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Author Topic: Rate The Last Movie You Saw  (Read 1801083 times)
drinkanddestroy
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« Reply #17400 on: October 10, 2017, 12:09:36 PM »

I win!

 Afro

When you say that my answer will be “100% American,” you mean I will be looking at it from the perspective of an American and not a European? Well, of course ...

Sorry to tell you, but pretty much every country spies on every other - their politicians and civilians. And there’s no recourse for that, other than trying to put up better defenses. It will happen forever. Americans have SOME protection and legal recourse against their government; the French don’t have such protections from/recourse against the American government. But the same is true of American citizens vis-a-vis the French government. Just the facts of life.

If you saw the movies, they focus on how Obama, the supposed liberal, could do these things. I’ll leave you with this one anecdote I heard several years ago from, it with either Karl Rove or Dick Cheney, I forgot which one it was (I’ll call him “Rove/Cheney”-  said it in an interview on TV: As the 2008 presidential-election campaign was heating up, Rove/Cheney was discussing it in the White House with then-President Bush. Rove/Cheney mentioned how the outcome of the election may affect whether the Bush anti-terror measures will remain in place or be dismantled. Bush replied: “It doesn’t matter who wins. When they know what I know, they’ll do what I did.”

It’s a great line I quote often. (Did Dubya really say it, or did Karl Rove make it up ex post facto? Who knows  Wink ) But the point is: The people in power always want more surveillance ability. Is it because they know what we don’t know and they know that it is necessary? Or is it because people in positions of power naturally want more power rather than less power?

The day after 9/11, everyone wanted as much security as possible. We happily accepted massive security, because we felt unsafe. As time goes by - and thank God the domestic catastrophes we expected post-9/11 have generally not occuurred, we have naturally begun feeling more safe and become more interested in liberty.

If it sounds like I’m going back-and-forth, you may be right. As I said, this is a very difficult issue, and anyone who simplifies it one way or the other is full of shit. We need to have the ability to stop the next terror attack, but we also need a massive oversight system to ensure that surveillance cannot be abused by some guy who works in NSA and wants to spy on his girlfriend.


One final note: Both The documentary and the feature film speak critically about Obama’s kill-drone usage. That is one thing I strongly disagree with Snowden about (though he did not say what specifically about the drone issue bothers him; and of course he knows more than I do.) There’s nothing wrong with drones per se. It has certainly happened that a drone has been fired intending to kill a terrorist and there’s been collateral damage – collateral damage has happened from drones, bombs, missiles, bullets and artillery since the beginning of war and that will happen forever. It’s impossible to avoid, sadly.
Americans fighting on foreign battlefields for terror groups aren’t going to willingly come home for trial. The gov’t should sure ss hell blast them to kingdome come like any other terrorist.

p.s. To me, Snowden comes off as a very likeable and sincere guy. Perhaps this post gets me on a government watchlist - FUCK YOU BIG BROTHER !!!!!  Evil Snowden willingly had his life turned upside down because he believes that people had to be informed about the massive invitations to their privacy. I hope he gets a presidential pardon soon.

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« Reply #17401 on: October 11, 2017, 10:35:40 AM »

92 in the Shade (1975) 5/10. This played at the recent Lincoln Center retro on Warren Oates but I was unable to make it. No worries, though, as it turns out there's a DVD, and anyway, the film's not all that great. What little plot there is consists of this: Peter Fonda is trying to get started as a fishing guide (CJ, call your office!) in Key West, and the old hands, instigated by Oates, play a trick on him. In retaliation Fonda burns Oates's boat up. The insurance will cover the loss, but during the lag Oates is worried Fonda will steal all his customers. So Oates issues Fonda an ultimatum: guide, and you die. Will Oates carry through on his threat? The film is filled with a host of A-listers: Harry Dean Stanton, Burgess Meredith, Margot Kidder, Elizabeth Ashley, William Hickey, Sylvia Miles. But they are used to little effect. Thomas McGuane, the novelist, wrote and directed the film, and there are many amateurish qualities to the production. Scenes, for example, end before they develop--haphazard editing it would seem. The lighting in most of the film doesn't work well. The soundtrack is a bit of a problem, too--there's a note at the end to say everything was re-dubbed in London (ITC bankrolled the film). Does that mean the direct sound had to be scrapped, or that that was the plan all along? This isn't so much a film as a demo of a film: too bad they never got around to making the real one.

