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Author Topic: Rate The Last Movie You Saw  (Read 1759293 times)
drinkanddestroy
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« Reply #14715 on: February 07, 2015, 10:32:10 PM »

DJ: RE: LUST FOR LIFE:
You are the only one I know who spends ten lines bashing a movie and then insists that this is a must-own BRD. Do youu get kickbacks for this?

Seriously, I am not a huge Van Gogh fan (I've seen several of his paintings at MoMA, including Starry Night, they're alright but I am really not a big fan of Impressionism.) I agree that the movie is not very enjoyable to watch; watching someone go madder and madder is just not fun. I did like watching Quinn as Gaugin - he is a character who is not going mad.
I will NOT be buying this BRD. Sorry you lose the percentage ;p

So ...Ya think Van Gogh lusts after Gaugin?

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« Reply #14716 on: February 08, 2015, 02:39:17 AM »

RE Night Moves

I'm somewhere in the middle, I feel like if Altman directed Night Moves it would be some sort of masterpiece. The look at feel of it is too much of its time and cheap, I understand why DJ made the Rockford Files/TV comment. The score is bad for 70s TV movie standards too.

Speaking of Altman, I watched my bluray copy of The Long Goodbye and somehow the movie gets better with each view and I absolutely loved it four views ago. It's pretty much perfect even though I wonder why Mrs. Wade hires Marlowe in the first place.


Strange, Night Moves doesn't look cheap for a second to me. The score isn't bad either, it is unremarkable, but like in most of Penn's films very much in the background anyway.

The Long Goodbye is another great neo-noir, and also a film which gets better with every viewing. Maybe Altman's best film for me. But I generally prefer Penn to Altman, or at least in his best films Penn is more fascinating then Altman in his best films. Penn was visually stronger than Altman. And I can't imagine Altman as director for Night Moves. It would then have become a very, very different movie.

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« Reply #14717 on: February 08, 2015, 03:33:25 AM »

Strange, Night Moves doesn't look cheap for a second to me.

It does to me. Poor photography, floppy editing (seriously, 30% of the flaws of the film could have been fixed in editing... And I'm not talking about shortening scenes or anything big, I'm talking about the most basic stuff: cut this shot sooner, start the next one later. It would have much improved the dialogues as well as the action scenes) and on the go camerawork (apart from the final scene). That being said, I don't even know the correct format of the movie so may be the TV channel is partly responsible for this.

The score isn't bad either, it is unremarkable, but like in most of Penn's films very much in the background anyway.

I thought the score was mostly really bad but as you say it's often lost in the background. The score of Little Big Man, although may be even less in your face, was great.

But I generally prefer Penn to Altman, or at least in his best films Penn is more fascinating then Altman in his best films. Penn was visually stronger than Altman.

YES

I don't see what's the fuzz with Altman anyway. He was a talented guy and managed to do some really good movies but he failed more often than not and never went close to a masterpiece.

« Last Edit: February 08, 2015, 03:36:10 AM by noodles_leone » Logged


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« Reply #14718 on: February 08, 2015, 06:53:21 AM »

McCABE & MRS. MILLER is a masterpiece

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« Reply #14719 on: February 08, 2015, 08:00:56 AM »

It does to me. Poor photography, floppy editing (seriously, 30% of the flaws of the film could have been fixed in editing... And I'm not talking about shortening scenes or anything big, I'm talking about the most basic stuff: cut this shot sooner, start the next one later. It would have much improved the dialogues as well as the action scenes) and on the go camerawork (apart from the final scene). That being said, I don't even know the correct format of the movie so may be the TV channel is partly responsible for this.


I don't know what you mean. Penn worked here as in his previous films with Dede Allen, and I never read about any complaints in any of their films. On the contrary it was a famous relationship between a director and a cutter.

Must be a matter of taste, cause for me the film's rhythm is perfect, and Penn knows very good where to set the camera. But I don't see any flaws in the film. It was later that Penn made films which don't give me anything. And where I mostly have no clue why he did them.

About Altman, that's of course also a matter of taste. But he was more lazy with things imo.


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« Reply #14720 on: February 08, 2015, 08:33:40 AM »

About Altman, that's of course also a matter of taste. But he was more lazy with things imo.

Yes. Penn was a hard worker. Altman, not so much.

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« Reply #14721 on: February 08, 2015, 12:22:37 PM »

Altman made 5 films that I admire. Penn, nothing.

