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Author Topic: Rate The Last Movie You Saw  (Read 1758995 times)
dave jenkins
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« Reply #9375 on: August 03, 2011, 01:24:05 PM »

Two by Raffaello Matarazzo:

Catene/Chains (1949) - Amedeo Nazzari is the dutiful and loving husband, Yvonne Sanson is his beautiful and saintly wife, and Aldo Nicodemi is the old boyfriend who resurfaces to play the serpent in their lower-middle-class Eden. The pleasure in such films is in noting the ingenuity by which the screenwriters introduce ever-more harrowing plot complications. The highlight here is when Sanson has to take the witness stand--in a ploy to help Nazzari beat a murder rap--and lie under oath before a court packed with old hens that she's been promiscuous. You can just imagine the post-war audience of Italian housewives gnawing on their hankies at that point. Does the ridiculous happy ending count for or against the picture?

Tormento (1950) - Once more Amedeo Nazzari is facing a murder charge, and once more Yvonne Sanson is his beautiful and saintly wife. Even Aldo Nicodemi makes a cameo to act the cad (some kind of contractural thing?), but the supreme villain this time is the Mother of All Evil Stepmothers, played with relish by Tina Lattanzi. Just when you think she can't go any lower, the writers find new depths to which she'll plunge. There is, of course, pleasure in seeing the stepmother eventually getting her due, but the chief fun is to be had in witnessing the innocent Sanson endure the endless torments of the title. Oh, the joys of vicarious masochism! And then, another unbelievably ridiculous happy ending. Why tamper with a winning formula?

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« Reply #9376 on: August 03, 2011, 06:07:57 PM »

Two by Raffaello Matarazzo:

Catene/Chains (1949) - Amedeo Nazzari is the dutiful and loving husband, Yvonne Sanson is his beautiful and saintly wife, and Aldo Nicodemi is the old boyfriend who resurfaces to play the serpent in their lower-middle-class Eden. The pleasure in such films is in noting the ingenuity by which the screenwriters introduce ever-more harrowing plot complications. The highlight here is when Sanson has to take the witness stand--in a ploy to help Nazzari beat a murder rap--and lie under oath before a court packed with old hens that she's been promiscuous. You can just imagine the post-war audience of Italian housewives gnawing on their hankies at that point. Does the ridiculous happy ending count for or against the picture?

Tormento (1950) - Once more Amedeo Nazzari is facing a murder charge, and once more Yvonne Sanson is his beautiful and saintly wife. Even Aldo Nicodemi makes a cameo to act the cad (some kind of contractural thing?), but the supreme villain this time is the Mother of All Evil Stepmothers, played with relish by Tina Lattanzi. Just when you think she can't go any lower, the writers find new depths to which she'll plunge. There is, of course, pleasure in seeing the stepmother eventually getting her due, but the chief fun is to be had in witnessing the innocent Sanson endure the endless torments of the title. Oh, the joys of vicarious masochism! And then, another unbelievably ridiculous happy ending. Why tamper with a winning formula?

you are leaving me in suspense, how did you see these?

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« Reply #9377 on: August 04, 2011, 02:31:45 AM »

you are leaving me in suspense, how did you see these?


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« Reply #9378 on: August 04, 2011, 08:31:17 AM »

The Man Who Never Was (1956) Director: Ronald Neame with Clifton Webb and Gloria Graham, a nice little War Drama based on a true story. Clifton Webb plays Lt. Cmdr. Ewen Montague who comes up with the mis-direction idea of planting a fake drowning victim off the coast of Spain. Graham plays a girl in love with an RAF flier and she is great in the scenes she has. 8/10

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« Reply #9379 on: August 04, 2011, 12:11:20 PM »

Children of Paradise (1945) - 10/10. An epic of love and loss, set within the theatrical milieu of 19th Century Paris. There is much talk of dueling, but it's the verbal fencing between characters that is to die for. Et quels caractères! The ending seems a bit weak, but it would be churlish to dock it a point just for that.

L'amour l'après-midi / Love in the Afternoon (1972) - 7/10. A French Brief Encounter, updated, with a gender swap. This is the last of Rohmer's Six Moral Tales. Witty at times, it outstays its welcome by a good quarter of an hour.

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« Reply #9380 on: August 04, 2011, 03:10:35 PM »

Essential Killing (2010) *Review* Anyway, I liked seeing Vince eat bugs, so it gets a 4/10 for that.

 Grin Grin Grin I will be checking this one out. Thanks for the hilarious review Dave Afro

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« Reply #9381 on: August 04, 2011, 03:34:50 PM »

I'll Give a Million (1937)  Not as good as Count Max 2 years later, it aims high but the screenplay it is not up to the story by Zavattini. Looks almost like a rehearsal for Miracle in Milan. Assia Noris's voice and her foreign pronunciation are annoying.  De Sica is superb as usual. The direction faultless. 6\10

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« Reply #9382 on: August 05, 2011, 03:30:59 PM »

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD 5out of 10.... solid acting and a reallly good train robbery sequence toward the beginning. hated just about everything else. the music, the narration, the photography shtick with the color and the blurred edges.

