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Author Topic: Rate The Last Movie You Saw  (Read 1760275 times)
drinkanddestroy
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« Reply #10920 on: September 23, 2012, 09:27:32 AM »

http://www.youtube.com/watch?v=nLsCC0LZxkY
The late Milton Friedman making the point (just ignore the ridiculous music that some dumbass editor put in)

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« Reply #10921 on: September 23, 2012, 09:31:01 AM »

It's not that the idea doesn't work, it's the execution. Every time you get back to her she's become more and more of Vito Corleone, and you never see her changing. You don't even see her trying to adapt to her new environment: you enter the scene, she's discussing with the cartel's boss. Wait what? You don't even see arriving, not knowing what she should do, how she should behave?

^ this

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« Reply #10922 on: September 23, 2012, 09:33:35 AM »

As for the Douglas speech: I can't say I remember it exactly, I saw the movie once, more than a year ago. But I think that Douglas is really the one who IS Soderbergh's theme: he had been so in favor of drug criminalization until he realizes how futile it is. His is the character who has the epiphany that is the theme of the movie: however well-intentioned, it doesn't work.

Agreed. When you get that on the nose in expounding a message, you slip into Stanley Kramer territory. Miguel Ferrer's various rants seemed more organic to the film (something a self-serving criminal would say, yet not invalid) and hence more effective.

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« Reply #10923 on: September 23, 2012, 09:45:41 AM »

Traffic is a bit too happy-endish, otherwise an excellent film.

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« Reply #10924 on: September 23, 2012, 09:47:17 AM »

I tried to watch The Message (aka Mohammed Messenger of God) last night and could only stomach about half-an-hour. I figured three hours of characters walking into rooms to talk to Mohammed off-screen, then coming out to report what Mohammed said, would be intolerable. Are we sure the various protests/riots/hostage crises associated with this film weren't from irate moviegoers?

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« Reply #10925 on: September 23, 2012, 09:49:11 AM »

Traffic is a bit too happy-endish, otherwise an excellent film.

How happy is the ending? Sure, Michael Douglas gets his daughter back, but the DEA investigation is stalled (perhaps indefinitely), CZJ's husband gets out of jail and I found ambiguity in the conclusion of Del Torro's arc (eg. him becoming as corrupt as Milan's character). Seems a wash at best.

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« Reply #10926 on: September 23, 2012, 09:50:17 AM »

Agreed. When you get that on the nose in expounding a message, you slip into Stanley Kramer territory. Miguel Ferrer's various rants seemed more organic to the film (something a self-serving criminal would say, yet not invalid) and hence more effective.

I actually didn't word my statement clearly: when I said "however well intentioned, it doesn't work" I was referring to the Douglas character's epiphany about drug criminalization, that though it may be well intentioned, it doesn't succeed in practice. I wasn't talking about the effectiveness of that bit of the script  Wink

but there's no doubt that stating something on the nose is not very effective: In my opinion, the final line of White Heat (1949), is one of the single worst pieces of dialogue in movie history, it's at 1:18 of this video http://www.youtube.com/watch?v=bytoID_SNnE
after Cagney blows up in the nuclear explosion with the "made it ma -- top of the world!", Edmond O'Brien says "Cody Jarrett -- finally got to the top of the world, and it blew right up in his face." NO MOTHERFUCKING SHIT! That's what we all just saw! I fucking cringed when I heard that line (It's a shame they gave it to O'Brien, who was a wonderful actor). Anytime I watch that movie in the future I will shut it off as soon as Cagney delivers his final "top of the world!" line.
yeah, O'Brien's line is supposed to be preaching about the dangers of nuclear warfare, but I think that was delivered effectively and clearly enough with the mushroom cloud, that last line where he tell us in words what we just saw in pictures is awful

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« Reply #10927 on: September 23, 2012, 09:52:37 AM »

How happy is the ending? Sure, Michael Douglas gets his daughter back, but the DEA investigation is stalled (perhaps indefinitely), CZJ's husband gets out of jail and I found ambiguity in the conclusion of Del Torro's arc (eg. him becoming as corrupt as Milan's character). Seems a wash at best.

well as Don Cheadle is scuffling with CJZ's guards, he succeeds in planting a bug under her table house, so the implication is that he will soon succeed in busting her husband

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« Reply #10928 on: September 23, 2012, 09:58:47 AM »

Did you notice I agreed with you Drink? Cheesy

well as Don Cheadle is scuffling with CJZ's guards, he succeeds in planting a bug under her table house, so the implication is that he will soon succeed in busting her husband

If you're super-optimistic perhaps. My feeling was more Cheadle's back in the daily grind of a hopeless investigation. They had plenty on her husband before and couldn't hold him.