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« Reply #14722 on: February 08, 2015, 03:54:16 PM »

She genuinely wants her husband back. She trusts Marlowe because of his friendship with Terry. (It's unclear at what point she knows Terry is still alive). It's only after the death of Roger Wade that everything changes.

I don't know if the plot went over my head a bit years ago, but I have the weird feeling now where the more I understand the plot, the more confusion it creates (sort of like life *bah doom doom chhhh*). I do wonder Mrs. Wade's role in the whole thing, like what she knew and when she knew it. I guess that just speaks to how good the story really is and the ending Altman tacked on was awesome, though I haven't read the book.

Strange, Night Moves doesn't look cheap for a second to me. The score isn't bad either, it is unremarkable, but like in most of Penn's films very much in the background anyway.

The Long Goodbye is another great neo-noir, and also a film which gets better with every viewing. Maybe Altman's best film for me. But I generally prefer Penn to Altman, or at least in his best films Penn is more fascinating then Altman in his best films. Penn was visually stronger than Altman. And I can't imagine Altman as director for Night Moves. It would then have become a very, very different movie.

To reiterate what others have said, Night Moves looks like a made for TV movie with better acting and a quality ending. The lighting, editing, music, etc are all substandard to me. I don't find any of Penn's movies to be visually interesting, and he sort of reminds me of the Tom Hooper of his day. Altman, on the other hand, while inconsistent, will usually deliver something interesting, or something you can at least learn something from.
 
I admire Altman's visual style, he had that natural style thing down to perfection. And even though he moves to camera a lot, I find him to be an offspring of Hawks of sorts, where he'll usually let things happen in the frame, especially with a group of people involved.

I think The Long Goodbye and McCabe & Mrs. Miller are masterpieces and California Split is a personal favorite (admittedly not as great as the other two). He's also made high quality stuff like 3 Women, Nashville, Short Cuts and The Player. Penn hasn't made anything that I'd want to revisit. I also don't think his films share any common ground or commonalities other than usually having an inflated self worth or pretentious vibe to them.

I don't quite understand how Night Moves would be so different had Altman directed when I basically view that as a 'Long Goodbye' rehash, sort of like the Last Train to Gun Hill to 'Goodbye's' 3:10 to Yuma, if you will.

« Last Edit: February 08, 2015, 06:08:30 PM by T.H. » Logged


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« Reply #14723 on: February 08, 2015, 05:03:46 PM »

I don't know if the plot went over my head a bit years ago, but I have the weird feeling now where the more I understand the plot, the more confusion it creates (sort of like life *bah doom doom chhhh*). I do wonder Mrs. Wade's role in the whole thing, like what she knew and when she knew it. I guess that just speaks to how good the story really is and the ending Altman tacked on was awesome, though I haven't read the book.

Altman did not tack on the ending. The ending was present in Leigh Brackett's script. When the project was brought to him he chose to do it because he particularly liked the ending. He agreed to direct with the proviso that the ending could not be changed. He was right to insist.

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« Reply #14724 on: February 08, 2015, 05:25:03 PM »

The Earrings of Madame de ... 9/10

Second viewing. Good times. Now I wanna see Letter from an Unknown Woman again, too  Smiley

Just watched Letter from an Unknown Woman, after recently seeing The Earrings of Madame de... both second viewings.

I am going to slightly reverse my position after the first time I saw each movie: First time around, I gave LFAUW a 9/10 and TEOMd... an 8.5/10. This time around, I give an 8.5/10 to LFAUW and 9/10 to TEOMd...
But whatever, I hate ratings. Both are terrific movies.

I saw LFAUW on the Olive Films BRD. It looks for the most part very nice. Two criticisms: Firstly, there are occasional speckles/damage marks nothing awful, but in a perfect world they'd have fixed them; and there are no bonus features at all. But otherwise this is a very nice-looking BRD, and not very expensive: right now, it's available for less than $20 on Amazon, and less than $15 on Amazon Marketplace (before shipping).

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« Reply #14725 on: February 08, 2015, 06:11:15 PM »

Altman did not tack on the ending. The ending was present in Leigh Brackett's script. When the project was brought to him he chose to do it because he particularly liked the ending. He agreed to direct with the proviso that the ending could not be changed. He was right to insist.

Thanks for pointing that out, I don't want to spread false info around.

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« Reply #14726 on: February 09, 2015, 02:40:38 AM »

I don't know if the plot went over my head a bit years ago, but I have the weird feeling now where the more I understand the plot, the more confusion it creates (sort of like life *bah doom doom chhhh*). I do wonder Mrs. Wade's role in the whole thing, like what she knew and when she knew it. I guess that just speaks to how good the story really is and the ending Altman tacked on was awesome, though I haven't read the book.

