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Author Topic: Rate The Last Movie You Saw  (Read 1770928 times)
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« Reply #4470 on: October 07, 2008, 04:00:44 PM »


Legends of the Fall (1994)

I love this film for it's cinematography and musical score.

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« Reply #4471 on: October 07, 2008, 04:11:50 PM »

Legends of the Fall (1994)

I love this film for it's cinematography and musical score.

And NOT for Brad Pitt's hunky hair-do?! Shocked Grin

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« Reply #4472 on: October 08, 2008, 12:59:01 AM »

Gilda (1946) - 8/10
It's great till the plane crash. After that... Undecided This could have been a great movie if the ending was up to par with the earlier parts.

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« Reply #4473 on: October 08, 2008, 01:36:21 AM »

Gilda (1946) - 8/10
It's great till the plane crash. After that... Undecided This could have been a great movie if the ending was up to par with the earlier parts.

I love this film. Rita Hayworth is to die for. Glen Ford and Rita had some of the best on-screen chemistry you will ever see.

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« Reply #4474 on: October 08, 2008, 03:38:13 AM »

I love this film. Rita Hayworth is to die for. Glen Ford and Rita had some of the best on-screen chemistry you will ever see.
Yeah, I originally planned to mention that but I forgot. There's sex in the air Kiss

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« Reply #4475 on: October 08, 2008, 05:57:28 AM »

Rita is sexy, I always think that Glenn Ford is a bit of a stump. But Rita can play off of Ford's woodenness without any problem; she's auto-sexual.

I agree that the movie doesn't work at the end, but I wouldn't say the problems begin with the plane crash. I think things actually get more interesting at that point, with the twisted marriage and all. What doesn't work is when Ballin comes back: the ending is rushed, and the final disposition of the leads is unconvincing.

Btw, I just saw Affair in Trinidad, a re-teaming of Ford and Hayworth 6 years later, an interesting idea that doesn't come off. One problem is that by that time Rita had lost it: she's still an attractive woman, just not the total sex-pot she was before. The other thing is the story: it owes a lot to Notorious (nest of spies in an exotic location; secret work going on; a love triangle; the heroine introduced into the household of the leader of the spies; keys; etc.), in fact, it plays as kind of a TV re-make of Hitchcock's earlier film. A curiosity more than a film.

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« Reply #4476 on: October 08, 2008, 01:29:12 PM »

Blue Collar (1978) - 7.5/10

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« Reply #4477 on: October 08, 2008, 02:32:43 PM »

Gilda (1946) - 8/10
It's great till the plane crash. After that... Undecided This could have been a great movie if the ending was up to par with the earlier parts.

We're watching this in film class in a few weeks.

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« Reply #4478 on: October 08, 2008, 04:22:08 PM »

I agree that the movie doesn't work at the end, but I wouldn't say the problems begin with the plane crash. I think things actually get more interesting at that point, with the twisted marriage and all. What doesn't work is when Ballin comes back: the ending is rushed, and the final disposition of the leads is unconvincing.

this.

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« Reply #4479 on: October 09, 2008, 09:30:35 AM »

The Stalking Moon a misnomer, barely anthing takes place at night. Nice cinematography but not much else. 5/10

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« Reply #4480 on: October 09, 2008, 02:09:46 PM »

The Sound Barrier - 5/10 - A stiff and sluggish melodrama with planes. Lots of planes. Lots of flying scenes. Dull is the operative word here. Other than the gorgeous aerial photography, Lean's direction is uninspired. The good cast isn't up to much, save Ann Todd, Ralph Richardson and a brief appearance by a young Denholm Elliot. The only dramatic sparks come very late in the show - the two big scenes between Todd and Richardson are excellent. It's too bad there wasn't much more like it earlier on. But, hey, if you like watching planes fly around and British people talking, I guess this is for you. I never thought I'd say I found a David Lean film boring, but here you are.

Only one Lean left - Hobson's Choice - which I hope to get to sometime next week. Oh well, I made it through 16 of 18 films before I found a bad one.

