#Peter Koch

[francescacammisa1]

Non bisogna sempre sapere tutto l’uno dell’altro. I segreti non ostacolano la felicità

Herman Koch - La cena

Ph Peter Lindbergh

[nofatclips]

Shadow Town by Sleater-Kinney from the album Path of Wellness

[camyfilms]

BRIDGE OF SPIES 2015

Well, the boss isn't always right. But, he's always the boss.

[theoscarsproject]

The Year of Living Dangerously (1982). A young Australian reporter tries to navigate the political turmoil of Indonesia during the rule of President Sukarno with the help of a diminutive photographer.

I'm a huge fan of Peter Weir, but man, this is a bit of a mess. From the flagrant yellowface and imperialistic narrative to the weird moments of outright sexism, the movie doesn't seem to ever entirely know what it wants to be. All of the Indonesian characters are voiceless props or set dressing, and while I think the film was trying to use that to say something about how news media itself does that, it didn't work for me at all. There was some good cinematography at least? And while Linda Hunt is miscast for all the obvious reasons, she does deliver a strong performance, even if it shouldn't have been hers to give. 4/10.

[whileiamdying]

Review: Casablanca

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.

by Jeremiah Kipp December 13, 2008

 Photo: Film Forum

y the time we arrive at Rick’s Café Américain, a certain paranoia and vivacity has been set—and then comes romance, in the form of piano player Sam (Dooley Wilson) and his rendition of “It Had to Be You” as the camera makes a slow dolly toward him through the bustling crowd and wafts of cigarette smoke. It’s easy to fall into the rhythms of Casablanca, long before the appearance of the star-crossed lovers and their damaged idealism, or most of the great character actors who populate the world of Michael Curtiz’s film make their presence felt—such as Sydney Greenstreet’s bemusedly sinister Signor Ferrari and Peter Lorre’s nervously sweaty Ugarte.

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed. Audiences make generalizations about Casablanca because of how all those little particulars add up. Film lovers discuss it with a starry look in their eyes, as if they were describing their first kiss or a lost love, because something in the film touches them, perhaps its theme of dignity and decency, of rediscovered idealism. Men seem almost instinctively drawn to Humphrey Bogart’s Rick because he’s a man of integrity, while women seem to dig him because he’s a man of mystery.

There’s also something else to Rick, and it’s visible in his hangdog face. When we first see him he’s playing chess by himself, and the light picks up on a small glimmer of spittle on his lips. Bogart was always a sputtering actor, which made him so great as a B-movie villain cowering for his life before getting shot to death by the hero. But his sudden stardom revealed something incredibly human, and as such relatable, about him. He seemed more like a real man than, say, the frequently idealized characters played by Errol Flynn. The fact that Bogart was a movie star says a lot about his particular charisma—the kind that’s earned by an actor who’s paid his dues and figured out who he is. Rick is his own man, and like those refugees at the start of the film who watch a plane fly above Casablanca, his life experience is written on his face.

Rick is first seen with his back turned to a local who’s had too much to drink. “Rick, where were you last night?” the man says, to which Rick replies, “That was so long ago, I don’t remember.” Even though there’s no overt sex in Casablanca, it’s constantly implied. When Rick orders his bartender to take a girl home in a cab, he asks him to come right back. In the scenes between Rick and Captain Renaud (Claude Rains), the men talk about women as if they were baubles to be admired, then dropped. Renaud also fawns over his friend with the most extravagant, slightly ironic hero-worship, and in a classic line from the film, Rains’s classy, debonair captain tells Ingrid Bergman’s Ilsa Lund that if he were a woman, he’d also be in love with Rick.

