how's this double feature i treated myself to the other nite: TO DIE FOR vs BODY HEAT

to die for is a movie i remember very fondly

it's been a long time since i saw it

Kael was right about Body Heat; it's sleepy as fuck and Mickey Rourke is the only entertaining thing in it.

Dillon is really funny in To Die For.

if you watch body heat w/ an eye for it turning out sort of campy in its attempt at being noirish its not sleepy at all!!

and rourke is totally forgettable

who the fuck is kael

what ever happened to ileana douglas anyway?

lol i think he means pauline kael

oh lol ok

lol

i enjoyed both these films

i saw body heat in the theater, ted danson has a nice little part iirc

nudge nudge

Body Heat kinda half-full non-remake of Duble Indemnity

TDF p funny (script by Buck Henry) but get a lil obvious after awhile. Breahthrough J Phoenix perf.

Body Heat kinda half-full non-remake of Duble Indemnity

kind of a prequel iirc??

ted danson has a nice little part iirc

this was like within a year of Cheers' first season i think

Omg love J Phoenix in TDF! I havent seen Body Heat in a thousand years. <3 80's Mickey Rourke

kathleen turner and nicole kidman are both smoking hot in these too

only kathleen turner gets naked though

kathleen was a megafox for a while there

body heat

there's lots of sex scenes in body heat but the one where she's getting it from behind and its a closeup on her face and she goes "no! don't stop..." as her face is getting buried in the mattress made me all :O

damn i love joaquin phoenix and william hurt equally too, i really can't decide whom i like better out of those two (both in these movies and out of their whole careers)

The big problem with To Die For, imo, was that Kidman was not dialed in to the the right tone for her character and Van Sant let her run with an interpretation that was far too cartoony and bubble-headed to mesh with the rest of the characters. otoh, Turner's bad girl chops work against Hurt's not-quite-bright-enough-to-see-what's-up with commendable subtlety. As I recall. Been a lot of years since I saw it.

omg no she's perfect

how can you even say that

the rest of her career has been one long disappointment

^ this

I disliked Body Heat when it came out, and never went back for another look. To Die For I liked pretty well, especially Kidman dancing on her car to "Sweet Home Alabama," and the great ending with "Season of the Witch," and it held up when I watched it a second time.

much prefer Turner in Man w/ Two Brains and Crimes of Passion

i meant kidman was perfect, to be clear.

Romancing The Stone is my Kathleen Turner jam (hi I'm a cheezball)

Kidman dancing on her car

she dances in front of the car, illuminated by its headlights

how can you even say that

typing skilz, bro, mad typing skilz

another thread where the men of ilx get their peckers out

haven't seen either of these in an age, i think maybe Van Sant in satire mode is better but i think maybe i wd rather re-watch Body Heat precisely because of its glossy, glazed dreaminess

i saw body heat in the theater, ted danson has a nice little part iirc

― buzza, Friday, September 21, 2012 1:04 AM (6 hours ago) Bookmark Flag Post Permalink

yeah the dancing scene is great

iirc (one of the polls threads?) this isnt the first p great double bill gr80's come up with

idk about the cinema scenes elsewhere but wrt london i always think about double bills and how tragically underused they are as a rescreening vehicle, most indie pop ups here will only do some mouthbreather no-brainer like top gun/ferris bueller or what the fuck ever

in my yoof i saw a fair few interesting ones at the riverside studios in hammersmith but no longer really by the looks of it

anyway, carry on

everyman hampstead and of course the scala also used to do some gd dbl bills, back in the day, along w yeah, the more obvious pairings (stalker and the colour of pomegranates at the scala was def too much of a gd thing)

in 'postmodernism and the cultural logic of late capitalism' fredric jameson claims Body Heat as one of the KEY TEXTS of postmodern cinema - pastiche, generic (self)-referentiality, signifiers w/out signification etc etc. nowadays it feels almost like a forgotten film

just nicked that to read now, haha he claims william hurt as poster boy for a personality-free new generation of actors whose "death of the subject" ... "opens up the possibility of a play of historical allusions to much older roles so that the very style of the acting can now also serve as a "connotator" of the past"

xpost, yeah the popups in london seem fairly heavy on lolz/hackneyed cult movies/costume-based stuff.

