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: Rate The Last Movie You Saw  ( 2799534 )
noodles_leone
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« #18540 : September 24, 2019, 01:09:25 PM »

You can't say more than that.

Speaking of Polanski:

The Tenant 8.5/10
I had somehow missed it until now. I just caught it on Amazon Prime. Now that’s a movie that really grabbed me when they took the horror/crazy turn. I was passively watching it, thinking it was interesting but its old school Polanski humor was really aging... and then it really started to go south. Great film, lots of food for though.


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« #18541 : September 27, 2019, 06:57:50 AM »

Mélo (1986) - 10/10. Alain Resnais divests himself of his style to adopt a conventional TV approach--obvious sets with bad lighting--for this adaptation of a Henri Bernstein play. Part of this was by necessity: the film had to be shot in 21 days, preceded by 2 weeks of rehearsals. But necessity is here made a virtue: nothing remains to enjoy except the performances and the play itself. But what a play.  And what actors: Dussollier, Azema, Arditi. The drama (a love triangle) is constructed in such a way that each performer gets an "act" that focuses on him/her. Each act ends with a surprise "reveal" that generates momentum and leads to a very satisfying conclusion. By making himself anonymous before the material, Resnais serves his source well.
A re-watch, and it's still great. Should I buy the blu?



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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« #18542 : September 30, 2019, 09:20:22 AM »

Badlands (1973) - 9/10
Days of Heaven (1978) - 10/10
The Thin Red Line (1998) - 8.5/10
The New World (2005) - 8/10
The Tree of Life (2011) - 10/10
To the Wonder (2012) - 8/10
Knight of Cups (2015) - 8.5/10
Voyage of Time (2016) - 10/10
Song to Song (2017) - 9/10
A Hidden Life (2019) - 9.5/10 (maybe 10 on second viewing)

And as n_l says, yes, Ad Astra was excellent and horribly misunderstood by noodles himself! 8.5/10.


noodles_leone
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« #18543 : September 30, 2019, 09:45:10 AM »

Badlands (1973) - 9/10
Days of Heaven (1978) - 10/10
The Thin Red Line (1998) - 8.5/10
The New World (2005) - 8/10
The Tree of Life (2011) - 10/10
To the Wonder (2012) - 8/10
Knight of Cups (2015) - 8.5/10
Voyage of Time (2016) - 10/10
Song to Song (2017) - 9/10
A Hidden Life (2019) - 9.5/10 (maybe 10 on second viewing)

And as n_l says, yes, Ad Astra was excellent and horribly misunderstood by noodles himself! 8.5/10.

Nah I understood it but you only like it because it’s Gray’s attempt at doing a Malick film. Turns out nobody’s better than Malick to make a Malick film, and even himself misfires half the time. Those who disagree with that last sentence probably own a mug with Terrence Malick’s face all over it and have weird sexual fantasies.


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« #18544 : September 30, 2019, 10:05:48 AM »

Nah I understood it but you only like it because it’s Gray’s attempt at doing a Malick film. Turns out nobody’s better than Malick to make a Malick film, and even himself misfires half the time. Those who disagree with that last sentence probably own a mug with Terrence Malick’s face all over it and have weird sexual fantasies.

Weird, that last part sounds oddly familiar...

Anyways - I'm the first person that calls out people for being cheap Malick ripoffs. Ad Astra is definitely Malick-inspired, but it's a rare case where I feel that it's separate enough from Terry.

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« #18545 : September 30, 2019, 06:43:38 PM »

Spicy take: Outside of some exceptions where voice-overs were used to perfection - Goodfellas, and to a lesser extent, Stand By Me (blanking on the first Wonder Years type of hindsight voice over in film) - it's a crutch and shouldn't be necessary unless there's a very specific manner of executing it like the above examples. After Days of Pretension, which did have effective character specific VOs that were unique, every VO after are nothing more than generic, meandering, shallow pseudo-philosophical musings that are all the same, no matter who is speaking.

The Malick style is basically caricature at this point, you can splice in the shallow VOs and have them play over slightly ambitious TV ads for STD drugs.



Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
dave jenkins
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« #18546 : October 01, 2019, 06:50:30 AM »

The Malick style is basically caricature at this point, you can splice in the shallow VOs and have them play over slightly ambitious TV ads for STD drugs.
Good point. In fact, you could separate them from their original films and mix them up and reassign them. It wouldn't change the films at all.



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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« #18547 : October 01, 2019, 09:24:42 AM »

Freebie and the Bean (1974) - 5/10. A cop buddy movie--Caan and Arkin, together again for the first time!--in SF with endless car chases and lots and lots of sloppy shootouts. Man, does it overstay its welcome. If Richard Rush had cut about 20 minutes out of this he would have had a classic. I guess John Landis was watching, though.
Wow, did I rate this low! On a re-watch I laughed all the way through . . . well, the ending still drags. But I'm thinking this is more like a 6, maybe even a 7. I guess you've gotta be in the right mood to appreciate it.



