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Author Topic: Rate The Last Movie You Saw  (Read 1768259 times)
Groggy
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« Reply #9105 on: May 02, 2011, 12:25:46 PM »

Executive Action - 7/10 - If JFK had been made in the '70s, and if Oliver Stone were a competent hack director, this would have been the result. It has more credibility (in presentation at least) than Stone's riotous take, and has the virtue of relative consistency. On the other hand, it's pretty flat as a film, with lots of talky exposition interspersed with good montage work. The stars - Burt Lancaster, Robert Ryan, Will Geer - do little more than spout exposition. Worth a look but nothing spectacular.

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« Reply #9106 on: May 02, 2011, 12:41:57 PM »

Stars and Stripes Forever: 9.5/10: great film about the life of John Philip Sousa. and what an appropriate day to watch it, when our military kills bin Laden. THE STARS AND STRIPES FOREVER!!!

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« Reply #9107 on: May 02, 2011, 08:55:38 PM »

Railroaded! (1947) Directed by Anthony Mann with John Ireland, Hugh Beaumont, Sheila Ryan, and Jane Randolph, another low budget Noir, with a lame script. Ireland is great though. 6.5/10

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« Reply #9108 on: May 03, 2011, 12:25:00 PM »

North by Northwest - 9/10 - 3rd viewing.

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« Reply #9109 on: May 04, 2011, 11:08:59 AM »

Green Mansions - 5/10 - Pocahontas meets Joseph Conrad. Beautiful photography and excellent music, but the lame story and awkward casting (Anthony Perkins as an action hero? Audrey Hepburn as a nature spirit? Sessue Hayakawa as an Amazon Indian?) sabotage it.

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« Reply #9110 on: May 05, 2011, 06:25:32 AM »

KRAUTS IN 3-D WEEK!

Cave of Forgotten Dreams (2011) -  6/10. Maybe this should have been called Cave of Forgotten 3-D Dreams? Herzog had a point about showing those French cave paintings in 3-D: they are not painted on vertical walls, and the 3-D effect does help the viewer better appreciate the way the primeaval artists used uneven surfaces. However, when Herzog is NOT showing us the paintings (a good deal of the film is just listening to talking heads) the 3-D camera has nothing extra to contribute. Herzog senses this, and in desperation has one of his experts demonstrate how the ancient painters would have used spears for hunting, and--you guessed it!--makes several lunges with the weapon at the camera. Oooooh, 3-D! I call "Cheese" on Herzog, and not only here. At one point, in the cave, one of the experts asks everybody in the group to be silent, and says something about viewing the paintings while listening to your own heartbeat, and then, on the soundtrack, Herzog actually puts on the sound of a beating heart! Cheese and double-cheese. Finally, at the very end of the film, Herzog adds the coda about the albino alligators, which are completely unrelated to his topic but which he tries to tie in with some cheesy voice-over.  He was once a great filmmaker, but Werner has now descended into the realm of self-parody.

Pina (2011) - 9/10. This is more like it. Here's a film that probably works well in 2D (albeit in HD), and which the 3D enhances. Originally a collaborative work between Wim Wenders and the choreographer Pina Bausch, it became a tribute in the midst of production when Bausch suddenly died. Nonetheless, that sense of collaboration continues, making the film Wenders' most interesting in decades. Between interviews with members of Bausch's dancing troupe we see performances of the dances, sometimes in a traditional performing space, but often out-of-doors in startling locations. What is particularly interesting is the fact that we never see a complete performance from beginning to end. A performance will begin, Wenders will cut to something else, we'll see part of another dance, then we might go back to the original dance, but at a different point in the performance. This creates the sense of a recurring motif, as if the film were organized as a piece of music. The dances are distinctive and almost like performance art--these are not the usual abstract modern dances one sees that defy comprehension. The dances, the 3D, the editing, and the soundtrack combine to form something that provokes thought and reflection. I'll admit that by the end I wasn't quite sure what it all amounted to, but I was nonetheless impressed, and I left the theater impatient to watch the film again (in 2D).

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« Reply #9111 on: May 05, 2011, 11:25:29 AM »



Pina (2011) - What is particularly interesting is the fact that we never see a complete performance from beginning to end.

I'm sure that's the movie's greatest asset.

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« Reply #9112 on: May 05, 2011, 04:11:58 PM »

Friendly Persuasion - 8/10 - William Wyler is some kind of genius. Who else could have made this bit of mawkish Americana not only palatable but funny, heart-warming and even moving? You only need to look at its knock-offs (Shenandoah, The Patriot) to see how easily it could have gone wrong. Possibly Cooper's best performance, gorgeous photography and a really smart Michael Wilson screenplay sell this one. Gets a point or two taken off for a corny Pat Boone song and that obnoxious little boy.

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« Reply #9113 on: May 06, 2011, 10:55:20 AM »

The Prisoner of Shark Island - 8/10 - I'll be generous. It's very shrill and on-the-nose in making its points, but then Ford was never a subtle director. Some questionable racial politics which are very much of its time. More to the point it's very entertaining and well-made: the escape scene at the hour mark is especially thrilling. Good acting too, with highest marks to John Carradine's psychotic prison guard ("Hiya Judas!").

