West. No matter how many times I see it, I'm always surprised by the way the story unfolds. It was also smaller than I remembered. I don't think it's Leone's best, one loses sight of the relationships and motives, and the idea of Henry Fonda in the role is slightely better than Fonda actually is in the role- he isn't half as compelling as his employer, the crippled Morton. Still one hell of a magnificent movie, with a an amazing collection of brilliant cinematic moments, most of which I'd forgotten about, or at least forgotten the details of. It seems apropos in light of the recent conversation here to part with the best exchange from the film: Harmonica: "The reward for this man is 5000 dollars, is that right?" Cheyenne: "Judas was content for 4970 dollars less." Harmonica: "They were no dollars in them days" Cheyenne: "Mmm. But sons-of-bitches, yeah."
  3. Most films are manipulative. It's not that the good ones are necessaily better at hiding it, I think it's that we allow ourselves to trust the artists at work enough to be manipulated by them.
  4. Symbols, maybe. The rest? I don't see them as themes in del-Toro's movie.
  5. Saw the finale again. Probably one of my favorite episodes of television, like, ever. The whole experience of watching a beloved work adapted is new to me...I finally get the feeling of something one loved in a book feeling so utterly right when on screen. I loved how the last scene totally got across the weight of the last word of the book.
  6. I fail to see the connection. Thematically, they have practically nothing in common.
  7. Too much of the torture for my tastes. But I recall being quite involved in it, particularly liking the performance of the guy who played Pilate.
  8. For a Few Dollars More. I always forget just how strange these Sergio Leone films are. They're are so genuinely and delightfully eccentric. Not the sharpest of the bunch, this is still one hell of an entertaining film. I was surprised to realize that Clint Eastwood isn't even the main character! He's really Van-Cleef's side-kick. Johnny Guitar. Another genuinely eccentric film, this time from Nicholas Ray. It's no wonder he is one of the greatest inspirations for one of the greatest film waves in history, every Ray film I've seen so far has been rather remarkable. It's one of the most venal films ever- everyone around the main character is driven by sex, sex, sex. A strange, marvelous film that should totally be a train-wreck but is totally thrilling. Great Victor Young theme, too. Anti-semite! Morlock- who also kinda thinks that The Passion is good
  9. Huh? I don't feel that strongly about True Grit, aside from really, really liking it. That it's better than most of the other touted films from last year isn't saying much.
  10. Zulu (1964). Not bad for a vanity project. It's got a great, genuine, 'on location' feel, and is defintely some of the least racist colonialist propoganda I've seen. I was quite pleasantly surprised by how well the music worked. I've been familiar with the theme for years, of course, and it really worked like gangbusters. Dodsworth (1936). After my great experience with The Heiress, I was hoping for another great prestige William Wyler adaptation. Alas, the story wasn't nearly as multi-faceted or interesting. But Walter Houston is magnificent in the lead, and makes the entire thing come together. I was surprised that the score was Alfred Newman, as the cut-and-paste-traditional-tunes dull score sounded like classic Steiner (though there was one good cue in there). This practice in Golden age film scoring is one of the most irritating film-music trends ever. X-Men: First Class (2011). Matthew Vaughn may be a rather pedestrian filmmaker who bought his way into the business...but as far as I'm concerned, he's 4 for 4. Easily the best film made of a Marvel property to date. If the wit, humor, and storytelling of this film would have been the model Marvel studios went with for their films, I'd accept the "they're just supposed to be fun" argument. It convincingly lays out the origin story, yet does it without breaking a sweat, as if it is desperatly trying to make this all work. Kevin Bacon is fun, McAvoy is good, Fassbender is better, and there was no one who I really minded aside from the poorly written and performed character January Jones was stuck with (perhaps she really is just one note). The score was not terrible, which was a pleasant surprise. It had a theme that actually sounded like a theme, and it didn't sound like a Media Ventures theme-like idea. It sounded like an uninspired real score, as opposed to an uninspired MV score. Most fun I've had with a summer movie in a couple of years.
  11. Saw Hannah. Good movie, though I didn't care for the ending. Very good score by The Chemical Brothers. Like the film itself, this is a score that actually felt like it had a real point of view, and one that I cared for. I was very much impressed by Joe Wright's genuinely eccentric touch.
  12. ...and? Rango again. Story's unfortunately thin, but still lovely to look at. Too Big To Fail. Quite good, and, in a way, more compelling than many of these star-studded made for tv movies about recent history. It is also more disturbing than most of them. Superb cast, of course, doing superb work. And the Marcello Zarvos score wasn't terrible. Still, it's sad to see Curtis Hanson reduced to this. The Borgias. Great fun. It's so wonderful to see a real filmmaker get a chance at this trashy tv format. Good music, too. The Incredible Hulk started well enough, but got quite boring by the end. I wouldn't be surprised if X-Men: First Class is the best movie to be based on Marvel characters to date. And Edward Norton can be very annoying, but there are about 3 films where he is absolutely perfect (I agree with Alex, he did hurt The Illusionist, though I do still like the film). Directors don't mind input from their actors. I really don't think that's the reason.. Depends on the director. Don't try and improv with the Coens. You make it sound like they're agressive on the set...they generally allow their actors to improvise. They just don't use it. Morlock- who attended a Q&A with the Coens a couple of weeks ago
  13. My only optimism for it was because of Branagh's involvement. But from what I've heard, it sounds just as crappy as the other Marvel films.
  14. Glory? It was a rather dull score. It felt like he wasn't really trying.
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