What's new
Fantasy Football - Footballguys Forums

Welcome to Our Forums. Once you've registered and logged in, you're primed to talk football, among other topics, with the sharpest and most experienced fantasy players on the internet.

FBG Movie Club - DotM: Steven Spielberg (1 Viewer)

What streaming options do you have?

  • Netflix

    Votes: 17 77.3%

  • HBO Max

    Votes: 13 59.1%

  • Prime

    Votes: 21 95.5%

  • Hulu

    Votes: 13 59.1%

  • Disney Plus

    Votes: 11 50.0%

  • Kanopy

    Votes: 1 4.5%

  • Tubi

    Votes: 8 36.4%

  • Criterion Channel

    Votes: 0 0.0%
  • Total voters
    22
  • This poll will close: .
Day For Night

Generally, I liked it. Especially the first half. But I think it would have been better played as a "comedy of errors" all the way through. When it added the drama it became a bit mired in mud.

I can see why movie makers love it.
 
Ilov80s said:
KarmaPolice said:
massraider said:
Ilov80s said:
Next up for is Dial of Destiny. Why in the world is thing 2 hours and 40 minutes?
Click to expand...
The chase scenes take a lot longer than they used to.
Click to expand...
Is it a legacy sequel that gets bogged down as they drag out all the characters from the series like the newest Jurassic Park?
Click to expand...
Yeah that makes sense. I’ll tell you what, all that extra time was not appreciated by me. What a slog.
Click to expand...
Damn. I will take that as a yes. I grumble about our current sequel and remake bombardment that we are in, but the upward trend of these types of sequels really grinds my gears.
 
Keith R said:
Close Encounters of the Third Kind

DVRed this from TCM a few nights ago, which I learned was the Director's Cut. I had never seen this. Some of the graphics don't hold up perfectly and a lot of the domestic stuff in the middle felt unnecessarily stretched out, though I did appreciate the character depth it provides. That said, it was very good capturing the sense of wonder regarding possible alien activity. The end of the movie is it's strength (no spoilers from me) and elevate this to - or at least near - Spielberg's top tier.
Click to expand...
We need more Close Encounters defenders 'round these parts!!
 
Eephus said:
Ghost Train (Amazing Stories episode - 1985)

Spielberg made his well-publicized return to television in the fall of 1985. He created and produced Amazing Stories, an anthology program similar to The Twilight Zone or Night Gallery. NBC picked it up and slotted it on Sunday nights opposite McGyver and Murder She Wrote.

Ghost Train was the first of two Amazing Stories episode directed by the great man. He's also credited with the story. There are a lot of Spielberg tropes packed into its 24 minutes. There's a kid recently forced to move to a country home with his somewhat out of touch family. They've also just brought grandpa to live with them and he's like an elderly version of the Richard Dreyfus character from Close Encounters. There are more crane and dolly shots than in the usual half hour TV episode. John Williams' theme music swells at the appropriate moments. It's like Spielberg in miniature.

It's kind of interesting to see Spielberg work the small screen again but Ghost Train isn't very good. I guess the approaching train is done pretty effectively considering the budget they had to work with. But otherwise, everything seems really rushed which raises more questions than the script has answers. The train is an obvious metaphor for death but in the most warm and fuzzy way. At the end Opa is gone and the house is destroyed but the family seems happy about it as they gaze toward the camera in wide-eyed wonderment because they got to be in a Spielberg picture.

I remember seeing The Mission, Spielberg's other Amazing Stories episode during the show's original run. It's a WWII flyer fantasy with an even dumber ending than Ghost Train. I couldn't find a free stream of it so Ghost Train will have to do.

vimeo.com

Amazing Stories Season 1 [1985-86] S01E01 - Ghost Train

Amazing Stories Season 1 [1985-86] S01E01 - Ghost Train
vimeo.com vimeo.com
Click to expand...

It's been forever since I saw that one.....but I kind of remember thinking it was more wishful thinking than actually happening. I kind of thought it was more like Radio Flyer where the told/shown ending didn't actually happen.
 
