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: Rate The Last Movie You Saw  ( 4769786 )
T.H.
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« #20340 : June 02, 2022, 08:48:25 AM »

You may have stopped right there and still be right.
Scott Pilgrim is butt.

Planet Terror is fun, but it tries too hard at doing what better movies did effortlessly. Intentional camp has a limited ceiling.




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« #20341 : June 02, 2022, 09:01:24 AM »

Johnny Handsome (1989) - 5/10. Great cast squandered on a bad script. The plot is bananas, and the film is so badly paced that it should be a textbook example of How Not To. Oddly, Elizabeth McGovern, whom I usually detest, turns in a pretty credible performance. I guess the film will live on largely because of the incredible irony it underlines. In the film, surgery alters a hideous looking Mickey Rourke and gives him movie star looks. In real life, of course, just the opposite happened.

« : June 02, 2022, 10:45:18 AM dave jenkins »


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« #20342 : June 03, 2022, 01:27:17 AM »

Scott Pilgrim is butt.

Planet Terror is fun, but it tries too hard at doing what better movies did effortlessly. Intentional camp has a limited ceiling.

I agree with the second and third sentences and I'm respectfully burning your house because of the first one.


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« #20343 : June 03, 2022, 01:51:17 AM »

Burned yours down first with this review...

Licorice Pizza (2021) - While it's beautifully shot and features two likable leads, the script is an episodic shitshow which creates a horrifically slow paced, plodding mess. The movie works best in the first half as a jukebox movie (ie "Peace Frog" & "Let Me Roll It"), but this is a token example of how bad episodic movies almost always miss the mark. This one is a huge misfire that constantly features undeveloped. random new characters that the audience is strangely asked to care about. And too many scenes are way too long, like the restaurant scene with Sean Penn and the great Tom Waits. The movie flatlines before the bizarre Rebel Without a Cause set Evel Knievel bike jump, which is so fucking bizarre.

And how does it make a lick of sense for a 15 year old to be able to start two businesses, and how does a kid get randomly arrested for murder only to be chained to a chair and have some hippie say 'it's not him' and then he's released without any further explanation? And for a city as vast as LA, characters just randomly run into one another at whim, and why wouldn't the psycho Jon Peters character attack the kids after they drove away from the gas station when he ran into them again? But then it suddenly becomes hard to find one another for dramatic reasons at the climax?

This movie needed to go two ways: 1) a low key jukebox movie where the 15-17 year old boy is in love with his buddy's older sister, or 2) The Long Goodbye on acid following around the Jon Peters character for a weekend. Option 2 is the correct answer.

It would be an F+ if it wasn't so well lit and shot. D+



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« #20344 : June 03, 2022, 02:53:15 AM »

Licorice Pizza (2021) - While it's beautifully shot and features two likable leads, the script is an episodic shitshow which creates a horrifically slow paced, plodding mess.
You've convinced me. I'll steer clear.



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« #20345 : June 03, 2022, 03:04:09 AM »

Rumble Fish (1983) - 7/10. My wife is on something of a Mickey Rourke kick and she made me re-watch this with her. It's better than I remember. And it's cast with a lot of old friends. Afterwards wifey said, "Hey, this is like a Jarmusch film." Huh, I remember when she'd never even heard of Jarmusch. Of course, that was before she'd watched Paterson 30 times. But yeah, there is kinda a Jarmusch vibe in this. The out-of-body thing that happens to Matt Dillon, though--strictly Coen Bros. I'd forgotten there's a Wall of Voodoo song that plays under the end credits. Fucking 80s.



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« #20346 : June 03, 2022, 07:11:55 AM »

The Hard Goodbye (2005) - 10/10. I love Sin City, but sometimes I just want a quick fix. It was genius to break out the individual stories for the blu. Man, could Rodriguez make films or what? Whatever happened to him?



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« #20347 : June 03, 2022, 08:39:26 AM »

Burned yours down first with this review...

Licorice Pizza (2021) - While it's beautifully shot and features two likable leads, the script is an episodic shitshow which creates a horrifically slow paced, plodding mess. The movie works best in the first half as a jukebox movie (ie "Peace Frog" & "Let Me Roll It"), but this is a token example of how bad episodic movies almost always miss the mark. This one is a huge misfire that constantly features undeveloped. random new characters that the audience is strangely asked to care about. And too many scenes are way too long, like the restaurant scene with Sean Penn and the great Tom Waits. The movie flatlines before the bizarre Rebel Without a Cause set Evel Knievel bike jump, which is so fucking bizarre.

