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: Rate The Last Movie You Saw  ( 4698245 )
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« #10425 : April 21, 2012, 02:43:06 PM »

Tree Of Life: 9/10
3rd viewing. Still boring, ambitious, empty, fascinating, moving, incredibly well crafted, unique.


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« #10426 : April 21, 2012, 09:20:53 PM »

The Insider - 9/10 - 2nd viewing.



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« #10427 : April 22, 2012, 02:10:45 PM »

Look Back in Anger - 7/10 - A very bleak and nasty film - by design surely, which doesn't make it any easier a watch. Richard Burton is far better here than in anything else I've seen, playing a real bastard with scant glimmers of humanity. Worth looking out for Donald Pleasance and Nigel Davenport in early roles.

« : April 22, 2012, 02:14:58 PM Groggy »


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« #10428 : April 22, 2012, 04:45:58 PM »

The Italian Job (1969) 7.5/10

This is a fun movie. But I prefer when heist movies are more drama than comedy.
In a heist-comedy, there really is no tension. Sure, you can still kick back and just enjoy the scenes, but for me, heist movies are more enjoyable when there is real tension.

Michael Caine is always terrific.

« : June 25, 2014, 03:02:42 AM drinkanddestroy »

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« #10429 : April 22, 2012, 07:04:34 PM »

Finally, I don't know why, after showing Norman in jail, they cut to the shot of the car being lifted from the swamp, before THE END flashed on the screen. Was that really necessary to see? I mean, we know they are going to remove the car; that shot is useless. Wouldn't have been much creepier if the movie had ended with that shot of Norman's face?
You missed the point of the movie. The film began with Marion Crane, and even though she dies about mid-way through, it is still her story. The shot of the trunk of the car, where her body was stashed, reminds the audience of Marion's fate. After the comforting words of the headshrinker, after having everything "explained," the audience gets handed something that can't be disposed of neatly--Marion's senseless murder. Upon reflection, the audience may even recall that Marion was killed at the point of redemption: she was just about to return the money she stole (another irony: Norman Bates entombed the money with the body unknowingly--something else that the final shot may cause one to remember). But in the world Hitchcock imagined for Marion there is no redemption. That is the chilling final meaning the closing shot communicates, creepier than anything having to do with Norman Bates.

If you study Hitchcock as a genre, you note that Psycho comes soon after Vertigo, Hitchcock's experiment with Tragedy. But even Tragedy with a capital "T" allows for transcendence; with Psycho, a tale of blackest Irony (where transcendence is not allowed), AH touched bottom. In his very next picture, The Birds, he would again treat the subject of a hostile and uncaring universe, but would re-introduce hope in the form of "lovebirds" (both the winged and human varieties). AH's period of pessimism was a short one.

[If you'd like to continue the discussion perhaps we should move to the Hitchcock thread.]

« : April 22, 2012, 07:07:13 PM dave jenkins »


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« #10430 : April 22, 2012, 07:22:27 PM »

Tree Of Life: 9/10
3rd viewing. Still boring, ambitious, empty, fascinating, moving, incredibly well crafted, unique.
It's not boring!

edit: wow I've posted 2000 times now, what a waste of life

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« #10431 : April 22, 2012, 08:19:01 PM »

You missed the point of the movie. The film began with Marion Crane, and even though she dies about mid-way through, it is still her story. The shot of the trunk of the car, where her body was stashed, reminds the audience of Marion's fate. After the comforting words of the headshrinker, after having everything "explained," the audience gets handed something that can't be disposed of neatly--Marion's senseless murder. Upon reflection, the audience may even recall that Marion was killed at the point of redemption: she was just about to return the money she stole (another irony: Norman Bates entombed the money with the body unknowingly--something else that the final shot may cause one to remember). But in the world Hitchcock imagined for Marion there is no redemption. That is the chilling final meaning the closing shot communicates, creepier than anything having to do with Norman Bates.

If you study Hitchcock as a genre, you note that Psycho comes soon after Vertigo, Hitchcock's experiment with Tragedy. But even Tragedy with a capital "T" allows for transcendence; with Psycho, a tale of blackest Irony (where transcendence is not allowed), AH touched bottom. In his very next picture, The Birds, he would again treat the subject of a hostile and uncaring universe, but would re-introduce hope in the form of "lovebirds" (both the winged and human varieties). AH's period of pessimism was a short one.

