Southland Tales

Discuss releases from Arrow and the films on them.

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Svevan
Joined: Mon Nov 22, 2004 7:49 pm
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Forthcoming: Southland Tales

#76 Post by Svevan » Sat Sep 22, 2007 1:15 am

What you just described, Hrossa, is a terrible sleep-ending nightmare.

The trailer makes it look funny, at least, but I'm surprised they're advertising just how messy this movie is.

Macintosh
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#77 Post by Macintosh » Sat Sep 22, 2007 3:24 pm

Why Cannes would ever consider screening this is beyond me. With just one glance at the cast its hard to belive that it's anything else then a film with an age demographic of 13-17 teenineboopers who want to see JT and an ex wrestler.

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tryavna
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#78 Post by tryavna » Sat Sep 22, 2007 4:22 pm

You know you're in for something "special" when a trailer tries to sell a movie by misquoting T.S. Eliot.

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Svevan
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#79 Post by Svevan » Sat Sep 22, 2007 9:08 pm

tryavna wrote:You know you're in for something "special" when a trailer tries to sell a movie by deliberately misquoting T.S. Eliot and hoping that Mandy Moore fans will notice.
fixed

The movie will probably stink, but I think the trailer is a little mini work of art. I spied John Larroquette on my last viewing. Combined with Darko Alums Beth Grant and Holmes Osborne, skit-TV has-beens like Cheri Oteri, Will Sasso, and Amy Poehler, the teenybopper set headlining the poster, and random oddities like Jon Lovitz, Miranda Richardson, and Kevin Smith, this movie seems to have eight different casts. Maybe that all makes sense given the episodic nature of the thing, but for marketing, you'd think they'd advertise each part (aspect/genre) of the film separately instead of cramming it all into one trailer.

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tryavna
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#80 Post by tryavna » Sun Sep 23, 2007 11:21 am

Svevan wrote:
tryavna wrote:You know you're in for something "special" when a trailer tries to sell a movie by deliberately misquoting T.S. Eliot and hoping that Mandy Moore fans will notice.
fixed
Ha-ha! I suppose that's more correct after all.

Still, just the idea of marketing a movie around an inversion of Eliot's line, which was itself intended ironically to begin with, strikes me as obviousness masquerading as high-concept.

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Barmy
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#81 Post by Barmy » Tue Sep 25, 2007 7:22 pm

Harry Knowles thinks it's awesome.

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miless
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#82 Post by miless » Tue Sep 25, 2007 7:31 pm

Barmy wrote:Harry Knowles thinks it's awesome.
cool?

Macintosh
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#83 Post by Macintosh » Tue Sep 25, 2007 8:45 pm

miless wrote:
Barmy wrote:Harry Knowles thinks it's awesome.
cool?
ain't it?

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Cold Bishop
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#84 Post by Cold Bishop » Wed Sep 26, 2007 2:43 am

I don't know what's worst... how laughably bad that trailer looks or the fact that my favorite Pixies song (right down to the UK Surf version) is associated with it.

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Cinetwist
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#85 Post by Cinetwist » Wed Sep 26, 2007 10:41 am

Cold Bishop wrote:I don't know what's worst... how laughably bad that trailer looks or the fact that my favorite Pixies song (right down to the UK Surf version) is associated with it.
That's exactly what I thought too. It wouldn't even have been so bad if Fight Club hadn't used the song first. But does he think people are fooled into thinking the film looks good because it has a good song or two layed over it?

Well, I suppose it worked for Donnie Darko.

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miless
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#86 Post by miless » Wed Sep 26, 2007 1:50 pm

Cinetwist wrote:That's exactly what I thought too. It wouldn't even have been so bad if Fight Club hadn't used the song first.
Fight Club used Where Is My Mind
the trailer uses Wave of Mutilation (UK Surf Version)

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Cinetwist
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#87 Post by Cinetwist » Thu Sep 27, 2007 5:32 am

I knew it used one of my favourite Pixies songs. I should have remembered it was that one really.

