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Author Topic: Rate The Last Movie You Saw  (Read 1762366 times)
Groggy
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« Reply #10095 on: January 24, 2012, 04:41:31 AM »

I really like how, at the end of The Train,

SPOILER ALERT


they intercut the dead bodies with the paintings. Is it really worth it? Hell No, IMO (hey, that rhymes!)

All I know is I wouldn't risk my life to save every friggin' Monet and Manet ever made. Call me uncultured, uncivilized, or just plain selfish (and you're prolly correct on all counts  Wink)

Any more ridiculous than sacrificing oneself for an abstract concept like patriotism? Which is the film's point.

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dave jenkins
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« Reply #10096 on: January 24, 2012, 06:20:20 AM »

Wow, you guys are deep. You agree with every bromide the filmmakers wanted to express. You could be teaching Film Studies classes.

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« Reply #10097 on: January 24, 2012, 10:00:30 AM »

Wow, you guys are deep. You agree with every bromide the filmmakers wanted to express. You could be teaching Film Studies classes.

Well, we can't all waste... er, spend our time dealing in semantical genre debates. Afro

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« Reply #10098 on: January 24, 2012, 12:18:06 PM »

Any more ridiculous than sacrificing oneself for an abstract concept like patriotism? Which is the film's point.

as I said, I only watched the last hour or so, so I didn't get patriotism as any big theme of the movie, at least during the part I saw.

Of course there are times it's important to fight to defend yourself, but I certainly wouldn't fight for the abstract concept called "patriotsim," whic is often just a euphemism for politicians' whims/self-interest. With that said, I sure as hell would have fought in WWII; that was certainly necessary.

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« Reply #10099 on: January 24, 2012, 02:58:01 PM »

The real important question though is whether The Train is a war movie, a noir or a P.I. film. Or possibly neo-PI.

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« Reply #10100 on: January 24, 2012, 04:53:27 PM »

The real important question though is whether The Train is a war movie, a noir or a P.I. film. Or possibly neo-PI.

I say it's post-modernism/neo-realism, with a bit of neoconservatism and paleolibertarianism. aka "if Ron Paul was a P.I."

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« Reply #10101 on: January 24, 2012, 05:55:44 PM »

Belle de jour (1967) - 6/10. First Blu-ray viewing, and the news is good: Criterion gets Catherine Deneuve's fleshtones right. Man, what a beautiful broad. The film itself is rather simplistic: "real" scenes alternate with fantasy scenes, until at the end reality and fantasy are collapsed into a single continuum. You can see why this kind of thing might have appealed to the 60s art film set; it was another puzzle film in the wake of Marienbad and Blow-Up, but with the promise of some skin. Buńuel was being a bit of a tease there, but he did deliver one shot of Deneuve's bare ass.

Hugo (2011) - 3/10. In Real 3D. Midway through this dull children's adventure film it turns into an even duller bio-pic of movie pioneer Georges Méličs (Ben Kingsley). Lots of "wonder of cinema" talk but very little actual cinematic wonder. And Howard Shore continues to offend with another mediocre score.

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« Reply #10102 on: January 24, 2012, 06:05:19 PM »

You must like that Hugo got more Oscar nominations than any other film this year.

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« Reply #10103 on: January 24, 2012, 09:29:06 PM »

You must like that Hugo got more Oscar nominations than any other film this year.
My general policy is to ignore the foolishness of awards and awards ceremonies.

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« Reply #10104 on: January 24, 2012, 10:37:44 PM »

My general policy is to ignore the foolishness of awards and awards ceremonies.

 Afro

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« Reply #10105 on: January 25, 2012, 01:56:27 AM »

Hugo (2011) - 3/10. In Real 3D. Midway through this dull children's adventure film it turns into an even duller bio-pic of movie pioneer Georges Méličs (Ben Kingsley). Lots of "wonder of cinema" talk but very little actual cinematic wonder. And Howard Shore continues to offend with another mediocre score.

There are a few good ideas and the Melies montages work perfectly. Rendering real Melies movies in 3D is the greatest use of 3D ever.

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« Reply #10106 on: January 25, 2012, 06:17:39 AM »

Rendering real Melies movies in 3D is the greatest use of 3D ever.
I don't disagree. Even Mark Kermode, famous 3-D hater, praises the film for its use of 3-D. But that's all the film has going for it.

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« Reply #10107 on: January 25, 2012, 06:43:22 AM »

Il momento della veritŕ / The Moment of Truth (1965) - 8/10. Francesco Rosi had a great idea: film a feature about bullfighting with the lead played by a real matador (Miguel Mateo 'Miguelín'). That way the "actor" (who happens to have movie-idol looks) could do all his own stunts. Rosi had a second good idea: film all the contests with 300mm lenses--just as real sporting events of the time did to provide that "up close and personal" feel--so that the audience could actually see that the guy was doing his own stunts. The result: an intense feature that seems like a documentary (the opposite of the recent Senna, which this reminded me of, which is an intense documentary that seems like a feature). The only false note is the goring of the matador at the end--it's obviously contrived to put over something that didn't happen. But the deaths of the bulls aren't staged (I estimate we see about 20 kills). Cinéma vérité or Cine veritŕ? Either way, there is truth in blood. Not for PETA members or the squeamish.

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« Reply #10108 on: January 25, 2012, 02:31:22 PM »

Il momento della veritŕ / The Moment of Truth (1965) - 8/10. Francesco Rosi had a great idea: film a feature about bullfighting with the lead played by a real matador (Miguel Mateo 'Miguelín'). That way the "actor" (who happens to have movie-idol looks) could do all his own stunts. Rosi had a second good idea: film all the contests with 300mm lenses--just as real sporting events of the time did to provide that "up close and personal" feel--so that the audience could actually see that the guy was doing his own stunts. The result: an intense feature that seems like a documentary (the opposite of the recent Senna, which this reminded me of, which is an intense documentary that seems like a feature). The only false note is the goring of the matador at the end--it's obviously contrived to put over something that didn't happen. But the deaths of the bulls aren't staged (I estimate we see about 20 kills). Cinéma vérité or Cine veritŕ? Either way, there is truth in blood. Not for PETA members or the squeamish.
Yeah, that's a good one Afro

The Prestige (2006) - 8/10
Nolan's best? Probably.

Shame (2011) - 9/10
It's not a perfect film but it's probably a (flawed) masterpiece. I was literally shaking when I walked home from the theater.

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« Reply #10109 on: January 26, 2012, 02:06:08 AM »


Shame (2011) - 9/10
It's not a perfect film but it's probably a (flawed) masterpiece. I was literally shaking when I walked home from the theater.

I found the movie very well done but extremely empty. The storyline is exactly what anyone would guess if you tell them "it's a movie about a sex addict, and being sex addict is shameful". Have you seen Hunger? It was even more flawed, to me, but at least Steve McQueen was really talking about something there. It was also far more powerful to me.

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