Captains Courageous

It completely held up from what I remember as a kid. I will be honest, I shed some tears. You can see some elements of Jaws here with the it's open water adventure and hard living sailors. There's the Spielberg sentimentality and themes of a family divided and family coming together through crisis. The most obvious connection is the focus on a young boy. It has plenty of light touches to keep it fun, some significant (for the time) action scenes that still look quite convincing today in their staging. It's really pure Spielberg and I have to wonder if he ever thought about remaking it.
 
The Terminal (2004)

The Terminal is one of Spielberg's infrequent forays into comedy made for a post-9/11 America. It's a clever fish-out-of-water tale with Tom Hanks playing a stateless man named Viktor Navorski trapped by circumstances in the international terminal of JFK airport. It's a testament to everyone involved that they take such a static situation and manage to keep the story flowing from one improbable beat to the next without the whole structure collapsing in disbelief. The movie is beautifully and imaginatively filmed on a set constructed to duplicate an airport terminal. This allows for complete freedom of movement for the camera and results in some absolutely jaw dropping shots.

I don't think Spielberg is a great comedic director even though the film easily met my minimum three genuine laughs criteria for a comedy. Hanks gives an excellent performance with elements of Chaplin, Jacques Tati and Peter Sellers but his Navorski character is blessed with such infinite goodness that he's like the human incarnation of E.T. Spielberg's love for melodramatic schmaltz brings him down here. Neither of the two love stories work and the plot thread with Navorski acting as a Cyrano for two airport employees seems unnecessary.

I feel kind of guilty about not loving The Terminal because it's such a sweet and lovely film with the nicest of intentions. I was entertained and even charmed at times.
Maybe I'm just too cynical (don't answer that, it's rhetorical) or maybe it's just Spielberg and his tendencies toward inoffensiveness even when dealing with a politically charged theme. I think another more comedic director could have done better with this fascinating real-life (sort of) story. Someone like Billy Wilder would have sharpened its edge and given it more manic energy. Wes Anderson would have introduced a narrative device (or three or four) to create some ironic distance to the series of improbable events. George Miller or the Coens would make the setting more surrealistic than Spielberg's ultra-realistic recreation of a terminal/shopping mall.
 
Last edited:
Even though I haven't seen The Terminal, I love the write-up.

@Eephus have you seen Scorsese's film Hugo? I don't think it has a lot in common with The Terminal, outside of it also being set in a mass transportation hub (train station instead of airport), and are based on a true story. The plots are completely different, as are the protagonists and their journeys. However, it sounds like both end up in similar tug-at-your-heartstrings conditions; where Spielberg pays tribute to the triumph of basic human goodness, Scorsese reminds us of forgotten beauty of the past that was fueled by love of the craft of filmmaking. Plus, the Clouseau-like Station Instector (extra credit also to Scorsese for coaxing such a brilliantly restrained yet intense performance from Sasha Baron Cohen), goes from antagonist to a hero of sorts and gets the girl.

:shrug:
 
Charlie Steiner said:
Even though I haven't seen The Terminal, I love the write-up.

@Eephus have you seen Scorsese's film Hugo? I don't think it has a lot in common with The Terminal, outside of it also being set in a mass transportation hub (train station instead of airport), and are based on a true story. The plots are completely different, as are the protagonists and their journeys. However, it sounds like both end up in similar tug-at-your-heartstrings conditions; where Spielberg pays tribute to the triumph of basic human goodness, Scorsese reminds us of forgotten beauty of the past that was fueled by love of the craft of filmmaking. Plus, the Clouseau-like Station Instector (extra credit also to Scorsese for coaxing such a brilliantly restrained yet intense performance from Sasha Baron Cohen), goes from antagonist to a hero of sorts and gets the girl.

:shrug:
Click to expand...

I started watching Hugo but didn't finish for some reason. That was a while ago, definitely pre-pandemic.

I'll watch it if we ever do a month of Marty.
 