[If you'd like to continue the discussion perhaps we should move to the Hitchcock thread.]


okay, I will respond in the Hitchcock Discussion Thread


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« #10432 : April 23, 2012, 06:59:31 AM »

Orca: The Killer Whale - 4/10 - From its reputation I was hoping for some campy fun. Unfortunately it's mostly a bore, a weird, ponderous Jaws ripoff that takes itself far too seriously. Some nonsense moments: the title cetacean taking out a shark (take that Spielberg!), repeated close-ups of a weeping whale eye, the orca blowing up half the town by rupturing a gas line. Richard Harris devours scenery, Charlotte Rampling struggles with the concept of emotion, Will Sampson mutters mystical mumbo-jumbo, Keenan Wynn and Bo Derek become whale munchies. Morricone's score is a highpoint up until the asinine "Love Theme" over the end credits.



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« #10433 : April 23, 2012, 07:18:59 AM »

It's not boring!

edit: wow I've posted 2000 times now, what a waste of life

It's boring because it's empty. The book of Job is what could be called "level 0 of argumentation" because its only answer to the paradox of a good God letting (creating?) bad things is: "Haha, THAT'S MY POINT!!! I'm good and I'm God."
Which is a problem when you're spending 3 hours telling nothing more.


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« #10434 : April 23, 2012, 09:39:58 AM »


edit: wow I've posted 2000 times now, what a waste of life

I have posted 1488, and I've been on the board for 4 years less than you have. I am much more pathetic than you are  ;)




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« #10435 : April 23, 2012, 11:07:50 AM »

Tightrope (1984) 8/10


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« #10436 : April 23, 2012, 11:51:43 AM »

Simba - 8/10 - Dirk Bogarde and Virgin McKenna are English settlers in Kenya during the Mau Mau Rebellion. In large part a message film, with Earl Cameron's educated African doctor in the Sidney Poitier role, urging both sides to get along. That aside, it's a pretty good political thriller that's a lot smarter and more nuanced re: colonialism than a lot of its contemporaries. Compare it to Guns at Batasi, with its similar message and setting (even several of the same actors) couched much more condescendingly, and it comes off especially well.

« : April 23, 2012, 11:52:45 AM Groggy »


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« #10437 : April 23, 2012, 12:25:01 PM »

The book of Job is what could be called "level 0 of argumentation" because its only answer to the paradox of a good God letting (creating?) bad things is: "Haha, THAT'S MY POINT!!! I'm good and I'm God."
It's possible that the explicit argument in Job isn't the whole story: there may be an argument implicit in the structure of the story that goes beyond what is stated. I draw your attention to the long "digression" on Leviathan. It is a mistake to assume that the ancients presented ideas in exactly the same way we do today.



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« #10438 : April 24, 2012, 10:35:10 PM »

1. Charley Varrick (1973) 8/10

2. Union Station (1950) 7/10

3. The Woman in the Window (1944) 9/10

4. Dark Passage (1947) 6/10

« : April 25, 2012, 06:08:57 PM drinkanddestroy »

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« #10439 : April 25, 2012, 07:29:09 AM »

Kiss of Death (1947) 7.5/10


-- Victor Mature was really good, as was Colleen Gray. And it was pretty funny seeing Richard Widmark as a gangster with the exaggerated New York accent  ;D

-- As stated in the opening, this movie uses real New York locations -- interior and exterior. It really feels different when a movie uses the real streets of New York, and not a studio backlot. The director, Henry Hathaway, made another noir a year later -- Call Northside 777, which uses locations in Chicago

--A few legal issues

A) The Assistant DA character was bs; he was essentially acting as a cop as well. An ADA can't say "you're under arrest!" Sure, they are very close with the police, but they are not the police.

B) Mature's lawyer should have been there in the ADA's office when he was offered the plea deal to squeal

C) We see Mature's lawyer visit him in jail; there is no reason he would not have been granted bail.

I am not expecting movies to get legal shit very accurate, but I think the things I mentioned are fairly straightforward and pretty blatant mistakes, A) and B) being the worst


SPOILER ALERT

-- The ending was ridiculous. Would Mature really walk out there and be a sitting duck for Widmark, in the hope that somehow he would survive the shots from point blank range? They'd just said that Widmark would get life just for having a gun; shouldn't the cops have picked him up in the car just for that? Mature was pretty much committing suicide by doing that. And after all that, he actually survives 3 shots in the gut?? Really? That was bullshit, done for the sake of a happy ending.

« : April 25, 2012, 06:11:18 PM drinkanddestroy »

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