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Author Topic: Rate The Last Movie You Saw  (Read 1797359 times)
dave jenkins
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« Reply #4590 on: October 19, 2008, 12:39:56 PM »

Poncey, poncey, ponce, ponce, ponce!

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« Reply #4591 on: October 19, 2008, 01:10:53 PM »


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dave jenkins
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« Reply #4592 on: October 19, 2008, 01:44:01 PM »

Urp!

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« Reply #4593 on: October 20, 2008, 01:43:00 AM »

Caddyshack (1980) - 5.5/10
I couldn't find any sense in it. I found a few laughs though.

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« Reply #4594 on: October 21, 2008, 05:02:43 AM »

Broadway Danny Rose (1984) - 6/10

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« Reply #4595 on: October 21, 2008, 06:13:49 AM »

Classe tous risques (1960) - 7/10 My tour of French gangster films continues with Claude Sautet's first feature, the one that brought Belmondo and Lino Ventura together again for the first time! To give too much of the plot away would spoil the fun--just mentioning Belmondo was probably a mistake (I started watching knowing he was in there, but he doesn't appear for the first third and I actually forgot about him, so when he finally showed I had a fun Oh, yeah ! moment). The great pleasure of this film is that you never know where it's going, it changes course about 15 times. Also, it treats an interesting subject you don't see too often: how does a gangster who has a family take care of that family when he's on the run? Great photography, great jazz score. I've given the film as high a mark as I can, considering it's not a Melville.

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« Reply #4596 on: October 21, 2008, 01:36:35 PM »

Les Misérables (2000 miniseries) - 5/10

Project:

Watching now every Les Mis movie I can get, this one was painful.

First of all, it could have been good. It was long enough to be accurate, but - noooo! It seems nobody read that unfortunate book. The characters don't look like themselves, and they make horribly OOC things.

Worst things:

- Éponine (poor, starving street rat) wearing a beautiful red gown, having perfect teeth and acting like an emo. Dying for about ten minutes, on a table, and overacting.
- Valjean saying he loves Cosette as a man, not as a father. Oh, and they share bed. I mean WTF. Dare they portray the most saintly hero ever... as... a pedophile?!
- Fantine has black hair. BLACK.
- Malkovich - as Javert - is the most terrible miscast ever. He looks like he was always bored and talk. very. slowly. and. hisses. And he is the type you want to slap. And he is sooooo evil. And wears leather trenchcoat ans Snape Hairdo. Later he wears Picard Hairdo. When he finally bites the dust, it was a relief. (In fact, the term "bites the dust" is not really the best for one who drowns himself...) Grin
- A lot of annoying things, like never-aging Gavroche, male!Toussaint (who was supposed to be a maid), Young and Sexy Sister Simplice, who always flirts with Valjean, and Enjolras being totally gay with Marius.
- Marius is disgusting. We officially call him "Fugly". He is a freak.


I wonder if a normal movie of this exists. They shall adapt it to the West and make a good SW... maybe Tommy Lee Jones or the Coens...  Wink

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« Reply #4597 on: October 21, 2008, 03:18:18 PM »

Hobson's Choice - 6-7/10 - Hmm, how generous am I feeling today? Rather a broad comedy without too many laughs, the story seems disjointed and draggy, and I find it hard to get too excited about the business practices of shoe salesmen, even if they have three unmarried daughters. Charles Laughton gives a schizophrenic performance: good when he sits down and acts, but too often he stumbles around like a drunken clown (an apt description of his character), and the bad and the good struggle to one-up another. John Mills is boring and milquetoast as usual: Was he contractually obligated to give stiff performances for Lean, or was he simply not that good an actor? (The one exception I've seen being Tunes of Glory, obviously not a Lean film, but his ability to go toe-to-toe with and even one-up Alec Guinness shows there's some talent there.) Brenda De Banzie was alright but her character was bitchy and unlikeable. Cinematography and direction are good if unspectacular (the opening tracking shot which parodies Great Expectations is great though, as is the scene where Laughton throws a fistful of leaflets into the windy street). The music is intrusive, annoying, and trying to hard to convince the audience of the film's whimsicality (the puddle-chasing scene being the most egregious example). Thank God David Lean found Maurice Jarre, because Malcolm Arnold's scores for him were mediocre-to-bad. Some interesting if odd moments for film buffs, including the wedding night scene which clearly pre-figures the equivalent sequence in Ryan's Daughter, and more oddly a Temperance Union parade blaring Shall We Gather At The River? Hmm... Watchable, but not a film I'd recommend to complete strangers. Might recommend it to Jenkins, though.

