point taken. I thought he was talking about the movie, and i will never watch titanic.ChewbaccaUncircumcised wrote:i think he means that the indians drove away the vikings as per historical fact, not just in the context of this movie.The Aluminum Falcon wrote:thanks for revealing the ending. still going to see it but will be avoiding new movie-related threads in the future because of shit like this.EMCEE DARTH MALEK wrote:indians win in the end so maybe not
after the wedding was sick but im glad to see something harder
would you get angry if i told you that jesus dies in the passion of the christ, or that the titanic hits an iceberg?
Valhalla Rising TRAILER - vikings vs indians
Moderator: drizzle
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The Aluminum Falcon
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The Aluminum Falcon wrote:point taken. I thought he was talking about the movie, and i will never watch titanic.ChewbaccaUncircumcised wrote:i think he means that the indians drove away the vikings as per historical fact, not just in the context of this movie.The Aluminum Falcon wrote:thanks for revealing the ending. still going to see it but will be avoiding new movie-related threads in the future because of shit like this.EMCEE DARTH MALEK wrote:indians win in the end so maybe not
after the wedding was sick but im glad to see something harder
would you get angry if i told you that jesus dies in the passion of the christ, or that the titanic hits an iceberg?
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drizzle
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wow for a thread about viking decapitations this sure turned out gay
http://www.steadybloggin.com - some of these are my thoughts yo
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StormShadow
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I'll try and up the ante with some trashy movies and off-beat related topics in the next few days. Got to balance out the sappy estrogen that's been doing my head in since the 80's movie polls.StormShadow wrote:this is what I was talking about in the bad boys thread, shit is getting embarrassing in curb these daysdrizzle wrote:wow for a thread about viking decapitations this sure turned out gay
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Comedy Quaddafi
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thekeentwo
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shit looks really sweet. wow. fucking sweet. theyve got their own sweet mythology too, which is excellent. kick ass vikings going to jerusalem encountering indians? fucking sweet. looks like an updated version of 13th Warrior combined with a more grim take on 300s cartoon violence. fucking sweet. but at the same time kind of reminds of that movie about the mayans/aztecs mel gibson made. so well see.
who knows what could happen in the movie but what the fuck darth malek? this is some evil shit here. i didnt know about that shit. fuck that shit.ChewbaccaUncircumcised wrote:i think he means that the indians drove away the vikings as per historical fact, not just in the context of this movie.The Aluminum Falcon wrote:thanks for revealing the ending. still going to see it but will be avoiding new movie-related threads in the future because of shit like this.EMCEE DARTH MALEK wrote:indians win in the end so maybe not
after the wedding was sick but im glad to see something harder
would you get angry if i told you that jesus dies in the passion of the christ, or that the titanic hits an iceberg?
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drizzle
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first review i've seen:
You could say that the mark of a good film maker is that they give you want you want. And if that is true then I suggest that the mark of a great film maker is that they give you what you want while also giving you something completely different. And this is the case with Nicolas Winding Refn and Valhalla Rising. Now seven films into his career Refn continues ... not to change, exactly, but to continue finding new facets of himself and his work.
His long-discussed Viking project, Valhalla Rising has roughly the same relationship to a typical historical epic that Refn's lauded Pusher films have to The Godfather. That is to say that it is a much more intimate, much more raw affair - a film that trades in technical gloss for the punch of brutal immediacy. This is the part that we have come to expect from Refn, this is what we turn to him for. The surprise in this case comes in the way that he weds the rawness to a sort of Terence Malick inspired lyricism, embracing a hypnotic approach to storytelling and editing that takes its cues not just from the film's mute lead character but - more importantly - from the harsh landscape that it explores.
