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Author Topic: Rate The Last Movie You Saw  (Read 1768737 times)
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« Reply #4665 on: November 04, 2008, 11:12:02 AM »

The Night (1961) - 6/10
I wasn't really impressed.

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« Reply #4666 on: November 04, 2008, 11:48:30 AM »

The Private Life of Henry VIII - 7/10 - Very dated but enjoyable nonetheless, a combination of costume drama/period piece and bawdy comedy. This film is probably responsible more than any other depiction for the current caricature of Henry we are all familiar with. Charles Laughton is a fun Henry, and the quartet of actresses playing his wives are all excellent - particularly liked Elsa Lanchester's scenes as the ditzy Anne of Cleves. It dragged a bit and didn't flesh things out as much as I would have liked, but not a bad waste of time.

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« Reply #4667 on: November 04, 2008, 03:21:16 PM »

Barry Lyndon - 5/10. Well. Pictorally handsome, with some of the best cinematography and art direction I've ever seen. Great use of classical music, particularly the Schubert and Handel pieces. And the first half was pretty good, if somewhat implausible in its story progression. But otherwise? The movie is extremely empty once you get beyond the admittedly impressive technical aspects, with a lead character who is a bore (he's not even interesting as the pouty jerk he's supposed to be), a bland cast, muddled story, and sluggish pacing. With all that, the movie's three hour length becomes unbearable. This movie put me very much in mind of Angels and Insects, with its similarly striking visuals, tertiary character development and overwrought, poorly-developed story, only it's not nearly as entertaining, because that movie recognized its feverishly melodramatic nature instead of embracing a pose as a stiff and plodding period piece. The movie has some fleeting moments of brilliance - the final duel in particular is a striking piece of work - but they're buried under the general morass of tedium.

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« Reply #4668 on: November 04, 2008, 03:29:46 PM »

The Night (1961) - 6/10
I wasn't really impressed.
You mean, La Notte? Yeah, there isn't much to it, I've decided. Not anywhere as interesting as the other two parts of the triptych.

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« Reply #4669 on: November 04, 2008, 03:48:04 PM »

You mean, La Notte? Yeah, there isn't much to it, I've decided. Not anywhere as interesting as the other two parts of the triptych.

I found La Notte to be much more enjoyable and interesting than L'Avventura, which has a worthy premise but sputters out after about 40 minutes and never recovers. The conclusion to both films are quite weak, but at least the couple in La Notte is worth examining. I'm not crazy about Antonioni, with Blow Up rounding out all I've seen from him. Again, another weak payoff but it's nice to look at.

How is L’Eclisse? More of the same?

Barry Lyndon - 5/10. Well. Pictorally handsome, with some of the best cinematography and direction I've ever seen. Great use of classical music, particularly the Schubert and Handel pieces. And the first half was pretty good, if somewhat implausible in its story progression. But otherwise? The movie is extremely empty once you get beyond the admittedly impressive technical aspects, with a lead character who is a bore (he's not even interesting as the pouty jerk he's supposed to be), a bland cast, muddled story, and sluggish pacing. With all that, the movie's three hour length becomes unbearable. This movie put me very much in mind of Angels and Insects, with its similarly striking visuals, tertiary character development and overwrought, poorly-developed story, only it's not nearly as entertaining, because that movie recognized its feverishly melodramatic nature instead of embracing a pose as a stiff and plodding period piece. The movie has some fleeting moments of brilliance - the final duel in particular is a striking piece of work - but they're buried under the general morass of tedium.

*Accidentally hit enter.

In my experience, those who didn't enjoy Barry Lyndon are those who generally enjoy period pieces. To me, BL is  a blatant attack on not only those films (which I generally loathe) but the "sophisticated" in general. It's an empty film but that was Kubrick's intention. I truly believe that he wanted to creat a work surrounding two completely unlikeable characters and somehow have the audience captivated and interested in their situation, which he was completely successful in doing so in my mind. I can't really delve into specifics because it's been quite a while since I've watched it.

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« Reply #4670 on: November 04, 2008, 04:07:07 PM »

Ah, here we are Tuco. Afro

I do like some period pieces, depending on how exactly you define the term. Is any movie that takes place in an historical setting considered a period piece? I think generally it's one of those terms, like "chick flick" and "epic" that is used in far too general a manner, so that it becomes virtually meaningless.

