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Author Topic: Rate The Last Movie You Saw  (Read 1801235 times)
PowerRR
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« Reply #12705 on: November 17, 2013, 03:31:50 PM »

INSIDE LLEWYN DAVIS - 8/10

It could reach 9/10 with the blu-ray viewing (I'm definitely getting the BD the day it is available). It's going to be RR's movie of the year by far. Others will be bored to death.
I take back my criticisms about the grading of the trailer: on a big screen, the shots are absolutely gorgeous. John Goodman's scenes are some of the finest Americana sequences you'll ever see.
yay can't wait!

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« Reply #12706 on: November 18, 2013, 02:30:18 AM »

yay can't wait!

And it grows on you. I don't have the time right now but I'd like to see it again as soon as possible.

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« Reply #12707 on: November 18, 2013, 06:56:00 AM »

Nebraska (2013) 5/10. This film has gorgeous b&w photography . . . and nothing else. The script doesn't rise to the level of an After School Special; the performances are all one-note (clearly, by design). The humor isn't funny. It's as if Alexander Payne decided to drop his usual approach and adopt the aesthetic of a Jarmusch or a Kaurismaki wannabe. Leave that to the experts, Mr. Payne.

La Grande Belleza / The Great Beauty (2013) 8/10. Many will no doubt call the film--especially the party scenes--Fellini-esque, but the movie this most reminded me of was Wings of Desire. In that film, angels spend much of the time observing the city of Berlin and those who inhabit it. In the present film, the watcher is no angel, rather a sybarite brilliantly played by Toni Servillo. Rome is his beat, its people his obsession. Ostensibly a journalist, Jep, as he's called, is famous for a short novel he wrote 40 years ago; everyone wonders why he never wrote another, but it's obvious: watching the city and its people is a much more interesting occupation. Apparently, he has money (his balcony overlooks the Coliseum) so he is free to do what he likes, which is to mingle. Somedays he meets people for a meal; other days he hosts parties. He knows everybody. Unlike the watchers in Wender's film, who were on the outside looking in, Jep is an insider. There is no need to break through into reality; Jep is already there. This would seem to obviate conflict and eviscerate the narrative (what IS the story about, anyway?), but I never noticed--I was too taken with the phantasmagoria that is Rome. Jep is our guide through the Eternal City, which is presented in amazing tracking shots and with a judicious use of CGI (for example, that balcony overlooking the Coliseum). In her review in the NYT,  Manolha Dargis argues that through the film's several episodes Jep undergoes character development (http://www.nytimes.com/2013/11/15/movies/the-great-beauty-starring-toni-servillo.html?pagewanted=all&_r=0 ) but I didn't witness that. What I got was a deeper appreciation of Jep's character and a chance to experience the city from his perspective. The colors are intense, the pace, at times, frenetic. The soundtrack is a treasury of pieces by David Lang, Vladimir Martynov, Part, Preisner, Tavener, Bizet, Gorecki, plus a slew of pop songs. The film is Italy's official entry for the Academy Awards. It's probably too good to win, but I'll be rooting for it anyway.

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« Reply #12708 on: November 18, 2013, 06:07:11 PM »

So I finally saw Jaws; dvr'd it off TCM a few days ago.... after all I heard about it for years and years.... it's a solid 7.5/10, that's all

1.  Because you heard about it for years and years....

2.  You didn't see it in a real theater with a few hundred also-terrified people....

You can't go back to relive the 1975 moment.  For me, it was waiting 2 hours with girl friend to get in, and I was afraid of sharks anyway.

Like I can't go back to 1968 to see GBU like I did when I was 15, before so much had been copied in other films...


First day of college film class: "films are meant to be watched with bunch of others and without disturbances like phone ringing and interruptions"

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« Reply #12709 on: November 18, 2013, 06:36:33 PM »

Saw "12 Years a Slave".  Very good.

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« Reply #12710 on: November 18, 2013, 07:12:45 PM »

1.  Because you heard about it for years and years....

2.  You didn't see it in a real theater with a few hundred also-terrified people....

You can't go back to relive the 1975 moment.  For me, it was waiting 2 hours with girl friend to get in, and I was afraid of sharks anyway.

Like I can't go back to 1968 to see GBU like I did when I was 15, before so much had been copied in other films...


First day of college film class: "films are meant to be watched with bunch of others and without disturbances like phone ringing and interruptions"

Well I've mostly seen Jaws on TV and I've always loved it. Of course, it helps that it made a good bonding experience with my brothers.

