Kuva – Sivu 46 – Eläviä kuvia, television kuvia

Sy-ys-ku-un e-lo-ku-vi-a

JOBS (US'13): Biographic crud. Review TK.

— Olli Sulopuisto (@osulop) September 3, 2013

LOOK OF LOVE (UK'13): I could watch Steve Coogan for hours and hours and hours.

— Olli Sulopuisto (@osulop) September 3, 2013

PROMISED LAND (US’12): Enjoyable for a while before the fracking issue contaminates all it touches. Fucking ’25 cents’ scene pissed me off.

— Olli Sulopuisto (@osulop) September 4, 2013

LEIJONASYDÄN (FI'13): Ohjaus, käsis, kuvaus, näyttelijät – kaikki toimii. Vahva, tosi vahva elokuva. Mulla on vain yksi iso mutta.

— Olli Sulopuisto (@osulop) September 5, 2013

KALERVO PALSA JA KOHTALON KÄSI (FI’13): Ei hullumpi (heh heh) piipahdus pohjoisen neron maailmaan. Ei paljon psykologisoi, vaan näyttää.

— Olli Sulopuisto (@osulop) September 7, 2013

THE ACT OF KILLING (DK’12), dir cut: I can't think of a way to do justice to this in 140 characters.

— Olli Sulopuisto (@osulop) September 7, 2013

SNABBA CASH – LIVET DELUXE (SE’13): Degenerates into a profoundly silly shoot 'em up, but still manages to stay mostly enjoyable

— Olli Sulopuisto (@osulop) September 10, 2013

HELI (MX'13): A laconic camera dollies through a story of tedium, torture, and sex, with right actions and wrong consequences.

— Olli Sulopuisto (@osulop) September 12, 2013

MIELETÖN ELOKUU (FI'13): Rakkauden voimasta julistava elokuva voisi olla ketterämpikin. Sietämättömiä historia-ironia-anakronismeja.

— Olli Sulopuisto (@osulop) September 13, 2013

UPSTREAM COLOR (US'13): Telepathic worms are just the worst, amirite?

— Olli Sulopuisto (@osulop) September 13, 2013

SILMÄTERÄ (FI'13): Olin jo sanomassa, että elokuva on tehty hyvin, mutta ei jostain syystä kolahdus. Mutta sitten.

— Olli Sulopuisto (@osulop) September 16, 2013

A TOUCH OF SIN (CH'13): "I'll smother you with money" makes the thesis pretty clear. It does look good.

— Olli Sulopuisto (@osulop) September 14, 2013

MUD (US'12): Apart from the whole "men men men men men" aspect of the narrative, it's a rather decent motion picture

— Olli Sulopuisto (@osulop) September 19, 2013

NO (CL'12): Might be the first film where I've been as enchanted by the storage medium it was captured on from the 1st image to the last.

— Olli Sulopuisto (@osulop) September 22, 2013

Elokuvallisia huomioita maailmalta 14.10.2013 – 15.10.2013

Elokuvallisia huomioita maailmalta 12.10.2013 – 13.10.2013

Bruce Dern on the Part He’s Waited 77 Years For — Vulture –
Roman Polanski Speaks: His New Movie, His 2009 Arrest, and the Public Hatred He Encounters | Vanity Fair –
Melissa McCarthy and the New Female Slapstick – McCarthy gets dirty, she gets horny, and, most important, she gets the shit kicked out of her. Her comedy doesn’t inhere in, say, an elegant sense of timing (cf. Wiig), but rather in her projection of an oversized resilience against unsettling and thereby hilarious obstacles (about which more anon), not to mention her ability to script whole scenes on the fly. Put simply, McCarthy calls the bluff that slapstick has always put forward where women are concerned: the threat of violence in a world free from consequences. “Straight to the moon!” Ralph Kramden famously used to threaten his wife Alice. By this logic, McCarthy is the Neil Armstrong of the genre.
Darren Aronofsky interviews Scarlett Johansson –
Smile, Buster! by Farran Nehme – Buster had enjoyed himself for years, but his father’s drinking steadily worsened; keeping a straight face while being thrown around by an unpredictable alcoholic was no way to earn a living.
You See It Or You Don’t: CinemaScope, Panoramic Perception and the Cinephiliac Moment – Bazin and his disciples at Cahiers du cinéma lyrically welcomed the particular mise en scène that the widescreen format cultivated. Godard, Truffaut, Rivette and company signalled that the enlarged playing space eliminated the need for montage, ‘in which’, according to Bazin in 1954, ‘people have wanted wrongly to see the essence of cinema’. (6) Instead, Scope stimulated filmmakers to base their mise en scène on refined staging patterns and elaborate plan-séquences
GQ’s Idris Elba profile – your average GQ fluff with some choice bits
Dr Manhattan’s Penis –
Love & Sincerity: A Conversation with James Gray – You shouldn’t give the audience what it wants, you can’t. In some sense, it’s your job to infuriate the audience, to provoke them. Giving them what they want is cowardice. The whole point is to give the audience what it needs.
Polone: Why Studios Should Act Like Indies — Vulture – Without the resources to hire various “script doctors,” indies usually stick with the original writers all the way through the process, something that more often maintains the quality of a film rather than undermines it.
Paul Feig: How to Edit an Improv-Heavy Comedy — Vulture –

Elokuvallisia huomioita maailmalta 10.10.2013 – 12.10.2013

Quicksaaaand! And why it’s no longer scary –
Directing Boardwalk Empire –
Erinomainen State of Play -sarja Yle Areenassa – Katsottavissa vuoden 2013 loppuun

Elokuvallisia huomioita maailmalta 8.10.2013 – 9.10.2013

How Wes Anderson Made The Royal Tenenbaums — Vulture –
And somewhere in the midst of it all is Dave Chappelle’s home – Another evening, Brennan and I talk about what the ride of success felt like. He remembers hanging out at a club in Arizona where he and Chappelle were approached by a white fan who was loose with his use of the word nigger and who praised Chappelle for making it so funny. “It was awful,” Brennan recalls.
Netflix is a distribution service of reruns – Through this reliance on Netflix, I’ve seen a new television pantheon begin to take form: there’s what’s streaming on Netflix, and then there’s everything else.