another thread where the men of ilx get their peckers out

― kizz my hairy irish azz (Dr Morbius), Friday, September 21, 2012 3:31 AM (5 hours ago) Bookmark Flag Post Permalink

no one told me

super jackoff sesh

Rourke at his best:
https://www.youtube.com/watch?v=eLAbh_LceNw

Bob Seger + Mickey Rourke = :D

didn't really dig either. to die for less boring, but the highs aren't as high

both are kind of goofy time capsules of what passed for highbrow titillation at that moment

i forget, has the world been blessed with an erotic lawrence kasdan thriller since body heat

lol

bet i would have liked to die for if i saw it as a teen when it came out instead of just a year or two ago

maybe his upcoming Robotech movie will count

"ohhhh Minmay"

both are kind of goofy time capsules of what passed for highbrow titillation at that moment

― da croupier, Friday, September 21, 2012 12:14 PM (1 hour ago) Bookmark

highbrow?

haha ok arthouse, upscale, middlebrow oscarbrow whateverbrow re to die for and bodyheat you can handle

to answer title question: stale

The big problem with To Die For, imo, was that Kidman was not dialed in to the the right tone for her character and Van Sant let her run with an interpretation that was far too cartoony and bubble-headed to mesh with the rest of the characters

otm -- this kind of thing isn't Van Sant's strength either.

As for BH it woulda worked had Rourke played the Kathleen Turner part.

i can't believe this anti-kidman-in-to die for crazy talk

(i am afraid to rewatch it now for fear it's true)

sorry, she's funnier in the Kubrick pot scene than in the whole of that.

i dunno man if you think she's supposed to be funny i think yr missing the point

in TDF? that'd be hard, you get battered over the head with it every 2 minutes most of the way.

*gets pecker out*

plz, not so early on a Friday...

https://www.youtube.com/watch?v=Hx9CjT8DS9A

Automatic thread bump. This poll is closing tomorrow.

Automatic thread bump. This poll's results are now in.

can't believe I missed this thread. I saw a double feature of BLOOD SIMPLE / BODY HEAT last year and BODY HEAT fucking slayed (as did BLOOD SIMPLE)

found this thread searching "double feature" tho. what do ILX's film heads think of this possible watch tonight: BEING THERE / BLUE COLLAR

My thematic double feature with To Die For (1995) would be Serial Mom (1994). Again, Kidman v. Turner. Again, post-Lynchian depravity under the suburban facade. But highlighting the camp.

Blood Simple/Body Heat is a great pairing, I agree. I could go for both right now.

Just watched Body Heat for the first (and likely last) time. It starts off strong, but narrows into a miserably limited noir-by-numbers schtick as it goes on.

Honestly I wish I had left it where I stopped last night (right after Hurt and Turner git it on for the first time), because that first act is really solid and writes checks that the rest of the film cannot cash (so to speak).

Also (to work a theme of this thread) – while the sex scenes are remarkably bold, Hurt and Turner don’t actually have much chemistry. Sweaty or not, they’re a couple of cold fish!

I watched for the first time since the early '90s. I found it rather stiff in its OMG SYMBOLISM DON'T YOU SEE approach. Florida's not THAT hot, and A/C was widely available in the early '80s.

Hurt is fine as usual. Maybe knowing the Kathleen Turner persona affects my watching her in embryonic form, but I couldn't watch her as femme fatale without waiting for her to put air quotes around her dialogue.

Hurt's gift is to play without condescension dumb slightly cute dudes.

The sleazy-saxophone score (by John Barry) gently nudges the movie toward Naked Gun territory... I feel like if Kasdan had turned few knobs just a few degrees higher (e.g., added a voiceover by Hurt's character), the movie could have been an enjoyably overboiled parody, instead of a tepid pastiche.