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Author Topic: Rate The Last Movie You Saw  (Read 1767010 times)
dave jenkins
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« Reply #9690 on: November 09, 2011, 10:47:48 PM »

Not that the movie had much else to offer.
Wrong. http://www.fistful-of-leone.com/forums/index.php?topic=3049.15

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« Reply #9691 on: November 10, 2011, 04:14:10 AM »

No movie that incited a prolonged Jenkins-Titoli argument can be all bad. Afro

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« Reply #9692 on: November 10, 2011, 10:04:29 AM »

I still don't believe the prosecution would call a defendant to the stand. One example out of many of how that "trial" was ridiculous. (and Holmes was an asshole, but that's another story  Wink)

A two-second Google search yielded this:
http://www.tom-horn.com/story-testifies.htm

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« Reply #9693 on: November 10, 2011, 05:18:08 PM »

Decalogue I - VI
way the fuck better than 'BLUE', fuck you dave jenkins.

I do plan on giving blue another chance when im done with decalogue though

Zelig, Purple Rose of Cairo, Annie Hall, Love and Death, September, Manhattan, A Midsummer Night's Sex Comedy, Interiors, Broadway Danny Rose, Stardust Memories
All great besides Manhattan + Love and Death

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« Reply #9694 on: November 10, 2011, 10:38:00 PM »

Turtles III.....3.5 out of 6 , the turtle train was running out of fuel by this point......cool to see the knuckle head Casey Jones back but this feels bit too child friendly. Had it been mature like the 1st and featured CJ in Japan dishing out pain it couldve been pretty cool , alas not to be......mostly due to parents complaining about TMNT I.

Im sure if Nolan did Turtles itd be pretty good  Wink

Lord of Illusions , 4 of 6......not really terrible exciting but all right. LMAO at Seinfelds Kruger being the cult leader Nix.

"K..uger" indeed  Grin

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« Reply #9695 on: November 12, 2011, 10:15:00 PM »

J. Edgar - 5/10 - This could have been great film if Clint Eastwood (and writer Dustin Lance Black) had decided what to focus on. Instead, we get a movie that plays like a sloppy impressionist painting, flitting from one subject, time period and thematic idea with no rhyme or reason. A lot of the movie focuses on Hoover's relationship with Clyde Tolson, which is speculative but tastefully handled; these scenes are fine. Where the movie stumbles is trying to cover too much history yet not enough; it focuses extensively on the Lindbergh kidnapping but skims over the Dillinger era? No mention of WWII (arguably the FBI's finest hour) or the McCarthy era? Due to its odd structure the movie stumbles down blind thematic alleys (the corruption of power, sacrificing love for one's job, Hoover as a celebrity) that tantalize before evaporating. Not to mention the exceedingly trite framing structure - didn't Black use a dictated memoir structure with Milk? Leo DiCaprio is surprisingly good but his character has no discernable arc or development; the young Hoover we see orchestrating the Palmer Raids is pretty much the same as the old Hoover who squares off with MLK and Nixon. Armie Hammer is excellent; this kid's going places. The rest of the cast is a waste of talent.

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« Reply #9696 on: November 12, 2011, 10:25:12 PM »

J. Edgar - 5/10 - This could have been great film if Clint Eastwood (and writer Dustin Lance Black) had decided what to focus on. Instead, we get a movie that plays like a sloppy impressionist painting, flitting from one subject, time period and thematic idea with no rhyme or reason. A lot of the movie focuses on Hoover's relationship with Clyde Tolson, which is speculative but tastefully handled; these scenes are fine. Where the movie stumbles is trying to cover too much history yet not enough; it focuses extensively on the Lindbergh kidnapping but skims over the Dillinger era? No mention of WWII (arguably the FBI's finest hour) or the McCarthy era? Due to its odd structure the movie stumbles down blind thematic alleys (the corruption of power, sacrificing love for one's job, Hoover as a celebrity) that tantalize before evaporating. Not to mention the exceedingly trite framing structure - didn't Black use a dictated memoir structure with Milk? Leo DiCaprio is surprisingly good but his character has no discernable arc or development; the young Hoover we see orchestrating the Palmer Raids is pretty much the same as the old Hoover who squares off with MLK and Nixon. Armie Hammer is excellent; this kid's going places. The rest of the cast is a waste of talent.

i saw this at 12:01 AM on Friday in Union Square in NYC. Dead tired, having been awake for far longer than 24 consecutive hours (with very brief naps), and having just done a round trip visit to Washington. I fell asleep repeatedly throughout the movie. So can't judge it fairly. But what I saw, I did not like. I certainly am not interested enough to give this another shot when I am not tired.
Leo's makeup was awesome; it really convinces as an old man. However, the makeup on Clyde was awful.