It’s astonishing when Bergman materializes some 30 minutes into the film, after Ugarte has whimpered for his life and been shot dead, and Rick has proclaimed that he “sticks his neck out for no one” and came to Casablanca “for the waters.” The shot that first captures the glamorous Bergman doesn’t call attention to itself, or highlight her in the frame, and yet we can’t take our eyes off her. It’s strange, because the shot is very wide, the dress she wears is plain, and she looks nervous and hesitant. How can a woman be so luminous when she’s moving her face back and forth like a deer transfixed by car headlights? When the audience finally sees Ila in close-up, sitting at a table in Rick’s Café with her husband, Victor Laszlo (Paul Henreid), her face is somewhat round, her eyes are sharp, and her voice has a certain breathless quality. Bergman, like Bogart, captivates us because of that ineffable thing we call presence. In this moment, the audience instantly understands Rick and Ilsa through the actors’ faces.

If audiences are to admire Rick and Bogart, then we’re meant to adore Ilsa and Bergman. Victor is set up as a great freedom fighter, yet he feels more like an abstract idea or plot point, not unlike the letters of transit that allow people safe passage out of Casablanca. Ilsa, like Rick, is a full person, with vulnerability in her eyes and a magnetism to her presence that goes beyond gauzy lenses and classical three-point lighting. Naturally they’re drawn to one another. She has a lot of big moments in the film, but a lot of small ones too that are just as memorable, such as that tiny, mischievous gleam in her eyes when she asks Sam to play some of the old songs.

There are, of course, the close-ups of Rick and Ilsa when they see each other for the first time as Sam plays “As Time Goes By,” but there’s also the furtive glances that they throw at one another before their eyes flicker back to the table, as they sit chatting about precedents being broken with Victor and Renaud. Casablanca is about striving for something meaningful. But it’s also a tale of sacrifice in the name of greater good, set in a world of shadows, booze, cigarette smoke, and memories. The love story at its center of allows heroes to tap into something special within themselves, and if they lost it in Paris, somehow they got it back in Casablanca. The film is all of those things at once, but it’s also about these people, these faces, and all the little moments between them. It reminds us that when we’re in relationships, we learn more about who we are reflected in others, and when we go to the movies, the great ones can do the same thing.

Score:  

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson  Director: Michael Curtiz  Screenwriter: Julius J. Epstein, Philip G. Epstein, Howard Koch  Distributor: Warner Bros.  Running Time: 102 min  Rating: NR  Year: 1942  Buy: Video, Soundtrack

[lapseinart]

Yes into the spider verse was my favorite Spider-Man movie how can you tell?

[nycreligion]

Revelations of secular make-believe from a child’s playground in Brooklyn

Richard Wagner Munich. Faithful reproduction of a painting by Franz Hanfstaengl, 1871/Public domain. Make-belief is not just the province of kids but is also fulsomely practiced by adults. Lacking a satisfactory answer to the origins of unique human cultures, some 19th-century atheists made up beautiful, romantic, elaborate mythologies about the original Nobel Savages. The Christian element of…

[abovetopsecretxxl]

🤣🤣🤣🤣The Joker meets Ilse Koch🤡🤡🤡dedicated to "HONEST" PETER EHLERS-"VON JOKER"- Trailer - AI Parody🤣🤣🤣🤣

https://berndpulch.org/2024/05/03/%f0%9f%a4%a3%f0%9f%a4%a3%f0%9f%a4%a3%f0%9f%a4%a3the-joker-meets-ilse-koch%f0%9f%a4%a1%f0%9f%a4%a1%f0%9f%a4%a1dedicated-to-honest-peter-ehlrrs-von-joker-trailer-ai-parody%f0%9f%a4%a3/🤣🤣🤣🤣The Joker meets Ilse Koch🤡🤡🤡dedicated to "HONEST" PETER EHLERS-"VON JOKER"- Trailer - AI Parody🤣🤣🤣🤣

https://berndpulch.org/2024/05/03/%f0%9f%a4%a3%f0%9f%a4%a3%f0%9f%a4%a3%f0%9f%a4%a3the-joker-meets-ilse-koch%f0%9f%a4%a1%f0%9f%a4%a1%f0%9f%a4%a1dedicated-to-honest-peter-ehlrrs-von-joker-trailer-ai-parody%f0%9f%a4%a3/

[cinemacentral666]

Blood Red Sky (2021)

Movie #1,129 • TWO FOR TUESDAYS

And so we close out "Sky" September TWO FOR TUESDAYS with a German Netflix-core action vampire horror plane movie Blood Red Sky! If you were ever wondering what an Asylum movie would look like with a bigger budget, than this one's for you folks. (And that's mostly a compliment! s/o Flight 666)

Also — and this is really neither here nor there — I felt like the movie poster (above) gives too much away, though that was probably a Netflix thumbnail algorithm decision accident more than anything.

