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: Rate The Last Movie You Saw  ( 5040168 )
dave jenkins
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« #17745 : April 18, 2018, 07:59:16 AM »

Le dernier des six / The Last One of the Six (1941) - 7/10. A tontine is the occasion for several murders, but Superintendent Wens (Pierre Fresnay) is on the case. This very witty prequel to The Murderer Lives at 21 was not directed by Clouzot, he only wrote the screenplay adaptation. But once one has understood the plot, the only reason to return to the film is for the byplay between the characters. There are several hilarious exchanges.

« : April 19, 2018, 08:40:24 AM dave jenkins »


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« #17746 : April 19, 2018, 01:23:25 AM »

Disclaimer: take the following grading and review with a grain of salt: I always change the original grade of a Wes Anderson movie after the second or third viewing.

Isle of Dogs (2018) - 7?/10

Isle of Dogs is your usual cool and arty yet boring yet funny yet touching Wes Anderson flick. Top notch cast (Bryan Cranston proves once again he was the most underrated actor ever for decades), as often. Desplat's music is effective and carries the film's pace but fails at providing the additional magic touch required. The sound design makes up for it. All of this was expected.

What took me by surprise is how absolutely gorgeous the film is. I'm your regular Parisian arty film-goer so of course I've always liked Wes Anderson's aesthetics but I've never loved them. This time, I'm in total awe. Everything from the set and character design to the careful framing to the use of typography is sumptuous. The compositions during the numerous scenes of dialogues between dogs are masterful, inspiring and damn beautiful. Wes Anderson may be known for his live action work, but his style only really flourishes in stop motion. I also thing that dirt and grit add what his work usually lacks. Another thing I didn't expect is the often fast pacing of the movie. The beginning has something of a Scorsese flare. However (less than usual) vintage and desuet the film tries to be, it sometimes results in very modern sequences.

Also, don't expect any insight on Japanese culture. The film's Japan is a total imaginary country and only serves 2 purposes: looking good (and it sure does) and highlighting problems of communication between two groups. The only exception to this rule is the sushi scene, praised as pretty on the spot. That scene is cool as fuck.

I'll see it again.

« : April 19, 2018, 07:52:45 AM noodles_leone »

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« #17747 : April 19, 2018, 05:33:09 AM »

Disclaimer: take the following grading and review with a grain of salt: I always change the original grade of a Wes Anderson movie after the second or third viewing.

Isle of Dogs (2018) - 7?/10

Isle of Dogs is your usual cool and arty yet boring yet funny yet touching Wes Anderson flick. Top notch cast (Bryan Cranston proves once again he was the most underrated actor ever for decades), as often. Desplat's music is effective and carries the film's pace but fail at providing the additional magic touch required. The sound design makes up for it. All of this was expected.

What took me by surprise is how absolutely gorgeous the film is. I'm your regular Parisian arty film-goer so of course I've always liked Wes Anderson's aesthetics but I've never loved it. This time, I'm in total awe. Everything from the set and character design to the careful framing to the use of typography is sumptuous. The compositions during the numerous scenes of dialogues between dogs is masterful, inspiring and damn beautiful. Wes Anderson may be known for his live action work, but his style only really flourish in stop motion. I also thing that dirt and grit add what his work usually lacks. Another thing I didn't expect is the often fast pacing of the movie. The beginning has something of a Scorsese flare. However (less than usual) vintage and desuet the film tries to be, it sometimes results in very modern sequences.

Also, don't expect any insight on Japanese culture. The film's Japan is a total imaginary country and only serves 2 purposes: looking good (and it sure does) and highlighting problems of communication between two groups. The only exception to this rule is the sushi scene, praised as pretty on the spot. That scene is cool as fuck.

I'll see it again.
Yeah that’s pretty much my exact score and review as well.

I am still a bit bothered by the obnoxiousness is his style and I think it’s what prevents me from loving any of his films. That being said it’s objectively amazing, so good for him and all those who love it.

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« #17748 : April 26, 2018, 07:01:08 AM »

Snow Falling on Cedars (1999) - 4/10. Yuck. Youki Kudoh is cute, though, and there's some nice photography.



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« #17749 : April 26, 2018, 08:33:33 AM »

Only rewatches:

Silence of the Lambs (1991) - 6.5/10 - This one isn't aging well.
Rosemary's Baby (1968) - 8/10 - This one is.
The Master (2012) - 8.5/10 - There is even more gay subtext than I remembered.
Cinderella (1950) - 8/10 - Good thing the mouses have more screen time than Cinderella.


dave jenkins
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« #17750 : April 26, 2018, 12:43:21 PM »

The Miyagawa retro at MoMA continues apace. Mr. and Mrs. Jenkins were down for 4 showings last weekend.

Ototo / Her Brother/ Younger Brother (1960) 7/10. Kon Ichikawa adapts a semi-autobiographical novel by a famous woman writer about a woman in a dysfunctional family who cares for her irresponsible younger brother. I’d seen this already, but Mrs. Jenkins hadn’t and the book is a favorite of hers so we went. It’s a good film, but I probably won’t be returning to it in future.

