Quote:

Where Heidegger talks about “world” he will often appear to be talking about a pervasive interpretation or point of view which we bring to the things of the world. This, in any case, has been the view of many commentators. But there is little sense in speaking of “a point of view” here since precisely what Heidegger wants to indicate with the concept is that none other is possible. And there is no more sense in speaking of an interpretation when, instead of an interpretation, the “world” is meant to be that which can keep us from seeing, or force us to see, that what we have is one.

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DividedQuantum said:

way better than Saving Private Ryan

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DividedQuantum said:

But the story is rather conventional and predictable, and I gotta say, those close-ups of the American flag at the end are a real turn-off for me.

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mikeisapro said:

Something like this, but im forgetting a lot:


Persona
A Tale of Two Sisters
Eternal Sunshine of the Spotless Mind
Synecdoche, New York
Gozu
Fight Club
The Exterminating Angel
I Heart Huckabees
Memento
12 Monkeys
Donnie Darko
The Silence
Brazil
Audition
A Beautiful Mind
The Fountain
Inland Empire
A Scanner Darkly
Taxi Driver
Casino
The Silence of the Lambs
The Ring
Fantastic Planet
A Clockwork Orange
Pulse
Stalker
Mullholland Drive
Pulp Fiction
The Seventh Seal
One Flew over the Cuckoos Nest
Cube
Cool Hand Luke
Twin Peaks
Eraserhead
Blue Velvet
Psycho
Goodfellas
Waking Life
Pi
The Holy Mountain
The Game
City of God
American Beauty
Discreet charm of the bourgeoisie
Being John Malcovich
Rain Man
The Others
Ringu
The Truman Show
Inception
Requiem for a Dream
Fear and Loathing in Las Vegas
Inglourious Basterds
Fargo
Good Will Hunting
Deconstructing Harry
Mindwalk
Videodrome
Annie Hall
Rosemary's Baby
Reservoir dogs
The Shining
Lost Highway
A Serbian Film
The Machinist
Old Boy

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Nice.

mikeisapro said:

That's an old list. I would add a lot of stuff but I have severe depression from benzo withdrawal.

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DustyBottoms said:

Full Metal Jacket (only the first half though)

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DividedQuantum said:

Oh, don't get me wrong, it's a good and quite possibly great movie. Maybe I exaggerated when I said "way better," but as an artistic piece exploring the ambiguities and surrealism of war, I think TRL is superior. No, SPR is one of the best produced movies I've ever seen, and it's intensely realistic, amazingly so. I think the D-Day storming of Omaha beach is what the veterans appreciate so much -- one of the best war sequences probably ever. But the story is rather conventional and predictable, and I gotta say, those close-ups of the American flag at the end are a real turn-off for me.

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clock_of_omens said:

I watched Malick's The New World yesterday. It's great. The ending is a gut punch.

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lavod said:

DividedQuantum said:

Oh, don't get me wrong, it's a good and quite possibly great movie. Maybe I exaggerated when I said "way better," but as an artistic piece exploring the ambiguities and surrealism of war, I think TRL is superior. No, SPR is one of the best produced movies I've ever seen, and it's intensely realistic, amazingly so. I think the D-Day storming of Omaha beach is what the veterans appreciate so much -- one of the best war sequences probably ever. But the story is rather conventional and predictable, and I gotta say, those close-ups of the American flag at the end are a real turn-off for me.

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I saw the Thin Red Line in the theatre back in '99 and did'nt like it very much.  Ov course i was 14-15 at the time and did not have the comprehension and appreciation ov film that i now possess, so i would doubtless view it in a different light.  SPR was very good.  My favorite war(or anti-war if you'd like) movie remains to be Sam Peckinpah's Cross of Iron(1977), a WWII movie from the German perspective on the Russian front filmed in then-Yugoslavia with porn money.



My extensive favorite movie list would be dominated by the works ov Derek Jarman, Gregg Araki, Emir Kusturica, and Sam Peckinpah.  I also have a heavy bias towards movies from the periods '69-'74 and '85-'95.  If i had to narrow it down to 10 right now, they would probably be:

Caravaggio
The Living End
Bring Me the Head of Alfredo Garcia
The Last of England
Edward II
El Topo
Totally Fucked Up
Dust Devil
The Wild Bunch
Black Cat, White Cat

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lavod said:

DividedQuantum said:

Oh, don't get me wrong, it's a good and quite possibly great movie. Maybe I exaggerated when I said "way better," but as an artistic piece exploring the ambiguities and surrealism of war, I think TRL is superior. No, SPR is one of the best produced movies I've ever seen, and it's intensely realistic, amazingly so. I think the D-Day storming of Omaha beach is what the veterans appreciate so much -- one of the best war sequences probably ever. But the story is rather conventional and predictable, and I gotta say, those close-ups of the American flag at the end are a real turn-off for me.