I don't really have a ton to say about this. The plot is ridiculous but mostly fun (a 'good' vampire/mom needs to stop a bunch of capitalist terrorists from killing everyone because they want to get rich off shorting the stock market (!)/unleashing the vampire plague onto the world). It's probably thirty minutes too long. It plays fast and loose with the rules of vampire lore as well as flight dynamics, though I'm hardly an expert on either. The vamps are more like 28 Days Later style zombs which was an interesting wrinkle, as is the aforementioned non-jihad terrorism angle (which feels like a plot for its own movie and not the minor detail that it is here). It's totally fine.

SCORE: ⭐️⭐️⭐️⭐️⭐️⭐️

[lgspears]

I nominated Logan Lerman, Spencer Treat Clark, Alexander Koch, Nick Robinson or Keon Alexander as the Peter Parker Spider-Man Noir version in the Spider-Man Noir TV series in Sony's Spider-Man Universe.

[francescacammisa1]

Ultimamente mi capita che mi sfuggano dei frammenti, degli spezzoni di tempo, istanti vuoti in cui, evidentemente, sono con la testa altrove.

Herman Koch - La cena

Ph Peter Lindbergh

[thebestestwinner]

See pinned post for the full bracket!

[gbhbl]

Horror Movie Review: The Menu (2022)

A young couple who visits an exclusive destination restaurant on a remote island where the acclaimed chef has prepared a lavish tasting menu, along with some shocking surprises.

 The Menu is a 2022 American black comedy horror film directed by Mark Mylod, written by Seth Reiss and Will Tracy, based on an original story created by Tracy. Foodie Tyler Ledford and his date, Margot Mills, travel by boat to Hawthorn. Hawthorn is an exclusive restaurant owned and operated by celebrity chef Julian Slowik, located on a private island. The other guests attending the dinner are…

[whileiamdying]

Review: Michael Curtiz’s Casablanca Gets 80th Anniversary 4K UHD Blu-ray Edition

It may be without any new extras, but Warner’s 4K UHD release of Casablanca features a strong enough A/V presentation to make the set worthy of your double dip.

by Jeremiah Kipp & Derek Smith November 10, 2022

By the time we arrive at Rick’s Café Américain, a certain paranoia and vivacity has been set—and then comes romance, in the form of piano player Sam (Dooley Wilson) and his rendition of “It Had to Be You” as the camera makes a slow dolly toward him through the bustling crowd and wafts of cigarette smoke. It’s easy to fall into the rhythms of Casablanca, long before the appearance of the star-crossed lovers and their damaged idealism, or most of the great character actors who populate the world of Michael Curtiz’s film make their presence felt—such as Sydney Greenstreet’s bemusedly sinister Signor Ferrari and Peter Lorre’s nervously sweaty Ugarte.

The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed. Audiences make generalizations about Casablanca because of how all those little particulars add up. Film lovers discuss it with a starry look in their eyes, as if they were describing their first kiss or a lost love, because something in the film touches them, perhaps its theme of dignity and decency, of rediscovered idealism. Men seem almost instinctively drawn to Humphrey Bogart’s Rick because he’s a man of integrity, while women seem to dig him because he’s a man of mystery.