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« Reply #4481 on: October 10, 2008, 06:39:20 AM »

Touch of Evil Theatrical Version - 5/10
Touch of Evil Preview Version    - 4/10
Touch of Evil "Restoration"        - 3/10

I don't like ToE, so the clear winner here is the Theatrical cut, which, at 96 minutes, is the shortest version. The "Preview Version" (so called because it is purported to be the cut Welles was responding to when he fired off his famous 58-page memo) is in second place, barely, it would seem, because it clocks in at 109 minutes versus the "Restoration" (the version re-edited by Walter Murch in 1998 to conform to Welles's memo) which runs an additional 2 minutes. In fact, I would have given the advantage to the longer cut, which is improved in many ways, if not for one thing: it eliminates the titles from the opening shot, and replaces the very famous opening cue with music taken from elsewhere in the picture. The restorers have a rationale for behaving thus (they are slavishly following the memo, they aver), but this is just plain wrong. Henry Mancini wrote that wonderful intro, and as a co-creator of the picture, deserves to have his work respected. Furthermore, the music is part of the historical reception of the film, as much a part of the intro as the crane shot itself. And you can't just dump those titles: yeah, they overlay the opening shot and partially obscure it: that's the whole point. The restorers take pains to point out that Welles wasn't making an art film, that he was doing a commercial picture the best way he knew how, and that the restoration work they did serves to make the film more successful *as* a commercial film. Hey, guys, by eliminating the historic titles, and then creating a new set of restoration titles to run at the end, you are effectively screaming, "Art film, art film!" The original titles, in a very unique font, have interest in themselves, AND work against the artsy-fartsy nature of the opening. They have allowed viewers who don't care about Welles and art cinema to enjoy the film strictly as a thriller.

Of course, it's not a very good thriller, but bad thrillers are part of the filmgoing experience, and everyone is entitled to their fair share. If Welles had worried more about the script than the compositions and editing, he might have produced a better product. As it is, the opening crane work is still impressive (even after having been endlessly copied) and the final sequence, demonstrating what The Man From Radio can do in a sound film, provides a great deal of pleasure. But all that comes in between (especially Dennis Weaver and the motel) is just tedious.  Of course, don't tell this to the WOODies (Worshipers of Orson's Dung), everything the man did, according to them, was genius . . .

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« Reply #4482 on: October 10, 2008, 07:21:34 AM »

I don't judge it quite so harshly, I enjoy the overall sleazy look to the entire film. My biggest complaint is Heston cast as a Mexican. It's probably the Wells film I like the best though for that look alone.

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« Reply #4483 on: October 10, 2008, 07:40:55 AM »

A Bridge Too Far (1977) - 6/10
I saw a pan&scan version so take my review for what it's worth, but anyway I saw no visual glory here (probably because I didn't see half of the picture). I enjoyed the first half hour because it does great job on showing the communication problems between different units and how their independent decisions had effect on the whole operation. The main problem of this movie is that it's very difficult to make a movie where the main character is an event and not a person (but again, I missed half of the action because they broadcasted it in 1:1.33). The movie has nothing original to say nor is the plot very interesting, so my rating comes from separate scenes and star power. There are a lot of characters but because the cast consists of stars they can rely on their charisma.

Couldn't help thinking of Monty Python's war movie parodies at some points Grin

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« Reply #4484 on: October 10, 2008, 09:18:08 AM »

A Bridge Too Far (1977) - 6/10
I saw a pan&scan version so take my review for what it's worth, but anyway I saw no visual glory here (probably because I didn't see half of the picture). I enjoyed the first half hour because it does great job on showing the communication problems between different units and how their independent decisions had effect on the whole operation. The main problem of this movie is that it's very difficult to make a movie where the main character is an event and not a person (but again, I missed half of the action because they broadcasted it in 1:1.33). The movie has nothing original to say nor is the plot very interesting, so my rating comes from separate scenes and star power. There are a lot of characters but because the cast consists of stars they can rely on their charisma.

Couldn't help thinking of Monty Python's war movie parodies at some points Grin

Meh, I thought it was excellent. It's probably one of the best films of its type, anyway.

Not going to bother with Jenkins' opinions of Touch of Evil, for we have been down that road before I think. Suffice to say he's wrong as usual.

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