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« Reply #10929 on: September 23, 2012, 10:05:42 AM »

Did you notice I agreed with you Drink? Cheesy

well you agreed with a statement that I didn't actually make or intend to make Wink

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« Reply #10930 on: September 23, 2012, 12:06:07 PM »

As I said a bit, it wasn't a total happy end, but I do not remember as much ambiguity in the ending as Groggy. The Cheadle/CTZ part ended for me clearly with cheadle's triumph. And the Douglas speech was too much, made that part ending far too optimistic. As far I remember this. 
Anyway, a very well directed film with great acting and cinematograhy. 9/10, at the least

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« Reply #10931 on: September 23, 2012, 12:11:24 PM »

Ned Kelly (2003) - 7/10 - Entertaining Aussie Western depicting the legendary bushranger as a Jesse James-style folk hero. Very old fashioned but well-done, especially the shootout in the rain. Heath Ledger's good, Orlando Bloom tolerable, Geoffrey Rush wasted.

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« Reply #10932 on: September 24, 2012, 07:02:33 AM »

How Did You Do It, Billy? (1992). A series of interviews with Billy Wilder, conducted by Volker Schlondorf, done in three parts for British television, and unavailable for viewing for 20 years. Yesterday, at Film Forum, Volker was on hand to tell us why, and his explanation was hilarious (basically, Wilder didn't want it shown in his lifetime). The 3-hour show includes clips from all Wilder's films up through The Apartment (Volger says they discussed Wilder's later films but it didn't yield any interesting footage). The clips were taken from some very blurry sources, so a major restoration would have to be undertaken before the material could be transferred to home video (a very unlikely prospect, it seems to me; at any rate, Volker said nothing about that possibility). Most of the clips were familiar, but I don't recall seeing before the footage used for his documentary on the death camps. Volker commented afterwards that those shots were archival and used by other filmmakers as well, but what made Wilder's presentation stand apart was the narration. In fact, I was struck by that voice-over even before Volker's remark. The documentary was intended for post-war German viewers, and it seemed Wilder wanted to use it to rub their faces in what they'd done (he had a scheme to require every German citizen to see the film before getting their ration card stamped, but it wasn't clear what became of that plan). What was chiefly of interest, of course, was Wilder discoursing on his feature films, and what he says about how they were made is sometimes illuminating but always funny. A final highlight is the program's end, which shows the acceptance speech Wilder and IAL Diamond gave for their screenplay Oscar for The Apartment (Wilder: "Thank you, Mr. Diamond." Diamond: "Thank you, Mr. Wilder." The End). As good as the interviews were, it was also touching to see Volker tearing up during the Q&A after the show. As he explained, it had been 20 years since he'd seen the film too.

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« Reply #10933 on: September 24, 2012, 07:55:52 AM »

LAWLESS (2012) 6.5/10

Uninteresting script, execution "ok", good actors (for terrible characters). I understand why some have problems with Pierce's interpretation, it was fine with me: the trouble lies in the director NOT chosing weither he goes the cartoon way or not. Pierce always plays it cartoonish, Hardy 75% of the time, LaBeaouf 50% of the time... The same goes with the situations and scenes. It's sometimes funny, sometimes "western", ... and it is ALWAYS shown as serious (except for the ending). It's not a big problem though.

They also should have show or told us at the begining that where they are, things are not like in Chicago, cops are never safe. I gradualy understood that, and it fills up pretty big apparent plot holes.

It's good that they went the violent way. It adds real tension to other scenes.

The movie would deserve a 5/10, but hey, this is prohibition, there is Gary Oldman shooting a car with a Thompson...

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« Reply #10934 on: September 24, 2012, 01:52:20 PM »

Cosmopolis (2012) - 7/10
Everything about it is alienating - only at the very end any of the characters can be called human. I guess my rating could be 1-2/10 lower if the film hadn't suited my hang over perfectly.

Stop Making Sense (1984) - 8.5/10
A royalty among concert films. And I've never even listened to The Talking Heads! A nice 35mm print too.

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