And how does it make a lick of sense for a 15 year old to be able to start two businesses, and how does a kid get randomly arrested for murder only to be chained to a chair and have some hippie say 'it's not him' and then he's released without any further explanation? And for a city as vast as LA, characters just randomly run into one another at whim, and why wouldn't the psycho Jon Peters character attack the kids after they drove away from the gas station when he ran into them again? But then it suddenly becomes hard to find one another for dramatic reasons at the climax?

This movie needed to go two ways: 1) a low key jukebox movie where the 15-17 year old boy is in love with his buddy's older sister, or 2) The Long Goodbye on acid following around the Jon Peters character for a weekend. Option 2 is the correct answer.

It would be an F+ if it wasn't so well lit and shot. D+

Haha

So.
I understand the following criticism:
Quote
the script is an episodic shitshow which creates a horrifically slow paced, plodding mess.
I don't think it's right but I understand why many people would think so. It's always the case with episodic movies, they either "work" on you or don't and there isn't much to say about that because what works for me in the "plot" or the way the episodes are linked with each others is exactly why you hate it.

That being said, the following is objectively nonsensical:

Quote
And how does it make a lick of sense for a 15 year old to be able to start two businesses, and how does a kid get randomly arrested for murder only to be chained to a chair and have some hippie say 'it's not him' and then he's released without any further explanation? And for a city as vast as LA, characters just randomly run into one another at whim, and why wouldn't the psycho Jon Peters character attack the kids after they drove away from the gas station when he ran into them again? But then it suddenly becomes hard to find one another for dramatic reasons at the climax?

Some 15yo do it, I've met a couple of them. They're usually big mouth guys, not necessarly brilliant people. They have some instinct and do big mistakes. Like the character here (and i believe the real person the movie was based on was that kind of guy). The random arrest is fun, surprising, scary, touching. This is "how" he gets randomy arrested and released. They aren't in "LA", they're in 2 very specific neighborhoods of LA where people actually randomly run into one another at whim for real. Of course the movie overstates that on purpose, playfully. They even show, through the camerawork, that they're actually playing with those symetry/bump into each other stuff (the best example is the plane scene where the hostess flirting with Gary is literally replaced in one shot by the guy flirting with Alana), that it isn't supposed to be that believable. I mean you can like or dislike but this isn't lazy plot writing, this isn't a mistake. It's carefully, purposefully crafted this way (I'm not trying to convince you you should like it, i'm trying to convince you there is much more to that movie and the way it's written than you think there is). Psycho Jon Peters has absolutely 0 reason to attack the kids when he ran into them again.


Quote
This movie needed to go two ways: 1) a low key jukebox movie where the 15-17 year old boy is in love with his buddy's older sister, or 2) The Long Goodbye on acid following around the Jon Peters character for a weekend. Option 2 is the correct answer.
Both options would work, although option 2 would feel very similar to Inherent Vice and I don't think PTA will ever do again a movie that feels too similar to another one he already did. But you're very welcome to make that option 2 movie (I really think that would be good). They did option 1 and turns out it was a way more than correct answer.

« : June 03, 2022, 08:57:17 AM noodles_leone »

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« #20348 : June 03, 2022, 02:46:12 PM »

Crimes of the Future (2022) - 6/10. A compendium of concepts from Cronenberg's greatest hits. Elements from Videodrome, Crash, Existenz, Dead Ringers (the "inner beauty" meme) all made it in--there's even something from Eastern Promises. Unhappily, this is such a high concept film--or rather, high concepts film--that there's lots of exposition, and then discussion of  the ramifications of all the exposition. So, very talky. And in terms of plot, things tend to be vague. As I was leaving the theater a guy in the audience came up to me and asked, "Is that it?" The ending, such as it was, wasn't enough for him. I have to admit, it sure seemed to lack something. Maybe there's a sequel coming? (though I doubt it). The Howard Shore OST, though, is very good--I'll be ordering that.



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« #20349 : June 04, 2022, 05:50:44 AM »

Haha

So.
I understand the following criticism:I don't think it's right but I understand why many people would think so. It's always the case with episodic movies, they either "work" on you or don't and there isn't much to say about that because what works for me in the "plot" or the way the episodes are linked with each others is exactly why you hate it.

