Inherent Vice (Paul Thomas Anderson, 2014)

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cdnchris
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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#251 Post by cdnchris » Wed Apr 22, 2015 10:56 am

mfunk9786 wrote:The Blu-ray looks and sounds great though - Joaquin Phoenix is still a mumbler, but aside from that, it sounds a ton better than it did in the theater.
I missed this in theaters and ended up renting it on DirecTV and Holy shiznit am I glad they had optional subtitles. The Del Toro/Phoenix scene at the peer... Good God!

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#252 Post by mfunk9786 » Wed Apr 22, 2015 11:05 am

That and the opening scene - the combination of the unusual dialogue and Phoenix's choice of speech patterns is really a bummer at times in this film, even though they play quite well once you've seen them and sort of know what's being said. I would've loved to see what Robert Downey, Jr. would've done with that part, and I think PTA's instincts were right to consider him first.

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#253 Post by Jean-Luc Garbo » Wed Apr 22, 2015 4:57 pm

mfunk9786 wrote:The Blu-ray looks and sounds great though - Joaquin Phoenix is still a mumbler, but aside from that, it sounds a ton better than it did in the theater.
That's a relief. I was a little worried when DVDBeaver said that the disc was single-layered.

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#254 Post by mfunk9786 » Wed Apr 22, 2015 9:59 pm

They must have corrected whatever info you saw...
Disc Size: 38,099,098,222 bytes
Feature Size: 35,797,106,688 bytes
Video Bitrate: 24.93 Mbps

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#255 Post by AMalickLensFlare » Fri Apr 24, 2015 12:15 am

mfunk9786 wrote:The Blu-ray looks and sounds great though - Joaquin Phoenix is still a mumbler, but aside from that, it sounds a ton better than it did in the theater.
Interesting. I don't remember having any issues with the sound or dialogue when I saw it in theaters.

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#256 Post by mfunk9786 » Fri Apr 24, 2015 9:44 am

There was a major problem at the premiere at NYFF, and apparently at some other early screenings of the film, with the sound being up so high that the dialogue would overmodulate and be very difficult to hear.

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#257 Post by Ribs » Fri Apr 24, 2015 11:00 am

And, I don't know about anybody else, but when I went to see it at the Angelika NYC the week it opened (in 35mm), it was framed totally wrong (I believe it was still 1.85:1, but of the top of the frame; you could see booms and shots that are meant to be centered vertically would be focused towards the bottom of the screen as the majority of the lower half was cut off). I was pretty damned shocked to see this happen at one of only two theaters the film was playing at the time. I'd have expected a bit of quality control.

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#258 Post by domino harvey » Wed Apr 29, 2015 10:02 pm

After all the talk of the film being hard to follow, I didn't think it was all that difficult if you're paying attention (or at least no more difficult than your average noir) but apparently whoever did the subtitles struggled, because at one point the transcriber mixes up Coy and Denis. Cool IMDB-level nitpicking, I know, but here we are

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Re: Inherent Vice (Paul Thomas Anderson, 2014)

#259 Post by mfunk9786 » Thu Jun 18, 2015 3:52 pm


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Re: Phantom Thread (Paul Thomas Anderson, 2017)

#260 Post by dda1996a » Tue Nov 21, 2017 12:08 pm

I've only read Pynchon's Crying Lot of 49 (which I love), but that book and what Anderson made out of Vice are very similar. That is focusing on ephemeral, transitory feelings and emotions using a more recognized "detective" structure (or investigative in the case of 49). I think that was what threw off so many people off Vice. It's a hazy, demanding and ultimately it seems unrewarding. But at least for me (and watching it on a big screen, where Elswit's magnificent film shot colors enhanced the film for me) there is a big, bruised nostalgic heart at the center of the film that feeds off everything in the film.
That scene where Doc goes with Katherine Waterson in the rain, only to later find a big industrial building is one of the more obvious examples. Once seen through this prism the film gets a whole new outlook (Wilson's homelife, the entire 70s counterculture, Doc's private life).
I agree that film doesn't reach the heights of everything else except Hard Eight, but I still think it's a terrific film.

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