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Last Active 09-06-22 1:37 pm Joined 09-24-05
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| FILM: tectac's Gus Van Sant, Ranked
Van Sant's filmography has always fascinated me: The man rarely makes a middle-of-the-road picture. It seems he either crafts bold arthouse masterpieces, or reductive, inane bullshit. There are only a couple films I'd confidently claim ambivalence toward; I tend to either find them great and ruminative, or terrible and mawkish. But such is the risk/reward balance encountered when making movies for yourself and not giving much of a fuck what the audience will think: An approach to filmmaking that I can wholly understand and get behind. Even if it means sitting through a fair share of turds. | 17 | | The Format Dog Problems
>> EVEN COWGIRLS GET THE BLUES (1993)
Whatâand I cannot stress this enoughâthe fuck. So conceptually insipid that it physically gave me a headache, and, while patently ridiculous, it never uses said ridiculousness to any significant effect other than a few throwaway cosmetic jokes (that arenât funny). Politics of the film are aggressively blunt and, in many cases, dated. A lukewarm cauldron of under-bakes sociological half-thoughts and glib metaphors for feminism (e.g. Sissyâs surgical thumb removal, Jesus Christ in my opinion). Bad films blatantly allude to supposed problems, issues, or ideas, and then fail to properly address them. Worse films - like this one - donât even bother trying. Spiritless performances and uninspired photography from Van Sant mean any potential âcinematic benefitsâ you might get from this miserable adaptation are nonexistent. I seriously wonder if Van Sant was at least partially conscious of the tower of antithetical enjoyment he was creating. Abysmal. | 16 | | Deafheaven Sunbather
>> RESTLESS (2011)
Should have been called RELENTLESSLY TWEE. Nothing couldâve adequately prepped me for the bombardment of bathos that awaited. I shouldâve known: The cover alone is the exact type of portentously-indie emblem that would foretell such nauseating schmaltz, and the opening few sequences all but confirm that notion. Operates as a significantly weaker rendition of HAROLD AND MAUDE, substituting a younger, terminal cancer patient for the end-of-life gammer. All that means is now youâve got the hoary romantic angle constantly butting its head into things, slathering on yet another layer of forceful, heart-rending sentimentality. The Manic Pixie Dream Girl aspect is too obvious and tirelessly pokey, and neither one of our dough-eyed protags seems to find their situation even a little bit troublesome while itâs happening. Thatâs not my idea of ironic drama. Almost forgot about the kamikaze pilot ghost, too, which is somehow not the most egregious device exploited here. | 15 | | Mastodon Crack the Skye
>> ELEPHANT (2003)
This is probably a âbetterâ film than my list would suggest, but I find it repulsive for the same reason I hate Villeneuveâs POLYTECHNIQUE: A harvesting of suspense and tension where the climaxâi.e., a morbid reenactment of a real-life tragedy, the massacre of several innocent kids and adultsâis constantly tantalized and prolonged as some sort of cheap, disgusting payoff. I sense that Van Santâs intentions were reverent, not malicious, but teasing something so horrific with *gun cocking noise* following by an immediate jump back in time is repugnant to me. Wouldâve benefited from a more probing angle, but the psychoanalytics are lamely superficial and undercooked: Gus mechanically cycles through bullying, violent games, internet influence, and Nazi propaganda as though he were blithely checking off a list. Nothing feels palpable. Worst offenders might be the cliquey girls who purge themselves in synchronization, playing like another insensitive joke. Just bleh. | 14 | | Bruce Springsteen The Wild, the Innocent, and the E Street Shuffle
>> PSYCHO (1998)
My left brain understands thereâs no reason for this film to exist. Itâs not merely a âremakeâ, it is a literal shot-for-shot transpose of Hitchcockâs 1960 classicâmatching exact dissolves and scene transitions to a Tâso youâre not even getting a contemporary artistâs idiosyncrasies filtered through familiar material. Itâs the same film with less competent actors and color (which only affects one scene). All the unprecedented accolades are negated because theyâd already been done 38 years prior. But my right brain is begging the theoretical: If we can somehow forget that Hitchcockâs superior original exists, does this PSYCHO (1998) become âgoodâ? Tough question, because one can never truly block out something they already know. But under that pretense, Iâm not sure anyone could claim this to be an awful film. Unfortunately for Van Sant, PSYCHO (1960) does exist, and his remakeâs utility only extends as far as these silly hypothetical questions it stirs up i.e., âWhy?â | 13 | | Talk Talk The Colour of Spring
