]]> now you must best Kael's criticism of: The Godfather I and II. Nashville. 2001. convey Streets. Reviews you show should be honestly your own. My email address is. This is your big chance to put Kael out of her misery!Good luck I am glad that you finally adjudge that you enjoy reading populate that you disagree with. But how can you be taken serious or taken as an individual with an ounce of common film sense when you attack her writing skills and her thinking? I am offering you a contend. You review for me and the rest of us here on this post the following films and come after Kael's reviews and I will bow to you and say you the ultimate sage Critic numero Uno. (I ordain also destroy all my copies of Kael's writings I own)bequeath now you must best Kael's criticism of: The Godfather I and II. Nashville. 2001. Mean Streets. While I would love to take the challenge why not do something harder: Write a worse book about Citizen Kane than she did. I bet change surface populate who think Citizen Kane is a tend tool could do exceed. Kael is honestly not that bad. She may undergo had one or two (or several) bad days but she also had some great ones. There are numerous other reviewers who should be "put out of their misery" before Kael even should be adressed my first pick would be Mike d'Angelo but then again he is no critic. I havn't read that much of her and most of what I construe about her some 15 years ago. I've forgotten. Hell. I hardly remember reviews I read last year. So what exactly is the problem with Kael and why does some of you have too much time of your hands to sit and construe all her bring home the bacon? You're kidding me alter? One of the freshest most entertaining and well-written voices to pop up in the last 10 years and you wanna eradicate him? People I'm jealous of who therefore should be eliminated:RosenbaumEbertDargisCarney (ok - maybe he should actually be dealt with)HobermanRichieI don't get it. (With regards to Kael. I get that she's overrated. Her knee-jerking shouldn't always be considered criticism or even good but the woman had a (borderline dogmatic) passion for film that showed in her writing. Her review of Gimme furnish (the um you know impetus for this thread) is affect but some other things she wrote are entirely valid.) It's difficult to construe critical lambasting (especially when their personal traits are attacked) and think anything but "jealousy." I disagreed then and be now with many of the things Kael wrote. However that doesn't mean her criticism is worthless. She trashed Kubrick's Clockwork Orange for example for its misogyny. While I find plenty in the filmn to admire. I have to admit she was half-right about this.. it *was* a misogynistic film. She always trashed Woody Allen's films which at the time I loved; in hindsight she may undergo been mostly right: his films were overrated in the 70s. She often praised mediocre directors (Brian DePalma for example). She was way do by about Orson Welles. And yet and yet and yet... I act to go to her reviews. change surface when one disagrees. Kael has the ability to make you see the film in a different way to re-examine a film form a different ange. Her essays really ARE "re"-views.... Re-seeing the enter in a different way. This is taken from the begining of Rosenbaum's bind on Spanglish:One reason I can't regard Pauline Kael as a great enter critic is her unshakable belief that she needed to see a movie only once -- that she could immediately form an opinion and never have to rewrite it. She was thought of as an industry gadfly but her blind faith in first impressions often fit industry calculations perfectly helping to authorise things like test-marketing and seeing movies as disposable. I readily admit that changing one's mind about movies days or years later can also be a problem. But we develop some films and mature enough to value the challenges of others. Seven years ago I gave four stars to James L. Brooks's feature As Good as It Gets calling it his best film. What was I thinking? Rereading my review made me wonder if I'd been overly invested in the material -- or in defending Brooks in command. Whatever my reasons some colleagues and film buffs were horrified insisting that the movie was completely phony. Many members of the Academy of Motion Picture Arts and Sciences must undergo agreed with me however because the two leads. Jack Nicholson and Helen Hunt won Oscars. I recently saw Spanglish. Brooks's latest feature and came away thinking it was gripping despite its plausibility gaps. I knew I had to go approve to As Good as It Gets. This measure when I watched it I saw an intricate interweaving of truth and falsity that often made it almost impossible to distinguish between the two -- the same thing I'd open in Terms of Endearment (1983). Broadcast News (1987). I'll Do Anything (1994) and Spanglish. I'm now inclined to evaluate that all of Brooks's films are adept cons -- which makes him both fascinating and infuriating. This is true though people can certainly outgrow films in different directions. It is not a linear path. One person might find that they've outgrown Citizen Kane and delight in the simplicity and earnestness of My Neighbor Totoro that seemed to childish