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Author Topic: Rate The Last Movie You Saw  (Read 1759326 times)
stanton
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« Reply #9900 on: December 24, 2011, 03:16:08 PM »

Never liked the Tintin comics. Never understood why Herge should be such a great artist.  Huh

I'm a Goscinny man. The real genius.

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« Reply #9901 on: December 24, 2011, 05:15:08 PM »

A Female Masochism Double-Feature!

La prisonnière / Woman in Chains (1968) 6/10. Henri-Georges Clouzot's final film, about a woman married to an artist who becomes obsessed with the gallery owner who exhibits her husband's work. It turns out the gallery owner has a side hobby photographing women in sado-masochistic poses. At first appalled by the practice, the woman eventually begins participating in the photography sessions, apparently as a means of winning her new man's affections (her well-adjusted husband getting thrown to the curb in the process). But of course the S&M guy does what he does precisely to avoid emotional entanglements with women. So the woman suffers, and suffers some more, eventually achieving a kind of demented happiness. The husband also gets his wife back, after a fashion. The modern art setting allows the director to indulge in some photography of interesting objects d'art, which, late in the film, become external representations of the heroine's inner state (or something). The whole thing goes on a bit too long. (I saw this at MOMA and I had to chuckle at what sometimes seemed like product placement for items in the museum's gift shop.)

A Dangerous Method (2011) 9/10. The story of how Carl Jung (Michael Fassbender) took on Sabina Spielrein (Keira Knightley) as a patient, of how he used Freud's "talking cure" to treat her, and how their relationship led Jung to meet and become friends/colleagues/rivals with the Viennese Quack (Viggo Mortensen). It's also the story of how Jung and Speilrein became lovers and how their bizarre relationship led to the severing of the ties between Jung and Fraud. Immaculately photographed with equally impressive sound design, Cronenberg has produced the arthouse flick of the season (adapted from a play by Christopher Hampton). And without recourse to Rick Baker's SFX, he is able to reference his patented "body-horror" of past films just by getting Knightley to extend her jaw. He fails, however, to answer the one question that everyone leaving the cinema must entertain: what became of Spielrein's masochism after Jung broke with her? Was she able to move beyond it, or did her new husband administer the beatings she'd come to crave? Perhaps the historical record is unclear and Cronenberg did not wish to speculate.

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« Reply #9902 on: December 25, 2011, 05:20:10 AM »

A Christmas Carol / Scrooge (1951) 7/10. Christmas noir! Down those Victorian mean streets a man must go who is himself not mean . . . well, he IS, actually, but he doesn't stay that way. The new Blu-ray from VCI looks very good, showing to advantage the Expressionist lighting of the film. This disc includes a great video appreciation by Sir Christopher Frayling, detailing why the movie is so great (acting, music, etc.) and pointing out how it indexes the concerns and preoccupations of 1951 Britain. And by comparing it to other versions, he shows that, even with the happy ending, the film remains somewhat "dark."

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« Reply #9903 on: December 25, 2011, 07:22:01 AM »

Only a 7? Humbug. Tongue

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« Reply #9904 on: December 25, 2011, 09:31:30 AM »

It's only an 86 minute film; well made, certainly, but it feels kinda slight to me.

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« Reply #9905 on: December 25, 2011, 10:04:44 AM »

It's only an 86 minute film; well made, certainly, but it feels kinda slight to me.

What exactly did you miss from it?

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« Reply #9906 on: December 25, 2011, 08:31:37 PM »

Let me put it this way: Lean's Oliver Twist is a "10". His Great Expectations, while good, isn't at the same level: let's call it an "8." A Christmas Carol impresses me less than GE. Ergo: a "7."