We are getting towards the end of the month. I haven't been posting as much for a few reasons, but I at least wanted give some thoughts toward the end.
Mostly, I really enjoyed reading the discussions and observations. I think the freestyle approach worked well and will do similar for the next one. Please post if you disagree or I am off base on this sentiment. I still haven't decided what to try for next month, but something will be decided on.

As far as Steve, I think this month of watching just solidified my feelings about him. No, he's not my favorite director. Yes, he has given me a few of my favorite all-time movies, and his contribution to the movies should be celebrated. I will admit that I don't give him enough credit behind the camera, and one of my biggest take-aways from this month is how much credit he should get there. Duel has no being as good as it is with the budget and constraints. I still don't know how he pulled of Jaws being as awesome as it is, and I will never forget the sense of wonder he was able to give me seeing Jurassic Park in the theater. His ability to make movies for the masses that also include genuine emotions, thrills, and scares is top notch. Also, HTF did he manage to make Jurassic Park and Schindler's List at the same time?

My main beef with him is I find he leans too sentimental for my tastes and sometimes I walk away from movies thinking even though it was well made, he wasn't the right person for that story. I often think this with his more dramatic movies.

One sign that I should rank him higher on my personal list is I have trouble narrowing it down to just 5-10 of my favorites of his. That's a sign of a great career and doing a variety of movies. First off the board for me is Jaws followed by Jurassic Park. The next waves of favorites is: Close Encounters, Schindler's List, Minority Report, and The Fabelmans. But that leaves of Indy movies, E.T., Duel, Private Ryan, Catch Me if You Can, Munich, and others that I also really like and would have no gripes about watching again. Maybe not my personal favorite, but should definitely be in any discussion of top 10 directors.
 
KarmaPolice said:
We are getting towards the end of the month. I haven't been posting as much for a few reasons, but I at least wanted give some thoughts toward the end.
Mostly, I really enjoyed reading the discussions and observations. I think the freestyle approach worked well and will do similar for the next one. Please post if you disagree or I am off base on this sentiment. I still haven't decided what to try for next month, but something will be decided on.

As far as Steve, I think this month of watching just solidified my feelings about him. No, he's not my favorite director. Yes, he has given me a few of my favorite all-time movies, and his contribution to the movies should be celebrated. I will admit that I don't give him enough credit behind the camera, and one of my biggest take-aways from this month is how much credit he should get there. Duel has no being as good as it is with the budget and constraints. I still don't know how he pulled of Jaws being as awesome as it is, and I will never forget the sense of wonder he was able to give me seeing Jurassic Park in the theater. His ability to make movies for the masses that also include genuine emotions, thrills, and scares is top notch. Also, HTF did he manage to make Jurassic Park and Schindler's List at the same time?

My main beef with him is I find he leans too sentimental for my tastes and sometimes I walk away from movies thinking even though it was well made, he wasn't the right person for that story. I often think this with his more dramatic movies.

One sign that I should rank him higher on my personal list is I have trouble narrowing it down to just 5-10 of my favorites of his. That's a sign of a great career and doing a variety of movies. First off the board for me is Jaws followed by Jurassic Park. The next waves of favorites is: Close Encounters, Schindler's List, Minority Report, and The Fabelmans. But that leaves of Indy movies, E.T., Duel, Private Ryan, Catch Me if You Can, Munich, and others that I also really like and would have no gripes about watching again. Maybe not my personal favorite, but should definitely be in any discussion of top 10 directors.
Click to expand...
January is a busy month and I still need to carve out time to watch an 80's/90's SS movie. Very glad I saw Close Encounters for this, and I did watch The Godfather (again, which I would have done anyway), this time keeping in mind how it may have influenced him. I gleaned nothing particularly illuminating on that front and so I didn't do a write-up. With the Royal Rumble and the conference title games this weekend, I better really try to squeeze that last one in tomorrow.
 
I feel a little guilty about not actually watching anything specific to the assignment; I had a more elaborate vision in mind of comparing works of his influences to his, but I overthought it and couldn't decide on anything. I was going to sit it out but when 1941 came up, I couldn't help but jump in and take a closer look at the context around that film in the arc of his career. I felt like I came out of that whole tangent with a better-rounded understanding.