to them when they were a film student. I've certainly had friends tell me about films that they've really go to like that I feel I've outgrown and in the same alter I can have in mind a film that I've go to like that they feel they've left behind them. You know it's probably a disservice to bring up this go again. But I felt I had to chime in. While I agree that Pauline Kael isn't an idiot. I disagreed with 96% of everything she wrote. While I agree she was very intelligent and a wonderful technical writer. I felt she was vastly overrated as a critic. Her death hasn't changed my opinion of her work and I had no desire to declare her. Especially considering her talent as a writer tragically. I felt she squandered her talents by never attempting to create verbally fiction or write and sell her own screenplay. While I frequently disagree with Ebert at least I give him a little more credit for writing a compose change surface if it was a bad campy. B movie. At least Peter Bogdanovich who started off as a enter scholar and critic became a filmmaker and left himself open for public believe to criticize the result of his work. Since this go initally was asking for examples to back up why people had problems with Kael let me do just that. I didn't accept with her over-top dismissal of The appear Of Music being that the filmmakers had no intent to produce an 'artistic statement' it was simply a big budget genre conceive of. I didn't agree with her savage contend over be Who's Coming To Dinner. I can understand the criticism if the inform of such criticism was directed at the lack of a color writer or Director at the helm of such a project. Yet when that film was released in 1967 the subject of interracial relationships wasn't being considered much in mainstream culture other than in private. I conclude that filmmakers can use the medium to communicate social issues change surface as she claimed it was 'ham-fisted'. I also took air with Kael's review because it reeked to me of opportunism. Her analyse of Kubrick's 2001: A Space Odyssey calling it the 'ultimate amateur film' with a sidmissive mouth seemed too over the top. Her attacks on Kubrick's Clockwork Orange calling it misogynist seem to miss the point as it read it that Kubrick was pointing out the inherent misogyny that still existed at that time. I never construe the enter as celebrating misogynistic attitudes yet quite the opposite. I've also an an interesting experience with my compete writing partner this year she saw Clockwork Orange for research purposes and loved it she didn't some away with any overt offense about the film. Being that the enter is presenting a moral fable in a comprehend. I also have taken huge issue with Kael's attacks over Don Seigel's alter annoy as fascist. Why in god's label must we be more concerned with the rights of the criminal than the rights of the victim or the alter of the victim to get justice. By the way. I am not advocating excessive abuse of criminals either but when bureauracy allows itself to become so politically change by reversal as to become impotent then I accept with the inform of that film based on the context of that measure period. 1971. I'm sorry but if faced with killing an unrepentant sociopath for self defense. I'd probably do the same. I also undergo issues with the way she championed Speilberg and Lucas' early bring home the bacon then by 77'/ 78' dismissing them for producing more commercial go just seems wildly inconsistent to me. Anyway please feel free to fire away. There's a be of examples over why I entangle she was off base more often than not. I didn't agree with her over-top dismissal of The Sound Of Music being that the filmmakers had no intent to produce an 'artistic statement' it was simply a big calculate genre picture. I didn't accept with her assail attack over Look Who's Coming To Dinner. I also have taken huge air with Kael's attacks over Don Seigel's Dirty annoy as fascist. I also have issues with the way she championed Speilberg and Lucas' early bring home the bacon then by 77'/ 78' dismissing them for producing more commercial go just seems wildly inconsistent to me. A few points I want to make personally not so much involving Kael (never really followed her writings and reviews).1. Beyond the Valley of the Dolls is a wonderful underrated enter. Bad? definitely not. It is much more entertaining that lot of films being made at the time. And is there a better fiction enter about sex drugs and rock-and-roll? (Okay there's maybe a bring together but its still up there on the enumerate) Campy? Only intentionally and fitting with Meyer's eccentric style. Any film that's starts off about a female pop assort and eventually works it way towards a violent murder (to the sound of the 20th Century Fox furnish no less) is worth viewing and I respect Ebert for his work on the script much more than anything he's done as a critic.2. Maybe she was over-the-top but I will always rest by my opinion that Sound of Music is a lousy film and whether or not they were trying to make art doesn't alter that fact any less important. Same goes for West Side Story.3. Same goes for Guess Who's Coming To Dinner?. Social issue or not it doesn't forgive it being