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Messages - noodles_leone
1
« on: November 29, 2023, 12:21:40 PM »
Yeah that alone extinguished the last remains of motivation I had to go see it in theater. People are STILL giving me shit for only having seen Kingdom of Heaven's theatrical cut "instead of the DC that makes it a masterpiece" (don't worry Drink, pretty sure those guys haven't seen The Patriot so they don't know what a real masterpiece is). There is no way I'm watching this Napoleon twice.
2
« on: November 28, 2023, 02:52:41 AM »
Trois couleurs. Rouge (1993) - 9/10. Still not quite perfect. https://35mm.online/en/vod/feature-films/trois-couleurs-rouge
Unfortunately not. The Wrong Man - 6,5/10 Pretty well done, but the psychologic trauma the whole affair produces on the Fonda family didn't age well. It's as if they had lost a kid. Cheer up guys. Petit Paysan (Hubert Charuel, 2017) - 7/10 It starts out very good but cannot figure out a way to end so it becomes clich? and avoidant of all the difficulties the character created for himself earlier. But despite the whole plot, the movie is a great way to learn about farmers in Europe these days. Also, the first film where Swann Arlaud was discovered by mainstream audiences.
3
« on: November 12, 2023, 10:38:59 AM »
No, it's only the unexpected start Leone was aiming at, not the logic. Once Tuco made certain there was no fourth man (assuming you are right), he should have taken care of the 3 once and for all. Why running away like mad? That is a ghost town. But, of course, Mullock had to come handy later: but to Leone, not Tuco.
Handy to Leone, that's a fact. But as an audience member it seems plausible that Tuco didn't know how many people were outside to get him and also not quite sure what happened to the 3 men he shot inside (hence the crazy jump). Turns out one of them was still able to fight back. So he's just making an exist rather than wait and risk a longer battle. He proves throughout the movie that he isn't one to fight pointless battles. He tends to avoid conflicts.
4
« on: November 10, 2023, 02:06:05 AM »
Drink, congratulations! If I come to the January 15th event, I promise not to spoil it by telling the bride all I know about your past amours! (e.g. Miss Korea, Miss Israel, Miss Ulaanbaatar).
You won't need to tell anything since we'll screen a video about those stories.
5
« on: November 09, 2023, 02:35:20 AM »
Been so busy lately between wedding prep (Miss Baltimore is the one) and other shit I've barely had time to post.
The rest of the message is objectively wrong but we don't care tell us more about that. When is the day? What's the dress code? Are we all supposed to come dressed as Leone characters?
6
« on: November 08, 2023, 08:06:39 AM »
I actually like a lot how the whole plan is kept in the shadow and you're just gathering information the whole time. I mean, the basics are clear from almost the first minute but the scale of the thing, who's in it, until where exactly, isn't clear. You just grab it all along. Like in the extended shot where the camera goes from one room to the other in the house and you see that every single indian has a white guy right next to them: it is never said, but suddenly you grasp how surrounded they are. All the little details are scattered all around and the movie lets you see them instead of showing them to you. Not like a detective story, but more like an horror movie where the horror slowly creeps in. I also love how the whole movie is volontarily de-rythmed, which makes everything slides, the years go by, some people come and go and slowly but surely all of the indians are gone and the money is concentrated.
7
« on: November 08, 2023, 04:42:09 AM »
But a good audience helps.
8
« on: November 08, 2023, 03:03:42 AM »
It was ok, not much more, and twice as long as necessary.
It has an ambitious story in the sense that it has something "important" to say, and, yes, Scorsese has still ambitions as director, only that in the long gone past these ambitions led to fascinating directed scenes, now the ambition is visible, but I can only see it, I can't feel it.
The leading characters never became really interesting, another reason why the film was watchable, but never grabbing in any way.
De Niro again only repeats himself in a boring manner, as he mostly does since the 90s, but the really worse thing was that Di Caprio adapted in the 2nd half De Niro's worst mimic expressions, and that was really hard to stomach. Gladstone was good in the first half, but later got lost when the film somehow lost interest in her character. Plemons was also good, but I had expected more from his role, he remained a bit phlegmatic in a negative way.