So, the Lean Quest is finally over. Every Lean feature has now been seen by me. If it weren't a Tuesday night, I'd feel a lot more happy/satisfied.

« Last Edit: October 21, 2008, 10:17:43 PM by Lord Cutler Beckett » Logged


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« Reply #4598 on: October 22, 2008, 05:32:50 PM »

Hamlet- 8/10

The Franko Zeferille version

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« Reply #4599 on: October 22, 2008, 07:30:01 PM »

I like that one, it would probably get the same rating. Gibson does a surprisingly good job, and how can you fail with Paul Scofield and Ian Holm? I'm pretty sure Ennio did the score too.

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« Reply #4600 on: October 23, 2008, 05:16:54 AM »

Marnie (1964) - 7.5/10
Second viewing. The whole Freudian plot is a bit old hat by now but Marnie's relationships with her mother and Mark are interesting. And of course the basic Hitchcock suspense elements work well.

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« Reply #4601 on: October 23, 2008, 05:48:05 AM »

L.627 (1992) - 9/10. Tavernier's authentic portrayal of Parisian narcotics cops, very gritty. What is the French expression, tranche de vie? This is the real deal, a decade before HBOs The Wire (and with better music). Highly episodic, with little in the way of plot development, one has to settle for the occasional character arc to satisfy one's sense of narrative. I was willing to do that. Tavernier is just amazing: how can one man be so comfortable in so many disparate genres, with such good results? Clearly, he's France's greatest living filmmaker.

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« Reply #4602 on: October 23, 2008, 08:22:52 PM »

All That Heaven Allows - 5/10 - I give it a respectable rating for its interesting cinematography and use of colors. Otherwise, this is either a brilliant satire or a laughable piece of crap. I'm leaning towards the latter myself. Also, Jane Wyman's daughter uncannily reminded me of a certain Vice Presidential candidate, only she kept spouting a string of Freudian psychobabble... Shocked

« Last Edit: October 23, 2008, 08:32:56 PM by Lord Cutler Beckett » Logged


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« Reply #4603 on: October 24, 2008, 05:59:27 AM »

All That Heaven Allows - 5/10 - I give it a respectable rating for its interesting cinematography and use of colors. Otherwise, this is either a brilliant satire or a laughable piece of crap. I'm leaning towards the latter myself. Also, Jane Wyman's daughter uncannily reminded me of a certain Vice Presidential candidate, only she kept spouting a string of Freudian psychobabble... Shocked
As usual, you're nuts. The running gag with the television is hilarious. And that ending with the deer--precious beyond belief. This is kitsch raised to art (only Agnes Varda, in Le bonheur, has been able to match it).

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« Reply #4604 on: October 24, 2008, 06:34:13 AM »

The Paradine Case (1947) - 2/10 Going through the AH Premier Collection I decided to start with this, a film I haven't seen for decades. I remembered that I didn't like it. Having seen it again I can confirm, This is Hitchcock's worst film of the 40s. Heck, it's his worst sound film, period. Yes, Selznick took an axe to it, and it would have been better left alone. But even if we had the film today as the director intended it, it would still be awful. That interminable courtroom scene--where's the secondary plot that let's us get away from the Old Bailey from time to time? And we're supposed to believe that Anthony Keane is a great barrister? He keeps asking questions of witnesses he doesn't know the answer to! Naturally, he keeps getting surprised. Verisimilitude is completely jettisoned for the sake of dramatic effect--not a formula for success in my book. The occasional elegant tracking shot notwithstanding, this film is actually painful to watch.

« Last Edit: October 24, 2008, 06:35:21 AM by dave jenkins » Logged


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