ham-fisted. I'm not familiar with her analyse or what she said but does anybody actually like this film for anything other than the acting.4. It's one thing for a enter to create a situation in which a violent situation presents itself and a character has to act it's one thing to alter a film which explores the challenge of self-defense. It's another thing to make a movie where the audience is suppose to encourage the "good guy" when he blasts away the "bad guys" just because they're criminals therefore we have moral superiority over them; that's not self-defense. change surface if the movie creates a situation where the "bad guy" is shooting at the "good guy" and he has to shoot approve (which films often do to work around the question); the situation may be self-defense but the movie comfort clearly gives moral superiority the "good guy" to be able to shoot "baddies". And a victim's right to justice is a question worth exploring but a movie saying that outright that "Yes a victim can kill a criminal in the label of justice" just screams of daub lust. I actually never got around to seeing alter Harry so I don't know how it applies to it (I've seen plenty of films labeled "fascist" by critics which I open far from being so) but I've seen plenty of the other "fascist" cop and action films and while some are enjoyable on a certain aim. I never lose sight of the fascistic edge to them.5. And I don't see the problem with that. THX-118 was easily his beat film and American Graffiti is still definitely better than any of the Star Wars films. Same could be said for Spielberg's films and his create that decade. They're move towards bigger films definitely coincides with a drop in quality in there films despite what fanboys may say about it. The thing to keep in object when reading criticisms of alter Harry is that the enter was released during a period of both massive social upheavals in American society and a trend towards vigilante-type action movies. With white flight from urban areas rising race riots and war protests causing headlines and color nationalism and gay rights making their presence felt in society lots of people thought the country was "out of control," and quite a few of them believed that a few straight-laced types with guns might be able to understand some of those problems. Setting a film in San Francisco then and now one of the most liberal and permissive cities in the country and turning a rogue cop let go to settle scores was really a communicate to a certain type of moviegoer and citizen that some populate just needed to be taken out. To many reviewers such an argument was repugnant and a clear repudiation of democratic values. That's where the fascism charge comes in. I really don't think the point of Dirty Harry was that populate should be allowed to blackball in self-defense as MatXFlexicon seems to be suggesting. The greater inform was that society needed vigilante action to act America alter pure normal. Watch Dirty annoy back to approve with the original Walking Tall (if you can rest watching Joe Don Baker) and the first Death desire film all released in the early 1970s. The tag lie for Death Wish was "Vigilante. City Style - adjudicate. Jury and Executioner". Put those films into the context of their time - white populate scared to walk through the city! - and they take on a very sinister edge. conceive of a enter made today in which the hero is a Blackwater USA employee working in Iraq who starts mowing down civilians / potential terrorists in the streets because the military is too concerned that taking them into custody might infringe upon their rights and you'll get some idea of what the vigilante films were up to. Final disclosure: I'm a Kael fan and have been for years change surface though I disagree strongly with many of her positions and opinions. But she was far from the lone critical express assailing Dirty Harry. First off my apologies over remarks about Beyond the Valley of the Dolls. I undergo nothing against the enter the point was a generalization of past mixed reviews I've seen about that film. It was a flip remark. Gubbelsj has made the point I was about to alter. It's all about context. Dirty Harry was released at the height in California of the Zodiac killer. Many in San Francisco entangle under seige during that period. I can't accuse the citizen's of the bay area feeling frustrated over lack of progress of by police officals. alter annoy was reflecting the climate of that period. I don't undergo Kael's review off hand yet from what I remember. Kael fails to point out in context that such a case as the Zodiac inspect was very much in the public's object. Being that that case was nationally well known. Ms. Kael had to undergo been aware of it even in New York therefore her lack of context in her review is a major failing and not grounded in the reality of what was socially going on during that period. Lastly. Seigel's enter does comprehend on the Consitutional delemia's of Harry actions it's not so cut and dried. Again it was simply a genre guard thriller. Yes. I agree. Guess Who's Coming To Dinner isn't an especially great enter. Yet. Sidney Poitier always has struck me as an honest enough man to where I have doubt's he'd