« Last Edit: November 12, 2011, 10:34:07 PM by drinkanddestroy » Logged

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« Reply #9697 on: November 12, 2011, 10:30:59 PM »

A two-second Google search yielded this:
http://www.tom-horn.com/story-testifies.htm

In that case I stand corrected. Though i wonder if he was called to the stand by the prosecutor (unconstitutional), or whether he voluntarily chose to take the stand in his own defense and be subject to cross-examination by the prosecutor (constitutional).

It should be noted that the Bill of Rights initially only applied to the Feds, not states. So state courts were not bound by it. Though the 14th Amendment (ratified in 1868)  is now understood to have "incorporated" (at least most of) the Bill of Rights against the states and local governments, the Sup. Ct. did not rule on that till years later. I am not 100% sure whether the 5th Amend. was incorporated at the time this movie takes place, but I can easily found that out.

Either way, considering how fundamental the 5th Amend. is, my guess is that it was observed by state courts even before the 14th Amend. incorporated the Bill of Rights against the states.

Either way, according to these transcripts, at least it says Horn answered the questions! In the movie, he refused to answer anything, even though there was a noose around his neck. Just like "Idiot Plot" you've referred to with other movies. What man refuses to answer anything when there is a noose around his neck? That irritated the hell outta me as well

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« Reply #9698 on: November 13, 2011, 12:40:18 PM »

The Man from Colorado - 7/10 - The early scenes with Glenn Ford's psychotic Union officer-turned-hanging Judge, William Holden's conflicted Marshal and a gaggle of reluctant outlaws show a lot of potential the movie doesn't fully deliver on. The story and characterizations take a conventional turn in the last half of the film but it's still fairly well-done, especially the finale in the burning town. Serviceable Western that could have been a classic.

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« Reply #9699 on: November 15, 2011, 05:21:56 AM »

Slightly Scarlet (1956) an unexpected diamond in the rough, set designs in flaming Superscope, juxtaposed with John Alton's Noir cinematography, make for some incredibly surreal viewing.  Add Rhonda Fleming battling it out with kleptomaniac and nymphomaniac sister Arlene Dahl over John Payne amongst phallic symbols galore, dressed in outfits that make their screen shots reminiscent of countless Pulp magazine/paperback covers, in sequences that make you wonder how they got past the censors, and you have something unique in the pantheon of Film Noir titles. 9/10

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« Reply #9700 on: November 16, 2011, 05:58:58 AM »

but Lee J. Cobb is wasted.
He usually was.

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« Reply #9701 on: November 16, 2011, 10:02:22 AM »

He usually was.

In fairness I'd rather he be wasted than be given free rein to chew scenery.

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« Reply #9702 on: November 18, 2011, 04:35:12 AM »

In a Lonely Place (1950) 9.5/10

Thanks to T.H. and cj for recommending this one to me  Afro

I have thus far seen 6 Bogie movies, and In a Lonely Place may contain his best performance.

the other 5 Bogie movies I have seen are:

The Maltese Falcon
Treasure of the Sierra Madre
The African Queen
The Big Sleep
Casablanca



SPOILER                 SPOILER                    SPOILER

What amazed me about Bogie's performance is how he makes you really see him through the eyes of Laurel. Once Laurel enters his life, he is so pleasant and nice (though burned out on life), and you wonder how he possibly could have done those things you hear about from his past. As we're going through that final fateful night, you just HATE the man so much, you wanna punch the screen. And you wonder how the hell you ever could have liked him. You absolutely feel as Laurel does. Delivering perfectly on that complexity of Dix's personality, and the progression of how it all comes out, while feeling completely natural and not in the least bit contrived, makes it all absolutely amazing. And he really does look and feel like  the "over the hill writer, burned out on life" part --  and along with the usual Bogie wit, sarcasm, cynicism -- this may be the best performance I have seen from one of the greatest actors ever.

I'll create a new post for this movie so cj can add it to the new Film Noir Index, and so we can discuss it more extensively.

p.s. I have only seen 6 Bogie movies, listed above. I really love watching his movies. If anyone can recommend any other great Bogie movies, I'd be mighty appreciative. (Just bear in mind that I only watch dramas, thrillers, and Westerns, so please keep your recommendations to those genres   Smiley)

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« Reply #9703 on: November 18, 2011, 08:34:26 PM »

Zodiac - 8/10 - A nice slow-burner that transforms from a police procedural into a study of obsession halfway through. Both halves work equally well, and the movie's wonderfully ambiguous and smartly crafted in its handling of the subject. Plus who knew Jake Gyllenhaal could act?

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« Reply #9704 on: November 19, 2011, 06:05:00 AM »

Zodiac - 8/10 - A nice slow-burner that transforms from a police procedural into a study of obsession halfway through. Both halves work equally well, and the movie's wonderfully ambiguous and smartly crafted in its handling of the subject. Plus who knew Jake Gyllenhaal could act?
Ka-ching!

I wouldn't change a thing on this review except for the rating. The artful use of Donovan's "Hurdy Gurdy Man", plus the very low-key use of CGI to reproduce a San Francisco that no longer exists,  makes me want to give this film at least a "9."

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