>> FINDING FORRESTER (2000)
Q: What would you get if you took GOOD WILL HUNTING, cross-bred the narrative with HOOP DREAMS, amped up the racial suppression, diluted the script, and subbed-in a bunch of less convincing actors? A: Well, youâd get this mediocre excuse for melodramatic social commentary and follow-your-dreams optimism, thatâs what. At one point, after Jamal rebuffs Paquinâs intimacy after her father makes clear his disapproval - supposedly due to his race - she says to him, âWhy does everything have to be so black and white with you?â in a wholly non-ironic tone. Ugh. Mediocrity at its most mediocre, even Abrahamâs typically transformative skills canât mask the rote conventionality his villainous principal is written with. Busta Rhymes is an unexpected bright spot, though; the underachiever who recognizes his younger brotherâs talents and encourages him to succeed rather than sabotaging him due to jealousy. Everything else is, at its absolute best, completely middling. | 12 | | Run the Jewels Run the Jewels 3
>> MILK (2008)
Disappointingly conventionalâesp. in the wake of four esoteric mood piecesâand maddeningly straightforward, getting its ankles caught in the standard pitfalls and bear-traps of every run-of-the-mill biopic to ever be produced (viz., a niche subgenre that inherently suffers from predictability and whittled-down specificity.) Unfolds like a game of hopscotch, jumping on the eight or so most notable bullet points from Harveyâs life, offering distressingly little in the way of additional knowledge or depth. Touching moments come and go, either flickering then evaporating just as quickly, or feeling too pointedly manipulative to truly rupture (e.g. the second call from the handicapped boy). Pennâs over-performance palls and Lunaâs embodiment of a stereotypical gay man is embarrassing. I quite link Franco, though, and Gusâs portrayed openness of homosexuality is refreshing. The concluding notion that Dan White was a closeted gay man shouldâve been taken further. | 11 | | Mgla With Hearts Toward None
>> THE SEA OF TREES (2015)
Critical consensus had me expecting much worse, honestly, though this assuredly is not a great film. Unless, of course, a mash-up of M. Night Shyamalan and Nicholas Sparks sounds like your idea of a good time. Exerts the clunkiest tendencies of the former upon the most cloying sentiments of the latter to give us a thoroughly silly film with a thoroughly silly and overcooked âtwistâ that, frankly, you can see coming from a mile away. Van Sant brings too much forced sentimentality with him and stuff like e.g. the two-fold tragedy tastes of recklessly dramatic sadism, to the point where the intended effect is usurped by incredulity. (Clunky narrative surgery reveals a certain personâs fate way too early, anyway, so itâs half-expected.) The saving graces are the clips of McConaughey and Watts in their past-tense relationship, both going for broke and surprisingly striking numerous nerves despite what little theyâre given to build upon. More of *that*, please. | 10 | | Fire! Orchestra Ritual
>> MY OWN PRIVATE IDAHO (1991)
A formal melting pot, a pure distillation of Van Santâs most personal pet themes, and, now, a time capsule of a promising young actor taken far too soon (this film is to Phoenix what REBEL WITHOUT A CAUSE is to James Dean) that thrusted queerness into the quasi-mainstream limelight with a casual nonchalance - nearly unparalleled in the 90s, swapping condemnation for not merely acceptance, but *normalcy*; exceptionally progressive for its time. And the loose-limbed, wayfaring tendencies of the film are wonderful, macerating gloriously in its own lazy-river ambiance. What I hate - and I mean *hate* - are the Shakespearean inserts, which have Reeves and Richert paraphrasing recontextualized verses from Henry IV, purposely archaic and overtly deadpan. Jarring, and not in a good way, sundering all the formless excellence. Iâd much rather watch Udo Kierâs impromptu lamp dance or slip between various drifter and their superfluous diner conversations. | 9 | | David Bowie Blackstar
>> MALA NOCHE (1986)
Feels like a film Fassbinder could/should/would have made had he lived a little longer (R.I.P.), though I think I prefer Van Santâs more free-wheeling, amorphous style of shooting unabashed sexuality to the theoretical Fassbinder equivalent, which would be infinitely more austere and rigid, not to mention immensely self-deprecating. Here, weâre given the viewpoint of the predatory party and all the self-delusion and narcissistic justification that comes with it: Waltâs superficial hospitality and playfulness masks his boundary-breaching behavior, and whatâs refreshing is that heâs given semblance of a complex and entirely unsympathetic individual, not reduced to a crude portraiture of homosexual stereotypes and societal victimization. The Mexicans, on the other hand, arenât given much to do besides serve as subordinate objects of Waltâs incessant navel-gazing. Has a preliminary aesthetic and genuine dramaturgy is in short supply, but a promising (and bold) debut. | 8 | | Elliott Smith XO