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« Reply #9114 on: May 07, 2011, 07:51:55 AM »

Special Squad Shoots on Sight (1975) At IMDB (and on film credits) this is given as an italian-turkish production. Wrongly as this is a turkish movie passed off as a co-production by the italian distributor for financial reasons.

http://www.sinematurk.com/film_genel/3488/Gordugun-Yerde-Vur

But it really doesn't matter as it sucks. 1\10

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« Reply #9115 on: May 08, 2011, 05:07:41 AM »

The Thomas Crown Affair (1968) I saw this in 1968 and always carried the memory of it as a crime movie. Actually is a romantic movie but tolerable thanx to an extraordinary Faye Dunaway. The OST is probably one of the best ever, so a 8\10 is in order. What of course I couldn't remember was the use of computers and, even more amazing, the Shining-like floor level trucking.

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« Reply #9116 on: May 08, 2011, 09:09:35 AM »

The Thomas Crown Affair (1968) I saw this in 1968 and always carried the memory of it as a crime movie. Actually is a romantic movie but tolerable thanx to an extraordinary Faye Dunaway. The OST is probably one of the best ever, so a 8\10 is in order. What of course I couldn't remember was the use of computers and, even more amazing, the Shining-like floor level trucking.



SPOILER SPOIILER

my problem with The Thomas Crown Affair was the ease with which the Dunaway character figured everything out; I just didn't buy it. I know this is cinema, where a suspension of disbelief is always necessary. However, this only goes so far, till a certain point (which is different for everyone) where it just stops being believable. I mean, she doesn't take any time to struggle with the investigation; rather, she pretty much figures out the whole plan and how everything went down in 10 seconds. I always love McQueen, and Dunaway is real good in these roles where she can utilize that incredible "evil" glint in her eye... but that problem with the script is where the film lost me.

btw, I had the same problem with The Big Sleep. I know Philip Marlowe is supposed to be a damn good private eye, but nobody is that good. Normally, there are a couple of major twists along the way (perhaps close to the end) that the smart private eye will figure out late in the film, that helps him solve everything (eg. The Maltese Falcon). But in The Big Sleep, he is ten steps ahead of everyone all the time, having one of those "major discovery" or "I knew you were lying" moments every 30 seconds. My suspension of disbelief only goes so far...

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« Reply #9117 on: May 08, 2011, 05:09:37 PM »



SPOILER SPOIILER

my problem with The Thomas Crown Affair was the ease with which the Dunaway character figured everything out; I just didn't buy it. I know this is cinema, where a suspension of disbelief is always necessary. However, this only goes so far, till a certain point (which is different for everyone) where it just stops being believable. I mean, she doesn't take any time to struggle with the investigation; rather, she pretty much figures out the whole plan and how everything went down in 10 seconds. I always love McQueen, and Dunaway is real good in these roles where she can utilize that incredible "evil" glint in her eye... but that problem with the script is where the film lost me.


That's what I'm saying: it is not a crime movie but a love story. If you think about it, the fact that Dunaway reveals to McQueen that she has figured out everything in their first colloquy, reveals that the main interest of the movie lies in their relationship and not in their roles as thief and detective. If she took her time trying to figure out who the culprit is she couldn't develop her affair with McQueen. That said, the finale leaves many doubts as to the logic of the story. But I don't care because I like so much Dunaway.

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« Reply #9118 on: May 08, 2011, 05:23:03 PM »


That's what I'm saying: it is not a crime movie but a love story. If you think about it, the fact that Dunaway reveals to McQueen that she has figured out everything in their first colloquy, reveals that the main interest of the movie lies in their relationship and not in their roles as thief and detective. If she took her time trying to figure out who the culprit is she couldn't develop her affair with McQueen. That said, the finale leaves many doubts as to the logic of the story. But I don't care because I like so much Dunaway.

It's been a while since I saw the film, but

SPOILER

I think she is happy that he gets away... I think that initially she is in it for the money, and only develops a relationship with him to sucker him in, or perhaps for lust. But eventually, I think she really does like him and is probably happy that he gets away. I'd say that it is probably a nice treatment that wasn't turned into a good script. I'd give it maybe a 7/10, cuz McQueen and Dunaway are real good. I think she fit very well particularly in these roles where she she is something of a "bad girl," like this one, Bonnie and Clyde, and even the whore Kate in the film Doc.
The one film I saw her in with a very different type of role was Chinatown, and I really did not like her there

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« Reply #9119 on: May 08, 2011, 06:12:21 PM »

It's been a while since I saw the film, but

SPOILER

I think she is happy that he gets away... I think that initially she is in it for the money, and only develops a relationship with him to sucker him in, or perhaps for lust. But eventually, I think she really does like him and is probably happy that he gets away.

Most certainly. But my problems lie in the fact that he tells her he's going to do it again. Why, if he ends up getting away anyway? And why, if she is in love with him, does she tries to send him to jail? Was McQueen putting her to a test? Well, to set up another hold up just to see if she loves him (being sure she isn't) is "stretching" the plausibility a bit too much.

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