To reiterate what others have said, Night Moves looks like a made for TV movie with better acting and a quality ending. The lighting, editing, music, etc are all substandard to me. I don't find any of Penn's movies to be visually interesting, and he sort of reminds me of the Tom Hooper of his day. Altman, on the other hand, while inconsistent, will usually deliver something interesting, or something you can at least learn something from.
 
I admire Altman's visual style, he had that natural style thing down to perfection. And even though he moves to camera a lot, I find him to be an offspring of Hawks of sorts, where he'll usually let things happen in the frame, especially with a group of people involved.

I think The Long Goodbye and McCabe & Mrs. Miller are masterpieces and California Split is a personal favorite (admittedly not as great as the other two). He's also made high quality stuff like 3 Women, Nashville, Short Cuts and The Player. Penn hasn't made anything that I'd want to revisit. I also don't think his films share any common ground or commonalities other than usually having an inflated self worth or pretentious vibe to them.

I don't quite understand how Night Moves would be so different had Altman directed when I basically view that as a 'Long Goodbye' rehash, sort of like the Last Train to Gun Hill to 'Goodbye's' 3:10 to Yuma, if you will.

The Long Goodbye is often a parody (and in parts incredibly funny), with some characters being caricatures and others mere noir projections, while Night Moves has instead very believable characters and situations, the actors seem to be what they act. Both are clearly anti-genre films, but both use a very different angle for their pessimistic revisions. I can't imagine Penn for The Long Goodbye either, even if Penn injected parody and comedy very successful to otherwise serious films before in Bonnie and Clyde and in Little Big Man. And these 2 have several scenes which I put over everything Altman has ever done.

Night Moves is a silent film, and one which people tend to underrate. There is a lot under the easy looking surface.

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« Reply #14727 on: February 09, 2015, 02:45:31 AM »

Altman made 5 films that I admire. Penn, nothing.

That's only because you don't care for cinema or humanity. Don't worry we won't hold it against you.

Apocalypto - 6/10

Now that's a surprise: it doesn't suck. Technically, nothing fancy here. Although the lack of technical brilliance is painful, they shot and edited it the right way (= the one that gives a little grandeur to the story while keeping it believable and not too, too cheesy). The actors and the dialogues are of course terrible. The plot is (really) simple and (quite) efficient but tyhe whole Apocalypse thing helps the film getting a passing grade. That and the many great ideas, like the way they use ants, what happens while they're travelling to the city, a couple kills, the 100% native language and some really striking images:


"Would you want to know how you'll die?"
- bad make up?



In the end, is it a good movie? No. Is it Cinema? Definitely.



Jarhead - 8/10

This ones gets better each time. Although Jarhead is hurt by the cinema landmarks (Apocalypse Now, Full Metal Jacket, The Deer Hunter) the audience HAS to compare it (and in a way the film itself cannot stop comparing itself to these giants), it really is good.

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« Reply #14728 on: February 09, 2015, 07:06:58 AM »

The End of the Game / Der Richter und sein Henker (1975) 8/10. This film's got it all: Martin Ritt, John Voight, Robert Shaw, Jackie Bisset, Gabriele Ferzetti (sans rug), beautiful Berne, Switzerland, a solid plot from Friedrich Durrenmatt, a score by Morricone. Donald Sutherland has a non-speaking part as a corpse. Durrenmatt has a showy cameo (as the writer "Friedrich"), but this time through I noticed that the director also puts in an appearance. During a party at the palatial home of the sinister Gastmann (Robert Shaw), where a murder investigation has brought Police Commissioner Martin Ritt and his assistant John Voight, a pianist and a violinist are shown performing a Mozart duet. The guy on the keyboards is the late Maximillian Schell, who, I understand, could really play (a truly talented chap). If that were not enough, the man he is accompanying is Pinchas Zukerman! Schell inserted himself into his picture in another way. According to IMDb, he provided the taped voice of the dead Donald Sutherland character (this must be on the German dub--on the English dub the voice is clearly Sutherland's own).
A year has passed, and it was time for a re-watch. So I did, laughing throughout. One of the truly great crime films of the 70s.

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« Reply #14729 on: February 09, 2015, 03:34:14 PM »

Pickpocket (1959) nice crime film about a pickpocket, the train sequence where a car is worked by a team of experts is great. 8/10

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