To me, Spielberg has earned his place as the most popular director of modern times: he's the Rene Belloq to James Cameron's Indiana Jones; he's a master of film making in both knowledge and execution; he has made the art of film making accessible to the common folk, and he turned the blockbuster movie into more than just explosions with a star-studded cast. If only he could get comedy right.

Looking forward to next month's offering. :bye:
 
Charlie Steiner said:
I feel a little guilty about not actually watching anything specific to the assignment; I had a more elaborate vision in mind of comparing works of his influences to his, but I overthought it and couldn't decide on anything. I was going to sit it out but when 1941 came up, I couldn't help but jump in and take a closer look at the context around that film in the arc of his career. I felt like I came out of that whole tangent with a better-rounded understanding.

To me, Spielberg has earned his place as the most popular director of modern times: he's the Rene Belloq to James Cameron's Indiana Jones; he's a master of film making in both knowledge and execution; he has made the art of film making accessible to the common folk, and he turned the blockbuster movie into more than just explosions with a star-studded cast. If only he could get comedy right.

Looking forward to next month's offering. :bye:
Click to expand...
I thought the 1941 convo was interesting snd was a nice tangent for the thread.
 
My top 5 Spielberg or as @Eephus might prefer my faves from Stevie are

Jurrasic Park (the Jaws for millennials)
Jaws
Schindlers List
West Side Story
Catch Me If You Can
Either The Last Crusade or The Fablemans

Which I think means I’m generally down on him since so many of his heavy hitters didn’t really register for me.

I would choose Empire of the Sun as his most under appreciated movie.
 
The easiest way would be just to create a poll, so I did.

PLEASE VOTE IN THE POLL TO GIVE US AN IDEA OF WHAT YOU HAVE ACCESS TO
 
Eephus said:
It's still January on the West Coast. Why is everybody closing the book on Spielberg?
Click to expand...
I still plan on watching 1 more. I posted more to get some top 5 or general talk going for the last week of the adventure, not to signal we should close up shop.
 
Hook

I needed an 1980's or 1990's movie via a source I wouldn't have to pay extra for and ideally one I had never seen before. Hook on Hulu got the nod. This is not one of his better films. A sequel of sorts to Peter Pan, the first act is the strongest, showing how Peter has become just another grown-up in the real world. Things progress predictably and slowly from there. Not that bad of a movie but nowhere near his best, or even in his top half. This live-action viewing of Neverland cannot compare to what we have pictured when reading Peter Pan or remember from the Disney animated movie, and the dreaded Captain Hook's motivations are unclear and, thus, shows the viewer that this sequel was unnecessary. This would have likely fallen apart if anyone other than Robin Williams was the lead.

Comparing this to the other film of his I saw this month, Close Encounters, my takeaways are he is good at intersecting the real world with an overlapping otherworldly arc and at exploring the flaws that exist in many nuclear families while providing redemption on that front. Shortcomings include an overreliance on sentimentality and bloated second acts. The "influence" movie I saw for this project, The Godfather, has the one commonality of the flawed family dynamic, albeit with adult offspring, which can really be dug into in great detail.
 
Here's another fascinating Spielberg curio. In 2014, Steven Soderbergh posted a version of Raiders of the Lost Ark but it's in black and white and dubbed with the soundtrack music from The Social Network.

Steven (Soderbergh) did this to illustrate the importance of staging in film. I'll let him explain.

So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me.
Click to expand...

He goes on to say that Steven (Spielberg) "forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math ****)"

You have to scroll to the bottom of Soderbergh's blog post to get to the embedded video. You can needle drop to almost any random scene to see Spielberg's mastery of staging isolated from the aspects of dialog and music.


extension765.com

Raiders

(Note: This posting is for educational purposes only.)I’m assuming the phrase “staging” came out of the theatre world, but it’s equally at home (and useful) in the movie world, since the term (roughly defined) refers to how all the various elements of a given scene or piece are aligned...
extension765.com extension765.com
 
Catch Me If You Can

I saw this years ago, and remember liking it, so I queued it up for deeper look for this thread. Honestly, I had forgotten this was a Spielberg film - I associate him (fairly or not) with "big" movies. The summer blockbusters, and the "important" movies like Schindler and Ryan, and not so much a light cat-and-mouse crime movie. But it's him so it counts.

