I did see them both and considered them two-dimensional and
nutrion-free in all respects, just like really good popcorn. I enjoyed
them, still don't pursue and actively avoid such stuff--again, only
because there are so many great obscrurities out there. Right now I'm
really engaged in movies by Naomi Kawase and have yet to meet anyone
who's ever heard of her. And, the basic nuisance of it all, they are
really hard to find.
> Die Hard not that much but still pretty good in its genre.
>
>> and I'm told I'm a overly intellectual elitist.
>
> Not seeing blockbusters only because they are popular is not very
> intelligent imo.
I agree. I don't see them because after hearing about them, knowing
the principal players, seeing the poster, et al, I can pretty well
assure myself I don't give a damn. It's not just the word
"blockbuster" that's the issue. Though I can't think of any off the
top of my head, there are probably blockbusters I would actually go to.
>> I'm not sure
>> I am, but every day of my life I'm more and more fond of it.
>>
>> I *would* watch those movies, once it's effortless with a remote control
>> on cable, except I'm too busy watching *good* movies!
>>
>
> Such as?
I mostly pursue vertically via directors. Recently these have included
Naomi Kawase, Bent Hammer, Mikio Naruse, Alf Sjoberg, Naoko Ogigami,
Hirokazu Koreeda. I'm pursuing almost anything from the 50's and 60's
from Sweden and Denmark. I've worked at finding the last few scraps of
movies I haven't seen by Marcel Carné, Roy Andersson, Ingmar Bergman.
I'm even re-watching some of this stuff after many years away. I just
saw Sjöberg's Miss Julie again: what a masterwork.
And through this kind of belabored work, it's true that I don't always
find "good movies" per se, but I get movies that educate me more about
a particular time, place, ambience, attitude and esthetic. That
usually has more value to me than most any genre movie. Not always.
> I watched yesterday far from mainstream and praised by the critics
> "Ordet (1955)" - it was extremely boring and would have been more fit
> for 19th century with its religious ideologue than 1950s...
I agree; tried it and failed. I suppose the difference is Dreyer so
highly praised I'm likely to try again. I have found almost everything
lauded by Robert Bresson tedious and almost free of compelling
momentum. I watched Pickpocket and after 40 minutes I was so leaden and
filled with ennui I couldn't turn it off. By the time I summoned the
energy to kill it, it had captured a skosh of my interest, so I
finished it. That's not the greatest review.
I guess my basic assumption is that threre is a value to knowing the
work of Bresson, I suppose. I guess I'd rather watch bad art than
excellent pig-feed.