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Author Topic: wish I was a professional movie critic  (Read 13585 times)
titoli
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« on: September 02, 2005, 04:50:17 PM »

You can write whatever comes to your mind, apparently:

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19670515/REVIEWS/705150301/1023

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The Peacemaker
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« Reply #1 on: September 02, 2005, 06:00:41 PM »

Thanks for the link. I used to like him but I've lost repect for him because of what he said about Once Upon a Time in the West.

" There is also, unfortunately, Leone's inability to call it quits. The movie stretches on for nearly three hours, with intermission, and provides two false alarms before it finally ends. In between, we're given a plot complex enough for Antonioni, involving killers, land rights, railroads, long-delayed revenge, mistaken identity, love triangles, double-crosses and shoot-outs. "

I can't believe he said all that about such a brilliant movie! He also gave it only 2 1/2 stars while he gives that stupid " The 40 year Old Virgin " 3 1/2 stars!!!! Oh well. Everyone has they're own opinions. It's just very sad that crappy movies like that are popular and beautiful movies like Once Upon a Time in the West are overlooked just because they have slow pacing.  Cry

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Alan Shearer 9
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« Reply #2 on: September 02, 2005, 06:15:27 PM »

he doesn't look real

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cigar joe
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« Reply #3 on: September 03, 2005, 05:07:06 AM »

Ebert was a relatively novice critic in the late 60's-70's he's since recanted his original review of GBU, it was in our SE edition were he himself mentions that fact.

I'd venture that may be the same for OUTITW, also remember that it was a butchered version that first premiered here.

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« Reply #4 on: September 03, 2005, 06:56:54 AM »

I believe he referred to OUATITW as a "masterpiece" in his GBU Great Movies article.  And he's been a huge defender of the uncut version of OUATIA since it originally came out.  I'd be interested if he wrote a "Great Movies" article on either one of those (I'd suspect the latter before the former though).

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titoli
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« Reply #5 on: September 03, 2005, 07:26:30 AM »

But does he still practice the same "anything-goes" kind of prose? Because what struck me is not the negative or ironic (and extremely superficial) slant of the "review" (how on earth can he say there's no plot? probably he went repeatedly to buy himself popcorn), but the fact that in the end you don't know what to make of it.

 
Quote
I believe he referred to OUATITW as a "masterpiece" in his GBU Great Movies article.

Then I would like to see how he managed to rhyme this:
 
Quote
THE REST of the film is one great old Western cliché after another.

as referred to that movie. Because it is apparent he doesn't like western movies and, probably, genre movies (which are structurally based on clichés). Which is pat. But then you don't have to be a newspaper reviewer. I presume (as that is the only thing i read by him), that as many of his peers did, he decided at one point to ride the wave of genre movies when they were made to look respectable, though not being persuaded.
Then I prefer the pathetic reviews of poor Bosley Crowther (I wonder how he could keep the chair at NYT for so long) which didn't understand the movie, didn't like it (for ridiculous reasons) and said so:

http://movies2.nytimes.com/mem/movies/review.html?title1=&title2=For%20a%20Few%20Dollars%20More%20%28Movie%29&reviewer=BOSLEY%20CROWTHER&v_id=18148&partner=Rotten%20Tomatoes&oref=login

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Alan Shearer 9
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« Reply #6 on: September 03, 2005, 09:19:53 AM »

I just think he's either an alien or a robot and should be executed for being a prat and doing rubbish reviews of great films

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cigar joe
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« Reply #7 on: September 03, 2005, 01:03:45 PM »

Back in the 1960's nobody among the professional critics liked Leone's westerns. The general public made these films immortal the critics caught up later, the omly good review I remember seeing was in the Film Society Review.

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« Reply #8 on: September 03, 2005, 01:18:47 PM »

I don't know i don't think his for a few dollars more review was that bad, specially for a mainstream critic reviewing a spaghetti, i thought it was actually pretty generous considering.

The thing that I like about ebert is that I've personally never seen a move that he recomended that I hated, but then again there are plenty of films I love that he just totally bashes... so if it's looking for a decent movie in theatres, he's a great read, if it's about seeing if he agrees with me on the classics, forget about him!

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« Reply #9 on: September 03, 2005, 03:47:10 PM »

Actually titoli, the "cliches" remark was referring to FAFDM.

And people's opinions can change over time.  Leonard Maltin, for instance, has raised his rating of this film from two stars to three and a half over the last two decades, IIRC.

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titoli
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« Reply #10 on: September 03, 2005, 04:30:47 PM »

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Actually titoli, the "cliches" remark was referring to FAFDM.