So it was a watchable but never exiting film, which pretty much sums up what Scorsese is able to achieve since 25 years. (but I have still to watch Silence and Hugo, which I both have at hand for a long time)
6/10
You guys are unredeemable. Maybe the things that don't follow the Hollywood rules are in it for a reason. Including the quiet, cooled down version of the classic Scorsese characters.
9
« on: November 08, 2023, 01:00:01 AM »
Agree, but I think a documentary would have been more interesting to explain it all. De Niro was doing a toned down Max Caddy. I liked the Osasge Native sequences, reminded me of the Pow-wows I used to go to on the Flathead Indian Reservation. I'd say a 7/10 I'll never watch it again though.
A documentary would be quite fascinating since that's a crazy part of the american "colonization". But if we're talking about the necessity of a fiction film I think this one depicts what a documentary couldn't: - Tons of never seen before scenes of indians being the dominants (in the first hour): have white drivers, calmly discussing in their language which results in humiliating their date... We could have a few archive images but not the scenes we got here. - The main thing the movie does: potraying the systemic side of the whole affair as a quiet horror flick. With no way to escape for the indians (the film features some dreadful shots of them being surrounded by everyday men and women who are actually all part of it) while the violence happens almost from nowhere. The banality of evil is a used trope but this movie revitalizes it by staying true to the original concept and how it actually unfolds. DeNiro was a great bad guy: a respectable mafia boss, we had not seen him do that before. Also I really like the fact the all DiCaprio/DeNiro scenes are treated as comedy. The movie without that regular typical Marty comic relief would have been a tougher watch. Contrarily to the irishman i'm not gonna watch it every year until I die alone in a nursing home but I beleive i'll watch it at least 10 times. One of Marty's great movies, just not in the top 5.
11
« on: November 02, 2023, 06:39:52 AM »
Of course Van Cleef would have worked but not as good, and Eli Wallach would have been better as Juan.
Maybe Clint as Frank would have been somewhat of a similar shocker.
Clint from the 80's would have been a terrific Frank. I guess if they were remaking it today they'd cast Tom Hanks, but Brad Pitt would be the best option.
12
« on: November 02, 2023, 06:37:56 AM »
The Killer (2023) - 8/10. Except for some unique plot holes, the story has nothing new to offer: your standard hitman-crossed-by-his-employer nonsense. Visually and sonically, however, the film provides the Fincher experience in spades, a good thing. Can anyone shoot low-level lighting better than Fincher? Fassbender is great, his emotionless readings of his lines in voice-over are the comic highlight of the year. There's also a fun gag about the main character listening only to songs by The Smiths (we hear extracts from 8 or 10 of them) but the score provided by Trent Reznor et. al. is a very juicy bit of electronica. The opening credit sequence is the greatest in recent memory (it's short). And best of all: this wonderfully edited film clocks in at two-hours-eight. Thank you, DF, for returning us to sanity.
To be fair sometimes you're trying to do a B movie and sometimes you're trying to do OUATIA. Those two options don't require the same screentime. Thanks for mentioning the credits sequence, I tried to find it online the other day as nobody was talking about it, no luck. The movie won't be released here before the netflix release (10th of november).
13
« on: November 01, 2023, 08:29:28 AM »
Fistful of Dollars - 5.5/10
For a few Dollars More - 7.5/10
The Good, the Bad and the Ugly - 10/10
Who's that knocking on my Door - 7/10
King of Comedy - 7/10
14
« on: November 01, 2023, 08:21:39 AM »
The article misses the point but I feel like DJ perfectly got it: there isn't so much a rise of antisemitism, there is a rise of anti-drinkanddestroyinsm. They are all out to get the man.
15
« on: November 01, 2023, 06:25:56 AM »
Van Cleef would have been good in it but he would have been too much of a bad guy. Too obviously a bad guy. Fonda brings his career and his blue eyes along. Fonda is effortlessly human while Van Cleef has to work hard in FAFDM too show humanity. So Fonda makes a much more interesting and complex antagonist without much help from the screenplay.
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