苗苗合作交流: 碟影重重

男人就要帅成这样

Wed, 14 Mar 2007 05:06:02 GMT

IMDB 15th Anniversary

Tue, 07 Nov 2006 02:48:47 GMT

虽然是去年的评选，但IMDB的金字招牌提醒你不应该错过这15部电影。看看你看过哪几部？

（红色标注的是我还没看过的）

Top Staff Picks


1	Fight Club (1999)
2	The Matrix (1999)
3	Pulp Fiction (1994)
4	The Usual Suspects (1995)
5	The Shawshank Redemption (1994)
6	Goodfellas (1990)
7	Memento (2000)
8	Fargo (1996)
9	The Sixth Sense (1999)
10	L.A. Confidential (1997)
11	Schindler's List (1993)
12	Mulholland Dr. (2001)
13	Cidade de Deus (2002)
14	Sen to Chihiro no kamikakushi (2001)
15	American Beauty (1999)

烂番茄的2005年最佳评选出炉了

Fri, 20 Jan 2006 08:57:27 GMT

东西太多，所以不一一转贴了。喜欢的就自己上去看吧!

http://www.rottentomatoes.com/features/rtawards/index_2005.php

a to z movie titles

Wed, 11 Jan 2006 06:14:49 GMT

A showcase of movie-title designs.here

这次是STEPHEN HOLDEN的推荐

Sun, 08 Jan 2006 06:21:35 GMT

The Best Films of the Year

Under a Big Sky, Amorous Cowhands and Hungry Bears

By STEPHEN HOLDEN

Published: December 25, 2005

ANXIETY that shades into dread and dread that curdles into paranoia; the past hammering on the door of the present like a vengeful ghost: As ominous portents leaked into the movies in 2005, it sometimes felt as though the hurricanes that decimated the Gulf Coast and Florida had torn away the roof separating the movies from reality and let in an acid rain.

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Kimberly French/Focus Features

A scene from Ang Lee's "Brokeback Mountain."

The Year in Movies

The Best Films of the Year: A. O. Scott (Dec. 25, 2005)

The Best Films of the Year: Manohla Dargis (Dec. 25, 2005)

Forum: Movies

A loaded parable for the age of identity theft, "A History of Violence," punctured the American dream of self-reinvention by suggesting that a vicious past inevitably catches up with the peaceable present. In "Caché" a culture's colonialist history rises up to haunt it like a guilty nightmare from which there is no waking.

"Munich" focuses on the endless chain of revenge in the Middle East. "Syriana" and "The Constant Gardener" imagine corrupt, worldwide networks of corporate and governmental collusion. "Good Night, and Good Luck" and "Crash" examine political and racial paranoia in American life. Even personal stories like "Brokeback Mountain" and "Junebug," are laced with secrecy, fear, xenophobia.

Below are this critic's Top 10 movies for 2005, and 10 runners-up (listed alphabetically by title).

'BROKEBACK MOUNTAIN' Ang Lee's faithful adaptation of Annie Proulx's story of two ranch hands (Heath Ledger and Jake Gyllenhaal) who fall in love while tending sheep one summer in the high plains of Wyoming is a cinematic landmark that lays bare the homoerotic subtext in countless westerns and buddy movies. Beautifully written (by Larry McMurtry and Diana Ossana), visually majestic, discreet and heartbreaking, it evokes the same lonesome chill lodged in the soul of Big Sky country that infused the classic "The Last Picture Show." Mr. Ledger's portrayal of the taciturn, tormented Ennis Del Mar, who marries and sires two daughters while carrying on a secret homosexual affair, delivers the kind of devastating performance James Dean might have given had he lived long enough.

'CACHÉ' In Michael Haneke's icy, almost unbearably suspenseful drama, the privileged comfort zone of a Parisian television host (Daniel Auteuil) and his wife (Juliette Binoche), a book editor, is shattered when the couple, who have a 12-year-old son, begin receiving anonymous surveillance tapes of their home, followed by scrawled drawings of a child spewing blood. The husband's desperate quest to track down their tormenter leads to the revelation of a shameful family secret connected to the French-Algerian war decades earlier. Mr. Haneke, an Austrian filmmaker who works in France, is a pitiless cultural surgeon who likes to operate without anesthetic as he uncovers the darkest fears of a complacent bourgeois society.