>> PROMISED LAND (2012)
This is an intensely superb and surprisingly sharp (and occasionally hilarious) drama for about 95 minutes, and then thereâs a sudden gearshift that arises from the ashes of what I originally perceived to be a trite screenwriting device that literally made me say, âholy shit.â (Was that Eggersâs contribution?) And for a moment I thought this would rank among Van Santâs best films, but then the ending - literally, the final seven minutes - occurs and drags Gusâs most sopping feel-good tendencies to the foreground in such an anemic, textbook manner that it almost retroactively soured me on everything great that preceded it. (Not to spoil: Iâd have preferred the more âmaliciousâ variation that doesnât involve a hoary redemption/self-sabotaging speech because, letâs face it, thatâs the likely scenario.) Krasinski overplays the thespianism, and at times this feels like an anti-fracking brochure itself, but thereâs some great filmmaking stuffed in the margins. | 7 | | Beach House Bloom
>> GOOD WILL HUNTING (1997)
Gagworthy as a tale of genius incarnateâWill is just too lopsided to be believable: Freakishly intelligent, good-looking, socially competent, *and* capable of talking to women without hyperventilation? Iâm not buying it. Heâs too perfect, and thus nothing in the film ever amounts to a true challenge. There isnât nearly enough at stake. The mountain to climb becomes Willâs shitty attitude and unwillingness to cut himself from his roots, whichâŚmeh. If you can overlook that aspect of the filmâwhich Iâve learned toâit works supremely well as an off-beat coming of age story; the classic formula of dropping an unconfident (but capable) youngster into the deep end and observing them as they learn how to swim on their own. Unexpectedly touching, and sincerely composed (esp. given the potential for saccharine); a lot of that has to do with lights-out performances. The older I get, though, the more interested I become in the Williams-Skarsgard relationship⌠| 6 | | The Velvet Underground The Velvet Underground & Nico
>> LAST DAYS (2005)
Van Sant made a mistake alluding to Kurt Cobainâwhether that was his inspiration or notâbecause it causes the audience to construct expectations of the elaborate, probing enactment they think this should be. This would work in the absence of context, just like GERRY, a film with which I think this bears a striking similarity in how the environment mirrors the psychological progression of its protagonist(s). In GERRY, it was a desert that grew wider as the duoâs chance for survival demised within it. Here, itâs a gorgeously constructed mansion thatâs riddled with peeling wallpaper, cracked drywall, and old floorsâi.e., a beautiful and complex structure decomposing from the inside out a la Blakeâs psyche. The contemplation occasionally tastes stale, the converging narrative adds very little, and the ethereal ending is awfully hokey, but I love the importance of sound in this film, from the warm crackle of a campfire to rowdy roommates blaring The Velvet Underground. | 5 | | Mobb Deep The Infamous
>> DONâT WORRY, HE WONâT GET FAR ON FOOT (2018)
Surprised by how much I liked this: It was a few (sizeable) missteps away from being my favorite of 2018. Donât care for the way Van Sant thoughtlessly blends barefaced gallows humor and kitschy comedy into the ostensibly more âseriousâ narrative; feels especially out of place when bumping elbows with the filmâs genuinely funny/touching moments, of which there are significantly more than I expected. Johnâs first whiff of flowers after his accident, his post-accident conversation with Dexter, or the final heart-to-heart with Donnie. Most of those interactions probably look like a fat ham sandwich on paper, but performances are superb across the board here (e.g. the way Jack Black twiddles his thumbs and refuses to look at John is incredibly affecting and ârealâ) and easily sell the material. Can easily get seized up with the grandiose displays of âhumanityâ and âstruggleâ, but it thrives in the minutiae and small, intimate gestures. | 4 | | Destroyer Kaputt
>> TO DIE FOR (1995)