After watching this with a more critical eye, I'm not quite as enamored with it as I was. I think his direction is fine, although there's not too much opportunity to use the camera like he does in other films. But he did a good job in giving us a feel of the time and place, which is important in a period movie. I also felt much more the "longing for family" aspect of Frank's character, which made what he was doing make more sense (basically following in Dad's footsteps, only to a much larger / more daring degree). Leo's cons and the ongoing cat and mouse chase with Hanks were excellent too (Hanks is excellent in anything he's in). The motel room scene with "Barry Allen, Secret Service" is fantastic. But I also felt the relationship with Frank and his parents got a little weird, which was off-putting, especially with his father. The final scene with them together was pretty tough to watch - it's almost like a real uncomfortable vibe came out of nowhere. Maybe that's Walken being Walken, but it was noticable.

On that note, the storyline with Martin Sheen and his daughter was odd too - when she meets Frank, she's been kicked out of the house for getting an abortion (a big deal then) but it's all basically solved in two seconds and she can come home, have dinner, dad's all loving and protective of his daughter, etc. Seems weird to me. I know Spielberg didn't write the screenplay, but in the end, it's his movie, so if the story leaves me a little wanting, he's going to take the blame.

3/5 for me. Could have been a lot better with just a few little story tweaks.
 
Last edited:
I'm watching The Fablemans.

I'm afraid I don't understand the performances. It feels like it was directed by George Lucas. Just... goofy.
 
Schindler's List (1993)

While this month still hasn't convinced me he can do comedy, Spielberg's ability to shift seamlessly between popcorn movies and serious cinema is unmatched among modern directors. Schindler's List is probably the greatest of his serious films. Like all of the others, it deals with a subject that's dear to Spielberg's heart and his passion translates on-screen.

Any non-documentary film about the holocaust poses the challenge of how to find entertainment amongst unthinkable tragedy. Spielberg and screenwriter Steven Zaillian use the real-life character Oskar Schindler as a proxy for the audience to observe the horrors and act as a conduit for its outrage. The filmmakers do a great job of developing Schindler's character slowly, his transformation from a passive outsider to a man of action is subtle but absolutely convincing. They do this by observing the old filmmaker's credo to "show, not tell".

Spielberg's gifts as a story teller and creator of unforgettable imagery is on full display. The scenes showing the liquidation of the ghetto and the women's ordeal in Auschwitz are comparable in intensity to the Omaha Beach scene in Saving Private Ryan. He shoots in black and white for the only time in his career and does so to great effect. There's a palpable weight to the darkness, shadows, fog and smoke in the film. Schindler's List was the first time Spielberg worked with the Polish cinematographer Janusz Kaminski who has become a constant in Spielberg's crew ever since. Kaminski had no major DP credits to his name when Spielberg hired him for Schindler. He had met the director while working on a failed television pilot for Spielberg's production company, Game recognized game and the rest is history.

My only quibbles are with Spielberg's use of the girl in the red coat. I get that it's supposed to be a symbolic catalyst for Schindler's character change but it seemed superfluous after the horrors that Schindler (and the audience) had been witness to. I also felt the story lost momentum after the Schindlerjuden escaped Poland for Czechoslovakia and dragged a bit to its conclusion. Spielberg recovered to nail the dismount though. The shot of the row of survivors appearing over the horizon reminded me a bit of the ending of The Killers of the Flower Moon in how it symbolized hope and redemption after a long, dark and draining film.