'NINE LIVES' Rodrigo García's suite of vignettes that revolve around nine different female characters has the richness and subtlety of Chekhov. Though some of the stories are interconnected and others not, collectively they add up to a sweeping contemplation of modern life and its complexity. Love, marriage, parenthood, illness, death and memory are evoked in tales that all unfold in real time and lack conventional narrative closure. The acting by a cast that includes Robin Wright Penn, Sissy Spacek, Holly Hunter, Glenn Close and Kathy Baker, is extraordinary. "Nine Lives," which slipped in and out of theaters with little notice, is a sad, quiet masterpiece waiting to be discovered on DVD.

'A HISTORY OF VIOLENCE' The Canadian director David Cronenberg has a creepy understanding of where horror intersects with desire, and violence with catharsis and a Canadian's view of the United States as a place where violence is an infection genetically sown into its culture and passed down from generation to generation. Here he builds that idea into a scary cinematic thrill ride that tests viewers' complicity. Viggo Mortensen is the owner of a diner who lives with his family in a picture-perfect Indiana town whose placidity is disturbed when menacing big-city thugs, convinced he is a Philadelphia mobster who betrayed them years earlier, slide into town in a big black car. Was he in another life the vicious killer they claim to recognize? Or is it a case of mistaken identity?

'GRIZZLY MAN' Werner Herzog's documentary portrait of Timothy Treadwell, who spent 13 years living with grizzly bears in the Alaskan wilderness, where he became their self-appointed protector, takes a hard look at the disconnect between human life and the natural world. Treadwell, a failed actor, grew increasingly messianic while living in the wild, where he gave the beasts pet names and imagined himself their friend until he and his girlfriend were attacked and eaten by a grizzly. Much of the film consists of Treadwell's self-aggrandizing home movies of himself and the beasts. The documentary is a useful antidote to "March of the Penguins," the sentimental anthropomorphic documentary that became the year's biggest surprise hit.

'DOWNFALL' Oliver Hirschbiegel's epic film about Hitler's final days in the Berlin bunker where he committed suicide is one of the most powerful war movies ever made. Based on Joachim Fest's book, "Inside Hitler's Bunker," and on the memoirs of Hitler's secretary, Traudl Junge, the movie feels authentic, from its gruesome battles (filmed on the streets of St. Petersburg, Russia) to its portrait of the deluded, raving dictator. Bruno Ganz's astonishing portrait of Hitler is by turns grandiose, paranoid and abject, a monster, but a recognizably human one. His performance is matched in power by Corinna Harfouch's Magda Goebbels, who poisons her own children so they won't face the shame of growing up in a world without Nazism.

'LOOK AT ME' The French director Agnès Jaoui's film captures the narcissistic, careerist, sycophantic world of the Parisian intelligentsia, although it could just as easily be the literary salons of New York. Jean-Pierre Bacri is a famous writer, on his second marriage, who is too self-centered to care about his lonely, overweight, 20-year-old daughter, Lolita (Marilou Berry), who desperately seeks his approval. Alternately poignant and acidic, the comedy of contemporary urban manners is perfectly observed.

'JUNEBUG' A sophisticated Chicago art dealer (Embeth Davidtz) newly married to a Southern golden boy (Alessandro Nivola) who has fled the family coop, returns with him to visit his churchgoing family in rural North Carolina and meets a polite but suspicious reception. In a home where family values reign, festering sibling rivalry, maternal possessiveness and a stifling clannishness make the confrontation between cosmopolitan and provincial America wary. Amy Adams, as the dealer's young, childlike sister-in-law, gives an incandescent portrayal of the only family member with a truly open heart.

