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Author Topic: Rate The Last Movie You Saw  (Read 1840900 times)
dave jenkins
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« Reply #8160 on: July 14, 2010, 09:26:32 AM »

Salvatore Giuliano (1962) This made my personal all time italian top ten list ever since I saw it on the small screen. Rosi performed the miracle of making a different yet almost as great movie two years later with Le mani sulla cittą: the first one featured Frank Wolff, the other Rod Steiger, sounds a familiar procedure, doesn't it?
Salvatore Giuliano is good. Le mani sulla cittą not so much.

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« Reply #8161 on: July 14, 2010, 01:20:52 PM »

WWII: The Lost Color Archives (2000) Impressing, as it makes you reconsider all of your visual experience with WWII documentaries. 

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« Reply #8162 on: July 14, 2010, 01:45:38 PM »

The Patriot (2000)

Plot: 6/10
Mel Gibson: 2/10 (-1 for every time he acts like Wallace, and every wound he gave to poor Jason)
Jason Isaacs: 11/10  Afro
Slow-motion battle scenes: Sam Did It Better. 8/10
Violence: 10/10
Blood: 10/10
Surprises: 0/10


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« Reply #8163 on: July 14, 2010, 02:01:38 PM »

The Patriot isn't bad for a formula action film, the vicious Brit-bashing aside.

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« Reply #8164 on: July 15, 2010, 01:23:24 AM »

Why not? It was certainly filmed with the style (and worldview) of Mann's other late '40s films, which would surely qualify.

A really dark and nasty noir set in Revolutionary France
Don't shoot me, I haven't seen the film!

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« Reply #8165 on: July 15, 2010, 05:59:46 AM »


Thunderheart (1992) - somewhere just beneath a 6/10

Too many cliches, weak narrative line. Good intentions - bad execution.

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« Reply #8166 on: July 15, 2010, 07:59:23 AM »

The Patriot isn't bad for a formula action film, the vicious Brit-bashing aside.

Whoever made the Brit army wear red uniforms back then has never seen Star Trek...  Grin

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« Reply #8167 on: July 15, 2010, 12:50:11 PM »

Not only that, but the coats were extremely heavy and cumbersome too. It took the British until the First Boer War in 1881 to get the message, if memory serves.

Speaking of which...

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« Reply #8168 on: July 15, 2010, 12:54:50 PM »

The Scarlet Coat - 7-8/10 - Cornel Wilde is an American spy during the Revolutionary War who is assigned undercover to figure out who is giving the British secrets about the garrison at West Point (three guesses). Pretty good period thriller (directed by John Sturges), though a bit slow-moving at times and some plot elements are overly convenient. It gets points for filming in Eastmancolor/Cinemascope on beautiful New York locations, many of them where the real events took place, and Michael Wilding's excellent "tragic villain" character; his Major Andre is a very gentlemanly guy who's more sympathetic and compelling than our nominal hero. George Sanders puts in an appearance as (surprise!) a sarcastic asshole, though he hasn't much to do. Fairly historically accurate too, for what it's worth.

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« Reply #8169 on: July 15, 2010, 05:59:13 PM »

Nightfall (1957) - 8/10. Aldo Ray is on the run from the cops (they think he bumped off his camping buddy), but there are also a couple of goons (Brian Keith and a sadistic Rudy Bond) who want to get to him first and ask the question: what happened to the missing $350,000? Enter Anne Bancroft as a faux femme fatale and a pre-Barney Miller James Gregory as a sympathetic insurance investigator. Add stunning b&w widescreen photography of LA and Wyoming (courtesy of Burnett Guffey), and impeccable direction by Jacques Tourneur, and you get a 78 minute cheapie that's better than most A pictures of the period. Tourneur adds further interest by building in a tripartite flashback structure, and establishes synchronicity between the hero and the insurance investigator through the use of some very inventive match cuts.

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« Reply #8170 on: July 16, 2010, 01:06:29 PM »

Odd Man Out - 8/10 - A bit draggy in spots, but mostly a solid thriller. Good ensemble cast, great photography with some neat images (I loved the talking beer foam) and a heartbreaking ending. At least as good as The Third Man, perhaps better.

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« Reply #8171 on: July 16, 2010, 01:47:02 PM »

GROGGY YOU WATCH SOOOO MANY MOVIES

Amelie - 2/5
Insomnia - 3/5
Following - 3/5
That Evening Sun - 2/5

when the fuck is a first-time viewing gonna blow me away? hasn't happened in a fuckin long time, everything mediocre Sad . INCEPTION better blow me away tonight

also, a couple rewatches, OUATITW 5/5, Magnolia 5/5. sorry to say but OUATITW has been dethroned as SECOND BEST EVER, still proably somewhere on top 10. with about equal viewings ive grown to like West a bit less and Magnolia way, way more. fuckin brilliant. PTA just annocuned today actually he'll be shooting his next film THE MASTER with seymour hoffman and jeremy renner next month. hell ya.

with a few more brilliant works he'll be better in my eyes than even scorsese and LEONE. hell, he may already be better in leone. nothing tops America though, ever. ever.

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« Reply #8172 on: July 16, 2010, 05:47:14 PM »

Armored Car Robbery (1950) - 7/10. Dave Purvus (William Talman) had the perfect heist figured . . . until it all went terribly wrong. Richard Fleischer directed this tight 68 minute police procedural. Its chief virtue lies in watching Talman improvise his way out of a number of corners, but Charles McGraw's dogged police detective provides some moments of fun as well. Too bad the ending is so pedestrian.

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« Reply #8173 on: July 16, 2010, 08:05:08 PM »

City of Fear (1959) - 7/10. An escaped con (Vince Edwards) is loose on the streets of LA with a canister of what he thinks is heroin but which in fact contains "Cobalt 60." This follow-up to Murder By Contract is Irving Lerner's Panic in the Streets, but with a nuclear angle. Great widescreen b&w photography provided by Lucien Ballard, and an impressive score from Jerry Goldsmith. The plot is little more than the premise followed to its logical conclusion, but it's entertaining enough.

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« Reply #8174 on: July 17, 2010, 12:36:06 PM »

The Odessa File - 6/10 - So-so adaptation of a so-so book. Despite being made by much of the same team which produced The Day of the Jackal, it lacks that film's fidelity to the source material and makes a lot of significant deviations, turning the novel into a much more conventional, audience-friendly thriller. Granted, The Odessa File is not one of Forsyth's best works, and could have been improved upon, but the changes made don't really help or clarify the story; if anything, they amplify the uselessness of certain plot threads that bothered me in the book (the whole subplot with the Israeli secret agents and Nasser's rocket program, the decision to make it a "revenge" story). The Holocaust flashback scenes are surprisingly powerful, and the final confrontation between Jon Voight and Maximilian Schell is good, but the movie inexplicably cuts out the protagonist's eloquent anti-Nazi speech, an unforgivable omission. A funky, very '70s score by Andrew Lloyd Webber (!!!) doesn't help either. It's a passable thriller but nothing special.

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