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: Rate The Last Movie You Saw  ( 3307541 )
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« #18765 : January 31, 2020, 08:06:34 AM »

A Rainy Day in New York 6.5/10
Charming little Woody Allen film. Elle Fanning finally proves some great acting chops (so far she was only (but mostly well) used for her look and charm). Woody’s mise en scene is annoying to me, I prefer when his style is more cinematic than old school theater play looking, but there are some glimpses of brilliance by Master Storaro.
Eh! I think it's one of his weaker movies. I hated the dialogue and most of the performances. But not bad overall (thanks to Storaro)

Enzo Avitabile Music Life (2012) - 6/10
A late-career Demme music doc that's a pretty tough find (nowhere online, got a Region 2 DVD with no English subs). Not worth it unless you're a Enzo Avitabile fan, who I hadn't heard of outside of this doc. Good musician, pretty tame doc. Reminds me a ton of the only PTA movie I don't like that much, Junun.

Cleo from 5 to 7 (1962) - 7/10
Interesting stylistically, lots of influences taken from many later directors, but man I had trouble connecting with the story and characters. Thought it was pretty boring.

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« #18766 : January 31, 2020, 10:27:56 AM »

Then why a 7/10 for a bore? Boring films are automatically beneath 4/10 on my entertainometer.


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« #18767 : January 31, 2020, 10:47:45 AM »

Boring films are automatically beneath 4/10 on my entertainometer.

Yeah but we’ve already discussed that and you know you’re wrong as hell.

But not half as wrong as RR because Cleo de 5 à 7 isn’t boring, it’s awesome.


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« #18768 : January 31, 2020, 10:51:17 AM »

Yeah but we’ve already discussed that and you know you’re wrong as hell.



How can I be wrong on my own entertainometer? That's practically impossible ...


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« #18769 : January 31, 2020, 12:22:25 PM »

Then why a 7/10 for a bore? Boring films are automatically beneath 4/10 on my entertainometer.
There was enough interesting stuff in there. And I blame the boredom on my attention span and mood, not necessary the movie. We're not talking Tarkovsky boring here.

It's pretty good - I'm glad I watched it. Might again some day, might not. So 7 is fair for me.

Also I hate the French. Especially n_l.

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« #18770 : January 31, 2020, 01:58:46 PM »

A Faithful Man (2018) - 4/10. A man gets more pussy than he can handle.

So I watched the recent Louis Garrel film (directed by Louis Garrel, starring Louis Garrel) and found it amusing but frustrating--the film is missing its third act. Left unsatisfied, I decided to go back to the last Louis Garrel film I saw and rewatched that and was surprised by how much I liked it now. Apparently my perspective has changed. Here's my original take:
La jalousie (2013) - 6/10. A film by Philippe Garrel starring Louis Garrel. Garrel fils plays an actor who leaves one woman for another, and then the second woman in turn leaves him. WTF? If one were to argue that the French are now post-human this could be exhibit #1. Well, at least it all gets done in 77 minutes. The images are beautiful (though perhaps overly contrast-y); this is one of those 2.35:1 b&w films Drink has never heard of.
Now I'm thinking this Jenkins guy doesn't know shit from shinola. La jalousie is great! A narrative with all fat removed. Great photography (it's interesting how urban France in b&w looks like urban UK). Great acting, including credible performances from children. The music is good, too. Huh, maybe this is a "10."

I'm pretty sure, though, I'm never going to warm to A Faithful Man.



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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« #18771 : February 01, 2020, 05:09:18 PM »

How can I be wrong on my own entertainometer? That's practically impossible ...

You are morally wrong. You are a bad person.

1917(imax) 6.5/10
Technically very, very impressive. Especially the level of precision they reached with the camerawork. That being said for more or less half the movie the one shot gimmick works against the movie as it isn’t that immersive. It changes in the second half as the camerawork better fits the character’s mindset. So it was pretty good, but right now I’d rather see Gravity again.

Uncut Gems 8/10
Like Mr RR says, it’s exhausting in a great way. What a great year 1919 was. It was the best movie year since 2007.

« : February 01, 2020, 05:10:58 PM noodles_leone »

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« #18772 : February 03, 2020, 09:19:10 AM »

Pain and Glory (2019) - I hate Almodovar films, but I heard from reviewers that this one, being semi-autobiographical, was a cut above the usual. And the reviewers were right. Usually I would give an Almodovar film a 3/10 at best, but this one rates a "4."

Parasite (2019) - I had misgivings about seeing a film by the guy who made Snowpiercer, but this was getting so much buzz I had to take a look. Then I read that the director wants to make a 6-episode TV version,  and everything made sense. So this is a sketch for a TV show. Yeah, I could see how this could be expanded into a successful TV thing, especially with those incredible sets. They could get some writers to come in and create credible characters. They could refashion the plot so that motivations were believable. They could even get rid of the moronic birthday party scene. Yeah, it has a lot of potential. 5/10 (for the sets).