Enjo / Conflagration (1958) 9/10. Ichikawa adapts Mishima. A novice monk discovers that the temple where he serves is constantly being defiled, by loose women, American occupiers . . . even the head monk himself! His solution? Conflagration! Mishima was working the redemption-through-annihilation angle long before Pynchon got wind of it.  Mrs. Jenkins comments: “The actor playing the novice monk was perfect casting!”

Suzakumon (1957) 3/10. Dull costume weepy. Nice colors, nice kimonos. Mrs. Jenkins says: “Zzzzzzzzzzz . . .”

Reminiscence / Thousand Cranes (1953) 10/10. Kozaburo Yoshimura adapts Kawabata’s famous novel. He is abetted by some incredible performances, including one by Michiyo Kogure  (as the very fetching older woman with something on her mind), and an even more amazing one by Haruko Sigimura (as the surrogate mom-from-hell). This is also a film where Miyagawa really shows his stuff with some very impressive camera moves. Mrs. Jenkins: “A near-perfect adaptation. Sigimura must be Japan’s greatest-ever screen actress!”

« : April 26, 2018, 01:43:39 PM dave jenkins »


"McFilms are commodities and, as such, must be QA'd according to industry standards."
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« #17751 : April 26, 2018, 12:58:39 PM »

Tampopo (1985) trucker Goro  sets out to help Tampopo set up the perfect noodle shop. Some great sequences of broth preparation. Also involved are his partner and a local thug. Entertaining 7/10

« : April 26, 2018, 06:20:23 PM cigar joe »

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
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« #17752 : April 27, 2018, 01:23:06 AM »

The Miyagawa retro at MoMA continues apace. Mr. and Mrs. Jenkins were down for 4 showings last weekend.

Ototo / Her Brother/ Younger Brother (1960) 7/10. Kon Ichikawa adapts a semi-autobiographical novel by a famous woman writer about a woman in a dysfunctional family who cares for her irresponsible younger brother. I’d seen this already, but Mrs. Jenkins hadn’t and the book is a favorite of hers so we went. It’s a good film, but I probably won’t be returning to it in future.

Enjo / Conflagration (1958) 9/10. Ichikawa adapts Mishima. A novice monk discovers that the temple where he serves is constantly being defiled, by loose women, American occupiers . . . even the head monk himself! His solution? Conflagration! Mishima was working the redemption-through-annihilation angle long before Pynchon got wind of it.  Mrs. Jenkins comments: “The actor playing the novice monk was perfect casting!”

Suzakumon (1957) 3/10. Dull costume weepy. Nice colors, nice kimonos. Mrs. Jenkins says: “Zzzzzzzzzzz . . .”

Reminiscence / Thousand Cranes (1953) 10/10. Kozaburo Yoshimura adapts Kawabata’s famous novel. He is abetted by some incredible performances, including one by Michiyo Kogure  (as the very fetching older woman with something on her mind), and an even more amazing one by Haruko Sigimura (as the surrogate mom-from-hell). This is also a film where Miyagawa really shows his stuff with some very impressive camera moves. Mrs. Jenkins: “A near-perfect adaptation. Sigimura must be Japan’s greatest-ever screen actress!”

I take it all in all the honeymoon is doing good?


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« #17753 : April 27, 2018, 02:51:14 AM »

I take it all in all the honeymoon is doing good?

It must be non stop, ya think? A lot of years to make up!


"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
dave jenkins
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« #17754 : April 27, 2018, 04:32:31 AM »

It must be non stop, ya think? A lot of years to make up!
You mean, because there are so many films she hasn't seen yet? Yes, we're viewing them as fast as we can.

I've got a DVD of FAFDM with a Japanese language track. I may try that next.



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« #17755 : April 27, 2018, 05:34:10 AM »

I've got a DVD of FAFDM with a Japanese language track. I may try that next.

PLEASE SHARE THE EXPERIENCE HERE AFTERWARDS!


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« #17756 : April 27, 2018, 07:35:44 AM »

I've got a DVD of FAFDM with a Japanese language track. I may try that next.

Thumbs Up!


"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
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« #17757 : April 29, 2018, 02:24:51 AM »

Trois Couleurs : Bleu 9/10
I had not seen this one for years... Apart from the opening and closing scenes, that I watch on a regular basis. Terrific. I may steal the recurrent use of black screen + loud music in the middle of regular scenes to show the bursts of pain that come with mourning for my upcoming short movie (the one I partially shot in NYC).
I still have to give Blanc a shot. I bought it recently so i’ll Probably watch it within 2 weeks.


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« #17758 : April 29, 2018, 02:55:48 AM »

to show the bursts of pain that come with mourning for my upcoming short movie (the one I partially shot in NYC).


Why are you mourning for it?


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« #17759 : April 29, 2018, 02:57:08 AM »

No I'm not morning for my short, there is mourning in the short so I may use the same editing trick.

So I'm "stealing the mourning" for my short, I'm not "mourning for my short".

« : April 29, 2018, 02:58:30 AM noodles_leone »

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