That being said, the following is objectively nonsensical:

Some 15yo do it, I've met a couple of them. They're usually big mouth guys, not necessarly brilliant people. They have some instinct and do big mistakes. Like the character here (and i believe the real person the movie was based on was that kind of guy). The random arrest is fun, surprising, scary, touching. This is "how" he gets randomy arrested and released. They aren't in "LA", they're in 2 very specific neighborhoods of LA where people actually randomly run into one another at whim for real. Of course the movie overstates that on purpose, playfully. They even show, through the camerawork, that they're actually playing with those symetry/bump into each other stuff (the best example is the plane scene where the hostess flirting with Gary is literally replaced in one shot by the guy flirting with Alana), that it isn't supposed to be that believable. I mean you can like or dislike but this isn't lazy plot writing, this isn't a mistake. It's carefully, purposefully crafted this way (I'm not trying to convince you you should like it, i'm trying to convince you there is much more to that movie and the way it's written than you think there is). Psycho Jon Peters has absolutely 0 reason to attack the kids when he ran into them again.

Both options would work, although option 2 would feel very similar to Inherent Vice and I don't think PTA will ever do again a movie that feels too similar to another one he already did. But you're very welcome to make that option 2 movie (I really think that would be good). They did option 1 and turns out it was a way more than correct answer.

Even if I conceded on the characters constantly randomly running into each other angle, it still makes zero sense to base the climax around missed connections. There's zero craft to this screenplay, PTA just happens to be a wonderful visual artist, and there's a gigantic discrepancy between the script and how the movie was shot. The screenplay, on its own, can not be defended.

Do you know how much money it would cost in 1973 money to start a waterbed business, to hire employees, to pay rent, to purchase product, to own or rent a truck, etc? And then factor in that the character is the middle class son of a singe mother (?). Then after the business fails a 15 year old can purchase 30-50 pinball machines? This isn't nitpicking, it's terrible writing. Maybe Tim "Dorf" Conway could write a young PTA a check, but at least have a short scene showing that.

The Peters character held a lighter to a random dude's head at a gas station, and you're trying to say that he wouldn't at least try to frighten the group of kids after they ditched him? BS.

It only takes getting thrown into one drunk tank at 19 to understand how unrealistic and wacky the arrest scene is...it's crap.

The best way to evaluate a screenplay is to pretend that a hack directed it instead....please tell me how a hack could have given this script any value?

To champion current PTA is to do a ton of mental gymnastics and constantly make excuses. PTA has made two profitable movies in his career and hasn't turned a profit in 15 years. Facts are facts. He should be re-writing studio projects or going the Kubrick route and adapting books. And not adapt stuff like the hipster Big Lebowski.

« : June 04, 2022, 06:07:07 AM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #20350 : June 04, 2022, 09:40:20 AM »

I knew from the very beginning what your issue with that movie (and lots of recent PTA movies) was: it looks kinda hipstery. And you hate that, which makes you overreact a lot and not see the great things beyond the kinda hipstery feel. The fact that you?re talking about whether his movies make a profit or not show you aren?t really discussing the artistic value of said movies.

I could concede you some of your points (with tons of nuances of course), and some of them still make no sense to me, but I?m gonna say it again: you aren?t looking where you should be looking if you were really interested in those movies. If you were, you wouldn?t be attacking the arrest sequence, it?s one of the best of PTA?s filmography. What it is actually doing, instead of being ?believable? (which is more or less the worst compliment you could say about any scene, and is also the most subjective thing you can say about a scene, because believability depends on the world of the movie, not on the real world), is quite fascinating to me.

« : June 05, 2022, 12:49:09 AM noodles_leone »

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« #20351 : June 04, 2022, 11:40:32 AM »

Top Gun Maverick (2022) - IMAX 10/10. Members of the Rebel Alliance practice flying the canyons of

the Death Star in order to deliver it a death blow. With the kid from Whiplash. Amazingly good CGI.

IMAX at its best.

« : June 04, 2022, 12:00:45 PM dave jenkins »


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« #20352 : June 08, 2022, 08:45:21 AM »

I'm so beyond disappointed by PTA this century. And I need to compensate for all the overpraise and excuse making by a certain two people, or one person jk. At this point, I honestly hope he gets thrown into director's jail and has to make a couple commercial projects. I think he's done as a writer.



