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Author Topic: Rate The Last Movie You Saw  (Read 1839706 times)
dave jenkins
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« Reply #8280 on: August 17, 2010, 03:38:50 PM »

it looks atrocious from the ads and trailers.
Which can't be trusted.

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« Reply #8281 on: August 17, 2010, 04:16:56 PM »

fuck off dave jenkins, it's horrible.

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« Reply #8282 on: August 17, 2010, 04:32:07 PM »

oh and Die Hard 2 - 2/5. i liked it for a while but eventually got bored, the first one is WAY WAY better.

and I do agree the editing in Expendables sorta sucks at times but its still a pretty damn good movie for what it aimed to accomplish.

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« Reply #8283 on: August 17, 2010, 05:27:28 PM »

Which can't be trusted.

Agreed. The ad campaign for SP was horrible. The movie, however, was great. Saw it twice. Face hurt from smiling so wide both times.

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« Reply #8284 on: August 18, 2010, 07:34:11 AM »

Ads are supposed to me want to see a movie, unless I misunderstand the concept of advertising. These failed miserably.

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dave jenkins
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« Reply #8285 on: August 18, 2010, 02:34:42 PM »

Uh, yeah. You do understand, don't you, that the marketers who make the ads are different from the people who create the product?

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« Reply #8286 on: August 18, 2010, 05:42:33 PM »

From what you're saying I would find it obnoxious regardless of the quality of the advertising. Unlike you, I am quite happily not a geek impressed by comic book stylization and video game references.

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« Reply #8287 on: August 19, 2010, 04:13:51 PM »

The Baader Meinhof Complex (2008) Biopic thriller Hollywood style. Which means it adds nothing to what you could apprehend better from a documentary or a book in case you don't know the facts already. As superficial as can be, it doesn't even make an attempt to explain what made the terrorist tick: which is what it should have done in the first place. The anti-imperialist impulse doesn't explain why this couple of a dozen empty heads took weapons while other thousands with the same aspirations didn't. I bet at Hollywood they would have found or invented a repressive or incestuous father or some other kind of infantile thrauma. I presume the character played by Ganz should have clarified some aspects in the intentions of the filmakers, but I can't see any apparent function diegetically or otherwise. The training camp in the M.E. could have served as a good ground for bringing to light the differences between the german and palestinian terrorists which instead, in the end, can be reduced to sunbathing. Still the story is well told and the movie can be watched as a better-than-most no-brainer. 7\10


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« Reply #8288 on: August 19, 2010, 04:57:42 PM »

From what you're saying I would find it obnoxious regardless of the quality of the advertising. Unlike you, I am quite happily not a geek impressed by comic book stylization and video game references.
Huh. I would have thought you'd be at least a little interested in one of the most impressive, game-changing examples of cinema the year has produced. My mistake.

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« Reply #8289 on: August 20, 2010, 07:07:37 AM »

"Game chainging" in the sense of replacing one PS3 disc with another, I assume.

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« Reply #8290 on: August 20, 2010, 12:57:43 PM »

yuk, yuk

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« Reply #8291 on: August 20, 2010, 02:02:27 PM »

The only thing funny here is my inability to spell.

Rio Grande - 7/10 - A rewatch. I don't know why I remembered disliking this so much. It isn't as good as the other two installments in the Cavalry trilogy, what with its loosey-goosey plot structure, heavily cliched cowboys-and-injuns story, and the underdeveloped York family squabbles. But it's still a pretty darn good Western with lots of nice action scenes, a great score, Ben Johnson and Chill Wills in top scene-stealing form, a comparatively-restrained Victor McLaglen performance, and some great bits between the Duke and Maureen O'Hara.

Big Jake - 4/10 - A pretty tired, mediocre late-career Wayne vehicle - I was almost surprised it wasn't an Andy McLaglen effort. The thing which sinks this - besides the bad pace, poor supporting cast and blah story - is that it comes off as a mishmash of ideas and scenes stolen wholesale from other, better Westerns: The Searchers-style massacre, the dog from Hondo, the bell-tower shootout from El Dorado, the bathtub gun trick from GBU, even a weird homage to The Maltese Falcon. There's some "death of the West" stuff played for laughs, with a car-mounted posse, one of Duke's sons tooling around in a motorcycle, etc. and Peckinpah-esque graphic violence, a bit surprising for a Wayne film. The final shootout has some nice bits but seems disjointed and hard to follow. Duke is Duke; Richard Boone is a great bad guy as usual; Maureen O'Hara does well in a glorified cameo; everyone else sucks. Nice score. Overall a weak flick, for Duke fans only.

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« Reply #8292 on: August 21, 2010, 04:01:35 AM »

Martha (1974) - 6.5/10

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« Reply #8293 on: August 21, 2010, 11:43:42 AM »

Scenes from a Marriage (1973) - 10/10
The TV version (299 minutes). It's not perfect. Actually I can't even call it "nearly perfect", but it is wise and touching masterpiece of writing and acting. I think there should be a law that everybody aiming to live in this world has to watch this.

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« Reply #8294 on: August 21, 2010, 01:14:01 PM »

Some lesser John Ford today:

The Long Gray Line - 7/10 - 3rd viewing. Stay far away from this if you are not a Ford fan: it's got more than its share of the corny humor, sappy sentimentality and military-worship that turns so many film buffs off of Ford. Still, despite being overlong, unevenly paced and rather maudlin, it's somehow compelling throughout. I think the lion's share of the credit goes to Tyrone Power, who makes Marty Maher an endearing protagonist, ultimately becoming the embodiment of the US Army a la Roger Livesley in Colonel Blimp. The big emotional moments are hit-and-miss but the should-be sappy ending somehow works. Ward Bond and Donald Crisp are also in fine form, although Maureen O'Hara is ill-used.  

Mary of Scotland - 6-7/10 - Ford tackles a period piece in this uneven, rather stuffy adaptation of a Maxwell Anderson play. Ford and his writers do a creditable job of keeping the complicated political situation and factional disputes of Tudor Scotland comprehensible, and there are some nice bits of direction, but the movie is missing dramatic urgency and moves in fits and starts throughout, alternately compelling and dull. Katherine Hepburn does a fine job but Mary (at least as written here) is a role that doesn't work to her strengths; someone was missing a bet in not casting her as Elizabeth. Fredric March is stiff and dull as Mary's love interest; Florence Eldridge's catty take on Elizabeth is interesting; supporting turns by Ian Keith, Moroni Olsen, Donald Crisp and John Carradine are nice.

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