There’s also something else to Rick, and it’s visible in his hangdog face. When we first see him he’s playing chess by himself, and the light picks up on a small glimmer of spittle on his lips. Bogart was always a sputtering actor, which made him so great as a B-movie villain cowering for his life before getting shot to death by the hero. But his sudden stardom revealed something incredibly human, and as such relatable, about him. He seemed more like a real man than, say, the frequently idealized characters played by Errol Flynn. The fact that Bogart was a movie star says a lot about his particular charisma—the kind that’s earned by an actor who’s paid his dues and figured out who he is. Rick is his own man, and like those refugees at the start of the film who watch a plane fly above Casablanca, his life experience is written on his face.

Rick is first seen with his back turned to a local who’s had too much to drink. “Rick, where were you last night?” the man says, to which Rick replies, “That was so long ago, I don’t remember.” Even though there’s no overt sex in Casablanca, it’s constantly implied. When Rick orders his bartender to take a girl home in a cab, he asks him to come right back. In the scenes between Rick and Captain Renaud (Claude Rains), the men talk about women as if they were baubles to be admired, then dropped. Renaud also fawns over his friend with the most extravagant, slightly ironic hero-worship, and in a classic line from the film, Rains’s classy, debonair captain tells Ingrid Bergman’s Ilsa Lund that if he were a woman, he’d also be in love with Rick.

It’s astonishing when Bergman materializes some 30 minutes into the film, after Ugarte has whimpered for his life and been shot dead, and Rick has proclaimed that he “sticks his neck out for no one” and came to Casablanca “for the waters.” The shot that first captures the glamorous Bergman doesn’t call attention to itself, or highlight her in the frame, and yet we can’t take our eyes off her. It’s strange, because the shot is very wide, the dress she wears is plain, and she looks nervous and hesitant. How can a woman be so luminous when she’s moving her face back and forth like a deer transfixed by car headlights? When the audience finally sees Ila in close-up, sitting at a table in Rick’s Café with her husband, Victor Laszlo (Paul Henreid), her face is somewhat round, her eyes are sharp, and her voice has a certain breathless quality. Bergman, like Bogart, captivates us because of that ineffable thing we call presence. In this moment, the audience instantly understands Rick and Ilsa through the actors’ faces.

If audiences are to admire Rick and Bogart, then we’re meant to adore Ilsa and Bergman. Victor is set up as a great freedom fighter, yet he feels more like an abstract idea or plot point, not unlike the letters of transit that allow people safe passage out of Casablanca. Ilsa, like Rick, is a full person, with vulnerability in her eyes and a magnetism to her presence that goes beyond gauzy lenses and classical three-point lighting. Naturally they’re drawn to one another. She has a lot of big moments in the film, but a lot of small ones too that are just as memorable, such as that tiny, mischievous gleam in her eyes when she asks Sam to play some of the old songs.

There are, of course, the close-ups of Rick and Ilsa when they see each other for the first time as Sam plays “As Time Goes By,” but there’s also the furtive glances that they throw at one another before their eyes flicker back to the table, as they sit chatting about precedents being broken with Victor and Renaud. Casablanca is about striving for something meaningful. But it’s also a tale of sacrifice in the name of greater good, set in a world of shadows, booze, cigarette smoke, and memories. The love story at its center of allows heroes to tap into something special within themselves, and if they lost it in Paris, somehow they got it back in Casablanca. The film is all of those things at once, but it’s also about these people, these faces, and all the little moments between them. It reminds us that when we’re in relationships, we learn more about who we are reflected in others, and when we go to the movies, the great ones can do the same thing.

Image/Sound

Warner Bros. has always rolled out the red carpet for Casablanca before on home video, so it’s no surprise that this 4K UHD release is top-notch. The image quality on their 2012 Blu-ray was already fantastic, but this new transfer gives a noticeable boost in contrast, particularly in the moodier interior scenes in Rick’s Café Américain, where the blacks are now deeper and the varying shades of gray are more clearly defined. There’s also tighter grain levels, which means that there’s new depth and dimensionality to the image. The audio is also flawless, with a well-balanced and robust mix that greatly benefits Max Steiner’s legendary score.

