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: Rate The Last Movie You Saw  ( 2799492 )
noodles_leone
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« #18405 : June 28, 2019, 04:05:05 AM »

Lost Highway  (1997) – 7/10. I had never seen this and there was a new blu-ray released so I got a copy and took it for a spin. As Lynch films go, it isn’t bad. It’s utterly incoherent, but it carries a lot of visual interest. That interest lies primarily with Patricia Arquette’s tits, but there’s another actress in this who also takes her top off, and there’s even a scene with Arquette where you get to see her naked ass (albeit from a distance). So it gets at least five points just for nudity. Weirdness accounts for the other points. Speaking of which, if this film wasn’t weird enough, it’s gotten stranger since the time of its release. In particular, Robert Blake hadn’t actually killed anyone in real life when he assayed the role of a killer here. Now that he’s a murderer in fact it’s necessary to look at his role and performance in LH in a whole new light. I guess it adds to the sense of dread and the nightmare quality of the piece.

The new blu looks very good. There were some anticipatory scare comments on the web that almost put me off getting it, but I took a chance. The reviewer at blu-ray.com was similarly daunted, similarly reckless, and similarly pleased.https://www.blu-ray.com/movies/Lost-Highway-Blu-ray/79184/#Review

What's incoherent? I could understand "uninteresting", but it's pretty damn coherent once you "get" it. If you've "understood" Mullholand Drive, it's easy to get: it's exactly the same thing, only less mainstream (and better, although, I know, no lesbian scene can be spotted here).

As often with Lynch films, even for those who are bored by the whole mystery thing, it carries way more than just visual interest: it contains several utterly cinematic gems. The phone scene with Robert Blake is incredible. The road rage one is almost as good as a top notch Coen brothers scene (the cops scene at the begining isn't far from the cops scenes in Barton Fink, by the way). Apart from very strong individual scenes (which is the way Lynch writes, by the way: he thinks of strong scenes and then loosely ties them together. The themes of the movie are also a stronger tie than the "plot"), it's filled with genius ideas, like the tapes at the begining, the switch in jail and many others.

The film is now aging (although the B movie from the 90's aesthetics is now starting to give it a great looking patina) and Lynch got more precise (also very redundant) with Mullholand Drive, but Lost Highway is still my favorite film of his. The main flaw is Bill Pullman, of course, who took Lynch's directions way too seriously.

« : June 28, 2019, 04:07:13 AM noodles_leone »

cigar joe
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« #18406 : June 28, 2019, 09:11:48 AM »

...Lost Highway is still my favorite film of his.

Me too, and I like Pullman. BTW have you seen Zero Effect with Pullman, Ben Stiller and Kim Dickens?


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noodles_leone
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« #18407 : June 28, 2019, 09:22:32 AM »

Me too, and I like Pullman. BTW have you seen Zero Effect with Pullman, Ben Stiller and Kim Dickens?

Never even heard of it I think. I just saw a trailer...


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« #18408 : June 28, 2019, 11:42:55 AM »

Never even heard of it I think. I just saw a trailer...
Its a Sherlock Holmes-isan update detective story with Pullman playing the detective and Stiller the Dr. Watson role. My wife loves it.

BTW are you coming back to NYC anytime soon?

« : June 28, 2019, 11:45:02 AM cigar joe »

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« #18409 : June 30, 2019, 04:52:50 PM »

Stan and Ollie - Amazing recreation of comedy team Stan Laurel and Oliver Hardy. 10/10


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« #18410 : July 01, 2019, 12:23:54 AM »

Its a Sherlock Holmes-isan update detective story with Pullman playing the detective and Stiller the Dr. Watson role. My wife loves it.

BTW are you coming back to NYC anytime soon?

My girlfriend was in NYC 2 weeks ago, for work. We may or may or may not come back later this year to work out some details... but we’re definitely moving there next year. Maybe even first semester.


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« #18411 : July 01, 2019, 07:05:19 AM »

My girlfriend was in NYC 2 weeks ago, for work. We may or may or may not come back later this year to work out some details... but we’re definitely moving there next year. Maybe even first semester.

!!!!!!!!!!  :)


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« #18412 : July 03, 2019, 07:15:10 AM »

Hour of the Wolf (1968) - 7/10. On a remote Scandinavian island, Liv Ullman watches as her artist husband (Max von Sydow) slowly cracks up.  Soon memory, imagination, dream, and fantasy merge: all beautifully photographed in b&w by Sven Nykvist. I'm gonna make a wild conjecture and say David Lynch has seen this film a few times. There's an actor in this who could be the forerunner of Robert Blake's Mystery Man; there's even a scene where the character applies make-up to von Sydow, as if to ensure a smooth succession. I guess Lynch's contribution to the genre is to hold out the possibility that weird shit can happen even to the un-sane.



