LawrenceA

You would enjoy the early scenes of Jackie Brown.

I see it used derisively, usually sarcastically, in reference to stories about gender- or race-swapped characters in some upcoming movie or TV series, or whenever an entertainment article features someone talking about how their new project will focus on female-empowerment or trans issues or racial injustice, etc. Then someone in the comments section will say something long the lines of, "Oh, great, more woke culture", or "This sounds woke!" with a to emphasize their sarcasm or dislike. If I had to guess where I first saw it used non-dismissively, I would say it was in a HuffPost comment section. As a derogatory term I probably saw it on Yahoo or in the Dark Horizons comment sections, where there tends to be a lot of angry people who get ticked off about gender- and race-switching.

I seem to first recall seeing it around the time of the Ferguson protests/riots and the start of Black Lives Matter. Somewhere along the way it merged with LGBTQ activism and #MeToo. Now I only see it used as a derogatory term. Language seems to be mutating at a faster rate in the social media age.

It's placing an emphasis on social justice and representation in regards to matters of race, gender, orientation, and/or religion. The terminology infers that one has been "awakened" to the previously ignored disparity in representation and addressing past and/or ongoing injustices towards groups that are not white, male, hetero, and/or Christian. "Woke culture" usually means that a film or TV show features a gay couple, a transgender character/performer, and/or a racially diverse cast, and calls attention to their inclusion via storylines, as well as featuring stories about misogyny, sexual harassment and gender inequality (#MeToo). However, the terms "woke" and "woke culture" are now often used derisively by opponents to dismiss those who do want that representation. By the way, as to the thread, I liked Drums Along the Mohawk, but wouldn't call it Essential. Dog Day Afternoon is an Essential, although not necessarily because of the "surprise" relationship developments later in the movie. The Anderson Tapes is decent, but not an Essential. I think they could have found a more "Essential" Robberies Gone Wrong movie.