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« Reply #12711 on: November 18, 2013, 11:11:15 PM »

1.  Because you heard about it for years and years....


It's not like "I had already heard so much about it, I knew what would happen and that ruined it for me." Not at all. I barely knew any details about the movie before I saw it I didn't even know who was in the cast.
All I had heard about Jaws before watching it was that it was a major blockbuster movie about a shark terrorizing a town; and that the crew had significant problems with the mechanical shark, which was part of the reason the movie ended up using a lot of shark-POV shots. That's all. I sure as hell don't consider that little bit of knowledge to have in any way ruined the film for me.

No doubt, watching it in a theater right when it was released would have been more fun.... heck, watching any movie in a theater is a helluva lot more fun than watching it at home. You can theorize all you want about how I would have liked it if my grandma had been a glint in my grandpa's eye a few decades earlier and then I coulda woulda shoulda been born in time to see Jaws in a theater along with Cusser and his hot babe and Groggy's parents on their first date. All I know is, the movie I saw the other night was a 7.5/10 movie  Wink

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« Reply #12712 on: November 19, 2013, 05:56:33 AM »

Anyway, back to Truffaut week:

Confidentially Yours (1983) 4/10. A pastiche of 40s crime films, in black & white, but with a modern setting. Everybody involved seems to have had fun making the picture. Too bad no one worried about what the audience would think. In spite of some good lighting, the film is shoddily made. Cuts are mismatched, effects are phoned in (during one downpour, the rain effect can't keep everything in the frame evenly watered). Beyond this, the story--a whodunnit--is pedestrian.

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« Reply #12713 on: November 19, 2013, 06:59:44 AM »

Truffaut was old and ill when he did this one. He passed away a year later. It explains a lot Smiley
I only liked one of the final shots, when the cops are surrounding the phone booth: the tragedy feel of that scene perfectly balances the rest of the film.

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« Reply #12714 on: November 19, 2013, 04:22:57 PM »

La Vie en Rose (2007)  8/10

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« Reply #12715 on: November 19, 2013, 04:55:26 PM »

No problem with the scenes with the fairy? Apart from that I liked it when I saw it in theater. I was disappointed a couple years ago after a TV viewing. The extended shot when she dreams about Marcel coming back only to discover the terrible news and then enters the scene is some really powerful stuff.

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« Reply #12716 on: November 19, 2013, 10:22:37 PM »

Murphy's War - 7/10 - Peter O'Toole survives a U-boat attack, waging a vendetta against the submarine. Plenty of neat action scenes, but really drags whenever stuff's not blowing up.

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« Reply #12717 on: November 20, 2013, 06:05:06 AM »

No problem with the scenes with the fairy? Apart from that I liked it when I saw it in theater. I was disappointed a couple years ago after a TV viewing. The extended shot when she dreams about Marcel coming back only to discover the terrible news and then enters the scene is some really powerful stuff.

No problem, I enjoyed it, I may not feel compelled to watch it again though.

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« Reply #12718 on: November 20, 2013, 06:34:05 AM »

The Sicillian Clan (1969) 6/10. This starts out great--hey, Delon and Gabin together again for the first time!--with Gabin and his clan helping Delon break jail so he can help them with a heist that only Delon himself can bring off (I'm guessing a bit here--I watched a French dub of this with no English subtitles). Lino Ventura (as Lino Ventura) plays himself and a police inspector, initially trying to chase Delon down, but as the caper unfolds he ends up chasing the whole gang. In the event, the heist isn't all that, and as the film winds down things get really dumb. There was, however, one thing that director Henri Verneuil did that I really liked (at least, upon reflection). At one point, in the planning stages, Gabin and Delon go to a toy store. They come back with a toy plane that Gabin's grandson plays with while the gangsters talk. We see a really extended shot of the toy plane in motion (it's on a spoke that circles) and the shot goes so long I was going WTF? Later I realized it was a bit of foreshadowing (the caper involves the hijacking of an airliner). But was it only that? Not having the kind of budget/special effects resources of a Hollywood production, Verneuil spends most of the airliner sequence inside the plane. Exteriors are avoided. We don't see the take-off, or the plane in flight, only the landing (which is done with some cheesy process work). Maybe the extended bit with the toy plane not only foreshadowed the flight of the airliner, but also stood in for the exterior shots of the airliner that were not shot? You know, rather than have some cheap looking shots of a model later (as J-P Melville would have done it), we got the obvious toy up front in a context where it better fits? As if to say, That's the way to do it, Jean-Pierre! OK, I'm probably overthinking this one, but the idea gave me some pleasure after the film's rather disappointing conclusion.

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« Reply #12719 on: November 20, 2013, 06:23:35 PM »

I saw the Sicilian Clan in the theater at first release (USA, in English I believe) !!!   I thought it was decent.  Morricone music. 

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