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Author Topic: Rate The Last Movie You Saw  (Read 1765002 times)
dave jenkins
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« Reply #10395 on: April 13, 2012, 08:03:42 AM »

The Fugitive Kind (1959) 5/10

I'm not much for plays
I'm not much for idiots.

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« Reply #10396 on: April 13, 2012, 08:24:34 AM »

Enemies, A Love Story (1989) - 9/10. Still the best thing released in its year. The Paul Mazursky cameo is annoying, though, so I dock this otherwise-perfect film one point.

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« Reply #10397 on: April 13, 2012, 09:59:05 AM »

I'm not much for idiots.

Harsh.

« Last Edit: April 13, 2012, 10:06:32 AM by Groggy » Logged


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« Reply #10398 on: April 13, 2012, 01:57:42 PM »

True. I could have given him the benefit of the doubt and understood him to mean "I'm not much for filmed plays"--a defensible position. But sometimes, especially when I see a jugular offered, instinct just takes over. The mood has passed, however, and I'm my old affable self again.

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« Reply #10399 on: April 13, 2012, 03:08:13 PM »

No Man Of Her Own entertaining, told in a long flashback a Noirsville ending segment, not bad. 7/10
Without Honor This Geneon DVD was a pretty rough transfer the story was OK and Dane Clark was pretty obnoxious 6/10

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« Reply #10400 on: April 13, 2012, 03:08:38 PM »

It's alright DJ, Mr. Destroy has inspired similar thoughts in me on a few occasions. Afro

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« Reply #10401 on: April 13, 2012, 06:32:23 PM »

No Man Of Her Own entertaining, told in a long flashback a Noirsville ending segment, not bad. 7/10
I liked the way it starts out as a solid woman's pic for the first 2 acts, then in Act 3 takes a turn through the Dark City, yet at the end is able to return (plausibly) to its initial state. Does Mildred Pierce one better.

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« Reply #10402 on: April 13, 2012, 07:30:48 PM »

Desirée (1954) - 4/10. Napoleon, as seen by the woman (Jean Simmons) who loved him first. You will believe that Brando is Bonaparte: the fake nose--what a performance! This is one of those historical dramas that does away with boring battle scenes and substitutes instead soirees, galas, dances--the important events of state. Lavish sets! Costumes that will make your eyes water! Crap!
Robert Harris has a different take:
Quote
Want a masters level class on the use of early CinemaScope?

 

Courtesy of Twilight Time and Fox, it can be yours.

 

All that's necessary is a viewing of Henry Koster's Desiree, as shot by Milton Krasner, who was behind the camera for the earlier Demetrius and the Gladiators and Three Coins in the Fountain.  What he does with the formal ball scene is a lesson in itself.

 

Make special note of the positions of actors around the frame, and the use of architecture to create interest.

 

Desiree is a beautiful film, with the young Marlon Brando doing a very interesting turn as Napoleon.  Only his seventh film, and his first in color, this one is worth the just under two hour time commitment.

 

Very nicely scanned, with a color palette that seems correct for the era, with flesh tones occasionally just a bit off.  Welcome to early Eastman Color.

 

Audio comes via original 4-track stereo, and is presented uncompressed.

 

With the combination of Mr. Brando, the wonderful Jean Simmons, a score by Alex North and a very healthy dose of gorgeous CinemaScope, Desiree should be a winner for Twilight Time.  3,000 copies should move out smartly.

 

Recommended.

 

RAH

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« Reply #10403 on: April 13, 2012, 07:46:47 PM »

L.A. Confidential 9/10 second viewing, the first time was in the theater, a great adaptation of James Ellroy's book shaved a point for not going with the "romance of the fedora"  Wink

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« Reply #10404 on: April 13, 2012, 07:51:26 PM »

The Hunger Games - 7/10 - Probably as good an adaptation of a young adult book series you could hope for. A really good cast, headlined by the very talented, very pretty Jennifer Lawrence, helps sell the human element, the art direction is interesting and the action scenes are intense enough to overcome the contrived plotting.

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« Reply #10405 on: April 14, 2012, 05:42:42 PM »

Braveheart - 6/10 - 2nd viewing. I remembered liking this one a lot more. On the plus side are the battle scenes, which convey both excellent scope and visceral gore: no CGI here! One of James Horner's better scores. Patrick McGoohan's Edward I makes a great villain and the Robert the Bruce subplot, though unfair to the historical personage, adds some welcome complexity. Not so welcome is Gibson's wallowing in crowd-pleasing cliche wherever imaginable. William Wallace is reinvented as an action hero/sex symbol for the '90s: he's fighting for Scottish independence, and this time it's personal! The dialogue is routinely awful and the period detail rarely accurate. Lame romance subplots and a cartoonish good-evil storyline don't help. Overall it comes off as a poor man's Spartacus, sans that film's intelligence and inventiveness. See Rob Roy instead.

