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Author Topic: Rate The Last Movie You Saw  (Read 1759419 times)
dave jenkins
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« Reply #11055 on: October 31, 2012, 08:10:26 AM »

Looper (2012) 5/10. In the end, little more than a re-run of Witness, but with a time-travel gimmick. Apparently, though, the time travelling paradoxes weren't sufficiently interesting, so the filmmakers felt the need to add some gratuitous PK (psycho-kenesis). There's also some creepy violence directed at children that isn't handled well. And what's with casting Willis and then not giving him any funny lines to toss out?

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dave jenkins
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« Reply #11056 on: November 01, 2012, 06:47:51 AM »

The B&N Criterion Sale bears fruit:

Sunday Bloody Sunday (1971) 9/10. A man (Murray Head) is the obscure object of mutual desire of Glenda Jackson and Peter Finch. It can't last. This picture, John Schlesinger's most personal, eschews both melodrama and a political agenda. It delivers instead great performances of credible characters. Seen now, it also provides us with great snapshots of London, 1970. And the blu-ray makes you believe you are there.

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« Reply #11057 on: November 02, 2012, 02:44:47 PM »

The B&N Criterion Sale bears fruit:

Sunday Bloody Sunday (1971) 9/10. A man (Murray Head) is the obscure object of mutual desire of Glenda Jackson and Peter Finch. It can't last. This picture, John Schlesinger's most personal, eschews both melodrama and a political agenda. It delivers instead great performances of credible characters. Seen now, it also provides us with great snapshots of London, 1970. And the blu-ray makes you believe you are there.

It's pretty excellent.

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dave jenkins
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« Reply #11058 on: November 03, 2012, 04:42:36 PM »

@MoMA, an immaculate 2K restoration presentation of:

I giorni contati [the days are numbered] / Borrowed Time (1962) 8/10. Before the arch posturings of Investigation of a Citizen Above Suspicion (to say nothing of the silliness of The 10th Victim), Elio Petri co-wrote and directed this wonderfully observed portrait of Rome and Romans circa 1961. A plumber (Salvo Randone) witnesses the death of a fellow commuter on a tram one day. This triggers a crisis--the plumber decides to quit working and spends his days instead wandering about the city. He meets people and renews old acquaintances. He talks, they talk, but nothing comes of it. He tries to reconnect with an old flame, unsuccessfully. He makes a return visit to his hometown--a disaster. He tries to financially assist his landlady's daughter (he is misunderstood). Living on his savings, he is soon broke. What to do? He encounters a panhandler, follows him, gets his story. Outside a courthouse he runs into his old apprentice, now a gangster. The gangster has a scheme to defraud the public transportation company. Will our hero fall in with it? Can he stem the downward spiral upon which he seems intent? And is there really any good alternative? The film appears to illustrate those famous lines from Woody Allen's "My Speech to the Graduates": "More than at any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly." That ruefulness is everywhere present in the film, but also the light tone. Of course, Salvo Randone--a dead ringer for titoli, I'm informed--has to be credited with an incredible performance. The other star, Rome herself, in b&w widescreen, looks wonderful. Where's the blu-ray?

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« Reply #11059 on: November 03, 2012, 07:19:35 PM »

Of course, Salvo Randone--a dead ringer for titoli, I'm informed--

Nahh, my nose's bigger.

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« Reply #11060 on: November 04, 2012, 07:58:58 AM »

2 Gaumont films, via Olive blu-rays, both with Lino Ventura, both set in Africa, both with clever dialogue by Michel Audiard:

Cent mille dollars au soleil / Greed in the Sun (1964) 6/10. Belmondo and Ventura, together again for the first time! When truck driver Belmondo absconds with the "grisbi", it's up to his old buddy Ventura to chase him down over miles of twisty desert roads.  Shades of The Wages of Fear. Comparisons with that venerable film, however, do not favor Sun. Wages was all about edge-of-your-seat suspense; Sun is about friends scoring off each other and cracking wise. Suspense is sacrificed for the sake of comraderie. The plot is so unimportant that a major character just disappears at the end of the story. And whether or not the two buddies end up with the money is equally unimportant--the friendship is all that matters. But that is the one thing that is never in doubt.

