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August 20, 2018, 04:25:09 AM
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 21 
 : August 13, 2018, 11:59:55 AM 
PowerRR - noodles_leone
New York, New York (1977) - 6.5/10
Flawed but not in any way horrible. Waaaaaaaayy too long though.

Exactly how I remember it.

Love (2015) - 6/10
I really, really wish I could have seen it in 3D. And not only for the cumshot directly on the camera lens.
Anyway, it's your classic post 2002 Gaspar No flick: fascinating (and I mean it) mise-en-scne and narration (this guy is the closest we have from Kubrick nowadays, in a way less precise but way more inventive way), stupid screenplay and characters. The worst thing is that No himself seems to be as stupid/empty as his characters. But he's a cinematic genius.

 22 
 : August 13, 2018, 06:53:56 AM 
PowerRR - moviesceleton
Trial on the Road (Proverka na dorogakh, 1971/1986) - 9/10
One of the best war films ever.

Landscape in the Mist (1988) - 7.5/10
This georgeous looking and in every way brilliantly crafted movie takes your breath away, but the next day you kinda start to question if it actually has anything more to it. The score is great.

Roswell (1994 - 9/10
A great "experimental" short film. Can be found on Vimeo: https://vimeo.com/76877472 Also a great score.

New York, New York (1977) - 6.5/10
Flawed but not in any way horrible. Waaaaaaaayy too long though.

Colossal Youth (2006) - 7/10
I'm a fan of Pedro Costa's Ossos and In Vanda's Room, but this one is a challenge even for my attention span. Still an interesting development of his style.

Candy Mountain (1987) - 7/10
Indie road movie directed by Robert Frank and Rudy Wurlitzer. Certainly lacks the visual bravery of Frank's photography works but the road movie setting keeps situations changing at a constant pace, and I liked the northern US / Canada locations.

Salaam Cinema (1995) - 9/10
This provocative Iranian "documentary" about a casting audition for non-actors questions (among a lot of things) the "authenticity" of non-actors that is often praised in films like the ones of Kiarostami or Bresson.

 23 
 : August 13, 2018, 03:44:18 AM 
greenbudgie - greenbudgie
                                                                        MAROC 7 (1967). Rated 4/10.

This is about jewel theft and intrigue in Morocco. There is a heavy Hitchcockian influence in this especially 'To Catch A Thief,' 'The Man Who Knew Too Much' and 'North By Northwest' reminisces amongst the action. Gene Barry seemed a bit too old to be amongst the 1960s beautiful babes that he's surrounded by, whereas Cary Grant had still been able to get away with it at the aged 50 mark. The women were all clad in this so he didn't get the James Bond attention popular in the 1960s. The print that I saw of this was poor which may have contributed to me devaluing this. But even so, none of the cast seem to be giving anything much of themselves. Cyd Charisse playing a non-musical role is the best thing about this movie and she was still looking good at 45.

 24 
 : August 13, 2018, 03:24:27 AM 
greenbudgie - greenbudgie
I'm glad you enjoyed this recommendation M. I see what you mean about the lawyer's noir-narration style. I thought his delivery was a bit ostentatious in parts. But there was some good lines in there as well.

 25 
 : August 13, 2018, 03:21:09 AM 
moorman - greenbudgie
I agree with you about the policeman at the warehouse K. I was thinking at the time this is where the plan is going to go wrong. But Jack Hawkins seem to have taken the attitude that all policeman are stupid. I wouldn't have wanted a patrol policeman telling me that he was going to keep an eye on my premises in that position.

 26 
 : August 12, 2018, 10:33:47 PM 
moorman - kjrwe
I like some of Basil Dearden films for their sense of locale too. I found Jack Hawkins' motive funny. He was out for revenge and spite for his enforced retirement rather than monetary gain. This is a popular film on Talking Pictures. I also gave this an 8/10 rating.

That's a good point about his motive.

And as I was saying on the TCM site, it's not too surprising that the cops arrived so soon. They would have been suspicious of these guys ever since the cop took down the license plate number at the warehouse. That cop must have seen more than they realized. They must have left something lying around that gave them away. So the cops were expecting some sort of heist to take place in the next little while....and it did.

To those who disagree with me....if the cop wasn't suspicious, why take down the number?

 27 
 : August 12, 2018, 10:30:23 PM 
PowerRR - moviesceleton
Wow, that was great. I wanted to see it at the time but missed it, and I didn't go out of my way because of the so so critical reception. It's pretty hard to find now (while its cult status steadily grows) so I only had a copy without subtitles. I cannot wait to see it again, with subtitles.
I've been meaning to rewatch this. My impression of it is still strong. If there was any fairness in the Hollywood system, this film should have skyrocketed Kaufman's career, not pretty much destroyed it.


 28 
 : August 12, 2018, 09:32:45 PM 
dave jenkins - titoli
As far as the perceived dullness of the heists themselves, I have no problem with that.

I wouldn't have either were it not that the mechanics of the heist are goofy. You are dealing with professionals: but who needs them? You have all that scene on the top of the building without any explanation as to how they have reached it with gas tank, and the rest of the equipment: apparently there's no vigilance whatever: worse than Watergate building. Secondly, they go into the safe room and apart from vigilance, no camera, just a password easily (and incredibly) stolen and all that jazz with the wires in the top floor. I mean: in Rififi at least you had a use for an umbrella, they had to be silent and careful. Here you wonder where the catch may be and when it will come up: it never does. You can do without the suspense? OK. But the problem is verisimilitude.   

 29 
 : August 12, 2018, 07:38:23 PM 
greenbudgie - moorman
                                                                  INTRUDER IN THE DUST (1949). Rated 9/10.

This a great William Faulkner crime story and my favourite screen adaptation of his works. Lucas Beauchamp (played by Juano Hernandez) is found standing over the body of a murdered man and the town puts him on trial. He is helped by a white boy who owes him a favour. This is reminiscent of Magwitch and Pip in Dickens' 'Great Expectations.' This is reinforced by an old woman called Miss Habersham reminding us of the Miss Haversham of the Dickens story. The old woman in this is played by Elizabeth Patterson who was in some of the 1930s Bulldog Drummond series of films. There is a great scene of Miss Habersham exhuming a body from a grave at night with the aid of two teenagers.

I watched this. GREAT film recommendation.  There was not a boring moment in the film.  The plot was pretty good.  Juano Hernandez was excellent here.  Claude Jarmin Jr and Elizabeth Patterson were fantastic also.  My only problem with the acting is David Brain's character as the lawyer was speaking in a tone as if he was narrating a film noir.  It was pretty anoying early on but got better as it starting fitting the plot which went off into noir territory.   Other than that I have no gripes with the film.  I saw it on Youtube and want to get the DVD.   I rate this a 9 out of 10...

 30 
 : August 12, 2018, 07:10:42 PM 
cigar joe - drinkanddestroy
Eddie Muller's intro https://youtu.be/OPZOqAOKi3k

Eddie Muller's afterword https://youtu.be/esslCLYxVB4

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