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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« #18548 : October 01, 2019, 12:05:01 PM »

You guys are all wrong about Terrence Malick. All of his films are emotionally effective like no other - and that's a fact for me - because I've witnessed them myself! They're not pretentious movies, they don't demand or even ask for some supreme intellect, or even illusion of intellect. They're 100% driven by emotion... if you don't connect with them then you don't, and that's nobody's fault.

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« #18549 : October 01, 2019, 12:53:44 PM »

You guys are all wrong about Terrence Malick. All of his films are emotionally effective like no other - and that's a fact for me - because I've witnessed them myself! They're not pretentious movies, they don't demand or even ask for some supreme intellect, or even illusion of intellect. They're 100% driven by emotion... if you don't connect with them then you don't, and that's nobody's fault.

Yours.
It's your fault.




And a bit of Drink's fault too because I feel like it.


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« #18550 : October 01, 2019, 01:06:35 PM »

You guys are all wrong about Terrence Malick. All of his films are emotionally effective like no other - and that's a fact for me - because I've witnessed them myself! They're not pretentious movies, they don't demand or even ask for some supreme intellect, or even illusion of intellect. They're 100% driven by emotion... if you don't connect with them then you don't, and that's nobody's fault.
Sam Fuller, Peckinpah and Nick Ray's movies are built on emotion. You can't deny that there's a hoity-toity college Freshman philosophical element that dominates Malick's films of the last two decades. This might sound harsh, but Malick has arguably become a stereotype of film school art films, they're just professionally shot and acted.

In fact, you could separate them from their original films and mix them up and reassign them. It wouldn't change the films at all.
This can not be denied.







Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #18551 : October 01, 2019, 06:19:23 PM »

Nightmare in the Sun (1965)

Directors: John Derek and Marc Lawrence starring quite the cast, John Derek, Aldo Ray, Arthur O'Connell, Ursula Andress, Sammy Davis Jr., Allyn Joslyn, Keenan Wynn, George Tobias, John Marley, Robert Duvall, and Rchard Jaeckel.

Cheapo flick 6/10


"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
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« #18552 : October 02, 2019, 06:59:57 AM »

Le journal tombe à cinq heures (1942) - 6/10. Saw this in '94 at the Gaumont 100-year event; just re-watched on the new Gaumont blu-ray, which has a restored image of reasonable quality. Here's how IMDb summarizes the plot: "The everyday life and activity of "La Dernière Heure", a major evening newspaper, seen through the eyes of Hélène Perrin, a cub reporter trained by Pierre Rabaud, a star in his field. Side by side they will investigate several events: an air show that ends tragically, the coming to France of a Hollywood actress, a lightship caught in a terrible storm..." It's silly, playing on the noble journalist canard, but it sure is entertaining.



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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« #18553 : October 02, 2019, 11:37:07 AM »

Sam Fuller, Peckinpah and Nick Ray's movies are built on emotion. You can't deny that there's a hoity-toity college Freshman philosophical element that dominates Malick's films of the last two decades. This might sound harsh, but Malick has arguably become a stereotype of film school art films, they're just professionally shot and acted.
Those are great filmmakers but their films to me feel a bit cold - specifically Fuller and Peckinpah. I'm not saying that's a bad thing - Shock Corridor for example is one of my favorite movies.

And I don't now, man. I've watched a lot of film school garbage and none of it reminds me of Malick. All of the guy's movies are pretty damn effective for me. I mostly don't find his movies or the narration pretentious - aside from quite a bit of the narration in To the Wonder and Voyage of Time. I think he's simplifying movies more than anything - stripping away the exposition, plot and dialogue and diving straight into the emotional reactions. For me, it works.

He's testing a new way to build narrative, instead of with plot, with a stream-of-conscious montage of emotions. I can see why it alienates most people but to me it's a totally interesting and effective way to push cinema to different levels. Imagine you've never seen a movie when watching one of the newer Malick films - they're a new take on how movies can be experienced. In that sense, I don't find his work pretentious at all - especially because by all accounts, anyone who has worked with him paints him as a very non-pretentious person. He's just doing things differently than the fairly linear way narratives have been built in the past 100 years.

I'll just say - if there is anyone here who doesn't hate Malick with a fiery passion - then try A Hidden Life when it comes out wide release. It's much more accessible, and better, than most of his work.

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« #18554 : October 03, 2019, 09:25:02 PM »

Taxi Driver plus The King of Comedy minus any semblance of subtlety plus an extra dose of heavy-handedness =

Joker (2019) - 4/10
I could write an essay about how dumb this cute little movie is, but I don’t need to. Just don’t watch it.

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