Favorite Foreign-Language Films of All Time Seven Samurai, Akira Kurosawa, Japan (1954) The Passion of Joan of Arc, Carl Theodor Dreyer, France (1928) The Wages of Fear, Henri-Georges Clouzot, France (1953) Metropolis, Fritz Lang, Germany (1927) Napoleon, Abel Gance, France (1927) M, Fritz Lang, Germany (1931) Ikiru, Akira Kurosawa, Japan (1952) Kwaidan, Masaki Kobayashi, Japan (1964) Shoeshine, Vittorio De Sica, Italy (1946) Man with a Movie Camera, Dziga Vertov, USSR (1929) Suspiria, Dario Argento, Italy (1977) Oldboy, Chan-wook Park, South Korea (2003) Harakiri, Masaki Kobayashi, Japan (1962) Wild Strawberries, Ingmar Bergman, Sweden (1957) La Dolce Vita, Federico Fellini, Italy (1960) Rashomon, Akira Kurosawa, Japan (1950) Nosferatu, F.W. Murnau, Germany (1922) 8 1/2, Federico Fellini, Italy (1963) Yojimbo, Akira Kurosawa, Japan (1961) Shame, Ingmar Bergman, Sweden (1968) Tokyo Story, Yasujiro Ozu, Japan (1953) Let the Right One In, Tomas Alfredson, Sweden (2008) The Battle of Algiers, Gillo Pontecorvo, Italy/Algeria (1966) L'Age d'Or, Luis Bunuel, France (1930) The Sword of Doom, Kihachi Okamoto, Japan (1966) The Conformist, Bernardo Bertolucci, Italy (1970) Grand Illusion, Jean Renoir, France (1937) Das Boot, Wolfgang Petersen, West Germany (1981) Umberto D., Vittorio De Sica, Italy (1952) The Testament of Dr. Mabuse, Fritz Lang, Germany (1933) Battleship Potemkin, Sergei Eisenstein, USSR (1925) Pan's Labyrinth, Guillermo Del Toro, Mexico/Spain (2006) Ran, Akira Kurosawa, Japan (1985) Come and See, Elem Klimov, USSR (1985) Onibaba, Kaneto Shindo, Japan (1964) Hard Boiled, John Woo, Hong Kong (1992) Amelie, Jean-Pierre Jeunet, France (2001) La Femme Nikita, Luc Besson, France (1990) Viy, Konstantin Ershov & Georgiy Kropachyov, USSR (1967) Throne of Blood, Akira Kurosawa, Japan (1957) Crouching Tiger, Hidden Dragon, Ang Lee, Taiwan (2000) The Seventh Seal, Ingmar Bergman, Sweden (1957) The Last Laugh, F.W. Murnau, Germany (1924) A Nous la Liberte, Rene Clair, France (1931) Die Nibelungen, Fritz Lang, Germany (1924) Pather Panchali, Satyajit Ray, India (1955) Akira, Katsuhiro Otomo, Japan (1988) Le Samourai, Jean-Pierre Melville, France (1967) High & Low, Akira Kurosawa, Japan (1963) The Exterminating Angel, Luis Bunuel, Mexico (1962) The Discreet Charm of the Bourgeoisie, Luis Bunuel, France (1972) Stray Dog, Akira Kurosawa, Japan (1949) Beauty & the Beast, Jean Cocteau, France (1946) Les Miserables, Raymond Bernard, France (1934) Tokyo Olympiad, Kon Ichikawa, Japan (1965) Tetsuo: The Iron Man, Shin'ya Tsukamoto, Japan (1989) Los Olvidados, Luis Bunuel, Mexico (1950) Faust, F.W. Murnau, Germany (1926) Z, Costa-Gavras, France/Algeria (1969) The 36th Chamber of Shaolin, Chia-Liang Liu, Hong Kong (1978) Dersu Uzala, Akira Kurosawa, USSR (1975) The Virgin Spring, Ingmar Bergman, Sweden (1960) Late Spring, Yasujiro Ozu, Japan (1949) Samurai 1: Musashi Miyamoto, Hiroshi Inagaki, Japan (1954) Solaris, Andrei Tarkovsky, USSR (1972) Godzilla, Ishiro Honda, Japan (1954) Cyrano de Bergerac, Jean-Paul Rappeneau, France (1990) Fellini Satyricon, Federico Fellini, Italy (1969) Fanny, Marc Allegret, France (1932) Black Sunday, Mario Bava, Italy (1960) The Cabinet of Dr. Caligari, Robert Weine, Germany (1920) The Hidden Fortress, Akira Kurosawa, Japan (1958) Divorce Italian Style, Pietro Germi (1961) The Raid 2, Gareth Evans, Indonesia (2014) Nights of Cabiria, Federico Fellini, Italy (1957) The Story of a Cheat, Sacha Guitry, France (1936) The Burmese Harp, Kon Ichikawa, Japan (1956) Pusher, Nicolas Winding Refn, Denmark (1996) Violent Cop, Takeshi Kitano, Japan (1989) Nosferatu the Vampyre, Werner Herzog, West Germany (1979) Westfront 1918, G.W. Pabst, Germany (1930) Haxan: Witchcraft Through the Ages, Benjamin Christensen, Sweden (1922) Inside, Alexandre Bustillo & Julien Maury, France (2007) Hero, Zhang Yimou, China (2002) Audition, Takashi Miike, Japan (1999) Run Lola Run, Tom Tykwer, Germany (1998) Sonatine, Takeshi Kitano, Japan (1993) L'Avventura, Michelangelo Antonioni, Italy (1960) Adam's Apples, Anders Thomas Jensen, Denmark (2005) Russian Ark, Aleksandr Sokurov, Russia (2002) Ariel, Aki Kaurismaki, Finland (1988) Wings of Desire, Wim Wenders, West Germany (1987) House, Nobuhiko Obayashi, Japan (1977) Red Beard, Akira Kurosawa, Japan (1965) La Strada, Federico Fellini, Italy (1952) The Big City, Satyajit Ray. India (1963) Going Places, Bertrand Blier, France (1974) The Bad Sleep Well, Akira Kurosawa, Japan (1960) Il Sorpasso, Dino Risi, Italy (1962) Un Chien Andalou, Luis Bunuel, France (1929)

