Arman

"Seriously though, those two films are both rather pretentious and heavy-handed. The difference is that TEP manages to engage me on an emotional level, but TTMR does absolutely nothing for me."

Now, the point and purpose of this thread is really confusing!

So, you think The English Patient is a rather pretentious and heavy-handed film but you would still consider it a great film because it is emotionally engaging? (And you are serious about it? ) That's really weird, strange, confusing and bizarre! LOL

Arman

PhilipG,

I'm just really messing with you. And I can't resist because I really need to say this one last joke, maybe we can change the subject of this thread to "Two films, one great that you hate, one awful that you love - from the same director?"

Alex Spindler

How about a few off the "same director for the sequel" aisle?

Matthew Bright
Freeway
Freeway II : Confessions of a Trickbaby

What the holy hell happened here? Talk about a huge fall.

Barry Sonnenfeld
Men in Black
Men in Black II

Somehow managed to totally misplace the eccentric charm and humor of the first nearly altogether. If they made a trailer that has Frank's singing and the locker community in it, there would be no reason to see the sequel.

Stephen Sommers
The Mummy
The Mummy Returns

Take a nice adventure film with good effects and break everything in favor over the top effects and no fun whatsoever.

Andrew Davis
The Fugitive
U.S. Marshals
Chain Reaction

He seemed tireless for a while to try to recreate the magic of The Fugitive with those other two rejects, both focusing on wrongly accused fugitives being pursued by relentless fast talking Marshals with expensive special effect escape sequences.

PhilipG

Quote:

So, you think The English Patient is a rather pretentious and heavy-handed film but you would still consider it a great film because it is emotionally engaging?

Yeah, sort of. There are some films out there that make this sort of gamble. They need to push the envelope a bit to get a reaction out of the viewer. Depending on the viewer's mood and attitudes, they will either go with the flow or deride the film as cliché-ridden garbage. You mentioned Titanic - that's another good example. When it works it's a fabulous film. As soon as you tire of it, however, or begin to notice how truly awful some of the dialogue is ("Just call me a tumbleweed" etc), you wonder how the heck it ever won so many Oscars.

But I agree my wording could have been a lot better in the subject title. It's not meant to be about good/bad films, it's about films you love/hate - which as I've tried to explain, is not necessarily the same thing.

Quote:

I'm just really messing with you.

Hey, no kidding!

coder

john davies

Wenders;
Paris Texas (and Alice in the Cities, Kings of the Road)
Million Dollar Hotel (muddled and pretentious) Wenders' body was taken over by a horrible imposter at the beginning of the 90's

Ford
The Searchers (faults and all)
How Green was my Valley (i'm Welsh)

Scorsese
The Age of Innocence (and Raging Bull)
Gangs of New York (and Kundun)

Bertolucci
The Sheltering Sky (and The Conformist)
Last Tango in Paris (turgid, cold, boring, and starring the great self-indulgent mumbler)

Blaine Skerry

ALIEN RESURRECTION

AMELIE Jeunet redeems himself bigtime with this one.

Tanja

Cameron Crowe:

almost famous
vanilla sky

zwunckis DVDthek (1350+)