In fact I meant how that sentence referred to FAFDM was in rhyme with his appreciation of OUATIW, which spins cliché after cliché at the speed of light.

And, sure, one's opinions may change: but it's easier change them if you don't express them clearly. As I've said, I respect more poor Crowther who had the courage of his own absurdities, than this bionic zombie, who has nothing to say and would like to make it pass for irony or smartedness.


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so if it's looking for a decent movie in theatres, he's a great read 


then let us know about the 40 Year-Old Virgin. It should be a masterpiece

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The Smoker
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« Reply #11 on: September 05, 2005, 09:59:07 AM »

Nothing more terrorfing than a movie critic with his own website.
With added quite punchable smuge face in the top left corner. Hair or cotton wool?  Discuss:

Critics don't even like films. They use to.. before it became a 9 to 5.  Roll Eyes

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« Reply #12 on: October 20, 2005, 09:12:27 PM »

These are two of my favorite negative FAFDM reviews:

Eastwood Western Is Indigestible
By Toni Mastroianni
Cleveland Press May 25, 1967


http://www.clevelandmemory.org/mastroianni/tm295.shtml



Bosley Crowther's 1967 New York Times review is also a little less than complimentary:

Eastwood Film
2 Rivals in Murder Are Presented as Heroes

By BOSLEY CROWTHER
Published: July 4, 1967


 THE cool-cat image of a Western gun-slinger that was studiously fabricated by Clint Eastwood in "A Fistfull of Dollars," under the direction of Sergio Leone, is repeated by Mr. Eastwood in the aptly titled "For a Few Dollars More," which broke loose with some Fourth of July fireworks at the Trans-Lux West and other theaters yesterday. Everyone susceptible to the illusion that shooting and killing with fancy flourishes are fun can indulge his bloodlust to the fullest at this synthetic Italian-Spanish-made Western film.

Once again Mr. Leone has filled his plushly colored screen and his deliberately calculated sound-track with conglomerate stimuli that agitate moods of dread and danger, of morbid menace and suspense, and then erupt in cascades of vivid violence, fistfights, shootings and death.

The perils of a professional bounty killer, which Mr. Eastwood portrays, are multiplied in this instance not only by the wariness and tricks of the gang of Mexican banditti he pursues for the prices on their heads, but by the deceits of another bounty killer who is going after the same gang. The menace of this rival, played by Lee Van Cleef, is more dangerous and unpredictable than the known quantity of the murderous gang.

Thus it is the presence of this rival, as cool of manner and as deadly with the guns as the crafty, cheroot-chewing Mr. Eastwood, that furnishes Mr. Leone with what there is of interesting conflict between characters of modest scope.

The gunman of Mr. Eastwood is a fierce and fearless killing machine. So is the older, more experienced and righteously motivated gunman of Mr. Van Cleef. If anything, he is more clever and more sophisticated with the guns. Both are equally ruthless. Thus their rivalry, their dubious partnership and their frequent temptations to betrayal are the stuff of suspense in the film.

But, of course, the dynamics of it are in the freedom and ferocity with which Mr. Leone piles violence upon violence and charges the screen with the hideous fantasies of sudden death. In the close-up faces of his ugly ruffians, highlighted and shadowed in burnished hues, and in the ominous thump of drums and wail of trumpets that preface his menace scenes, he prepares us for the violent explosions that mark the deadly circuit of pursuit. In the bark of guns, the whine of bullets and the spinning bodies of men mortally hit, he provides the aural and visual stimulation for an excitement of morbid lust.

One may think that this is sheer fabrication, that the fantasies of killing contrived are devices for emotional escapism, that the foulness of the bandit leader, played with a hint of degeneration by Gian Maria Volonte, is a moral reason and justification for his being run down and slaughtered with his gang.

But the fact that this film is constructed to endorse the exercise of murderers, to emphasize killer bravado and generate glee in frantic manifestations of death is, to my mind, a sharp indictment of it as so-called entertainment in this day. There is nothing wholesome about killing men for bounty, nothing funny about seeing them die, no matter how much the audience may sit there and burble and laugh.

 






« Last Edit: October 20, 2005, 09:30:04 PM by boardwalk_angel » Logged

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cigar joe
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« Reply #13 on: October 21, 2005, 04:31:23 AM »

I wonder what his favorite film of 1967 was?

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« Reply #14 on: October 21, 2005, 12:46:11 PM »

i didnt take the time to read all the post(one can read only so much on ebert) but id like to say that most of his reviews for leones westerns were negative in the 60"s. and he has gone back and looked at these films and called them masterpieces. not that iam defending the fat bastard.

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