Anne Bancroft's finest hour (and a half):

Just announced by Criterion: Teorema (1968) Street date: February 18, 2020 SPECIAL FEATURES New, restored 4K digital transfer, with uncompressed monaural soundtrack on the Blu-ray Alternate English-dubbed soundtrack, featuring the voice of actor Terence Stamp and others Audio commentary from 2007 featuring Robert S. C. Gordon, author of Pasolini: Forms of Subjectivity Introduction by director Pier Paolo Pasolini from 1969 Interview from 2007 with Stamp New interview with John David Rhodes, author of Stupendous, Miserable City: Pasolini’s Rome New English subtitle translation More! PLUS: An essay by film scholar James Quandt

That Karel Zeman set looks fun. I really enjoyed the Munchausen film, but I haven't seen the other two. While I'm not anxious to get Roma, I am happy to see a Netflix film get a Criterion disc release, and I'll hold out hope that The Ballad of Buster Scruggs and The Irishman will get disc releases in the future.

February Criterion Titles Announced Roma (2018) February 11 DIRECTOR-APPROVED SPECIAL EDITION FEATURES 4K digital master, supervised by director Alfonso Cuarón, with Dolby Atmos soundtrack on the Blu-ray Road to “Roma,” a new documentary about the making of the film, featuring behind-the-scenes footage and an interview with Cuarón Snapshots from the Set, a new documentary featuring actors Yalitza Aparicio and Marina de Tavira, producers Gabriela Rodríguez and Nicolás Celis, production designer Eugenio Caballero, casting director Luis Rosales, executive producer David Linde, and others New documentaries about the film’s sound and postproduction processes, featuring Cuarón; Sergio Diaz, Skip Lievsay, and Craig Henighan from the postproduction sound team; editor Adam Gough; postproduction supervisor Carlos Morales; and finishing artist Steven J. Scott New documentary about the film’s ambitious theatrical campaign and social impact in Mexico, featuring Celis and Rodríguez Nothing at Stake, a new video essay by filmmaker :: kogonada Trailers Alternate French subtitles and Spanish SDH for the film PLUS: Essays by novelist Valeria Luiselli and historian Enrique Krauze, along with (Blu-ray only) writing by author Aurelio Asiain and production-design images with notes by Caballero Teorema (1968) February 18 SPECIAL FEATURES New, restored 4K digital transfer, with uncompressed monaural soundtrack on the Blu-ray Alternate English-dubbed soundtrack, featuring the voice of actor Terence Stamp and others Audio commentary from 2007 featuring Robert S. C. Gordon, author of Pasolini: Forms of Subjectivity Introduction by director Pier Paolo Pasolini from 1969 Interview from 2007 with Stamp New interview with John David Rhodes, author of Stupendous, Miserable City: Pasolini’s Rome New English subtitle translation More! PLUS: An essay by film scholar James Quandt Paris Is Burning (1990) February 25 DIRECTOR-APPROVED SPECIAL EDITION FEATURES New 2K digital restoration, supervised by director Jennie Livingston, with uncompressed monaural soundtrack on the Blu-ray New conversation between Livingston, ball community members Sol Pendavis and Freddie Pendavis, and filmmaker Thomas Allen Harris Over an hour of never-before-seen outtakes Audio commentary from 2005, featuring Livingston, ball community members Freddie Pendavis and Willi Ninja, and film editor Jonathan Oppenheim Episode of The Joan Rivers Show from 1991, featuring Livingston and ball community members Dorian Corey, Pepper LaBeija, Freddie Pendavis, and Willi Ninja Trailer More! Three Fantastic Journeys by Karel Zeman February 25 Journey to the Beginning of Time (1955) Invention for Destruction (1958) The Fabulous Baron Munchausen (1962) SPECIAL FEATURES New 4K digital restorations of all three films, with uncompressed monaural soundtracks on the Blu-rays New programs with animation filmmaker John Stevenson and special-effects artists Phil Tippett and Jim Aupperle discussing director Karel Zeman and his complex visual trickery Four early short films by Zeman: A Christmas Dream (1946), A Horseshoe for Luck (1946), Inspiration (1949), and King Lavra (1950) Film Adventurer: Karel Zeman, a 2015 documentary about the director, featuring filmmakers Tim Burton and Terry Gilliam, illustrator Ludmila Zeman, and others Short documentaries by the Karel Zeman Museum profiling the director and detailing the production and effects of all three films U.S.-release version of Journey to the Beginning of Time from 1960 Alternate English-dubbed soundtrack for Invention for Destruction, and the opening sequence of the 1961 U.S.-release version Restoration demonstrations and an interview with restoration supervisor James Mockoski Trailers New English subtitle translations PLUS: An essay by film critic Michael Atkinson, along with limited-edition deluxe Blu-ray packaging featuring pop-up art Plus a Blu-ray upgrade for: Antonio Gaudi (1984) February 18 SPECIAL FEATURES High-definition digital restoration, with uncompressed monaural soundtrack on the Blu-ray Interview with architect Arata Isozaki from 2008 Gaudí, Catalunya, 1959, footage from director Hiroshi Teshigahara’s first trip to Spain Visions of Space: “Antoni Gaudí,” an hour-long documentary from 2003 on the architect’s life and work BBC program on Gaudí by filmmaker Ken Russell Sculptures by Sofu—Vita, a 1963 short film by Teshigahara on the sculpture work of his father, Sofu Teshigahara Trailer PLUS: An essay by art historian Dore Ashton, a 1986 reminiscence by Hiroshi Teshigahara, and excerpts from a 1959 conversation between Hiroshi and Sofu Teshigahara on their trip to the West