Which ending did you see, there are two, one the happy sappy one, the other Dance shoots Skelton ending in a freeze frame?

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« Reply #17402 on: October 11, 2017, 05:43:46 PM »

Probably the second one, but I don't really remember or care enough to go back and check.

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« Reply #17403 on: October 12, 2017, 04:18:39 AM »

Probably the second one, but I don't really remember or care enough to go back and check.

The first one is on Youtube, the second on the DVD.

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« Reply #17404 on: October 12, 2017, 03:19:00 PM »

I watched the DVD.

A Quiet Place in the Country (1968) - 4/10. Franco Nero plays a hot artist who doesn't care all that much about painting anymore now that he's going insane. Vanessa Redgrave is his wife/agent trying to jolly Franco along so she can get as many sales out of him as possible. A rather dull exercise overall, but the soundtrack by Morricone (performed by Gruppo di Improvvisazione Nuova Consonanza), from his musique concrete phase, holds some interest.

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« Reply #17405 on: October 13, 2017, 03:50:33 PM »

West 11 (1963): Alfred Lynch is constantly broke and moving from job to job, without a clue what to do with his life. Retired army captain Eric Portman takes an interest in him, because he has a wealthy aunt whose inheritance he's after. And who better to take care of the aunt for him but a complete stranger? Slow movie whose crime element doesn't really come into play until the final 15-20 minutes. But Lynch is excellent, as well as former sex-kitten Diana Dors as a woman who's 'old enough to wanna get a husband, not young enough to get the kind I want'. Worth watching for Lynch's character development, as well as the location shooting around London's Notting Hill area. 7-/10

Watched the Network UK DVD. Looks great, as usual.

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« Reply #17406 on: October 14, 2017, 07:37:36 AM »

Last Action Hero lol/10

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« Reply #17407 on: October 14, 2017, 08:34:02 AM »

Longshot.  A 40-minute NetFlix documentary where a guy accused of murder can only clear himself by proving that he was actually at Dodger Stadium that night. 

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« Reply #17408 on: October 14, 2017, 09:52:30 AM »

Quote
lol/10
That's a new one. I like that.

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« Reply #17409 on: October 14, 2017, 04:04:42 PM »

Cosa Avete Fatto A Solange? aka What Have You Done To Solange? (1972): Christina Galbo and her gym teacher Fabio Testi are having a romantic boat ride when she witnesses the murder of a classmate, the first of a series of killings of girls from the same class. Who is the killer, what's his motive and who the f*ck is Solange? A nicely made giallo/murder mystery with a good score by Ennio Morricone. 6+/10

Watched the Italian dub on the Arrow UK blu-ray.

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« Reply #17410 on: October 14, 2017, 08:09:19 PM »

Carny (1980) Directed by Robert Kaylor with Gary Busey, Jodie Foster, Robbie Robertson, Meg Foster, Kenneth McMillan, Elisha Cook Jr., A nice surprize, a film about carny life that stayed interesting. Currently on Youtube 7/10

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« Reply #17411 on: October 15, 2017, 09:39:14 AM »

