Mat Bradley-Tschirgi Part 2: Verhoeven Buggaloo. Yes, Mat returns to IDMB after the relaunch of Sequelcast to discuss the sexy, violent, and quite often satirical films of Dutch filmmaker Paul Verhoeven. In addition, the boys also explore what it would look like if Verhoeven had directed Man on of Steel before moving on to the recommendations: Katie Tippel (1975), Basic Instinct (1992), and Starship Troopers (1997).
Kim Ki-duk month couldn't wrap up fast enough after Jim got done watching Pieta, a film that in just about every aspect - from digital aesthetic to despicable characters to misplaced theological allusions - completely baffled him in the context of the film's high regard.
After Jim has a mini-existentialist criss of the film criticism kind, he manages to (maybe) say a few coherent things here and there about Spring, Summer, Fall, Winter...And Spring. But only a few.
Do we deserve the world we live in? Do we get the world that we deserve? Do these characters deserve grace and redemption? Why the hell does this film end on such ambiguity? Why are there so many scenes of people going to the bathroom? Will David and Jim remain friends after this?
David Bax stops by I Do Movies Badly for his fourth tour of duty to talk hockey for far too long (of course) and the idiosyncratic arthouse films of South Korean filmmaker, Kim Ki-duk, who Jim literally had no idea existed until David pitched the idea. What Jim learns is that the films of the Catholic filmmaker living in a predominantely Buddist country are unfairly linked together with the South Korean Revenge subgenre and often deal with themes of what it means to be human and if humans deserve the world in which they live (or live in the world they deserve). Those films are: The Isle (2000), Spring, Summer, Fall, Winter...and Spring (2003), and Pieta (2012).
February and Francois Truffaut wrap up with 1973's Day for Night, the kind of film about filmmaking that may be short on innovation, but more than makes up for in enthusiasm, joy, and pride in those who - like Truffaut - are crazy enough to dedicate their lives to cinema.
If the French New Wave filmmakers weren't intending to be revolutionary and were just instead concerned with making the kind of fun, complex, Hollywood-esque films that they wanted to see, then in a way, Shoot the Piano Player is a purer encapsulation of the novelle vague sensibilities than The 400 Blows could ever be.
In his first exploration of the French New Wave since college, Jim explores the jovial and sympathetic nature of the juvenile delinquent protagonist of The 400 Blows and dares question whether it's actually a GREAT film on its own or just a great EXAMPLE of a specific expressionistic moment.
IDMB Episode 110 - Introduction to Francois Truffaut (featuring Robert Hornak of More Than One Lesson)
College Jim would be so pissed that (Pretending to Be) Adult Jim is covering the French New Wave! Robert Hornak stops by I Do Movies Badly to both round out appearances by the MTOL team and recommend some films from arguably the most iconic director to emerge from La Nouvelle Vague. The boys discuss the cultural and artistic background of the New Wave filmmakers, what spoiled it for all of us (*cough*Godard*cough*), and how Truffaut's vibrancy and truth separated him from his peers. For proof, Robert recommends: The 400 Blows (1959), Shoot the Piano Player (1960), and Day For Night (1973).
I have absolutely no idea what to say about The Mirror - arguably the least accessible film I've ever seen - so how about I ramble for 40+ minutes about our relationship with Art? Sound good? Yeah, I didn't think so either. At least there's a Simpsons reference (referencing Twin Peaks).