Cop Land (1997) - Technically not a good movie, with a flawed premise and script (having a party for someone that faked his death?), and dated visually, but the cast and pace make up for it enough. Stallone and Liotta carry this thing to a little more than a passing grade. It's one of those movies you wished got better on additional views, but it doesn't. C+

Welcome Home, Soldier Boys (1972) - Richard Compton's next movie, Macon County Line handles this material much better, but there's some genius in how it was filmed and how you can collectively feel how off the characters are. There is certainly some questionable plotting, and the characters, as individuals, aren't fleshed out enough (though that may have been intentional), but the pace flies, the atmosphere is wonderful and it's a well-crafted movie. The last 10 minutes are ridiculous, but even when 70's movies go off the rails, they often do so in a spectacular way. A generous B-

Mr. Majestyk (1974) - Richard Fleischer still had it in 1974, making the very enjoyable Majestyk and the underrated Spikes Gang. While you can argue the plotting is a little goofy, it makes for an entertaining movie. And the cat and mouse game has been done much better, everything works well enough. And there's a great off-roading chase scene here. I don't even know if it could be filmed today for safety reasons. Don't mess with farmer Bronson's melons, got it chump. B-

Freebie and the Bean (1974) - The flaws here are pretty obvious, the over-the-top slapstick stuff doesn't work. Slap stick only works when it's consistent and introduced to the audience early in the movie. When it isn't, it comes off incredibly silly and random. Like the filmmakers don't trust the material enough. Another flaw is that the plot just isn't that good and there's no big payoff, and Alan Arkin is no Mexcian. But with that said Richard Rush does a great job directing this, and the pace is never too off. Caan and Arkin have good chemistry, which carries the movie to the finish line. It could have been comparable to something like Busting or The Laughing Policeman had this been a little less goofy. Oh, well, it's not bad at all. Just not essential. C+

Prince of the City (1981) - You wonder how this would have turned out had it been directed by De Palma and starred De Niro. I love Treat Williams, but his performance ranges from brilliant to hammy at times. The movie has to be one of the most realistic crime dramas in terms of the minutiae, but I would argue that Eddie Coyle does this material a lot better, in a much more concise and satisfying manner. But that's one of the best crime movies ever made, and Prince of the City is no slouch.

The problem with this movie is the cast, it's split between theatrical over the top actors and subtle effective performances. Treat Williams character's brother delivers a hammy after school special performance while Jerry Orbach and the hoods, and some of the prosecutors deliver great, believable performances. Even though Lumet left much of his stagy qualities behind in the early 70's, his love of theater actors hurts the movie some. While, it's well paced, this clocks in at around 165 minutes, dragging it down a little. If the movie was going to be three hours, there should have been more time spent with Treat Williams on the job before he decided to talk. B



Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #20353 : June 08, 2022, 11:44:47 AM »

Top Gun Maverick (2022) - IMAX 10/10. 2nd Viewing. Jennifer Connelly in IMAX! Why

doesn't Tom Cruise know how to shave? THAT'S the reason Maverick can't make grade.


« : June 08, 2022, 11:45:58 AM dave jenkins »


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« #20354 : June 10, 2022, 07:57:02 AM »

Violent City (1970) - Essentially the Italian Point Blank, and this one pales in comparison -- though it's well shot, scored by the maestro, stars Charles Bronson and is directed by Sergio Sollima. But the problem is that there needed to more plot, or have the revenge take a lot longer. Once Telly Savalas' character enters the fold, Bronson's character just gets dumber by the minute. At least Jill Ireland looks great, and this has a spaghetti western feel at times due to the score and cinematography. But if you're looking for one of the best Point Blank inspired movies, go with Ringo Lam's Full Contact instead. C+

Dead Men Don't Wear Plaid (1982) - A beautifully crafted and written movie that bases its plot around scenes from 40's noirs/thrillers. And it does a bang up job, it somehow never feels gimmicky. Everything fits nicely and the footage always matches. This had to be a bitch to write because they would have had to watch countless 40's crime movies and then jot down scenes to see if they fit the plot. Either way, this is great, the laughs don't detract from the surprisingly coherent-ish story and Rachel Ward has never looked better. The new footage shot for this movie was terrific and has that dreamy quality of the best looking movies from the 40's. This takes a huge jump seeing this as an adult. Inventive. A-

« : June 10, 2022, 09:11:08 AM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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