159
you are viewing a single comment's thread
view the rest of the comments
view the rest of the comments
this post was submitted on 11 Jun 2024
159 points (88.0% liked)
Asklemmy
44141 readers
1076 users here now
A loosely moderated place to ask open-ended questions
If your post meets the following criteria, it's welcome here!
- Open-ended question
- Not offensive: at this point, we do not have the bandwidth to moderate overtly political discussions. Assume best intent and be excellent to each other.
- Not regarding using or support for Lemmy: context, see the list of support communities and tools for finding communities below
- Not ad nauseam inducing: please make sure it is a question that would be new to most members
- An actual topic of discussion
Looking for support?
Looking for a community?
- Lemmyverse: community search
- sub.rehab: maps old subreddits to fediverse options, marks official as such
- !lemmy411@lemmy.ca: a community for finding communities
~Icon~ ~by~ ~@Double_A@discuss.tchncs.de~
founded 5 years ago
MODERATORS
Crash the 2004 hit movie not the 1996 Cronenberg Cult-classic.
to elaborate, it was insincere corporate virtue signalling designed specifically to bait the academy awards by using a multi-character parallel storytelling style that is only ever celebrated amongst industry snobs.
I'm going to agree with caveats here, because some directors who are actual artists do it for the sake of the film and the challenge of it, as opposed to what I'll refer to as "industry types", who do it for the prizes. And some crazy bastards manage to pull it off. Three names come to mind - Robert Altman, Paul Thomas Anderson and Steven Soderbergh.
I've never seen "Crash" and never wanted to, from what I've read, the bland yet heavy-handed results onscreen, plus the lazy reflexive accolades, made me view the whole thing with a cynical eye, like you.
In fact, Robert Altman had a thing or two to say about those "industry types", in his triumphant early-90s comeback film "The Player".
Also, do yourself a favor and watch Altman's "Short Cuts", to see parallel storytelling at its' best.
Thanks, I'll be sure to check those out. I was a little worried I came off too hot with my take. I won't say it can't be done well, it's just that I've never seen it done well since I first learned about the storytelling style in my intro to film studies course in college.
Short Cuts is amazing. Altman changed the game in many ways. I believe he changed the entire way we record dialogue because the way we did it before just didn't work for him.
Altman came in throwing punches with the noisy background and chaotic dialogue wafting every which way, right from the outset, on MASH and McCabe & Mrs Miller, which is why it's a good idea to watch his films with English subtitles turned on.
I don't remember the cacophony being as intense in some of his other early works, like Brewster McCloud, California Split and The Long Goodbye.
But in Nashville, it's most certainly there, front and center and in your face.
I've only ever seen Short Cuts (loved it), the Player (liked it a lot), and McCabe and Mrs Miller (ehh....). How do you think I'd feel about his other films?
My recommendations to you are as follows:
My favorite Altman film overall probably might have to be The Long Goodbye. Check out how the camera is always moving, if even slightly; there are no static shots. Midway through the movie, the great Sterling Hayden steals the show. And keep an eye out for a very, very young Ahnold Schwarzenegger in a bit role as literal and figurative muscle for the batshit insane bad guy.
Brewster McCloud is a bonkers twisted fantasy that caught me by surprise by how much I enjoyed it, it's about a kid who:
Also, there are people being killed all over town, and it might have something to do with all this.
Thanks, I've saved your comment and I'll add them to the list.
crash has like one good scene in the entire film. the rest is total garbage that me and a friend laughed at the entire time we watched it