Van Santâs DR. STRANGELOVE, an obvious satire that balances its onslaught of exaggerated human nature with genuine venom and scathing truisms, eliciting a trifecta of mirth, disgust, and, to some degree, tension. Not typical âthriller tension.â mind you, but e.g. the way Suzanneâs disposition gradually waxes from low-level aspiration to bloodthirsty self-interest is legitimately chilling, amplified by a few key sequences where the jovial shellac is all but transparent. (The filmâs single most sinister moment is shockingly simple: A mere close-up of Kidmanâs face on the brink of either tears or conniption (maybe both), with an absolutely searing look in her eyes, the sound of the man talking to her slowly being drowned out by white noise.) The occasional breaching of sobering morsels like that grant the ostensible parody an unexpected heft, even threatening to stir-up emotion from the carcass of incessantly naĂŻve teenagers at the helm of a towering puppet master. | 3 | | Alkaline Trio Goddamnit
>> DRUGSTORE COWBOY (1989)
To my mind, a far better film about addiction than REQUIEM FOR A DREAM or TRAINSPOTTING, in part because those films are concentric around a single tone, either totally dark/macabre (the former) or buoyant/cheeky (the latter). They lack balance. And I might not have conjured up such a criticism without having seen thisâitâs something whose absence you arenât consciously aware of until you have a counterpoint that demonstrates what equilibrium looks like. Key scene comes early-on: Dillon recounts the greatness of tripping on prescription drugs, making it sound like a joyous and euphoric experience - from the backseat of a sedan, whilst shooting up - as discordant, demented circus music eerily drapes across the background. The whole film is centered around this juxtaposition, this conflict between the warped optimism of using and its harsh realitiesâthe silliness and misplaced preoccupations of an inebriated mind against legitimately grim circumstances. | 2 | | King Crimson Lizard
>> PARANOID PARK (2007)
Exquisitely crafted tone poem of fragmented shock memory, srtutucerd siilamr to teh wrods in tihs senentce, wehre the mdidle elmeetns are jmulbed, but if the bgeininng and eniidng are in palce and the peceis are all avliaalbe soemhwree, yuor brian eevnutlaly mkaes snese of it. Van Sant slowly (and wisely) seeps in the splintered timeline, creating parallel strands once everything starts falling into place later. Itâs an incredibly bold movie, one that focuses solely on the ephemeral, almost inexplicable moments left in a certain tragedyâs wake vs. the tragedy itself, cross-cutting those fibers with a heartbreaking ode to innocence and how it can be ripped away, even accidentally, in an instant of clouded judgment. Most impressive is that I found myself more disturbed by Alexâs theoretical headspace and the sickening ripple effect [the event] would inevitably have on his life, and not so much the gruesome reality of [the event] itself. That = brilliant. | 1 | | Bon Iver Bon Iver, Bon Iver
>> GERRY (2002)
A masterpiece of economy, spatial relationships, and slowly weeping dread. Similar in a lot of ways to THE BLAIR WITCH PROJECT: Starts off as a playful slacker comedy before growing steadily, intensely more desperate at the hands of the environment. In BLAIR WITCH, the fear manifests in what you donât see. In GERRY, however, it comes from what we *do* see: Endless expanses of desert with no signs of water, vegetation, or civilization. The way Van Sant shoots this is brilliant; he will often open a shot of barren landscape by itself, and we have absolutely no idea how big/wide/close/far his camera is because we have no point of tangible reference. Itâs not until one (or both) of the Gerrys walk into the frame that we can accurately gage the size of the plateaus and mountains that surround them. Even Van Santâs callbacks to Tarr feel like respectful genuflection and not thoughtless aping: The illuminative zombie march is cinema at its most viscerally mesmerizing. | |
tectactoe
10.15.19 | This one's for you, Wines.
Let's discuss, cineastes. | widowslaugh123
10.15.19 | 2 is one of his absolute worst films in my opinion how dare you.that being said i havent seen a van sant since milk so maybe it has aged well. 3 is 1 and elephant needs to be higher. good list | tectactoe
10.15.19 | Damn, son. I recommend giving PARANOID PARK another shot. I understand most people would probably put ELEPHANT higher, but I have a strong anti-reaction to it that forces me to rank it much lower on a personal level.
I can't argue with DRUGSTORE COWBOY at #1. GERRY is my favorite but those top three are all masterclass filmmaking imo. | EyesWideShut
10.15.19 | Im not huge on GVS but Drugstore Cowboy and To Die For are great | Pheromone
10.15.19 | I do love Elephant. | neekafat
10.15.19 | 5 is so good | wojodta
10.15.19 | i'll have to check some of these out. never even heard of most of these. | tectactoe
10.15.19 | 'Im not huge on GVS but Drugstore Cowboy and To Die For are great'
Yes, yes they are.
'I do love Elephant.'
I love it as a formal exercise (very reminiscent of Clarke's original ELEPHANT, combined with the lofty camerawork of Bela Tarr), I just can't rectify how much I hate the way the content is used.