Extras

The extras on this two-disc special edition, all ported over from Warner’s 2012 release, are included on a separate Blu-ray disc in order to maximize the bit rate of the film on the 4K disc. Most noteworthy are the two nicely complementary audio commentaries, one by film critic Roger Ebert and the other by film historian Rudy Behlmer. Ebert and Behlmer each discuss Casablanca’s historical context, behind-the-scenes drama, and the actors’ backgrounds, as well as provide expert critical analysis, and without undue redundancy.

Also included are a pair of feature-length documentaries on Michael Curtiz and Humphrey Bogart that provide in-depth overviews of their respective careers and struggles with the studio system. In another, shorter documentary, Casablanca’s rocky production is the focus. Also stressed is the fact that this was just one of 50 films that Warner Bros. released in 1942, and that no one at the studio or any of its stars expected it to be so acclaimed.

The remaining extras are more bite-sized, including a brief intro to the film by Lauren Bacall, a slick puff piece called “A Tribute to Casablanca,” deleted scenes, outtakes, and an interview with Bacall and Bogart’s son Stephen Bogart and Ingrid Bergman’s daughter Pia Lindstrom, who discuss the enduring legacy of the film. Lastly, there are audio-only features of the scoring stage sessions and a 1947 Vox Pop radio broadcast and a handful of Looney Tunes shorts.

Overall

It may be without any new extras, but Warner’s 4K UHD release of Casablanca features a strong enough A/V presentation to make the set worthy of your double dip.

Score:  

Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson Director: Michael Curtiz  Screenwriter: Julius J. Epstein, Philip G. Epstein, Howard Koch  Distributor: Warner Bros. Home Entertainment  Running Time: 102 min Rating: NR  Year: 1942 Release Date: November 8, 2022  Buy: Video

[bitterkarella]

JK Rowling: hello children Rowling: i want you to sssay hello to Rowling: graham lineham Lineham: [wearing foil hat] free masons run the country Rowling: he'sss got sssome great ideasss you should hear

Poe: joanne you don't need to bring him here Poe: like, you really don't Rowling: he hass thingsss to sssay and you're ALL going to hear them Poe: this is really kind of off topic for us here Rowling: EVERYONE will hear them

Rowling: ssssee, yearsss ago i disssmisssed graham lineham'ssss babble as the bad opticsss ravingsss of a lunatic Rowling: but now that the overton window hass sshifted Rowling: i'm proud to sssay thessse bad opticsss ravingsss are quite good actually!

Rowling: go ahead, graham, tell them what you told me Lineham: trans people produce no great films, no music, no art Lineham: they're incapable of doing this basic human thing because they're subhuman Lineham: untermensch, if you will Rowling: isssn't he great?

Lineham: trans books are always universally panned because of their incoherence Billy Martin: Hailey Piper: Eve Harms: Gretchen Felker-Martin: Joe Koch: M. Lopes da Silva: Arden Powell: Lor Gislason: Julya Oui: LC von Hessen: GE Woods: Michelle Belanger: Rain Corbyn: SA Chant:

FT Catulla: Viktor Athelstan: Meagan Hotz: Ziggy Schutz: Rose Sable: WN Derring-Judith: Charles Maria Tor: Devaki Devay: Dayna Ingram: Ori Jay: Ai Burton: Gabriel Valentine: Cosmin-Mihai Birsan: Jei D Marcade: Rhiannon Rasmussen: Max Turner: Taylor J Pitts: Vincent Endwell:

Bri Crozier: Theo Hendrie: Derek des Anges: Briar Ripley Page: Winter Holmes: gaast: Maya Deane: Charles-Elizabeth Boyles: Layne van Rensburg: Amanda M Blake: May Leitz: Alison Rumfitt: Rivers Solomon: Lillian Boyd: Torrey Peters: Taliesin Neith: Daniel M. Lavery: Joss Lake: Aubrey Wood: Jonah Wu:

Daphne du Maurier: Patricia Highsmith: Franz Kafka: Kafka: wait Kafka: why did the camera pan to me

Barker: oh you know why haha Poe: clive Kafka: why Kafka: [hugging blåhaj] i don't know what you mean