'SARABAND' In Ingmar Bergman's sequel to his 1973 masterpiece, "Scenes From a Marriage," the embattled couple, Marianne (Liv Ullmann) and Johan (Erland Josephson) meet 30 years later when she impulsively visits his summer home in the middle of a forest. There she witnesses a brutal power struggle between Johan and his failure of a son, Henrik, to control Henrik's daughter, a beautiful, talented cellist. Ms. Ullmann and Mr. Josephson are as magnificent as ever. The bone-deep Nordic chill of Mr. Bergman's Freudian vision hasn't softened one whit.

'THE SQUID AND THE WHALE' Divorce, Brooklyn style in the mid-1980's, is the subject of Noah Baumbach's acutely observed, semi-autobiographical exploration of the exploding marriage between an egotistical writer and teacher (Jeff Daniels) and his wife (Laura Linney), an aspiring writer whose career is blossoming. As witnessed by their bright, troubled 16-year-old son, the older of two boys, the emotionally gory family dynamics are so squirm-inducing they make the domestic strife in Woody Allen seem almost benign by comparison.

Runners-up:

"The Beat That My Heart Skipped"

"Capote"

"The Constant Gardener"

"Crash"

"Good Night, and Good Luck"

"The Intruder"

"Munich"

"Mysterious Skin"

"Syriana"

"The Three Burials of Melquiades Estrada"

NYT的两位电影编辑为我们推荐的10 Best films of 2005

Sun, 08 Jan 2006 06:19:50 GMT

The Best Films of the Year

Rome in Six Hours and Four Decades

By A. O. SCOTT

Published: December 25, 2005

THIS list is intended neither as prophecy nor as summing up. It is impossible to predict which of the many fine movies released in 2005 will still claim our attention 10 years - or even 10 weeks - from now. Nor do the titles below represent, as far as I can see, any important trends in world cinema. Many of them belong to the year just ending by sheer happenstance, having been shown at festivals long before their (often brief) runs in American theaters. What they have in common is only that I loved them, that each one caused me, temporarily, to let go of my critical preoccupations and experience the absorption and surprise that made me want to be a critic in the first place.

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Miramax Films

From left, Luigi Lo Cascio and Alessio Boni and Jasmine Trinca in "The Best of Youth," a chronicle of contemporary Italy.

The Year in Movies

The Best Films of the Year: Manohla Dargis (Dec. 25, 2005)

The Best Films of the Year: Stephen Holden (Dec. 25, 2005)

Forum: Movies

No movie did that quite as powerfully or completely as "The Best of Youth," Marco Tullio Giordana's six-hour chronicle of recent Italian history told through the lives of an ordinary Roman family. Originally made as a mini-series for Italian television, this film gestures back toward the tradition of politically astute historical filmmaking exemplified by masters like Luchino Visconti and Bernardo Bertolucci. It is an intellectual as well as an emotional feast, with dozens of superb performances, especially from Luigi Lo Cascio and Alessio Boni playing two brothers caught up in the social and political turmoil of the 1960's and 70's. Mr. Giordana has made a movie so full of life that even after six hours of screen time and four decades of history, you wish it would go on.

I'm not sure I would wish for more of "The Aristocrats," Paul Provenza and Penn Jillette's scholarly inquiry into the world's filthiest joke. On the other hand, the point of this documentary is that filth knows no limits, and that exploring the far boundaries of taste and propriety demands fortitude, hard work and a commitment to craft. The craft in question is stand-up comedy, and the battalion of performers and writers gathered together here - Sarah Silverman, George Carlin, Paul Reiser and Bob Saget among them - offer a fascinating glimpse at the lore and tradition that sustains them.

In (yet another) year of excellent documentaries - as well as too many that take easy routes to sentimental uplift or political indignation - Hubert Sauper's "Darwin's Nightmare" stands out. An unflinching, rigorous examination of the ecological and human effects of globalization on the African nation of Tanzania, Mr. Sauper's film is not always easy to watch. But it peers so deeply at one of the central and largely invisible crises of our time that the conventions of cinéma vérité acquire an almost visionary intensity, as if William Blake were behind the camera.

