Rate The Last Movie You Saw

[Groggy]

If you love that shit so much, why the fuck don't you just go move to Cuba or North Korea already?

I prefer the United States of Islam.

[dave jenkins]

Night and the City (1950) 8/10

Fun London-based noir with Richard Widmark

"Fun"? Watching a character slowly destroy himself is fun?

The film is certainly well made and a kind of masterpiece of its type. But I find it agony to sit through.

[dave jenkins]

A Tree Grows in Brooklyn (1945). 9/10. First blu-ray viewing. Shouldn't the title be "A Tree Grows in Williamsburg"? Why leave things so vague? Anyway, the film is an adaptation of a famous book, so I guess they had to keep the title. This is the kind of movie Hollywood can't make anymore, a film filled with sentiment that is itself not sentimental. Which is not to say that the past portrayed is not idealized: clearly, everything is seen from the perspective of the little girl, who has a very romanticized view of her wastrel father (well played by James Dunn). And even though the girl doesn't seem to fully appreciate her hard-working mother (Dorthy McGuire), director Kazan gives us enough details about the woman's work-a-day world so that we in the audience can easily reckon the real score. The director thus accomplishes something unusual, showing us simultaneously how things appeared at the time (pre-WWI) and how, with altered perspective, they appear in 1945 (and he accomplishes this without recourse to voice-over). Kazan is also to be commended for eliciting performances from his 2 child actors that are easy to take. The film's one flaw is in casting (which was not Kazan's province, anyway, but Zanuck's). Dorthy McGuire is an excellent actress, but she speaks Mid-Western Broad. Why didn't they use someone with a Brooklyn--er, Williamsburg--accent? This quibble, though, is a minor one. As coming-of-age films go, this is one of the best.

[drinkanddestroy]

"Fun"? Watching a character slowly destroy himself is fun?

The film is certainly well made and a kind of masterpiece of its type. But I find it agony to sit through.

maybe I don't get as attached to characters as you do. Maybe I can stay detached and just enjoy the movie for its art without caring too much about what happens to a character. sort of like a character in a painting

[moviesceleton]

maybe I don't get as attached to characters as you do. Maybe I can stay detached and just enjoy the movie for its art without caring too much about what happens to a character. sort of like a character in a painting

Sounds like Travis Bickle talk to me.

[drinkanddestroy]

if you find it agonizing to sit through a movie in which a character self-destructs, then you are going to find movie-watching to be a pretty agonizing experience  

[drinkanddestroy]

Peyton Place (1957) 10/10

The lead actor here is clearly Diane Varsi, (who delivered a spectacular performance) as Allison McKenzie, yet was billed EIGHTH! Sure, some of the ones billed above her were much more established stars while Varsi was a newcomer, but she is clearly the lead here and eight billing is ludicrous.

The movie had 9 Oscar nominations (5 for actors/actresses) but didn't win any.

It seemed to me that this movie was pretty damn salacious for 1957, though, reading some stuff about it now, I see that it was criticized by many people, including the author of the book it was based on, as having been cleaned up way too much for the screen (though I guess they didn't have much choice in 1957). I can hardly recall any movie from that period even saying the word "sex," yet that word is used repeatedly in this movie. Can anyone recall an earlier movie using the word "sex"? Better yet, for some trivia, anyone know what was the first movie to ever use that word?

SPOILER ALERT

I do have to say that I found the actions of the doctor at the trial to be utterly despicable. He violated not only his own professional requirements of confidentiality, but an explicit promise he made to the defendant. Of course, he believes he has to help her cuz she was refusing to help herself, but she is an adult and she should have the right to decide whether or not certain information is aired publicly, and to deal with whatever the consequences of that decision may be.

Even more despicably, his main purpose in airing the salacious details was not for the sake of saving the defendant, but for the sake of giving the town its much-needed lecture about all its secrets and dishonor. As unjustified as it is to violate a promise of confidentiality to save that person's life, it's absolutely unconscionable to violate that promise just cuz you think it will be an effective tool in cleaning up the town. IMO, other than the assaults by the defendant's stepfather,  the doctor's testimony was actually the most despicable thing anyone in the town did throughout the entire movie.

[noodles_leone]

sort of like a character in a BLOODY painting

[dave jenkins]

Purple Noon / Plein Soleil [Broad Daylight] (1960). 9/10. Rene Clement, with the help of Henri Decaë, Nino Rota, Naples, and a talented cast, adapts Patricia Highsmith's first Ripley novel. Tom Ripley has appeared in so many films now that he needs no introduction, but the young man shown here, played by a relatively fresh-faced Alain Delon, was just beginning to make his way in the world. This helps the director start the film off with a neat trick: although a sociopath, Ripley is presented sympathetically. He's penniless, sponging off his betters, but the ex-pat rotters he hangs about with are so superior, it almost seems neccessary that Ripley start knocking them off. Three things place this film above those offering similar fare. First, the spirit of improvisation: Ripley does little planning, acts impulsivley, then works frantically to "keep his head above water" (there's even a scene at sea that literalizes the concept, a scene which was itself partly improvised). This improvisary quality fills the film with an exquisite tension. Then, there is Clement's attention to detail: the particulars of sailing are portrayed convincingly; the difficulties of moving a dead body have never been more successfully conveyed. Finally, there is the light of Southern Italy: most of the film was shot on location, and everything is gorgeous. I used to have a Criterion LD of this film, but the new blu-ray is, as you'd expect, a vast improvement. One can now enjoy even more the contrast between the film's picture-postcard images and its dark subject matter.

[drinkanddestroy]

Executive Suite (1954) 7.5/10

June Allyson (as the lead actress, playing William Holden's wife) is painful to watch. MGM should have sent her to speech therapy to learn how to properly pronounce an "s."

[dave jenkins]

Miss Oyu / Oyu-sama (1951) 9/10. Second viewing. In Meiji-era Japan, a woman marries a man to help him be near the woman he truly loves--her sister! Mizoguchi adapts Tanizaki: nice kimonos, good but stagey performances, no close-ups, elaborate but phony-looking sets. Kinuyo Tanaka is transcendent.

[dave jenkins]

Jigokumon / Gate of Hell (1953) 7/10. First blu-ray viewing of the 2011 restoration. During the late Heian period, a retainer, promised a reward for having helped put down a rebellion, sues for the hand of the beautiful Lady Kesa (Michiko Kyo). When it's pointed out that she's already married, the retainer refuses to relinquish his claim. Tragedy--and some amazing kimonos--ensue. I've seen this film on crappy gray-market DVDs before, but this Masters of Cinema disc does the new print proud. Essentially, the image delivers Technicolor by other means.

[Groggy]

Judge Dredd - 5/10 - For all the worst superhero movie ever talk it's just mediocre and forgettable. Well, except Rob Schneider: he needs an acid swirly ASAP.

[Big Boss 1971]

Icarus 3/6 , okay Dolph fare

Rare exports 4/6 , Finnish movie about santas (evil ones that is)

[PowerRR]

Argo
One of the better movies this year, behind The Master and Moonrise Kingdom. Affleck at his peak here - his greatest work as both director and actor so far.