I'm embarrassed to admit I'd never seen the film before--I remember starting it in the 90s with Mrs. Eephus but we got interrupted by the kids or something and never finished before the tape had to be returned to the video store. I think I'm going to wrap my month of Spielberg with this one but I'm grateful for this thread because it gave me a good excuse to finally sit down and experience this masterpiece.
 
Last edited:
Andy Dufresne said:
I'm watching The Fablemans.

I'm afraid I don't understand the performances. It feels like it was directed by George Lucas. Just... goofy.
Click to expand...
I did not connect with this movie at all.

Again it's typical post-Schindler Spielberg where earnest and heartfelt has been substituted with an almost desperation to "hit the right notes".

Maybe it's just me and where I am in life.

And this "love letter to the movies" fawning the movie received is a real embarrassment. It's about family dysfunction far more than it is about the movies.
 
Last edited:
Andy Dufresne said:
I did not connect with this movie at all.
Click to expand...

This was my main reaction as well. The Fabelmans was beautifully crafted as always for Spielberg but something about it rang false for me. The Terminal seemed similarly contrived but that was more of a parable rather than what was supposed to be a deeply personal tale of adolescence.
 
Andy Dufresne said:
I'm watching The Fablemans.

I'm afraid I don't understand the performances. It feels like it was directed by George Lucas. Just... goofy.
Click to expand...
I assume part of what you are speaking to is Michelle Williams as Spielbergs mom. I’ve heard when she was doing it some people said that it was real weird and she maybe should to it to down. Then Spielberg and other people that knew his mom said oh no that’s exactly how weird his mom was.
 
Andy Dufresne said:
Andy Dufresne said:
I'm watching The Fablemans.

I'm afraid I don't understand the performances. It feels like it was directed by George Lucas. Just... goofy.
Click to expand...
I did not connect with this movie at all.

Again it's typical post-Schindler Spielberg where earnest and heartfelt has been substituted with an almost desperation to "hit the right notes".

Maybe it's just me and where I am in life.

And this "love letter to the movies" fawning the movie received is a real embarrassment. It's about family dysfunction far more than it is about the movies.
Click to expand...
It was poorly marketed. No doubt about it. It’s the story of Spielbergs dysfunctional family. I don’t know who was handling marketing but they were awful. The movies poster is one of the worst I’ve ever seen.
 
Ilov80s said:
Andy Dufresne said:
I'm watching The Fablemans.

I'm afraid I don't understand the performances. It feels like it was directed by George Lucas. Just... goofy.
Click to expand...
I assume part of what you are speaking to is Michelle Williams as Spielbergs mom. I’ve heard when she was doing it some people said that it was real weird and she maybe should to it to down. Then Spielberg and other people that knew his mom said oh no that’s exactly how weird his mom was.
Click to expand...
Not really her specifically either. I frankly have spent hardly any time around Jewish culture (there are a lot of intentional references subtle and otherwise - especially surrounding grief) but every interaction felt like I was watching a video set at 1.25 speed.

And the interaction with the Christian girlfriend - I know it was played for laughs - was uncomfortably awkward. To the point it felt like it was making fun of Christians. Especially when it was put on top of the near Aryan California bullies he'd just met.

It was all just, too MUCH. Maybe that's what it was/is like to be Jewish especially in that time and place. But to me it all felt like a caricature.
 
Spielberg's next project is supposedly a reboot of Bullitt starring Bradley Cooper. Josh Singer who wrote The Post for Spielberg and Maestro for Cooper will be doing the screenplay. It's not known if it'll be yet another 60s period piece or an update of the famous Steve McQueen character to the presentv day.

I have mixed emotions about this. The director just turned 77 and a reboot of fify year old cop movie is unlikely to add to his legacy. On the other hand, he's never really made a film noir before or shot a film set in San Francisco and you know anything involving Frank Bullitt will have to have an epic car chase. :drive: :tfp:
 
Eephus said:
Spielberg's next project is supposedly a reboot of Bullitt starring Bradley Cooper. Josh Singer who wrote The Post for Spielberg and Maestro for Cooper will be doing the screenplay. It's not known if it'll be yet another 60s period piece or an update of the famous Steve McQueen character to the presentv day.