I watched it for the first time in the last several months. I thought it was interesting, although the beginning was a slog. It got more outrageous in the last third. It was very controversial and shocking in its day, but seems tame now. I get the feeling that the first half would put a lot of people to sleep. It's very European-arthouse, which will seem pretentious and boring to a lot of viewers.

I was kidding with the above statement, based on the amount of movies I've seen, which is a lot (too many?). However, to seriously answer the thread query, I can't think of any movie that's generally regarded as a great, all-time classic that I haven't seen, especially if one is referring to American films. Maybe someone will mention one that I've missed, but I don't think so. Maybe some late 60's or 70's musicals? There are none that I've consciously avoided.

Saw it opening night. Ehhh, it was OK.

I'm resurrecting this thread to mention my latest movie "expert" experiences. As I mentioned elsewhere, I've been watching all of Alfred Hitchcock's films in release order, and watching all of the bonus material included on each disc. The first thing I realized was just how many Alfred Hitchcock "experts" there are (or were...many of these retrospectives are 10-20 years old now, and many of the interviewees have passed). There are a few I know, like Peter Bogdanovich and Robert Osborne and Richard Schickel, but many more I don't know, although book credits are usually listed by their names. Still, there seems to be a surplus of Hitch experts. Back to the thread theme, I had to chuckle when I watched the making of one of Hitch's films, with one expert expounding authoritatively that, "As you know, Hitchcock seldom ever used storyboards. He had it all mapped out in his computer-like brain." And then I watch the next movie, and in that making-of featurette another expert declares, "As you know, Hitchcock always used meticulous storyboards."

But, really...who doesn't want to see a movie co-starring Andre the Giant and Maya Angelou?

Is there one I haven't seen?

CG James Dean Is Only The Beginning? Recently came a huge outcry when news broke that the late James Dean would be digitally resurrected to ‘star’ in the second lead role in the new Vietnam War film “Finding Jack”. Late actors have been resurrected from the grave for digital performances before, from Laurence Olivier for “Sky Captain and the World of Tomorrow,” to Peter Cushing’s likeness in “Rogue One”. All however were for small cameos paying direct homage to their works. In the case of Dean, it’s a fairly major role and is seemingly being done more for reasons of ‘because we can’. Now, Variety reports that this is only the beginning and a new company called Worldwide XR is about to open the floodgates. The trade indicates the company plans on selling the digital likenesses of legendary actors for use in future films including icons such as Bettie Page, Burt Reynolds, Andre The Giant, Lou Gehrig, and Maya Angelou. A combination of licensing company CMG Worldwide and immersive content creation studio Observe Media, Worldwide XR reportedly holds the digital rights to over 400 stars. Travis Cloyd, CEO, admits “it’s disruptive. Some people dislike it” but there’s a reason for this: “influencers will come and go, but legends will never die.” The company will reportedly do its ‘due diligence’ when vetting potential filmmaking partners who want to use the likeness of an actor. Cloyd also says expect much more of this: “There is a lot more to come for James Dean. Think of it as James Dean 2.0.” http://www.darkhorizons.com/cg-james-dean-is-only-the-beginning/