In her second feature, "The Holy Girl," the 39-year-old Argentine director Lucrecia Martel shows herself to be one of the most original and insightful younger filmmakers working today. With self-confidence that more than matches her formal daring, she turns the story of a young girl's sexual and religious awakening into a lyrical, psychologically charged puzzle. María Alche's performance in the title role is at haunted and haunting, sensuous and otherworldly. Her character, Amalia, is a perfectly ordinary teenager who lives with her divorced mother in a provincial hotel, and her collisions with the adult world are at once comical, creepy and numinous. The film is oblique, sometimes to the point of obscurity, but in its astonishing final scenes it reveals a deep, almost shocking coherence.

It was a shock of the most pleasant kind to discover, in Woody Allen's "Match Point," that one of our most maddeningly prolific (and recently underachieving) filmmakers was back in top form. Revisiting some of the themes of his earlier work - most obviously "Crimes and Misdemeanors" - Mr. Allen reminds his long-suffering admirers what a skilled and disciplined writer he can be. Trading Manhattan for London and working with an excellent, youthful cast (with outstanding performances from Jonathan Rhys-Meyers, Emily Mortimer and Scarlett Johansson), he mixes high artifice with acute insight, and presents an entertainment that is so glittery and diverting that you almost miss the cruel, chilly darkness at its heart.

Perhaps the purest dose of pleasure on movie screens this year was provided by Nick Park and his comrades at Aardman Animations, makers of "Wallace and Gromit: The Curse of the Were-Rabbit." Bringing their jug-eared English inventor and his loyal pooch to the big screen after three short adventures, the Aardmanites staked out a place of honor for old-fashioned stop-motion animation in a world dominated by digital technology. It is good to know that such solid virtues as loyalty, hands-on ingenuity, absolute silliness and the love of cheese still have a place in modern cinema. Ralph Fiennes and Helena Bonham Carter lend their voices to this noble cause.

American independent cinema is full of stories of young men coming of age, which is fitting enough given that young men still dominate the Sundance/art-house nexus. One of the best recent examples of the genre - which is to say a picture that transcends the genre entirely - was Gregg Araki's "Mysterious Skin." Mr. Araki, once the wild child of the New Queer Cinema, remains fearless, but this adaptation of Scott Heim's novel is also tender and beautiful. Two terrific young actors, Joseph Gordon-Levitt and Brady Corbet, play two boys growing up in Kansas in the 1980's, linked by a childhood trauma they share without knowing it. The story is painful, but Mr. Araki's way of telling it is funny, humane and unpretentious.

Another coming-of-age story, "The Squid and the Whale," hit me where I live, and not only because it was filmed a few blocks from where I really do live. Noah Baumbach's scathing, heartbreaking comedy of bad manners and failed romance traces the unraveling of a Brooklyn literary family. In tracing the shifting alliances between two brothers and their separating parents, Mr. Baumbach lays bare the vanity and cruelty of people who fancy themselves creatures of superior refinement and taste. And yet it is impossible not to feel a tug of sympathy for all of them. Jeff Daniels, as the pompous, narcissistic dad, gives one of the best performances of the year, and Mr. Baumbach's sharp, quick scenes give his movie the texture and economy of a first-rate novel.

Movies about aimless young people have hardly been scarce in the indie world, but Andrew Bujalski's "Funny Ha Ha" rises above the slacker pack. Mr. Bujalski made this super-low-budget feature with a bunch of friends (notably Kate Dollenmayer, who may be the thinking nerd's Parker Posey) in Boston, and he turns the affectlessness and indecision of overeducated 20-somethings into a genuine style. Unassuming to the point of diffidence, this film turns out on closer examination to be formally bold and slyly insightful. It's both a (whispered, half-swallowed) generational statement and the announcement of a formidable talent.