Mads Mikkelsen stars as One Eye, a mute brute of a man enslaved and kept in a cage, brought out only to fight in brutal to-the-death unarmed combat for the entertainment and amusement of his masters, clan chieftans in the Scottish highlands. But times are changing and things are not good for the clans. Their old ways and old gods are under siege - literally, in this case, by Viking converts to Christianity who are spreading the gospel on the edge of a blade. And when One Eye manages to make his escape - a brutal affair that leaves all the guards foolish enough to stand and fight him dead, dismembered and / or disembowelled - he, along with the young slave boy who tended him in his cage, take up with a band of these Viking crusaders, a group bound for the Holy Lands. They end up somewhere else entirely.
In a risky move Refn here makes the lead of his film - and by far its biggest star - a total mute. Mikkelsen not only never utters a word, he never so much as makes a sound, not even when in combat. Perhaps even riskier was the abstract, experimental approach to dialogue and editing that gives the film a dream like quality, even in its harshest moments, with nothing that could ever pass as a full conversation ever taking place between any of the characters - mute or not. That Refn turns these risks into assets in a testament to his talent.
Less about the characters than its ideas - a fact borne out pointedly by only Mikkelsen being given any sort of name at all in the entire film and his being one forced on him by a child - Valhalla Rising is a film about change, bloody and violent change but change nevertheless. Mikkelsen himself - a clear reference to Odin - is already a man out of place and out of time in this world, a man stranded on his own, a position that has led him through great hardship but also gives him a unique perspective on the battle between pagans and Christians raging around him, a battle he joins not to help either side win but simply because he can and fighting is all he knows to keep himself alive. All of the characters here are less in control of their own fate than any will acknowledge willingly, all of them clinging to the idea that they carry some sort of larger destiny when in reality they are being carried along - literally for a large part of the film - by forces that they have no power or influence over.
By far the most abstract of Refn's work to date, Valhalla Rising makes a fascinating companion piece to Bronson. Not only were the two shot nearly simultaneously but both find the talented Dane experimenting wildly with structure and character and how both impact his ability to tell the stories he wants. Those raised on the multiplex will, no doubt, take issue with Valhalla's measured pace but for those willing to slide into its rhythm and world, the payoff is rich indeed.
You could say that the mark of a good film maker is that they give you want you want. And if that is true then I suggest that the mark of a great film maker is that they give you what you want while also giving you something completely different. And this is the case with Nicolas Winding Refn and Valhalla Rising. Now seven films into his career Refn continues ... not to change, exactly, but to continue finding new facets of himself and his work.
His long-discussed Viking project, Valhalla Rising has roughly the same relationship to a typical historical epic that Refn's lauded Pusher films have to The Godfather. That is to say that it is a much more intimate, much more raw affair - a film that trades in technical gloss for the punch of brutal immediacy. This is the part that we have come to expect from Refn, this is what we turn to him for. The surprise in this case comes in the way that he weds the rawness to a sort of Terence Malick inspired lyricism, embracing a hypnotic approach to storytelling and editing that takes its cues not just from the film's mute lead character but - more importantly - from the harsh landscape that it explores.
Mads Mikkelsen stars as One Eye, a mute brute of a man enslaved and kept in a cage, brought out only to fight in brutal to-the-death unarmed combat for the entertainment and amusement of his masters, clan chieftans in the Scottish highlands. But times are changing and things are not good for the clans. Their old ways and old gods are under siege - literally, in this case, by Viking converts to Christianity who are spreading the gospel on the edge of a blade. And when One Eye manages to make his escape - a brutal affair that leaves all the guards foolish enough to stand and fight him dead, dismembered and / or disembowelled - he, along with the young slave boy who tended him in his cage, take up with a band of these Viking crusaders, a group bound for the Holy Lands. They end up somewhere else entirely.
In a risky move Refn here makes the lead of his film - and by far its biggest star - a total mute. Mikkelsen not only never utters a word, he never so much as makes a sound, not even when in combat. Perhaps even riskier was the abstract, experimental approach to dialogue and editing that gives the film a dream like quality, even in its harshest moments, with nothing that could ever pass as a full conversation ever taking place between any of the characters - mute or not. That Refn turns these risks into assets in a testament to his talent.