John Wayne Charlton Heston Steve McQueen Walter Brennan Jeffrey Jones Jon Voight James Woods Tom Sizemore There are others who have done shady/deplorable things (Sean Penn, Kevin Spacey, Eugene Pallette, John Agar, etc) but I've always known about their questionable behavior, so it wasn't a later revelation as it was with those I listed above.

1953 Favorites (144 titles seen) The Wages of Fear Tokyo Story The Big Heat The War of the Worlds Shane Pickup on South Street Julius Caesar From Here to Eternity Stalag 17 Sawdust and Tinsel

Favorites of the 2010's The Raid 2, Gareth Evans, Indonesia (2014) Burning, Chang-dong Lee, South Korea (2018) The Lure, Agnieszka Smoczynska, Poland (2015) The Raid, Gareth Evans, Indonesia (2011) Train to Busan, Sang-ho Yeon, South Korea (2016) 13 Assassins, Takashi Miike, Japan (2010) We Are the Best!, Lukas Moodysson, Sweden (2013) Tigers Are Not Afraid, Issa Lopez, Mexico (2017) The Hunt, Thomas Vinterberg, Denmark (2012) Wild Tales, Damian Szifron, Argentina (2014)

That's not a lost film. It's available to watch online right now.

I would have enjoyed the movie more.

I've always felt that Jack Torrance wasn't mad as much as he also had "the shine", meaning that he was sensitive to the psychic/ghostly realm, only at a much weaker level than either Danny or Doc Halloran, and he didn't know he had it, what it was, or how to properly deal with it. This sensitivity wasn't something that he was acutely aware of, only a nagging sense in his mind that led to social problems (inability to hold a job, trouble writing) and his alcoholism, turning to drink to dull "the voices". The Overlook Hotel, which has become almost an entity unto itself, drawing people to it that have "the shine" in order to "devour their souls", so to speak (the old photograph that now shows Jack Torrance in it at the end alludes to this consumption of its victims) is what led to the Torrances being drawn to the place, even if they felt it was purely random that Jack applied for the job. So I think Jack Torrance was already deeply troubled and barely putting up a proper facade of normalcy at the beginning of the film, and the hotel's sinister influence, manifested via the bartender, drives Torrance further over the edge, combined with his interactions with other past victims, some or all of whom may have had "the shine" themselves.

Yeah, yeah, yeah... message received. I won't post any more reviews. I know I've said as much before, but I make a solemn pledge this time - no more reviews.

Best wishes to Ray, in case he can see this but can't post. Hope all is well, and that he returns soon.

Her expression fits my typical mood. I finished Rebecca a while ago, I just didn't post about it. I liked it more this time, upping my rating for it to a 9/10. I was really impressed with Joan Fontaine this time, and I paid more attention to the sets, which are very good. I've always liked Judith Anderson as Mrs. Danvers, and felt she should have won the Oscar for it. I watched the Criterion Blu-ray, which had a lot of bonus features that I waded through as well: a discussion on the movie's feminist themes, a making-of documentary, a documentary on Daphne Du Maurier, old episodes of the Tomorrow show with Joan Fontaine and Alfred Hitchcock as guests; screen tests with other actresses up for the lead role (including Vivien Leigh, Margaret Sullavan, Loretta Young, and Anne Baxter), etc. It was a deep dive into all things Rebecca, and was a bit exhausting. One of Criterion's more outstanding releases. Next up: Foreign Correspondent