Steven Spielberg's "Munich" was no sooner hailed on the cover of Time as a "secret masterpiece" than it was subjected to a pre-emptive backlash, mainly from pundits accusing Mr. Spielberg of moral relativism and manipulation. The initial praise may have been overdone, but the attacks have more to do with the need certain ideologues have for fresh hobbyhorses to ride than with anything the movie is actually doing or saying. "Munich" is complicated, even to the point of confusion, but it is also ethically serious in a way that few large-scale commercial films dare to be. It is fundamentally about the challenge that fighting terrorism poses for liberal societies, but it is hardly a brief for defeatism or evenhandedness. Doing the right thing has costs, which are sometimes terrible. Once again, Mr. Spielberg displays a command of filmmaking technique that has, at the moment, no equal.

That makes 10, but why stop there? Those are the movies that had, for one reason or another, the deepest personal impact on me. But there were plenty more - more than usual, it seems - that I found reasons to admire. 2005 was a very good year for good movies, and I can't let it end without mentioning some more of them, in no special order and without comment. To accompany the 10-best list above, then, here are the 20 second-best movies of 2005: "Capote," "Good Night, and Good Luck," "Good Morning, Night," "Syriana," "The Three Burials of Melquiades Estrada," "A History of Violence," "Schizo," "Brokeback Mountain," "Nobody Knows," "Look at Me,""Shopgirl," "40 Shades of Blue," "Kings and Queen," "Howl's Moving Castle," "My Summer of Love," "Gunner Palace," "Broken Flowers," "Head-On," "Casanova" and "King Kong."

看了《拳霸》，想看《冬荫功》

Wed, 14 Dec 2005 06:34:12 GMT

Tony Jaa好猛！

[碟报] 公平路简９/ １５块两张

Thu, 10 Nov 2005 08:58:01 GMT

可是花了我5分钟注册了帐号,回复了以后才发现的.

[Knowhow] 磨码、刮码，烫码

Thu, 10 Nov 2005 02:38:20 GMT

刮刷抹码的常被说成“磨码”，易误会是“机器磨（刨）内圈”，准确地说是“手工刮（刷/抹）码”。
按是否带码（IFPI）分，只有：“无码”和“有码”；
按是否双片带码分，就有：“单码”和“双码”
按如何消码方式分主要有：“磨码”，“刮码”和“烫码”；
按内圈特征分主要有：“透明无色”，“透底白色”和“镜面漏黄”；
按数据面的颜色分主要有：“金线”和“银线”
以上5类共12小项逻辑上可以有2×3×3×2+3×2=42种变化，也就是说可以用上面五组词描绘出42种片基特征。
通常‘磨码’和‘盘基’是连起来说的，即‘磨码盘基’，同义词还有‘烫码盘基’和‘刮码盘基’。几种词汇的意思都差不多，也就是把盘基上原有的 ‘码’刮掉，是什么码呢？是IFPI码，简单的说也就是‘正版光盘生产线标识’，这种码的排列方式通常为：IFPI xnnn（x代表字母，n代表数字）。这种码每条生产线都是固定且唯一的，也就是说在这条生产线上压出来的盘从光盘外部（内圈）就可以看到这线的固定 IFPI码，也就可以直接抓到制作这批D版盘的生产线。为了不被查到，所以D版在压盘过后会想办法将这个码去掉，也就有了‘磨码’‘刮码’‘烫码’等不同的手段。通常这样形容盘基是为了说明这个盘基是在正版线上压下来的，质量好。但现在有很多是假的磨码IFPI盘基，这种事情似乎并不好分辨真伪，因为码往往是被盖住的。

苗苗 合作 交流: 碟影重重

男人就要帅成这样

IMDB 15th Anniversary

烂番茄的2005年最佳评选出炉了

a to z movie titles

这次是STEPHEN HOLDEN的推荐

Under a Big Sky, Amorous Cowhands and Hungry Bears

The Year in Movies

Forum: Movies

NYT的两位电影编辑为我们推荐的10 Best films of 2005

Rome in Six Hours and Four Decades

The Year in Movies

Forum: Movies

最近还想看的电影

看了《拳霸》，想看《冬荫功》

[碟报] 公平路简９/ １５块两张

[Knowhow] 磨码、刮码，烫码

苗苗合作交流: 碟影重重