Less about the characters than its ideas - a fact borne out pointedly by only Mikkelsen being given any sort of name at all in the entire film and his being one forced on him by a child - Valhalla Rising is a film about change, bloody and violent change but change nevertheless. Mikkelsen himself - a clear reference to Odin - is already a man out of place and out of time in this world, a man stranded on his own, a position that has led him through great hardship but also gives him a unique perspective on the battle between pagans and Christians raging around him, a battle he joins not to help either side win but simply because he can and fighting is all he knows to keep himself alive. All of the characters here are less in control of their own fate than any will acknowledge willingly, all of them clinging to the idea that they carry some sort of larger destiny when in reality they are being carried along - literally for a large part of the film - by forces that they have no power or influence over.
By far the most abstract of Refn's work to date, Valhalla Rising makes a fascinating companion piece to Bronson. Not only were the two shot nearly simultaneously but both find the talented Dane experimenting wildly with structure and character and how both impact his ability to tell the stories he wants. Those raised on the multiplex will, no doubt, take issue with Valhalla's measured pace but for those willing to slide into its rhythm and world, the payoff is rich indeed.
http://www.steadybloggin.com - some of these are my thoughts yo
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drizzle
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review is from toronto film fest, and it doesn't even open in europe till early 2010 which unfortunately means it will be a while before it hits wide release in the us
http://www.steadybloggin.com - some of these are my thoughts yo
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EMCEE DARTH MALEK
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drizzle
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FYI for NY peoples, there's a Reft retrospective at BAM in the beginning of october. Valhalla is not getting screened unfortunately, but they will be showing all 3 pusher movies, Bronson, Bleeder, Fear X (didn't know he did a movie with Torturro), and a documentary Gambler
Thursday, October 1 at 4:30, 6:50, 9:15pm
Fear X (2003), 91min
With John Turturro, Deborah Kara Unger
"a real moviemaker's movie... Refn's compositions and pacing are masterfully anxious."
-The Village Voice
John Turturro gives a subtle, enigmatic performance as a mall security guard investigating the seemingly-random double murder of his wife and a police officer. Calibrated to unnerve at every turn, Refn's first English-language feature ranks mines suburban Midwestern landscapes for hints of danger in a manner reminiscent of David Lynch.
Friday, October 2
Friday, October 2 at 4:30, 9:40pm
Gambler (2006), 78min, in Danish with English subtitles
Directed by Phie Ambo
This documentary follows Refn closely during and after the filming of the two Pusher sequels as he juggles the productions, money troubles, a new baby, and problems with his girlfriend. This extraordinary insight into Refn's career, ideas, and process will be of interest to anyone who follows independent filmmaking.
Friday, October 2 at 6:50pm*
Bronson (2009), 92min, Sneak preview courtesy of Magnolia Pictures.
Bronson opens in New York on October 9th
With Tom Hardy
"More of an endurance test than entertainment, Danish filmmaker Nicolas Winding Refn's baroque biopic about Britain's self-actualized worst convict ever...is a Molotov cocktail of virtuoso filmmaking and fierce violence that makes you feel as if you've gone nine rounds with its subject." -Time Out New York
Refn overturns the overly-sanitized biopic formula with this stylized portrait of Britain's most notorious prisoner: a former bare-knuckle boxer who has spent over 34 years behind bars, including three decades in solitary confinement. Tom Hardy inhabits Bronson utterly, from the formidable physical details to the persona of a man who is polite and vulnerable, yet brutal and sadistic.
*A Q&A with director Nicolas Winding Refn will follow this screening,
Saturday, October 3
The Pusher Trilogy Special ticket pricing:
One film for $11, two for $18, or all three Pusher films for $21.
BAM Cinema Clubs members pricing is as follows: $7 for one, $14 for two, or $14 for all three.
At 4pm*
Pusher (1996), 105min, in Danish with English subtitles.
