Film data from TMDb. Favorites: The Godfather (1972), The Godfather: Part II (1974), Joker (2019), Up (2009). (Apparently I wanted to kick off the year with a certain winner.) We would expect commotion from spectators witnessing an individual dash down the aisle and jump over the piano, never mind penetrating the silver screen. What if I took the official "1001 Movies You Must See Before You Die" list and combined it with Letterboxd's 1001 Movies You Must See Before You Die list? Seven Chances (which is one of my dozen or so favorites of all time) makes me laugh more consistently, and Sherlock Jr. "suffers," in a very negligible way (let's call it four points out of 100! Like reality repeating itself in a nightmare, once again it is Crane who pushes him back out of the frame (and her life) to the other side of the screen - a sure sign that only one of these men can reside in this picture without disruption to Crane’s characters villainous intentions. Originally he had hoped to co-direct the picture with his mentor Roscoe 'Fatty' Arbuckle, after remaining a loyal friend to the man in the aftermath of a scandal that ruined his reputation, but once issues arose during filming Keaton wisely protected his art tactfully without severing his relationship with Arbuckle. Keaton’s films were never as popular during the zeitgeist of this formalist cinema, yet many of his works have in modern times grown in reputation and stature; arguably he is the actor/director who newcomers to the Silent Era tend to find most accessible, for his films generally do not feel as dated nor completely of their time, and they still make us laugh. Reviewed by Eduardo Rodrigo Peretto Scapini, Although Keaton is willing to take the money he found, once the owner asks if he found the dollar bill during his cleaning of the theatre he cannot punctuate the theft with a lie. The film even begins by quoting an old proverb warning of the downsides to multi-tasking since one cannot do justice to either task when trying to carry out both at once, although we often believe we can. Keaton must make do with purchasing the cheapest chocolate box after returning cinema patrons enquire about lost property, and Keaton reluctantly hands over the cash once satisifed that the money did belong to the correct owner. Crane’s deception has been conducted in a desultory way prompting him to quickly improvise once the father discovers his watch is missing, and ironically he frames Keaton for the crime by slyly utilising the self-help bullet points in Keaton’s detective manual. And triply arbitrary given that in fact it took me well over an hour to reach "The End," because I kept replaying gags over and over in what was often a futile effort to work out how they were accomplished. How many of all of those films have you seen? My current favourites in Letterboxd (I would add images or links to videos if I could) 1:Heimat - Edgar Reitz -The best tv series ever. 24. Random ... Sherlock, Jr. 90. Bio: I love movies a lot, just call me MOVIEHOLIC. Keaton was a veteran of the vaudeville life from a very young age, where I learn that his father threw him around from the age of three, and it was in these formative acts that Keaton understood how the live audience would be more inclined to laugh at his acrobatic and gymnastic endeavours when he finished with a neutral expression on his visage rather than smiling at the achievement. Jon uses Letterboxd to share film reviews and lists. The film was directed in 1923 and it is quite extraordinary to see such creativity during the infancy of the art form, yet Keaton is only warming up. He opts to peak through the frame of the projectionist booth out into the darkness of the movie theatre and take his cues from the male and female actors now performing a romantic scene of tenderness. When the front facade of the house topples upon Keaton and our plucky protagonist remains standing as the gap in the window frame passes around his body frame, he casually turns his head backwards to inspect the damage quizzically, but without overly theatrical swoops and contorted facial expressions. (These films can be viewed with some inspired orchestral accompaniments to the flickering sights, as live musical counterparts often were conducted inside the movie auditoriums during a live screening.) So I had a bit of a crazy idea. Paul Schrader. 1001 Movies You Must See Before You Die (Letterboxd Edition) show list info. Film profile for Buster Keaton, Director and actor, born 4 October 1895. Audience Reviews for Sherlock Jr. Aug 31, 2018 Simply a marvel of ideas and execution, Keaton's imagination alone is a bullet ride across The Twilight Zone and The Wizard Of Oz at the same time. When he first takes aim at the bomb (grenade? Inglourious Basterds (2009) Rotten Tomatoes® 88%. Made by fans in Auckland, New Zealand. Watched it probably 30 times. This leads to the film’s first extended gag as our hero discovers a dollar bill in the collection of rubbish and now has enough cash to buy an expensive box of chocolates in the adjacent shop for his object of affection. Favorites: Birdboy: The Forgotten Children (2015), The Breadwinner (2017), Waking Life (2001), Loving Vincent (2017). The blistering imagination of the movie/dream is not forgotten by an underwhelming tacked on conclusion to wrap up the story. It would be a mistake to engage with a silent movie without the non-diegetic score unless you are a battle-hardened viewer of the medium. Dario uses Letterboxd to share film reviews and lists. Consider the act of him riding on the handlebars of a motorcycle amidst a slalom course of incoming traffic, ‘a veritable cascade of unbelievably complex gags’ (Time Out). Dr. Strangelove or: How I Learned To Stop Worrying And Love The Bomb In "Sherlock Jr." Keaton plays a movie projectionist who has two loves away from the job of operating motion pictures to pay his bills. He did not set out to make something akin to surrealism, yet as we view the film almost one hundred years on from its initial release we can appreciate how Keaton’s forward-thinking, fortitudinous approach predicted the radical notion that the celluloid form of moving pictures could conjure a dreamworld of abstractions. Keaton has the live audience in the bottom portion of the frame but they reside like very still spectres, showing very muted reaction to the unintentional comedy up on the screen, as their projectionist is subsumed in a form of entertainment that should incite wild reactions. 2002. I sometimes chafe at the notion that short films should be judged against feature length movies, but at Flickchart they intermingle like expelled schoolchildren invading a late-night cocktail party.

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