Ike: Countdown To D-Day - 7/10 - Stuffy and solemn TV movie showing Eisenhower's time as SHAEF Commander. Probably best recommended for history buffs: the film gives an interesting portrayal of Ike's efforts to handle egotistical generals (Bradley, Montgomery, Patton), deal with political liabilities and plan against the weather. If nothing else it gives you an appreciation of how difficult Eisenhower's job was. Tom Selleck, though looking nothing like Ike, gives an excellent performance that holds the film together.

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« Reply #10406 on: April 14, 2012, 09:43:42 PM »

Believe me, I know when I am setting someone up for an easy "comeback." I (very briefly and very long ago) used to be sure not to do that, but now I don't give a fuck; if sum1 wants to take the bait, and if it makes them feel a little better about themselves, then I'm happy I've helped them achieve a bit of happiness.
I think dj is feling a bit guilty cuz I watched the The Fugitive Kind on his recommendation.

As for the substance of the matter (which, is, sadly, often an afterthought in this kindergarten), I think the only thing the movie has going for it is Brando, who is always great to watch. I don't see anything else appealing about this movie. And yes, it does happen to be true that I often don't like movies whose screenplays come from stage plays, though there are exceptions.

And btw, there is little to justify the belief that the Brando character would actually fall in love with the Anna Magnani character, who is so incredibly ugly, she's difficult to look at; and is just so bitter about everything, there is really nothing appealing about her. Yes, Brando is not your typical guy -- he is the fugitive kind -- but he is far from bitter, is more philosophical, which Magnani doesn't seem to understand or give a shit about. I understand why she'd wanna bang him -- she has no one in her life, and a young good-looking guy comes into her store, of course she'd wanna bang him. But there is absolutely nothing to make you understand why he would fall for her. That moment when he says (paraphrasing): "I've never said this to anyone before, but I think I feel true love for you" is just so contrived, when I heard that I actually rolled my eyes and said "shut the fuck up, Marlon." (yes, I talk to the tv screen).
And Joanne Woodward has a terribly unconvincing Southern accent.

These are just a couple of points, by no means the only problems with the movie. In fact, there is little to like about it, aside from Brando.

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« Reply #10407 on: April 15, 2012, 06:44:28 AM »

Braveheart - 6/10 - 2nd viewing. I remembered liking this one a lot more.
Ya mean, from when you were 13? Gee, do tell.

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« Reply #10408 on: April 15, 2012, 07:03:41 AM »

Ya mean, from when you were 13? Gee, do tell.

I think closer to 17.

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« Reply #10409 on: April 15, 2012, 07:14:27 AM »

Braveheart - 6/10 - 2nd viewing. I remembered liking this one a lot more. On the plus side are the battle scenes, which convey both excellent scope and visceral gore: no CGI here! One of James Horner's better scores. Patrick McGoohan's Edward I makes a great villain and the Robert the Bruce subplot, though unfair to the historical personage, adds some welcome complexity. Not so welcome is Gibson's wallowing in crowd-pleasing cliche wherever imaginable. William Wallace is reinvented as an action hero/sex symbol for the '90s: he's fighting for Scottish independence, and this time it's personal! The dialogue is routinely awful and the period detail rarely accurate. Lame romance subplots and a cartoonish good-evil storyline don't help. Overall it comes off as a poor man's Spartacus, sans that film's intelligence and inventiveness. See Rob Roy instead.


I tried watching this one, when I was 16; I couldn't make it through. It moved so slowly and nothing happened, I shut it off halfway through. Of course, when I told all my friends the next day, they invariably responded, "the good part was about to start!" Sorry, I don't wait around forever to like a movie. Heck, I stuck through this one far longer (about 90 minutes) than I normally would sit through a movie I'm not enjoying, because of its reputation and what I was expecting.

At that time I saw it (in 2001) it was shortly after Gibson's The Patriot was released, and everyone who had seen both movies said they were similar, and it was one of those big high school debates: Which is better, Braveheart or The Patriot? For a good portion of my young adult life, The Patriot was my favorite all-time movie; when I finally listened to some of my friends got around to seeing Braveheart, let's just say that it didn't make me forget The Patriot  Wink

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