...more recent posts
I'm taking it upon myself to take this back to the main trunk of the tree house tree. The length of the thread is boggin' my computer down terribly.
"Plus, Soderberg is arty as hell. I find his use of alternating film stocks irritating. Oliver Stone started this trend, and now everyone's doing it. Did anyone else find the use of the piss-yellow, grainy stock for the "Mexico" scenes to be subtly racist/colonial? Imagine if it was inverted--if the Mexico footage was shot clear and bright and then every time he cut to Washington DC you were suddenly in a blurry miasma. (Might be more interesting, actually.)"
That bothered me too. I think in the case of the Wizard Of Oz the switching of film stock was inspired. But in Stones case it seemed to be a sort of arty crutch. With Traffic I chalk it up to cinematic short hand of the laziest variety as well as a hackneed attempt to seem cutting edge.
"Also, I found it ridiculously coincidental that Catherine Zeta-Jones would call Frankie Flores to do the hit, and even more ridiculous that he would accept the job from her. The last time we saw him he was a broken, weeping wreck. "Another job? Sure, I don't know you, but I'm your man!"
LOL! Right, rediculous. I didn't catch the portrait but even so it just doesn't wash.
I hated Traffic. What a phony crock! "
Right on brother!
"There are
hopeful signs about, not just Woodcocks,
but buds forming, catkins and days
lengthening, and maybe a mild spell has
you thinking we’ll cruise on in from here,
but no, it’s still Winter.
That’s Lent." Amen. Not sure I have the clearence to post this here, but amen.
I just saw "You Can Count On Me" again. For me It stood up to a second viewing.
There'd been some talk of a Thursday get-together. Where we at with that?