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Antoine Doinel
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#88 Post by Antoine Doinel » Mon Oct 15, 2007 6:03 pm

The UK one-sheet is as terrible as the American one.

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miless
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#89 Post by miless » Mon Oct 22, 2007 4:21 pm


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domino harvey
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#90 Post by domino harvey » Tue Nov 13, 2007 10:50 am

Some choice gems from the AP review
With boundless ambition far exceeding his ability to tell a coherent story, Kelly manages only an artistic apocalypse.
Some of the images are impressive, but the effort is entirely in service of an incomprehensible story told with the unchecked pretensions of a creative-writing grad student who's taken out the world's biggest college loan.
When he's done with a character, Kelly's solution generally is to have someone else open fire on them.

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Awesome Welles
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#91 Post by Awesome Welles » Tue Nov 13, 2007 10:56 am

I wonder if this will be of the "it's so bad it's good" variety? That last quote has me thinking so.

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exte
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#92 Post by exte » Tue Nov 13, 2007 12:18 pm

domino harvey wrote:Some choice gems from the AP review
With boundless ambition far exceeding his ability to tell a coherent story, Kelly manages only an artistic apocalypse.
Some of the images are impressive, but the effort is entirely in service of an incomprehensible story told with the unchecked pretensions of a creative-writing grad student who's taken out the world's biggest college loan.
When he's done with a character, Kelly's solution generally is to have someone else open fire on them.
Sophomore slump of all time, or just a lot of hyperbole to see newspapers?

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colinr0380
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#93 Post by colinr0380 » Tue Nov 13, 2007 12:19 pm

When he's done with a character, Kelly's solution generally is to have someone else open fire on them.
I'm going to reserve judgement on Southland Tales until I get the chance to see it, but whoever made that quote didn't realise that could also be a compliment - for example the way Godard off handedly gets rid of many of his characters (Camille in Contempt, Paul in Masculin Feminin, Roland in Week End etc) - the stylised ending of Contempt, as Paul writes Camille out of the story in a crude manner of a fake car crash in a belated reaction that she has already written him out of her life in a more powerful poetic image of swimming off nude, could also be a Godardian comment on the way he as a writer treats his characters!

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domino harvey
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#94 Post by domino harvey » Tue Nov 13, 2007 12:32 pm

Dude.

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Jean-Luc Garbo
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#95 Post by Jean-Luc Garbo » Tue Nov 13, 2007 2:06 pm


Macintosh
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#96 Post by Macintosh » Tue Nov 13, 2007 7:21 pm

colinr0380 wrote: for example the way Godard off handedly gets rid of many of his characters (Camille in Contempt, Paul in Masculin Feminin, Roland in Week End etc) - the stylised ending of Contempt, as Paul writes Camille out of the story in a crude manner of a fake car crash in a belated reaction that she has already written him out of her life in a more powerful poetic image of swimming off nude, could also be a Godardian comment on the way he as a writer treats his characters!
whoa, did you mistake what thread you were in?

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colinr0380
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#97 Post by colinr0380 » Tue Nov 13, 2007 8:31 pm

Macintosh wrote:whoa, did you mistake what thread you were in?
No, I guess the point I was making was not exactly to compare Kelly to Godard but to suggest that the things that some people find upsetting and borderline incompetent in a film might have been done for a purpose and could even be the things that make a film worth watching. It was more a comment on the dismissive attitude of the comment I was quoting!

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domino harvey
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#98 Post by domino harvey » Tue Nov 13, 2007 9:25 pm

I think the idea of characters just killing other characters because evidently Kelly doesn't know how else to end a scene speaks pretty much for itself. You really have to struggle to work on this sow's ear, fella

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Antoine Doinel
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#99 Post by Antoine Doinel » Thu Nov 15, 2007 1:12 pm

Manohla digs it.

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Mr Pixies
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#100 Post by Mr Pixies » Thu Nov 15, 2007 10:33 pm

Pump Up the Volume makes good use of the Pixies' Wave of Mutilation (UK Surf)...........anyways the trailer looks great, no way that it won't be fun.

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