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« Reply #9907 on: December 26, 2011, 07:16:31 AM »

The Lion King - 8/10 - This was my first theatrical viewing, and in junior high I went through a period of almost obsessively liking it (sadly my brother never grew out of that phase). Watching it all these years later (on Blu-Ray), it didn't have the same effect. The story is an interesting blend of Hamlet and Henry IV, but it's too quick-paced for its thematic preoccupations to come off and the trite, purely functional dialogue doesn't help. The big emotional scenes (Mufasa's death and the ending) still worked for me though. You can thank (or blame) this film for the preoccupation with star voices in animated films though it works just fine here (especially James Earl Jones and Jeremy Irons). The animation is a solid blend of hand-drawn and computer work which hasn't often been bettered, especially the stampede. I like most of the songs just fine, though Be Prepared is the only standout number for me; the instrumental score is still Hans Zimmer's best. It was nice to revisit this one, but I'm not eager to rewatch other childhood Disney films.

« Last Edit: December 26, 2011, 07:19:49 AM by Groggy » Logged


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« Reply #9908 on: December 26, 2011, 03:43:06 PM »

The Adventures of Tintin - 7/10 - Started off awkwardly but gained momentum as it went along. Neat animation and fun action scenes made up for the overall silliness. The 3D didn't add much. Disposable fun.

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« Reply #9909 on: December 27, 2011, 05:14:40 PM »

Never liked the Tintin comics. Never understood why Herge should be such a great artist.  Huh

I'm a Goscinny man. The real genius.

I like Goscinny, and agree on Tintin (boring like hell). But I was an early fan of Jacobs.

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« Reply #9910 on: December 28, 2011, 08:35:36 AM »

The Debt (2011) 8.5/10

h/t dj for the recommendation  Afro

The score really annoyed me here. You know that tense-music for tense scenes, the quick-beating, bassy music? This movie does that on steroids for all tense scenes, and it's really overkill. The scenes are terrificly anxious without me needing the music to tell me so.


SPOILER

In our earlier discussion on Munich, when we were discussing Mossad agents questioning their own actions (a notion I found ridiculous in Munich) dj mentioned something to the effect of The Debt being such a movie as well. I have to disagree on that point. Nobody here regrets the propriety of the mission in any way -- just the fact that they aren't truthful about it. In Munich, they actually wonder about the propriety of the mission itself, which I found ridiculous. This movie can't be compared to Munich.



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« Reply #9911 on: December 28, 2011, 09:04:44 AM »

The Debt (2011) 8.5/10

In our earlier discussion on Munich, when we were discussing Mossad agents questioning their own actions (a notion I found ridiculous in Munich) dj mentioned something to the effect of The Debt being such a movie as well.
Not what I said. I said it was a movie that did soul-searching for Mossad agents correctly. As you rightly point out, Mossad agents don't examine their consciences about the "propriety of the mission" (to use your term); they may, however, as this picture shows, have other things to worry about.

Groggy has alluded to problems he has with the plot, but since he has never been explicit, I've never figured out what his objections are. Any ideas?

« Last Edit: December 28, 2011, 09:11:31 AM by dave jenkins » Logged


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« Reply #9912 on: December 28, 2011, 10:05:39 AM »

Not what I said. I said it was a movie that did soul-searching for Mossad agents correctly. As you rightly point out, Mossad agents don't examine their consciences about the "propriety of the mission" (to use your term); they may, however, as this picture shows, have other things to worry about.

Groggy has alluded to problems he has with the plot, but since he has never been explicit, I've never figured out what his objections are. Any ideas?

yeah, you're right; here's your post http://www.fistful-of-leone.com/forums/index.php?topic=7645.msg153132#msg153132 ; Groggy's is several posts down from that.

He said he has problems with The Debt's "basic structure" and "plausibility." How about some elaboration, Groggy?

btw, Roger Ebert said he had a big problem following which of the two men was David and which was Stefan. I mean, neither of the younger guys are dead-ringers for the older ones, but not once did I ever have a problem with that. And I'm a guy who always has trouble following shit in movies


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« Reply #9913 on: December 28, 2011, 10:10:26 AM »

The anemic framing device and the asinine, contrived finale? I believe I said as much when I saw it.

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« Reply #9914 on: December 28, 2011, 10:16:49 AM »

The anemic framing device and the asinine, contrived finale? I believe I said as much when I saw it.

What is asinine and contrived about the finale?

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