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: Rate The Last Movie You Saw  ( 2796818 )
dave jenkins
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« #18525 : September 19, 2019, 05:18:28 AM »

Tony Takitani (2004) - 9/10. An inspired adaptation of a Murakami story. I very much liked the framing in every scene; not so keen on the over-use of a certain left-to-right tracking shot to change scenes. The leads double their roles, which I didn't realize until afterwards, which means either the stunt was effective or not worth doing. Well, I'll be watching this again many times.



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« #18526 : September 20, 2019, 12:50:51 AM »

Saw REVERSAL OF FORTUNE for the second time. 8/10

Jeremy Irons and Ron Silver are great.


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« #18527 : September 20, 2019, 07:02:21 AM »

Le mouton enragé (1974) - 6/10. Rake's Progress, with Jean-Louis Trintignant as the rake. He starts out as a milquetoast bank clerk, but once he beds Jane Birkin, his career as a wheeler-dealer takes off. Mildly amusing and largely implausible, this gets a huge assist from the female talent on display. Both Jane and Romy Schneider show their tits--hubba, hubba!



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« #18528 : September 20, 2019, 12:16:28 PM »

Black Mass (2015) - It's sort of impossible to make such a mediocre and forgettable film with a 50+ million dollar budget and such rich subject matter, but the writer(s) and director somehow managed to accomplish exactly that. This makes the derivative Blow (2001) look beautiful in comparison. This is all exposition with paper thin characters and no conflict or drama, just more plot points you don't care about. Rory Cochrane stands out doing a fantastic job with nothing to work with and only Joel Edgerton's corrupt FBI character is halfway interesting. And what the hell is Benjamin Cucumber doing in a Southie gangster flick? Yuck. 5.5/10



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« #18529 : September 20, 2019, 01:14:28 PM »

Black Mass (2015) - It's sort of impossible to make such a mediocre and forgettable film with a 50+ million dollar budget and such rich subject matter, but the writer(s) and director somehow managed to accomplish exactly that. This makes the derivative Blow (2001) look beautiful in comparison. This is all exposition with paper thin characters and no conflict or drama, just more plot points you don't care about. Rory Cochrane stands out doing a fantastic job with nothing to work with and only Joel Edgerton's corrupt FBI character is halfway interesting. And what the hell is Benjamin Cucumber doing in a Southie gangster flick? Yuck. 5.5/10

I don’t remember my exact rating but I fully agree. It isn’t really “bad”, it’s just mediocre and forgettable like you said, when it had everything it needs to be at least utterly entertaining on paper.


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« #18530 : September 20, 2019, 01:33:02 PM »

I don’t remember my exact rating but I fully agree. It isn’t really “bad”, it’s just mediocre and forgettable like you said, when it had everything it needs to be at least utterly entertaining on paper.
Thirded.



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« #18531 : September 20, 2019, 02:06:25 PM »

Same here.

I had high expectations for the movie, but it was disappointing.


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« #18532 : September 21, 2019, 12:07:30 PM »

Cesar et Rosalie (1972) - 7/10. This should actually be called Cesar et Rosalie et David as it's about a love triangle. It's almost Claude Sautet's take on Jules et Jim, but with a more upbeat ending. Wow, there's even a freeze frame at the end--how much more Truffaut-esque could they have made it? With Yves Montand, Sami Frey, and Romy Schneider.



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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« #18533 : September 22, 2019, 07:19:56 AM »

Ad Astra 6/10
An interesting movie, but another missed opportunity.

First things first:
1 - it looks really good
2 - the voice over is one of the most redundant, omnipresent and boring in years

Despite a lot of good ideas and some really good scenes, the whole movie is plagued by its incapacity to find its pacing and its balance. Both were big challenges that James Gray never managed to face. The pacing was a hard one because the story spans over something like 150 days, so the filmmakers had to find where to settle down for a full scene and where not to. The answer being "we don't really know", you kind of spend the movie in between, which undermines the effect of several strong individual scenes (the moon car chase for instance). Then comes the issue of balance between a metaphorical, almost dream-like movie and a real story with an actual plot and characters who make decisions and act in a way that makes sense. Here, again, the filmmakers never really chose, which leads to a dream-like story line majorly made of plot holes. Even big twists are spoiled several times in advance by the voice over so I spent a lot of time wondering what I was actually watching and supposed to feel.

Apart from that, it's very good and saved by some top notch performances (TLJ rocks!). James Gray's best film is still his less ambitious effort to date: We Own The Night.

PS: if you go see it, see it in IMAX or don't ever talk to me ever again, ever.
PPS: now powerrr is gonna tell you how great this one was.

« : September 22, 2019, 08:29:10 AM noodles_leone »

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« #18534 : September 23, 2019, 04:16:21 AM »

Rosemary's Baby (1968)



I haven't seen this since 1968 when it came out. Where the heck has it been hiding? Has it ever played on TCM? Anyway, I'd forgotten how low key creepy it was and the time it takes on it's slow buildup.

A lot of water has gone under the bridge. I've come to a point where I've come to appreciate other genres and styles of film making. This Polanski film gets overshadowed now by Chinatown.