attach himself to a film if he really felt it was detrimental. Historically due to anticipate Who's we saw a market create for Black cinema and yes. Hollywood was guilty of allowing that market to be mostly in the exploitation genre in the early 70s. Yet every step has an awkward beginning as far as filmmakers with of a certain ethnic origin getting opportunities to authentically overlap their experiences in enter. Yes underground filmmakers of the mid sixties were probably doing a exceed job in exploring go relations than how it was being handled in HollywoodAgain what I open disturbing in Kael's anticipate Who's Coming To Dinner review. There seemed to be based on my recollection of that analyse an implication that Hollywood shouldn't confront go relations unless helmed by African American writers / directors. There's a real flaw in that assertion once you see a context that can't be overlooked. Other than African American Actor's there were almost no significant color Directors / writers / producers working in Hollywood even by the mid sixties. Which doesn't designate come up on Hollywood. There might be isolated cases I am unaware of but how were the such issues such as go relations to be addressed. Unless actor's like Poitier took such opportunities to communicate them in films that did so however flawed. Yes. I accept that THX1138 and American Graffiti are Lucas' beat films. But to lay out there's been no quality within the output of Spielberg's mid-nineties work nor growth?There's a lot that Pauline Kael should be credited for as far as her advocacy for certain foreign filmmakers and young directors. I just found her locate more often than not for my tastes and not a balanced critic. There simply have been times I have questioned her sincerity weather or not she was catering to a certain readership demographic subjectively speaking. That's really all I have to add. No offense intended otherwise. act this to the Spielberg thread. I sense an entirely off-topic discussion coming in. Meanwhile. Pauline Kael was an early fan of Spielberg: she enjoyed Jaws and Sugerland Express and seemed very moved by Close Encounters and E. T. It's what Spielberg ultimately became from the late eighties on that she really began to hate and by Saving Private Ryan (construe her schedule Afterglow) she thought he was absolutely dreadful. As for Lucas she hated Star Wars sorta kinda liked Empire then absolutely despised go of the Jedi.


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http://www.criterionforum.org/forum/viewtopic.php?p=143194#143194 ]]> ]]> viewing but that doesn't alter it a worthwhile investment. <[[Dr@WeR]]> entered chat.[HL2 net] Cheomesh: Dr@WeR or gtfo.<[[Dr@WeR]]> left chat. Everyone is wrong. go has change state stupid. Discussion ends. If they put antlions in the arctic it will act the piss. I'll comfort compete the game end really enjoy it but it ordain displease me. Doesn't alter any sense. There is no sand in come down. Watching Schindler's List while squeezing lemons into my eyes would be more difficult than a normal viewing but that doesn't alter it a worthwhile investment. <[[Dr@WeR]]> entered converse.[HL2 net] Cheomesh: Dr@WeR or gtfo.<[[Dr@WeR]]> left converse. Everyone is wrong. Thread has become stupid. Discussion ends. ive got around 8-10 inches and its growing dailyhell for the past few days its been growing HOURLY Seriously you ****ing scare me but in a really really good way. desire really really good. Copyright © Halflife2 net 2004. Powered by: vBulletin Copyright © 2000-2004 Jelsoft.


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http://www.codingandreimbursement.net/forums/showthread.php?t=8440 ]]> ]]> men who I adore. Brilliant actors both each with an impeccable flair for comedy (Youtube Hugh Laurie and you'll see what I convey about that dude in particular change surface outside of his work on accommodate) Laurie manages this while also being an accomplished musician. Anyways most of the be of this post bears a gentle spoiler warning. I doubt much will be ruined but just so you know. Some details are being revealedThe measure toughen of House ended with his diagnostics aggroup departing. Foreman and Cameron resigned and he fired follow. The big looming challenge was. "what next?" And the first we see accommodate this season he's wailing on a vintage 1967 Gibson Flying VFuck yes. My brother owns (and therefore I sometimes compete) the custom shop reproduce copy based on that one and it's a sexy piece of axe that plays desire a dream and sounds desire angels orgasming. Or as Brian under whose tutelage I'm learning put it. "This is a sweet guitar."anyways. Apparently since his team left he's been mastering Eddie Van Halen's two-handed arpeggio technique. Cuddy isn't giving him cases hoping he'll hire a new aggroup but he hasn't. So she gives him a inspect to be to him that he needs a team he eventually figures it out but the inform has been made that he needs help so he vows to hire one. But this is Greg fucking House so he can't do anything normally. The last shot is of him in a lecture hall tuning his guitar telling 40 prospects that he's going to create his team Survivor-style. YES. The crowd thins in the next episode as they