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Author Topic: Rate The Last Movie You Saw  (Read 1760911 times)
noodles_leone
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« Reply #5520 on: March 11, 2009, 05:11:36 PM »

No I think you're in the majority on this web board... i'm one of the very few admirers of the movie here. Which makes all of you rotten individuals.

Thanks for the title of the movie Smiley

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« Reply #5521 on: March 11, 2009, 06:16:06 PM »

I think it will always be remembered for the modernity of the thing. As far as I know, this is the first time that the influence from european movies (neorealism and nouvelle vague) is so obvious in a big american movie, in the scriptwriting, in the dialogues and in the camerawork. Moreover, the topic of the movie (which is its biggest flaw to me) perfectly fited the time (late 60's).
It's considered by many movie historian as the premice of the 70's (along with The Graduate). And i ckind of understand this.

By modernity one could also say anachronism. But point taken I suppose.

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« Reply #5522 on: March 12, 2009, 05:08:30 AM »

I like Little Big Man for what it is, part spoof part reverential, I do agree that it could have developed its supporting characters a bit more, it holds up better than "Soldier Blue" in its subject matter because it's a bit more light handed.

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« Reply #5523 on: March 12, 2009, 06:12:16 AM »

It's entertaining, certainly. But it betrays its pretentions to be a serious film about the plight of Native Americans. Those pretentions are certainly there (witness Hoffman's performance at the very end), but the film might just as well have concerned itself with the plight of beings from the planet Tralfamadore. Which is to say, as the film goes along, the Indians stop being Indians and become gags. What's up with the "gay" Indian? I don't know whether Plains Indian culture allowed homosexuality (I tend to doubt it), but even if it existed it did not signal itself by using the campy mannerisms of 20th Century American gay culture. And how does the death of Old Lodge Skins--a completely sober event in the book, I'm told--come to be transformed into a vaudeville routine? So then, everything in the film is just  . . . schtick? If so, there's no reason to take the "issues" the film raises seriously at all. Penn ends up subverting the very message he purports to be transmitting.

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« Reply #5524 on: March 12, 2009, 06:37:56 AM »

''Il conformista'' (1970) - 9/10

Whoever says this is a great movie, I agree with him.

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« Reply #5525 on: March 12, 2009, 01:14:46 PM »

Uh ... that wouldn't be me.

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« Reply #5526 on: March 12, 2009, 03:41:05 PM »

You guys haven't seen the trailer projected digitally: it makes a big difference.


Looked worse to me. The shittiness of it all was blown up to staggering heights on the big screen.

What I don't understand is... digital works.
The Curious Case Of Benjamin Button, though a piece of turd, looked perfectly fine.
Why is it when Mann gets behind the camera the digital looks like home video quality?

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« Reply #5527 on: March 12, 2009, 06:38:55 PM »

Uh ... that wouldn't be me.

for its visuals alone, I consider THE CONFORMIST to be great. I haven't seen it in quite awhile so I can't provide a detailed analysis but I do agree that the overall plot is lacking (I know you're going there) but it's executed brilliantly, to the point in which I simply don't care about its flaws: the characters just aren't very interesting, and the naively stupid girlfriend is the only person who seems to own a soul, but I'm sure that was BB's intent. I don't really think child molestation should be apart of the story's fabric , although it could be debated the event affects the lead's decision in the final moments.

but this movie contains some of the best cinematography I've ever seen, so I really don't care that the script isn't something of the caliber of a chinatown. I am just as entertained. masterpiece.

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« Reply #5528 on: March 13, 2009, 02:31:57 PM »

Rööperi (2009) - 4/10
All I wanted was to be entertained. Cliched "rise and fall of a gangster" story. Looked like crap. I suspect digital photography.

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« Reply #5529 on: March 13, 2009, 03:33:46 PM »

Keoma - 9/10

I bought this one already some time ago, and didn't watch it for a while, because I wasn't in the right mood...
Then, last Tuesday, I woke up with a sore throat and knew I had to stay at home, so while pondering over possible activities for a day of illness, I decided it was the right time to watch Keoma.
I was blown away.
I'm not quite sure it was the best idea to start the day with watching it, though: I forgot all about breakfast.