Taxi for Tobruk (1960) 7/10. Lifeboat on land! This time Ventura is at the helm of a captured German vehicle, Hardy Kruger is the captured German officer who navigates the French crew across an ocean of sand. The jokey patter works much better here--the men, after all, share a number of dangers together, and bond through those experiences. Everything builds to a tense and well-played minefield scene. But then the film is ruined with an out-of-left-field ending. What, did the producers run out of money, or something? A shame: this could have been one of the greatest WW2 films ever made.

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« Reply #11061 on: November 04, 2012, 09:40:17 AM »

Belmondo and Ventura, together again for the first time!


Could be from me ... Wink

(but did they make another film together?)

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« Reply #11062 on: November 04, 2012, 10:13:08 AM »

They were both in The Big Risk.

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« Reply #11063 on: November 04, 2012, 12:13:16 PM »

The Cruel Sea - 8/10 - Grim, sober WWII drama with Jack Hawkins in a career-defining role. The sort of the movie that speaks for itself, really.

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« Reply #11064 on: November 04, 2012, 02:30:21 PM »

Donnie Brasco wouldn't entertain the thought of adding
what's already been said about this picture, on this, or any other
board. finally got the chance to see it. life is good, forget about it
 Cool

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« Reply #11065 on: November 04, 2012, 04:30:40 PM »

Three Colors: Blue
Yes davejenkins, I watched the whole thing this time. And it's still dull and uninteresting shit. White is good, Red is great, and The Decalogue is one of the best pieces of work I've ever seen. Fuck Blue.

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« Reply #11066 on: November 05, 2012, 02:01:45 AM »

Three Colors: Blue
Yes davejenkins, I watched the whole thing this time. And it's still dull and uninteresting shit. White is good, Red is great, and The Decalogue is one of the best pieces of work I've ever seen. Fuck Blue.

Pretty strange. I like them all, and every other Kieslowski film.

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« Reply #11067 on: November 05, 2012, 06:12:56 AM »

Yeah, me too. Go figure.

Les visiteurs du soir / The Devil's Envoys (1942) 7/10. In 15th Century France, agents of the devil arrive at a castle determined to sow discord among the nobility. Since the agents are hunky Alain Cuny and the lovely Arletty, the method of attack turns out to be seduction--seduction of the castle's lord, the lord's daughter, the daughter's fiance. But when Alain Cuny seems to be taking his role as wooer too seriously, Le Diable himself (Jules Berry) arrives to get matters back on course. This is the film that dares to ask, Can you beat the devil with love? Of course, since it's a French film, the answer is plain from the start. And since also it's a film dealing with supernatural beings, whose powers aren't clearly defined, anything can happen (which is not a good thing). Still, there are pleasures: Jules Berry's performance (which one instinctively compares with Walter Huston's in The Devil and Daniel Webster) and Arletty's face, especially when she smiles.

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« Reply #11068 on: November 06, 2012, 04:56:54 PM »

Monsieur Ibrahim (2003) (Monsieur Ibrahim et les fleurs du Coran) Storyline IMDb
In a street called Blue in a very poor neighborhood in Paris, Monsieur Ibrahim is an old Muslim Turkish owner of a small market. He becomes friend of the teenager Jewish Moises, tenderly nicknamed Momo, who lives with his father in a small apartment on the other side of the street. Monsieur Ibrahim gives paternal love and teaches the knowledge of the Qur'an to the boy, receiving in return love and respect. 8/10

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dave jenkins
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« Reply #11069 on: November 06, 2012, 05:11:40 PM »

Rashomon (1950) 7/10. First Blu-ray viewing of the 2008 restoration. This film is more fun to talk about than to watch; nonetheless, as conversation pieces go, this one looks fabulous.

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