'5 is so good'
Yeah this seems to get a lot of hate, which I'm surprised by. It seems fairly "conventional" and has some great, big-name performances. Van Sant's quiet touches elevate it, but I'm shocked that the general consensus is "meh".
'i'll have to check some of these out. never even heard of most of these.'
Be warned, GVS has a wildly inconsistent filmography, so whatever you *have* seen (I'm assuming GOOD WILL HUNTING and maybe MILK at least?), don't use those as a barometer of what to expect for anything else haha. | Larkinhill
10.15.19 | I strangely have only seen about 2/3rds of Van Santâs movies, but Good Will Hunting and Elephant (highly underrated) are my favorites, with To Die For as the runner up. Was Joaquinâs first role I believe.
I really need to see He Wonât Get Far. | tectactoe
10.15.19 | 'I really need to see He Wonât Get Far.'
I believe it's currently on Amazon Prime (US) to stream, if you're a member.
'Elephant (highly underrated)'
Is it, though? I thought ELEPHANT was generally well received by audiences and it's a critical darling -- it won the Palme d'Or at Cannes in '03. | fogza
10.15.19 | I haven't seen that many of these. But that cowgirl movie was super shit, had no idea it was van Sant! | widowslaugh123
10.15.19 | Elephant was one of those movies that floored me with its minimalist style when I was like 13-14 and to this day if you ask the average person if theyâve seen elephant youâre probably gonna get a no. So in that regard it might notbe underrated but like under known or something. | Deathconscious
10.15.19 | Good Will Hunting seems massively overrated to me. | Larkinhill
10.15.19 | Elephant was one of those movies that floored me with its minimalist style when I was like 13-14 and to this day if you ask the average person if theyâve seen elephant youâre probably gonna get a no. So in that regard it might notbe underrated but like under known or something.
Thanks for clearing up what I meant. Under known is more accurate than underrated.
@tectac, thanks for the heads up on Donât Worry, He Wonât... I do have Prime, I just rarely stream things on it, or go on there. Mainly use it for prime shipping. | tectactoe
10.16.19 | That makes sense. Most of Van Santâs mid-00s output is lesser known in contrast to his highly acclaimed pictures. He went on a streak of arty minimalism from 02 to 07 and, in doing so, made three of his greatest films. Ask most people if theyâve seen GERRY or LAST DAYS, though, and the answer is probably no. | Winesburgohio
10.16.19 | gorgeous work as expected, no-one is ever ready for just how beautiful Paranoid Park is, although I rate Mala Noche among his best - possibly even the entirety of his 90s output.
One thing I will say in Elephant's defense: the slow pace was really effective when i was, what, 13 - me and the friend I watched it with confessed that eventually we *wanted* something to happen. That's less about our bloodthirst than what we expected from cinema of that style, which I think he subverted powerfully and with dignity (*that* gun-cocking noise aside - a single tasteless misstep). A challenge to cinema itself (when ur in ur teens at least) | tectactoe
10.16.19 | Thanks, Wines. Thatâs a reasonable outlook on ELEPHANT. Maybe I need to give it another chance soon, Iâve just never been able to convince myself that I can somehow overlook how morally slimy I find it. But Iâve shocked myself before, so who knows.
You know I have to ask for your GVS list now :) | fogza
10.16.19 | Hey Tec, what's your take on those weird little dream sequences in the Psycho remake? Do you think they added anything? | tectactoe
10.16.19 | Are you referring to the additional cutaways during both the shower scene and the detective's murder? Those are the only "dreamy" sequences/additions I can remember. I think GVS was just trying to add a touch of surrealism and unknowing suspense to the murders, I don't personally think they elevated anything much, but I'm not necessarily against them either. More interesting was Gus's choice to make clear Norman's masturbation when spying on Marion in the shower, which was *not* part of Hitchcock's original. In fact, I believe in the original (correct me if I'm wrong, been a long while since I last saw it), Norman's potential homosexuality was a big undercurrent in his motivation, along will all of the Oedipal/repressed mother stuff. | fogza
10.16.19 | Yep, those. I thought they were odd additions considering it was almost like a reproduction of the original in colour (obviously the tone and feel was always gonna be different with different actors, and he's never gonna totally reproduce it), but then he adds these screwball little details. Not sure if the masturbation thing was intended in the original, although I read some speculation that it could have been, but never would have passed censorship in 1960. | Winesburgohio
10.16.19 | still haven't seen To Die For but i've heard it's to die f | tectactoe
10.17.19 | 'still haven't seen To Die For but i've heard it's to die f'
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