With Kim Bodnia
"It begins in free-form, faux-v
Thursday, October 1 at 4:30, 6:50, 9:15pm
Fear X (2003), 91min
With John Turturro, Deborah Kara Unger
"a real moviemaker's movie... Refn's compositions and pacing are masterfully anxious."
-The Village Voice
John Turturro gives a subtle, enigmatic performance as a mall security guard investigating the seemingly-random double murder of his wife and a police officer. Calibrated to unnerve at every turn, Refn's first English-language feature ranks mines suburban Midwestern landscapes for hints of danger in a manner reminiscent of David Lynch.
Friday, October 2
Friday, October 2 at 4:30, 9:40pm
Gambler (2006), 78min, in Danish with English subtitles
Directed by Phie Ambo
This documentary follows Refn closely during and after the filming of the two Pusher sequels as he juggles the productions, money troubles, a new baby, and problems with his girlfriend. This extraordinary insight into Refn's career, ideas, and process will be of interest to anyone who follows independent filmmaking.
Friday, October 2 at 6:50pm*
Bronson (2009), 92min, Sneak preview courtesy of Magnolia Pictures.
Bronson opens in New York on October 9th
With Tom Hardy
"More of an endurance test than entertainment, Danish filmmaker Nicolas Winding Refn's baroque biopic about Britain's self-actualized worst convict ever...is a Molotov cocktail of virtuoso filmmaking and fierce violence that makes you feel as if you've gone nine rounds with its subject." -Time Out New York
Refn overturns the overly-sanitized biopic formula with this stylized portrait of Britain's most notorious prisoner: a former bare-knuckle boxer who has spent over 34 years behind bars, including three decades in solitary confinement. Tom Hardy inhabits Bronson utterly, from the formidable physical details to the persona of a man who is polite and vulnerable, yet brutal and sadistic.
*A Q&A with director Nicolas Winding Refn will follow this screening,
Saturday, October 3
The Pusher Trilogy Special ticket pricing:
One film for $11, two for $18, or all three Pusher films for $21.
BAM Cinema Clubs members pricing is as follows: $7 for one, $14 for two, or $14 for all three.
At 4pm*
Pusher (1996), 105min, in Danish with English subtitles.
With Kim Bodnia
"It begins in free-form, faux-v
http://www.steadybloggin.com - some of these are my thoughts yo
its pretty abstract film, that the jury is still out on for me. Visually stunning, and like the reviewer said, almost like Terrence Malick. Perhaps i was expecting something a little more action packed, and was taken off guard with what was presented. The Q&A after the screening would have probably provided a little more insight, but i had to get to another film right after. The review however does put things in perspective for me.
Brutal clip
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I watched this last weekend. Love the look of the film. Great cinematography, and visuals. Absolutely brutal, savage fight scenes. Awesome.
That being said, the film is very slow moving, perhaps to a fault (that boat scene drags on way too long IMHO). Not a lot of action. Wasn't expecting the heavy religious themes, not that I had problem with this. It's not a film I'd run to watch a second time anytime soon. I'd be lying if I said I wasn't a bit disappointed, but definitely worth watching.
Might be my least favorite Nicolas Winding Refn film that I've seen so far.
That being said, the film is very slow moving, perhaps to a fault (that boat scene drags on way too long IMHO). Not a lot of action. Wasn't expecting the heavy religious themes, not that I had problem with this. It's not a film I'd run to watch a second time anytime soon. I'd be lying if I said I wasn't a bit disappointed, but definitely worth watching.
Might be my least favorite Nicolas Winding Refn film that I've seen so far.
I thought it wasn't any sort of substance affecting them, but the fact that they think they are in Hell. The sequence seems like a visual representation of the madness and despair they fell being in an unknown and harsh land. Then again, I'm probably wrong.Loki wrote:was wondering the same thing? i liked the movie but afterwards i wondered wtf i just watched.