Ya measly skunk! A-campin’ on my trail and lettin’ me do the work an’ then shootin’ me in the back. IN THE BACK!
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« #18413 : July 03, 2019, 10:22:31 AM »

Midsommar (2019) - 4 and 9

The story and characters are irredeemably bad / weak.

The technical merits are astounding, especially: pacing, cinematography, sound design. Some very good performances, some very weak ones.

It's also quite funny.

Taking the best parts of Hereditary and merging them with the best parts of Midsommar = one of the best horror films ever made.

There's so much I want to really, really love about Midsommar but I can't get past the basic flaws.

I really just wanna know what n_l has to say

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« #18414 : July 03, 2019, 10:48:07 AM »

Hour of the Wolf (1968) - 7/10.

For me this is a fascinating masterpiece, and Bergman's best film. A true 10er.

And after a recent re-watch Persona is close, and his 2nd 10er.


noodles_leone
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« #18415 : July 03, 2019, 12:46:21 PM »

Midsommar (2019) - 4 and 9

The story and characters are irredeemably bad / weak.

The technical merits are astounding, especially: pacing, cinematography, sound design. Some very good performances, some very weak ones.

It's also quite funny.

Taking the best parts of Hereditary and merging them with the best parts of Midsommar = one of the best horror films ever made.

There's so much I want to really, really love about Midsommar but I can't get past the basic flaws.

I really just wanna know what n_l has to say

Hmmmmm this is disappointing. It will be release at the end of the month here I think.


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« #18416 : July 03, 2019, 01:08:26 PM »

Hmmmmm this is disappointing. It will be release at the end of the month here I think.
No worries, we could have entirely different opinions. I'd still worth checking out... you might think it's a masterpiece. Or like me, you might think it's garbage. You did like Hereditary much more than me if I recall.

I think Song to Song is a masterpiece so who am I to trust?

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« #18417 : July 03, 2019, 05:34:23 PM »

Falling Down (1993) - Hilarious, prophetic, or hilariously prophetic, or something like that. It has some conventional trappings of thrillers from its time but it's also ingenious with so many classic scenes. At the time, it would have had to seem off for Gordon Gekko to play a working schlub that loses it but I can't imagine anyone else in this role. There's something dark about Douglas that works wonders in this movie.

This is so much better than I remembered watching it on the TV years ago and most of the bit actors hit it out of the park, especially the fast food employees and the Korean convenience store owner. And that opener is wonderful and dare I say a little Leone-esque, or better yet, Leone inspired by using various close-ups to build copious amounts of suspense. The opener also has a claustrophobic and smoggy feel that captures all the worst of what LA has to offer.

9/10

« : July 03, 2019, 05:36:02 PM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #18418 : July 04, 2019, 10:07:26 AM »

Last weekend, back-to-back 14-hour flights (don’t ask) gave me the opportunity to catch up on all the films I’ve been avoiding. Here’s what I endured.

Aquaman
(2018) So incredibly bad I couldn’t finish it (thus no rating). It turns out life underwater is just like life on land, except there are these wavy visual effects around everything. Same old comic book crud, with people throwing each other around and crashing into things. When the story started to rehash Raiders of the Lost Ark, though, I checked out.

The Kid (2019) 5/10. Pat Garrett and Billy the Kid, from the perspective of an even younger kid who is on a mission to save his sister from a life of prostitution.  Once Billy has been dealt with Pat can turn his attention to helping the sister. What is it that Hollywood suddenly has against prostitution, anyway? Isn’t it a victimless crime? Didn’t Jane Fonda and Shirley MacLaine get career boosts by depicting happy, glamorous hookers?

