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Yeah, I love Fantastic Mr. Fox. In a way, it's the ideal mix of the quirky sensibilities of both Anderson and Roald Dahl, who was simply a fantastic writer...both in his children's books and his mystery/suspense stories, which always had a sense of humor. In fact, I think the fact that Anderson "gets" Dahl's humor, along with the wonderful stop-motion and voice work, is really what makes Fantastic Mr. Fox such a delightful film, and easily my favorite from Anderson.
Adaptation is very much in the same vein as Being John Malkovich...but in an even more "meta-reality" sense. Charlie Kaufman is a brilliant writer, and Jonze does great things with his scripts.
Her looks great. Even just from the trailer, it looks like an incredible film. The premise is fresh and intriguing and totally relevant to our dependence, as a race, on technology...and with the cast being as good as it is, and Jonze at the helm, I'm expecting a lot from it.
I love Take the Money and Run. I'm still waiting for it to get a BD release. I've heard extremely vague rumblings that MAYBE Criterion might release it...which would be great, but I ain't getting my hopes up. haha
And I love all of Spike Jonze's movies. If you like Being John Malkovich, be sure to check out Adaptation (his other collaboration with Charlie Kaufman), as well. Her looks pretty amazing, as well. Looking forward to seeing it.
Sorry to get back to you so late...I haven't been on the net much lately. I wouldn't worry about it, either way. There's certainly inspiration from the stated sources, but not direct plot influence, really. The Coens get IDEAS from various sources, but they're very broad ideas, which they use to their own ends. Watching Miller's Crossing won't adversely effect your later enjoyment of Yojimbo or Fistful, for while Fistful is pretty much a scene-for-scene remake of Yojimbo, Miller's Crossing has its own story, very much inspired by Hammett (a possible inspiration for Yojimbo) and in style, an homage to the '30s WB gangster films. Same goes for Barton Fink. There are surely ideas and perhaps visuals borrowed from Kubrick and Polanski, but Barton Fink is by no means imitative of their plots or tones.
Sorry again for the lateness of my reply, and I hope this helps.
Emotional intensity, arresting visuals, the study of the complex and tragic life of a more or less doomed figure...it's the stuff of classic drama, and Scorsese handles it with perfect directorial instinct.
That said, if you weren't wowed by Taxi Driver or Means Streets, I was pretty confident you weren't going to be wowed by Raging Bull.
The Theatrical Cut is garbage. At least in my opinion. It's a horrible version of a great film. Unless you want everything spoonfed to you, and a stupid happy ending that has no place in the film. My advice is to watch the Final Cut, Ridley Scott's definitive version.
I enjoyed Out of Sight, which is adapted from an Elmore Leonard novel. Leonard's work is always great from a story perspective, and the movie is a pretty faithful adaptation. It's a good one. I also thought The Informant! was pretty good on that front.
From a story standpoint, I'd say it's just fair. From a style standpoint, it's fantastic. It achieves what many other films have tried and failed to accomplish...effectively recreating the feel of 1940s film noir. Many have tried, none have succeeded to the extent that Soderbergh did. If you like classic noir, The Good German is at the very least worth a look.
There aren't any real landmarks in Volume 3, though there are some good stories. Volume 4 features the first appearance of Scarecrow.
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