The one point down is probably for the kid playing little Keoma (I didn't like the kid much, don't know why) and the vocal main theme... it's not bad at all, but it's there all the time and there were moments I wished there was a different kind of music in it as well... It's similar to Watch Out, We're Mad which I watched during my illness as well, that's also got the de Angelis brothers (I suppose they're brothers) as musicmakers, it's also got a main theme song, and it's also rather overused...
Otherwise, a perfectly thrilling and moving film. I loved the intertwining of different time levels, not just the flashbacks, but also when Keoma's brothers return to the town... that was really nicely done.

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« Reply #5530 on: March 13, 2009, 03:52:21 PM »

Keoma - 9/10
This is among the handfull of SWs that I really am interested to see.

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« Reply #5531 on: March 13, 2009, 04:07:02 PM »

This is among the handfull of SWs that I really am interested to see.

Watch it. The cinematography is breathtaking, in my opinion. Maybe not completely unique (I cannot judge that), but breathtaking for sure.

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« Reply #5532 on: March 13, 2009, 07:23:35 PM »

The Fountain. I have respect for the director now. I should put Pi and The Wrestler on the list.

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« Reply #5533 on: March 14, 2009, 10:26:59 AM »

City of God -- 9/10.

I remember seeing this three years ago or so when I was first getting into the cinema... thought it was amazing, bought it immediately, watched it a few more times, but it's just been sitting in the DVD stack ever since, 'cause i got into more uh... "substantial" movies, Leone, Kurosawa, etc.

Well I got the urge to watch it again last night and thoroughly enjoyed it.

I was afraid that if I watched it again it would just annoy me, and fall into the that category of cliche modern crime films with the "strange chronology," flashy editing, and non-stop inane dialogue (which I used to love but became quickly disillusioned with).  Luckily, this film shows a lot more originality with these conventions and doesn't exploit the "in-your-face" hipsterdom like a Guy Ritchie affair.

No doubt there is the flashy editing, but it's self-aware, and the chronology, though abnormal, is much more controlled, a la Pulp Fiction, and actually serves a narrative purpose in comparison to a film like Fight Club or Snatch, where it feels to me like they just fuck with the chronology for the hell of it.

In fact the way that this film deals with the direction and editing styles in relation to the chronology is very interesting.  My favorite segment, no doubt, is the beginning of the film, which takes place in the 60's, and shows the lives of the so-called "Tender Trio" of young hoodlums.  These aren't sociopaths, but mischievous hopeless romantics whose twisty, poetic dialogue is reminiscent of the French New Wave.  I almost wish more focus of the film was on those guys.

As the film moves on and shows the next generation of gangs in the seventies, it takes on a more modern-feeling approach.  More violent, more akin to a blaxploitation flick.  Whereas in the sixties you would see these kids passing around a joint every now and then, in the seventies they're slangin' 'caine and doin' lines like no other.  The violence is less romantacized, more brutal, and they take the opportunity to flash back to the sixties to show the more violent aspects that would have seemed out-of-place as we were seeing them.

It's in this manner that City of God makes the "chronology" cliche really work for me.  It actually serves a narrative purpose and the director toys with the styles of editing and direction as he moves through the decades, while still giving it a modern feel throughout.  It starts of feeling romantic and new-wavy (aside form a brief two-minute or so intro), and gradually becomes more "modern" feeling and gritty, and by the time we get to "the Story of Knockout Ned," it feels completely like a 2000's movie.

That's all I really wanted to say about the movie, not necessarily review it but give my thoughts on one aspect of it.  All in all it's an excellent movie, probably one of the better of this decade.

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« Reply #5534 on: March 14, 2009, 02:12:38 PM »

All in all it's an excellent movie, probably one of the better of this decade.
Defenitely.

Night on Earth (1991) - 9/10
Stands a second viewing better than Mystery Train but that doesn't change the fact that all the episodes aren't perfect. The Rome episode is, though.

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