Captain Marvel (2019) 6/10. This isn’t bad, set in 1995, with lots of jokes about the 90s. However, the film represents both a missed opportunity and a trashing of certain sacred elements in Marvel Lore. The missed opportunity is this. SPOILER ALERT. The film begins with the main character Vers (Brie Larsen), a soldier in the Kree Empire. Flashbacks intimate that there is more to her than we’ve first supposed. We finally learn that she is in fact a human who has been abducted and taken back to the Kree homeworld and brainwashed. The original Captain Marvel (that is, the original Marvel Captain Marvel) was a guy and Marvel has scored some points with certain groups by transforming him into a her. But that could have been part of the backstory! Captain Marvel could have been the first transgendered hero/heroine! What if the Kree not only took a human from Earth but took a human male and then changed him into a woman? As a man he was no great shakes, but transgendered he/she becomes the most powerful being in the universe (or something). Marvel, how could you have missed this opportunity??? Anyway, that’s not my main beef. At the end the big surprise is not that the Kree are bad (fans will have known that from the get-go) but that the Skrulls are good!!! No way. Not in this or any other Marvel universe. What’s the point of having a race of shape-shifters if they aren’t going to use those powers for evil? The spirit of Lee-Kirby has been betrayed (not for the first time, of course, and not likely the last). This film ties in with the Avengers movies, I guess, but I can’t be bothered with those (at least, not until my next 14-hour flight).

The Mule (2018) – 6/10 Based on a true story. Clint Eastwood plays an old codger down on his luck who has the chance to make some good money hauling. Turns out, wouldn’t you know, that the freight he’s carrying is  . . . illegal drugs! The people he’s carrying for don’t completely trust him, though, but the guy at the top of the cartel likes his style so Clint is, for a while, protected. But then there is a coup and Clint is in danger. Meanwhile, Agent Bradley Cooper is trying to shut down the drug operation. If he could only get a handle on how the gang is moving the stuff . . . . In turns of plot, this develops into a very nice squeeze play. If the filmmakers had been smart they would have had Clint turn himself in and then go back to the crooks wearing a wire and taking lots of chances. Suspense! Tension! Instead, the filmmakers went with what actually happened .  .  . zzzzzzzzz . . . .

Lego Movie 2(2018) – Couldn’t finish it.

Deadpool 2 (2018) – 7/10. Having struck gold first time out, the filmmakers return to the mine to extract yet more nuggets of ever-decreasing size . There are some good gags, but it all goes on waaaaaay too long.




Ya measly skunk! A-campin’ on my trail and lettin’ me do the work an’ then shootin’ me in the back. IN THE BACK!
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« #18419 : July 04, 2019, 11:43:20 AM »

Who can guess what Jenkins bought at the B&N Criterion sale? Here's a clue:

From the Life of the Marionettes (1980) – 9/10. First viewing. Bergman’s only German-language film, made for German TV. In some ways this could be seen as his response to Hitchcock’s Psycho, with the psychiatrist’s explanation at the end providing a more credible explanation of matters. The film begins with a man murdering a prostitute. This is presented in color, and then the rest of the film (until the ending) is done in black and white as the film investigates the motives for the crime. Basically the explanation is that the guy had anger issues with women (he hated his wife, he had a domineering mother) and that the prostitute did something that triggered him to finally act out that anger. If that’s all you want to know you can skip from the beginning of the film to the final chapter and save yourself a lot of time. However, that’s not the most interesting aspect of the film (insane people are actually pretty boring). The film is composed of scenes between actors (which take place both before and after the killing) and direct-to-camera interviews of the characters. Ostensibly, we are trying to find out about the killer by hearing from those who knew him, but more interestingly, as these people talk about the man the speakers actually reveal much more about themselves. And these characters are very, very well written. I was amazed at Bergman’s script and the performances he got from his actors. The most interesting character is the murderer’s wife, and she gets the most screen time. She is played by Christine Buchegger, an actress I have never seen before, and someone who, in 1980 anyway, I would have loved to dig my teeth into. Man, what a good-looking broad (a check on IMDb reveals that most of her career was on German television, which explains why I don’t know her). She really nails her role. Of nearly equal note is the performance by Walter Schmidinger, playing a gay man in the fashion industry. There is an extended scene between him and Christine before the crime, and this is immediately followed by a police interview given afterwards. Never before have I seen such a convincing portrayal of a homosexual on film. The really amazing thing is that the actor doesn’t disappear into a lot of mannerisms, but emerges as a complete human being. This character has very little to do with “solving the crime” and could have been left out entirely, but as he spoke I kept thinking how glad I was he was in the film. I was further gratified to find that the victim was not forgotten. She is ignored for most of the film, then gets introduced (or re-introduced) at the end, and, lo and behold, she too is a fully formed, complex individual. Bravo, Mr. Bergman.

It is really all this attention to the several characters in the film that sets it apart from something like Hour of the Wolf. HotW is all about the main character and his madness. As visually interesting as that film is, there’s very little to ponder once the film is finished. By contrast, From the Life of the Marionettes (hate that title) keeps me thinking of its characters days later.



Ya measly skunk! A-campin’ on my trail and lettin’ me do the work an’ then shootin’ me in the back. IN THE BACK!
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