Its got an eclectic cast. A couple of Film Noir Vets in the cast Elisha Cook Jr. of course in many, many noir, and also Sidney Blackmer (Little Caesar (1931), Accused of Murder (1956), Beyond a Reasonable Doubt (1956), Ralph Bellamy (Lady on a Train (1956)).

It's got iconic quirky yenta-ish Ruth Gordon from Harold and Maude (1971) and later a couple of Eastwood comedies. Also D'Urville Martin from Blaxploitation films, Charles Grodin and character actor Phil Leeds.

Features The Dakota on Central Park West and  72nd Street though the novel used another equally suitable imposing location. 8/10


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« #18535 : September 23, 2019, 09:36:16 AM »

Closely Watched Trains (1966) - 6/10. A young Czech man during the Nazi Occupation seeks sexual experience but is constantly frustrated. I guess this is supposed to be funny, but the one joke trick becomes tiresome. The ending is very abrupt, probably for shock effect, and may be the one funny gag in the whole film, if it can be appreciated. Maybe one day I'll get there. From Bohumil Hrabal's novel, using a Bohumil Hrabal screenplay.



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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« #18536 : September 23, 2019, 10:00:28 AM »

Rosemary's Baby (1968)



I haven't seen this since 1968 when it came out. Where the heck has it been hiding? Has it ever played on TCM? Anyway, I'd forgotten how low key creepy it was and the time it takes on it's slow buildup.

A lot of water has gone under the bridge. I've come to a point where I've come to appreciate other genres and styles of film making. This Polanski film gets overshadowed now by Chinatown.

Its got an eclectic cast. A couple of Film Noir Vets in the cast Elisha Cook Jr. of course in many, many noir, and also Sidney Blackmer (Little Caesar (1931), Accused of Murder (1956), Beyond a Reasonable Doubt (1956), Ralph Bellamy (Lady on a Train (1956)).

It's got iconic quirky yenta-ish Ruth Gordon from Harold and Maude (1971) and later a couple of Eastwood comedies. Also D'Urville Martin from Blaxploitation films, Charles Grodin and character actor Phil Leeds.

Features The Dakota on Central Park West and  72nd Street though the novel used another equally suitable imposing location. 8/10

I think it's more famous in France than Chinatown. Many non filmgoers have at least heard of it like they've heard of The Exorcist.
I watch it every now and then. But Chinatown is Chinatown.


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« #18537 : September 23, 2019, 10:27:18 AM »

But Chinatown is Chinatown.
You can't say more than that.



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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« #18538 : September 23, 2019, 07:09:45 PM »

A couple of obscure Film Noir....

The Lie (1954) A Bavarian Noir staring Lee Bowman, Ramsay Ames, Harald Maresch, Eva Probst, Joachim Brennecke, and Reinhard Kolldehoff. Bowman works for a diamond importer, he goes out for a night on the town with girlfriend Ames, circus trapeze star Maresch, Ames brother Brennecke and his girlfriend Probst. They get loaded and the next morning Bowman wakes up next to a dead man Kolldehoff. His companions testify against him and he goes to prison.

He gets released on parole a sets out to set things straight. 6/10


The Flame (1947) RKO Noir that stars John Carroll, Vera Ralston, Robert Paige, Broderick Crawford, Henry Travers, Blanche Yurka, and Constance Dowling.

Caroll has a rich brother Robert Paige, he's a sort of invalid, Caroll is a rake. Caroll comes up with a scheme to marry his French girlfriend Vera Ralston to his brother, once he kicks the bucket she will inherit the family fortune and Caroll will marry her. Putting a fly in the ointment is Crawford and his gal pal Dowling. The twist is Dowling is a nightclub singer who is also a past lover of Caroll. -7/10


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« #18539 : September 24, 2019, 04:53:42 AM »

The Mill and the Cross (2011) - 7/10. Pieter Bruegel, while planning his famous painting "The Way to Calvary", imagines it in 3D and walks around in it. Or something. Not much of a story here, but the visuals are impressive. According to director Lech Majewski, the compositing was intense: no image has fewer than 14 layers, and the most elaborate ones have over a hundred. Needless to say, this is a spectacle meant for HD, and it sure shines on Blu. With Rutger Hauer as the Hobo With a Shotgun, Michael York as the Queen of Flanders, and Charlotte Rampling as Arthouse Cred.
Saw this again. Meh.

Passion (1982) - 5/10. Godard did something similar to Majewski, 30 years earlier, with a story of a film director making a plotless film where tableaux inspired by famous paintings are being filmed. We get a Rembrandt and a Goya and a couple Delacroix. Meanwhile there's lots of behind the scenes drama, or there would be if Godard had written any. It's kind of his Day For Night but without the warmth.

Every Man For Himself/ Slow Motion (1980) - 6/10. This is a better Godard, with lots of stop-motion and slow-motion gags and an inventive sound design. Supposedly a satire on our consumer society (i.e. We Are All Whores), it features both Nathalie Baye and Isabelle Huppert. It's not as clever as its director thinks but it's started to grow on me.



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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