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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« #18773 : February 04, 2020, 08:29:20 AM »

Johnny Eager (1941) - 6/10. A district attorney's daughter (Lana Turner) falls for a block of wood (Robert Taylor)  who the D.A. is trying to put in jail. Said block begins by manipulating the daughter to get to her old man, but finally feels love's touch himself at the point of dying. Van Heflin plays a literate lush, the gangster's friend and conscience. Turner is incandescent (but disappears from the middle of the picture), Heflin is very, very good, and Taylor does his usual thing. This works well at the beginning when his character is supposed to be cold and unfeeling, not so well later when he's supposed to grow a heart and start emoting (the glycerin tears don't help). Some good lines, but the interesting premise is squandered on a rather aimless plot.
This is better than I once thought. Mervyn Leroy directs the hell out of it--his opening reveal of Turner is startling. And then he's able to pull off the trick a second time! The banter is first-class.  And of course, Turner at this point was better than anyone at doing the deer-in-headlights routine (and she was only 21 at the time of filming). Van Heflin rightly recieved an Oscar nom for his performance. Some see this as a noir, but unless you've got CJ Disease there's no reason to classify it thus. Spencer Shelby judiciously omits it from his book. I guess if you have to classify it you could call it a "dramedy." The plot construction is very tight, there are several good twists, there is pathos at the end, and an interesting sub-plot that is surprisingly resolved in the finale. My new rating: 8/10.

It's a pleasure to see something so well-made after all the crap I had to wade through in 2019.

« : February 04, 2020, 08:31:21 AM dave jenkins »


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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« #18774 : February 04, 2020, 10:58:51 AM »

Parasite (2019) - I had misgivings about seeing a film by the guy who made Snowpiercer, but this was getting so much buzz I had to take a look. Then I read that the director wants to make a 6-episode TV version,  and everything made sense. So this is a sketch for a TV show. Yeah, I could see how this could be expanded into a successful TV thing, especially with those incredible sets. They could get some writers to come in and create credible characters. They could refashion the plot so that motivations were believable. They could even get rid of the moronic birthday party scene. Yeah, it has a lot of potential. 5/10 (for the sets).

What's so moronic about the party scene? My main issue with it has nothing to do with moronism, it's the way they try to make it like a big bloody finish and don't deliver. The body count is ridiculously low. They needed to be braver than that. Especially since people you think are dead keep coming back to life.

I thought the whole movie was ok, I still don't understand all the fuzz about it, especially in the US. Were your people so afraid of communism for decades that they think a 2019 film based on a century old Marxist analysis is smart, innovative and edgy?

« : February 04, 2020, 11:15:52 AM noodles_leone »

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« #18775 : February 05, 2020, 07:57:53 AM »

Never Look Away (2018) - 9/10. A lightly fictionalized life of German artist Gerhard Richter. Includes Nazis, commies, and art students. Also euthanasia, the fire-bombing of Dresden, the Dusseldorf School. And attractive young actresses who take off their clothes. Really, really well made. My only caveats are that there is a faint whiff of television hanging over the proceedings, and that Caleb Deschanel’s approach to nighttime photography is jejune at best.



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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« #18776 : February 05, 2020, 08:33:21 AM »

What's so moronic about the party scene? My main issue with it has nothing to do with moronism, it's the way they try to make it like a big bloody finish and don't deliver. The body count is ridiculously low. They needed to be braver than that. Especially since people you think are dead keep coming back to life.

I thought the whole movie was ok, I still don't understand all the fuzz about it, especially in the US. Were your people so afraid of communism for decades that they think a 2019 film based on a century old Marxist analysis is smart, innovative and edgy?
It's pretty good but I haven't been so annoyed by the overwhelming love for a movie in a long time. It's insanely forgettable for me. I think it's just because it's a very stylistically accessible foreign movie that a lot of people think makes them smart for "getting it".

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« #18777 : February 05, 2020, 09:01:04 AM »

It's pretty good but I haven't been so annoyed by the overwhelming love for a movie in a long time. It's insanely forgettable for me. I think it's just because it's a very stylistically accessible foreign movie that a lot of people think makes them smart for "getting it".
Well put.  :-*



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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« #18778 : February 06, 2020, 08:27:52 AM »

Sword of the Beast (1965) - 7/10. A rather run-of-the-mill chambara elevated by the presence of stunning beauty Shima Iwashita (sans make-up). The production saved money on sets by locating most of the action in and around trees, rocks, a river (I'm guessing in Yamanashi prefecture). Nice body count.

« : February 06, 2020, 08:31:31 AM dave jenkins »


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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« #18779 : February 06, 2020, 08:41:52 AM »

The Andromeda Strain (1971) - 9/10. A team of scientists (led by Arthur Hill and David Wayne) race to prevent a micro-organism of extra-terrestrial origin from putting us all in a world of hurt. Robert Wise does Michael Crichton's novel proud, with the help of some outstanding industry specialists: Boris Leven on set design, Albert Whitlock on mattes, Douglas Trumbull on special photographic effects. They even found someone to deliver a pretty fantastic electronic score. The script suffers a bit from too much exposition put into characters' mouths, and the big statement at the end is pretty ridiculous (are we all REALLY supposed to be worried about future micro-biological threats from space?), but for the most part this is a very effective thriller, one that works even without much action (although James Olson does his best to inject a little at the end). The film still looks good, and now, thanks to a new German Blu-ray release (in a way cool steelbook!), it probably looks the best it ever has. Thank you, Kraut Nation!
I enjoyed this again last night. I stand by my earlier comments.



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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