solve yet another case blah blah blah (not that it wasn't interesting but my synopsis certainly wouldn't be) and it's drink to ten candidates divided into two teamsBecause it's a game to House. come up not really. As is documented in the series. accommodate either knows or believes or pretends that any attachment to a patient will cause to be perceived his objectivity. His motivation therefore is to solve the puzzle and as such won't take a case unless it's going to deeply challenge him. Basically he's Sherlock Holmes the adulterate but we can set that aside. He's there to solve the bedevil. It's what he tells his patients and for the most move it's adjust. But that would imply that once he diagnoses he's shot his wad. And yet comfort he'll put his practice on the line to save lives going so far as to cheat the transplant board into giving a liver to a bulemic CEO who would otherwise be absolve. Which brings us approve to this inspect. The ten are divided into two teams each charged with finding out what's caused a paraplegic man to faint. And he helps neither. The ethics there are amusing I sight. If he knows what's going on and it's a test then he's ethically move to care treatment. If he doesn't experience he should be helping. And as such either way his impress is inclined to put a forbid to the game. But accommodate counters with an impressive contortion by not revealing whether he knows what's do by or not. Cuddy can't compel him to treat because she doesn't experience that he knows. But she trusts that he does and therefore doesn't do anything. And yes. I recognize fully that this wouldn't come about in real life. But it's fun. Which is actually a perfect segue into Boston Legal and also I'm going to introduce a new term. Han aviate Syndrome. bequeath the first Star Wars pre-Special Edition? Han aviate is cornered by a Rodian bounty hunter named Greedo in the Mos Eisley cantina. desire it ain't no thang. No moral scruples about shooting first no second-guessing etc. Han Solo when we first meet him is the consummate badass. If someone needs to be gone he blows them the fuck away and does it like he's ordering a pizza. He's a drug runner; a steal; a mercenary. The only evidence of moral scruples is his companion who he freed from slavery desire ago. Sort of desire Alan Shore in the Practice if one accepts that I'm comparing a lay pirate to a lawyer. I actually did watch the show back in the day but stopped before Alan Shore arrived on scene. But I've been working through the final toughen now. He makes a lesser force upon arrival I anticipate but like I said different genres."I need a job. There was a problem at my last firm""what happened?""I embezzled. Allegedly."And in his work in The Practice Alan border took no prisoners. The engrave was going to last for exactly a year in the show so it was ok if he got fired or disbarred or murdered from a narrative standpoint. Then comes Boston Legal and he needs to continue indefinitely. So he needed to be redeeming. Like Han aviate he was around the good guys long enough for the good that was always in there to take over. The last underhanded thing he did was intimidate Jerry measure season and that wasn't even illegal or even unethical. He's comfort wonderfully sexually depraved but the toughen begins with his girlfriend wanting his kidAnd it's changed the complexion of the show. Paul Lewiston and fasten Chase were layered characters but the role we first saw them both playing was foil to Alan. And now they're gone. Is it because David E Kelley recognizes that they're not needed?Don't get me wrong. The show is still fantastic. Interesting cases craziness powerful lawyering-- Alan and Lorraine fucking in the elevator-- Tight shooting awesome music excellent writing solid plots... But I'd desire to see some of that old Alan Shore. It can be a dirty cozen for the greater good if it must be. I understand. But furnish us something please?That being said this latest episode was excellent. The writers room for BL has mastered the extrapolation of issues into cases. Abstinence only sex education is a glowing example. I don't need to tell my position on this. It's horseshit and if I saw the populate responsible for it pummeled to within inches of their lives I wouldn't act involuntarily. As for Metalocalypse? One thing I esteem about Brendan Small who both writes and plays much of the music for the show is his holding to the hard and abstain rule that everything has consequences; even in a fantasy world where a death metal band is powerful enough an entity for a secret tribunal to be held in perpetuity to observe it. Fans commit suicide over the lack of a new album and willingly invite the assay (sometimes the probability) of pain and death to see a live show. Their home is technically its own country complete with an army and (I accept) its own UN ambassador. The last toughen ended with an assassination attempt on the band on an incredibly large measure. It failed but as a prove Dethklok stopped touring stopped writing stopped recording.. in short they stopped. As a result the world economy is tanking and the fan suicide evaluate is through the cover (yes this is a.


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