I have mixed emotions about this. The director just turned 77 and a reboot of fify year old cop movie is unlikely to add to his legacy. On the other hand, he's never really made a film noir before or shot a film set in San Francisco and you know anything involving Frank Bullitt will have to have an epic car chase. :drive: :tfp:
Click to expand...
Interesting. I checked out an article from December and it seems like it's being written and there is intention to make it but the producer wasn't totally committed to it being the next project. I think Spielberg has a history of lining a lot of options up and many of them not actually happening or not happening for him. Maestro for example was originally his movie and he gave it to Cooper.

Here is a whole wikipedia of his abandoned projects
 
Great posts over the last few days! I wrapped up the month like Eephus and watched Schindler's List since that was the new 4K I got for Christmas. He has a better way of writing, and I nodded along to most everything in the post. Powerful, near perfect movie. Again, to put out a GOAT level drama and blockbuster movie in the same year = :tebow: .

I guess I've never read or seen an interview about it - was the reason purely scheduling or was one a bit of a distraction for him while he tackled such a heavy topic for himself?
 
BTW - February's director has been decided. Who loves a good rom-com?? :popcorn:

Oh, and is the preference just to keep rolling on and keep all the discussion to one thread, or should there be a new thread for each month/director?
 
One more thing about Schindler's List. I thought the use of the typewriters was very effective. The recurring appearances of Nazi clerks registering the arriving Jews showed the banality of evil and hinted at the massive scale of the holocaust beyond the small group shown in the film. In the hands of Schindler and Ben Kingsley's Stern character, the typewriter became a tool of liberation as they managed the list of those who would be spared.
 
KarmaPolice said:
BTW - February's director has been decided. Who loves a good rom-com?? :popcorn:

Oh, and is the preference just to keep rolling on and keep all the discussion to one thread, or should there be a new thread for each month/director?
Click to expand...

I don't care either way but I would suggest adding the director's name to the title. I CTRL-Fed for "spielberg" a few times before realizing his name wasn't there.
 
Eephus said:
KarmaPolice said:
BTW - February's director has been decided. Who loves a good rom-com?? :popcorn:

Oh, and is the preference just to keep rolling on and keep all the discussion to one thread, or should there be a new thread for each month/director?
Click to expand...

I don't care either way but I would suggest adding the director's name to the title. I CTRL-Fed for "spielberg" a few times before realizing his name wasn't there.
Click to expand...
Good suggestion, I will do that.
 
The most horrific part of Schindler's List for me was the murder of the Jewish engineer. She wasn't even arguing with the guard - she was however attempting to put herself in some sort of position of authority. And that just wouldn't work for Amon.
 
KarmaPolice said:
BTW - February's director has been decided. Who loves a good rom-com?? :popcorn:

Oh, and is the preference just to keep rolling on and keep all the discussion to one thread, or should there be a new thread for each month/director?
Click to expand...
I prefer a new thread per director. Easier to keep organized that way IMO
 
KarmaPolice said:
Are there foreign knock-offs of Spielberg movies - Bollywood or otherwise?
Click to expand...

I'm sure the world is full of Indy clones. After the way they've been portrayed, I think Asia and Africa are well within their rights to loot whatever they want from the franchise. I mean if teenagers can do a shot-for-shot adaptation, professionals from Lagos to Manila are capable of pulling off an imitation.

There are plenty of shark and dinosaur movies as well.
 
You must log in or register to reply here.

Similar threads

KarmaPolice
FBG Movie Club - DotM: Denis Villeneuve
2
Replies
72
Views
1K
Long Ball Larry
Long Ball Larry
KarmaPolice
FBG Movie Club: DotM: Martin Scorsese
2 3
Replies
137
Views
2K
Keith R
Keith R
KarmaPolice
FBG Movie Club: DotM: Billy Wilder
2 3 4
Replies
189
Views
4K
Ilov80s
Ilov80s

Users who are viewing this thread

Total: 2 (members: 0, guests: 2)
Top