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« Reply #9383 on: August 06, 2011, 11:13:32 AM »

Drive, He Said (1971) - 8/10. An unlikeable college basketball star (William Tepper), who is nailing his professor's wife (Karen Black), and who has a borderline psychotic roommate, wonders what he should do with his life. It's Zabriskie Point meets Animal House. Filmed at the U of Oregon in Eugene, the movie has a nice Northwesterly vibe and captures some of the chaos of the campus protest era, but director Nicholson makes certain we also get plenty of shots of well-played basketball. Bruce Dern does a more-than-credible job as the coach, yet the real surprise is Robert Towne (!) as the nebishy professor whose wife is cheating on him. Toward the end the focus shifts to the roommate melting down, which isn't all that interesting, and for some reason the film never manages to get back to the lead. You end up feeling that the final reel is missing, but hey, I guess that's what makes it art.

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« Reply #9384 on: August 06, 2011, 07:03:49 PM »

Drive, He Said (1971) -

The italian title Yellow 33 is  better business-wise.  The american title gives away the fact that this movie is boring. I saw it in a theatre about 40 years ago and coming out of it I wondered what was the point of it all. Actually I went to see it only because I was a Nicholson's fan and wondered what he could do behind a camera.

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« Reply #9385 on: August 06, 2011, 09:08:45 PM »

Captain America: The First Avenger - 5/10 - Superhero flicks have been done to death.  World War II films have been done to death. Why in the hell did I expect a WWII Superhero Film to be any good? There are a few modestly creative action scenes, and Hugo Weaving and Tommy Lee Jones have fun chewing scenery, but really it's just a grab-bag of obnoxious cliches combined with a tacky faux-period look. It's all a waste of time anyway since it's just a set-up for the upcoming Avengers movie.

I also caught the last hour of Rango which I enjoyed.

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« Reply #9386 on: August 07, 2011, 11:27:55 AM »

The italian title Yellow 33 is  better business-wise.  The american title gives away the fact that this movie is boring. I saw it in a theatre about 40 years ago and coming out of it I wondered what was the point of it all.
Not sure what the intent at the time was, but today it can be enjoyed for the nostalgia it brings and the time and place it documents. Also, some of the performances (Bruce Dern's in particular) are fun to see. Robert Towne in an acting role really blew my mind.

You really think the color and number of the lead character's jersey makes a better title? Well, to each his own.

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« Reply #9387 on: August 07, 2011, 06:56:38 PM »

A Very Long Engagement - 8/10 - Cleverly mixes elements of a detective story, melodrama and war film with Jeunet's usual stylized imagery. A bit sloppy in the plot department but lots of memorable set-pieces and episodes make up for it. Audrey Tautou is a sweetheart and there's an interesting supporting cast, most notably Jodie Foster.

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« Reply #9388 on: August 07, 2011, 10:14:21 PM »

You really think the color and number of the lead character's jersey makes a better title?

Especially since the italian title was in english.

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« Reply #9389 on: August 08, 2011, 01:50:38 AM »

A Very Long Engagement - 8/10 - Cleverly mixes elements of a detective story, melodrama and war film with Jeunet's usual stylized imagery. A bit sloppy in the plot department but lots of memorable set-pieces and episodes make up for it. Audrey Tautou is a sweetheart and there's an interesting supporting cast, most notably Jodie Foster.

Jodie Foster is really good in it. As you notice it, the movie's value lies far more in separate interesting pieces than in the whole movie itself. And the fact that Gaspard Ulliel gives one of his worst performances (which says a lot) does not help.
This movie could have reached 8 or 9/10 with a little more work, as it is it's more a 5 to me. Although not a "mediocre" 5: some parts deserve 9, others deserve 1.

SUPER 8
Why does everybody here hate this movie so much? Of course it is really flawed (all the adult characters/plots are ridiculous when the professor, the bad guy and the girl's father SHOULD have been great charismatic characters, the ending SUCKS almost as much as ET ending does). But eh, the kids scenes really work, and that's the first time since Terminator 2 that something like that happens in a blockbuster. Even the love affair is quite ok (and they don't kiss)!
They really catched the 80's blockbusters feeling they wanted. I'm also surprised no one noticed that for once there is very little shaky cam involved, and they did NOT replace it by cheeesy bullet-time effects.
It is a 6.5/10 to me, and I'll watch it again for sure.

« Last Edit: August 08, 2011, 03:14:04 AM by noodles_leone » Logged


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