Mindhunter - Season 1 episodes 1 to 3 8/10

Great Netflix show produced and co-directed (4 episodes out of 10) by David Fincher. Each episode so far is a 50 minutes masterclass in the lost arts of cinematography, blocking, production design, editing, actor direction and dialogues.
The show focuses on 2 FBI detectives in 1977 who try to push their puritan institution towards modern psychology and profiling to catch serial killers ("sequence killers", actually, since the phrase hasn't been invented in 1977). Just like in Zodiac but in a deeper way, the whole thing is the perfect excuse for Fincher to scrutinize the dichotomy of American society. Without ever forcing it down your throat, each societal layer and paradox is examined by his crystal clear (almost scientific) lens while his heroes lose themselves in their obsession.
This is real David Fincher stuff, which may be why it's much more promising than House Of Cards.

https://www.youtube.com/watch?v=7gZCfRD_zWE

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« Reply #17412 on: October 18, 2017, 02:05:14 AM »

1. The Front Page (1931) TCM http://www.imdb.com/title/tt0021890/?ref_=ttfc_fc_tt

This play – written by Ben Hecht and Charles MacArthur – has been made into a movie several times, including once in 1974 by Billy Wilder under the same title; and in 1940 by Howard Hawks as His Girl Friday.

I saw this 1931 version on TCM. Image quality was poor, and this has all the problems you'd expect from a film made in the early sound era. But it's decent. Pre-Code, so you get some "racy" stuff for that time period. For example, one of the crime reporters says a woman reported a Peeping Tom, so he suggests that perhaps he contact the woman and ask to reenact the crime  Cheesy

But the ending is interesting for Leone fans, perhaps a GBU inspiration: The last line of the movie, a character is speaking into the phone and says, "The son of a -- stole my watch" just at the moment he should be saying "bitch," he conveniently drops the receiver so we hear a clanging sound instead of the word he is saying!


2. Hell Below (1933) TCM http://www.imdb.com/title/tt0024100/?ref_=nv_sr_4

A halfway decent submarine movie, with crappy "special effects" in 1933, and with a dumb subplot love story between Robert Montgomery and the daughter of (of course!) his commanding officer Walter Huston.


3. Hotel Berlin (1945) 5.5/10

Another movie about a bunch of characters in a hotel. In this case, a hotel in Berlin in the closing days of World War II; some Nazis, some collaborators, some Resistance fighters, some Jews hiding, some girls throwing themselves at the Nazi officers, etc.

Ridiculously stupid mistake: In one scene, a woman visits the hotel (I don't recall if the movie explicitly says she is Jewish, but that is certainly the implication), and a Nazi says, "Where is your star?" (as in, your yellow Jewish star). That's ridiculous because by the time the movie is set, toward the end of the war, all Jews in Germany were long deported to concentration camps; it's not like Jews could walk the streets of Berlin at the end of 1944 or early 1945 at all, even with the star.

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« Reply #17413 on: October 18, 2017, 06:35:05 AM »

Barry Lyndon (1975) - 10/10. My favorite Kubrick, now out in a fabulous Criterion edition (a 10/10 for that as well). If the film has a fault it is its over-reliance on the reverse zoom effect. The trick is a good one, though: we begin on a detail in close-up, then rapidly retreat until a stunning composition (usually a quotation of a painting) is revealed. Motion pictures, what? The new supplements on this edition are mostly in-house jobs. There is a bit on the cinematography, the editing, the art direction (this last conducted by Frayling (as he is an authority on Ken Adam)). One of the best pieces is a more general "making of" bit, with the usual suspects yakking in 2017, but also bits of vintage audio from the great man himself. For the first time I have heard it from Stanley's mouth: the reason he chose Handel's Sarabande was because it was the 18th Century work he could find that sounded most like Morricone!

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« Reply #17414 on: October 18, 2017, 07:12:02 AM »

If the film has a fault it is its over-reliance on the reverse zoom effect. The trick is a good one, though: we begin on a detail in close-up, then rapidly retreat until a stunning composition (usually a quotation of a painting) is revealed.

Yeah, the film looks gorgeous but that trick is the one that aged poorly. Zooming in/out didn't have that cheap connotation at the time and that kind of use was still quite new (I'd say about 15 years old). I get that it was done to emulate the way paintings are shot, but it's definitely cringeworthy.

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