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I saw the Thin Red Line in the theatre back in '99 and did'nt like it very much.  Ov course i was 14-15 at the time and did not have the comprehension and appreciation ov film that i now possess, so i would doubtless view it in a different light.  SPR was very good.  My favorite war(or anti-war if you'd like) movie remains to be Sam Peckinpah's Cross of Iron(1977), a WWII movie from the German perspective on the Russian front filmed in then-Yugoslavia with porn money.



My extensive favorite movie list would be dominated by the works ov Derek Jarman, Gregg Araki, Emir Kusturica, and Sam Peckinpah.  I also have a heavy bias towards movies from the periods '69-'74 and '85-'95.  If i had to narrow it down to 10 right now, they would probably be:

Caravaggio
The Living End
Bring Me the Head of Alfredo Garcia
The Last of England
Edward II
El Topo
Totally Fucked Up
Dust Devil
The Wild Bunch
Black Cat, White Cat

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I havent heard of *any* of those movies

RonnySimulacrum said:

'Wake In Fright' - 1971

?

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obtuse said:

omg yes, metal skin lol

i had totally forgotten.

someone should do an Australian 90's underground cult film festival

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DividedQuantum said:

I'm inclined to agree with you. I love Full Metal Jacket, but I have always been bothered by the second half for several reasons. One, the first half (with Lee Ermey and Vincent D'Onofrio) is so fucking good that the second half seems to fall a little flat in comparison. Two, Kubrick shot the movie in England, and it shows. It really does not look like tropical Indochina. He shipped in a lot of palm trees from Spain, but that doesn't really cut it for me. Three, my Dad is a Vietnam vet. He served in the 101st Airborne Division at Foo Bai and was in the Jag corps at Nha Trang, Da Nang, and Saigon. He doesn't like Full Metal Jacket. He says that, first of all, it doesn't look realistic. That is not what it looked and felt like. Also, FMJ depicts a city battle -- in Hue -- and the Vietnam war was anything but a city war. It was a brutal jungle war.

His favorite Vietnam movie, he says by far, is Apocalypse Now. He says it's realistic, and the surreality of it is very close to the mark. He said the bridge scene at night, towards the end, is a mirror image of situations like that that he saw in country. I am not a veteran, but I happen to agree that AN is the best Vietnam movie, and one of the best war movies ever made.

But FMJ, as you say, is a Kubrick film, and I do like it a lot. I think things would be very different if he shot it on location, in the Philippines or something. He should not have let his fear of flying or being far from home affect the quality of his filmmaking. Not that that would have addressed all of my points. Philosophically and thematically, it's a great movie. But it is deeply flawed.

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Hue certainly didn't look like a jungle during the battle portrayed in the film.



and the base (before the first attack on Tet) looks realistic too.



i think the underpinnings in the second act reflect well on the first. everyone is still friendly with eachother, because they know eachother from boot camp, but at the same time, everyone is different- death is expected, and everyone wants to look away (lest it's a gook they are looking at [staring death in the face], or unless it's Animal Mother, whom is unable to hide his humanity and wears it on his sleeve-- why he's so insulting to everyone)

i think, and i'm just trying to be honest here...that you guys have a problem with the pacing more than anything...plot goes from comedic underpinnings, to a major malfunction, but then to a more subdued plot about a singular event, and the tiny moments surrounding it (the media, prostitution, travelling en route to objectives); by the time you hit the action at Hue, it seems too slow and plodding, mayhaps- because it's dealing with the theme of war in a way that isn't as theatric as most war movies- the kills are all accrued by either trap, or the sniper, and zero enemies are killed in any really dramatic fashion (once through the gate at the base, and once as they cross an alley in Hue, that is, before the cameramen are taking that long tracking shot, and they all make quips at them, before long being interviewed, and they all have some very human things to say); that is to say, it's all very shallow (the guy even laughs after the second aforementioned row of kills)...point being, i think the point is that it's NOT taken very seriously, in the sense of what humanity is truly there; that is, until they get lost, and get commanded into what is inevitably the death of most of the squads members. by the time the sniper is saying "shoot", you've seen the triviality of war, in the most human sense...no feelings...just triviality.

i think that was the point.

RonnySimulacrum said:

Shit, also

'Picnic at Hanging Rock' -1975

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clock_of_omens said:

Muriel's Wedding is hilarious. Werner Herzog's Where the Green Ants Dream is based in Australia.

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Rogue Robot said:

I am a huge movie fan. My list of favorites is pretty extensive so I will just name a handful, in no particular order:

True Romance

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