I didn't mind at all that the film dealt with an unlikeable character. My point was not that I found him unlikeable, but uninteresting. Part of that is Ryan O'Neal, as wooden and stiff and boring as ever, but I imagine the script and story has much to do with that. He goes from one event and situation to another with seemingly little reason or motivation. (His defection to the Chevalier being the most egregious example.) Basically Barry is just there; he does things without much explanation or reason, and seems a device of the story more than a character. The use of obnoxious narration doesn't really help, it's merely putting paper over a pot hole.

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« Reply #4671 on: November 04, 2008, 04:27:29 PM »

Ah, here we are Tuco. Afro

I do like some period pieces, depending on how exactly you define the term. Is any movie that takes place in an historical setting considered a period piece? I think generally it's one of those terms, like "chick flick" and "epic" that is used in far too general a manner, so that it becomes virtually meaningless.

I didn't mind at all that the film dealt with an unlikeable character. My point was not that I found him unlikeable, but uninteresting. Part of that is Ryan O'Neal, as wooden and stiff and boring as ever, but I imagine the script and story has much to do with that. He goes from one event and situation to another with seemingly little reason or motivation. (His defection to the Chevalier being the most egregious example.) Basically Barry is just there; he does things without much explanation or reason, and seems a device of the story more than a character. The use of obnoxious narration doesn't really help, it's merely putting paper over a pot hole.

You know, crap like Gertrud or Wuthering Heights. Post-renaissance costume dramas involving wealthy, insufferable anglo saxons.

I only really disagree with one point, and that is the so called jumping around of the plot. BL has a nice flow and an incredible build to its conclusion.

The narrator is supposed to be obnoxious.

Barry is a device in many ways but I wouldn't dismiss his character completely. I'll try to give this a watch sometime this week and provide a more detailed argument.

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« Reply #4672 on: November 04, 2008, 04:28:38 PM »

Barry Lyndon is the only Kubrick's movie worse than its literary source. But that was a hard task.

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« Reply #4673 on: November 04, 2008, 04:49:20 PM »

Quote
You know, crap like Gertrud or Wuthering Heights. Post-renaissance costume dramas involving wealthy, insufferable anglo saxons.

I'm not big on that sort of things as a general rule, so I suppose we're squared away with that.

As I said, I generally liked the first half; it had a fun, episodic nature to it that I liked, although certain points of it bothered me. The second half became dull and tedious really quick. If the intentions were satirical, fair enough, but that doesn't save the film from being dull.

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« Reply #4674 on: November 04, 2008, 05:34:10 PM »

How would you rate the parts separately?
I can't, really. They both come together for the overall experience. Planet Terror achieved that grindhouse B-Movie feel perfectly while Death Proof didnt even come close. But Death Proof was overall more enjoyable. The trailers were the best.

Its by no means a good film but it wasn't supposed to be int he first place, so its hard to rate. On a scale of enjoyment its about a 7.

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« Reply #4675 on: November 04, 2008, 07:01:17 PM »

Barry Lyndon is the only Kubrick's movie worse than its literary source. But that was a hard task.
Oh, come on. The novel is no great shakes. It's just a more cynical Tom Jones, but since Richardson had already adapted that, Kubrick had to have a fresh approach. I think his strategy really paid off: instead of going with the unreliable narrator approach (as in the novel) and playing it all for laughs, K stood back and attempted a God's-eye P.O.V. Barry was not allowed to tell his story to his advantage, and thus he is exposed for the shit he really is. Why should we care about the character, then? Ultimately we don't, but the attentive viewer gradually transfers his sympathies to Lady Lyndon. Quite a feat, as she is presented as a monster in the book. I for one find the stories of seemingly intelligent women falling for complete scoundrels interesting, as it seems so much of civilized life turns on such things. . . .

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« Reply #4676 on: November 04, 2008, 07:10:50 PM »

Lady Lyndon is given virtually no dialogue and nothing resembling characterization in the movie, so why should I feel anything for her?

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« Reply #4677 on: November 05, 2008, 12:45:29 AM »

Exorcist II: The Heretic (1977) - 4/10
This is everything the original was in danger to be but wasn't.

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« Reply #4678 on: November 05, 2008, 05:27:49 AM »

Lady Lyndon is given virtually no dialogue and nothing resembling characterization in the movie, so why should I feel anything for her?
Cinema is more than dialogue. That last scene, where she's doing the accounts, and she writes out the check or whatever for Barry, that communicates nothing to you? I've always found that very moving.

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« Reply #4679 on: November 05, 2008, 06:06:57 AM »

I love Barry Lyndon, it's like one long emersion in a music video of Cannaletto like landscapes.   Afro

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