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Author Topic: Rate The Last Movie You Saw  (Read 1762768 times)
PowerRR
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« Reply #11205 on: December 08, 2012, 07:53:37 PM »

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.

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« Reply #11206 on: December 08, 2012, 09:21:06 PM »

Surprisingly, Argo appears to be the odds-on favorite for Best Picture right now.  Sad

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« Reply #11207 on: December 08, 2012, 10:43:28 PM »

1. The Woman on the Beach (1947) 5/10



2. Days of Heaven (1978) 7/10

couldn't stand the little girl's narration




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« Reply #11208 on: December 09, 2012, 10:17:20 AM »

DARK KNIGHT RISES (2012) 4/10

Second viewing. I'm not changing my mind. Nolan doesn't care about action, he cares about characters. Fine. It's a shame that there isn't a single character in the whole movie that acts in a coherent way. Why does Wayne give the keys to the reactor to Miranda, who he has never seen a single time in his life (after not trusting the whole World about it ALTHOUGH HE WAS IN CHARGE)? Why giving Gottham hope (revolution + saying they're not going to triger the bomb) before killing them? Why do the guys in the prison, who seem nice to Wayne, hide him several truths? Why does Catwoman betray Batman? Then changes her mind? Why does the flawless Alfred leave Batman at the worst time in his entire life? Why do the cops act so stupid? Why sending EVERY SINGLE cop in the tunnels? Why is there only ONE cop in the city that hear about the huge secret base in the tunnels that every single child in the city knows about? Why do the 3.000 cops charge directly at machine guns? Why don't the bad guys shoot at them? Why do they all fight with their fists when they have firearms (pistols for the cops, Ak-47 like for the bad guys)? Why do Joker from Full Metal Jacket gives up? Why does he change his mind? How does Robin know about Wayne/Batman? They say "because I'm an orphan and you too". So every orphan in the city knows about it too? Why doesn't Wayne even TRY to say "hum, no, I'm totally not the Batman", after spending the last 15 years lying to everyone around him?
Most dialogues make no sense at all. Examples: Alfred tries to convince Batman NOT to fight Bane because that's dangerous. For several minutes. Then Alfred conclude the discussion by saying Batman wants to die. So? What was the point of explaining him how dangerous it was? Same thing when Alfred says he's living. He's asked twice about why he's living and he gives 2 different answers. That have nothing in common. And none of which is coherent. Other example? Robin explaining Gordon that all the heroic decisions they took in TDK are stupid and they should be ashamed. Well, that's a stupid standpoint but ok? Then he changes his mind for no reason.

This movie is just a big... WHY???

Oh and by the way it's quite boring too, not well structured (see: flash back in the prison), badly shot, has its share of ridiculous moments (why did they have the thugs from the Temple Of Doom scream like in a ritual every time someone tries to climb out of the prison?).

« Last Edit: December 09, 2012, 10:26:40 AM by noodles_leone » Logged


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« Reply #11209 on: December 09, 2012, 12:09:45 PM »

DARK KNIGHT RISES (2012) 4/10

Second viewing. I'm not changing my mind. Nolan doesn't care about action, he cares about characters. Fine. It's a shame that there isn't a single character in the whole movie that acts in a coherent way. Why does Wayne give the keys to the reactor to Miranda, who he has never seen a single time in his life (after not trusting the whole World about it ALTHOUGH HE WAS IN CHARGE)? Why giving Gottham hope (revolution + saying they're not going to triger the bomb) before killing them? Why do the guys in the prison, who seem nice to Wayne, hide him several truths? Why does Catwoman betray Batman? Then changes her mind? Why does the flawless Alfred leave Batman at the worst time in his entire life? Why do the cops act so stupid? Why sending EVERY SINGLE cop in the tunnels? Why is there only ONE cop in the city that hear about the huge secret base in the tunnels that every single child in the city knows about? Why do the 3.000 cops charge directly at machine guns? Why don't the bad guys shoot at them? Why do they all fight with their fists when they have firearms (pistols for the cops, Ak-47 like for the bad guys)? Why do Joker from Full Metal Jacket gives up? Why does he change his mind? How does Robin know about Wayne/Batman? They say "because I'm an orphan and you too". So every orphan in the city knows about it too? Why doesn't Wayne even TRY to say "hum, no, I'm totally not the Batman", after spending the last 15 years lying to everyone around him?
Grin Grin Grin

You've convinced me. But given all that, isn't a "4" overly generous?

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« Reply #11210 on: December 09, 2012, 12:30:22 PM »

Grin Grin Grin

You've convinced me. But given all that, isn't a "4" overly generous?

Smiley

Well there still are some things that deserve some recognition.

- I may be one of the few who like Bane's voice (still hate Batman's one)
- Bane is touching toward the end
- some scenes deserve "Good try!" (the little boy singing in the stadium before everything starts)
- some tertiary characters (by that I mean "almost extras": people who have no more than a couple lines) have great moments. Bane's guy who's left in the plane at the begining, for instance. Or the member of the Wayne Corporation's Board who volunteers to go to the reactor with Freeman and Cotillard ("That won't be necessary. I volunteer."). These are very little moments that most people won't notice but that are great moments of cinema, achieved with admirable sobriety.
- some great acting (Caine has stupid lines, but he still delivers them greatly)
- all in all, if you forget the script, it's not that badly done. There is (some) production value, I don't really like the mise en scene but the atmosphere is cool.

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« Reply #11211 on: December 09, 2012, 01:09:28 PM »

Bangiku/Late Chrysanthemums (1954) 10/10. Mikio Naruse weaves together three short stories by Fumiko Hayashi to produce a melodrama-free tale of 3 ex-geishas and their problems. Bottom line: it sucks to be old and ugly.

Man on a Tightrope (1953) 6/10. In 1952 Czechoslovakia, a circus impresario (Frederick March) leads his troupe in a desperate bid for freedom--through the iron curtain in broad daylight! I hate circuses, and I hate movies about circuses, but this one held my attention (barely). Well, it has both Terry Moore and Gloria Grahame in it, so that helped. One scene in the film has to be seen to be believed. Grahame plays March's not-so-sterling wife, who keeps needling him through the first half of the picture. March is a tolerant guy, but finally he can't take it anymore and he hauls off and belts her one. Suddenly a look of rapture comes into Grahame's face and she says something like, "You should have done that a long time ago." Then she grabs the hand that hit her and starts kissing it lovingly. WTF?

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« Reply #11212 on: December 10, 2012, 04:41:02 AM »

- some scenes deserve "Good try!" (the little boy singing in the stadium before everything starts)

I enjoyed seeing Heinz Field in a movie. Been there many times.

As for the movie, meh. I haven't really thought about it since seeing it.

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« Reply #11213 on: December 10, 2012, 06:30:19 AM »

I enjoyed seeing Heinz Field in a movie. Been there many times.


Great performance your boys put on there yesterday against San Diego

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« Reply #11214 on: December 10, 2012, 07:36:23 AM »

Great performance your boys put on there yesterday against San Diego

I was out seeing Lincoln - 9/10 - 2nd viewing with friends yesterday. No Steelers this week. Cheesy

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« Reply #11215 on: December 11, 2012, 03:20:57 AM »

Just saw three pretty good noirs: Lady in the Lake (Philip Marlowe movie starring Robert Montgomery which uses his POV for the entire movie); Smart Girls Don't Talk, and The Good Die Young (featuring Gloria Grahame with an awful British accent).

IMO, each of these rates somewheres between a 7-7.5/10

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« Reply #11216 on: December 12, 2012, 06:54:23 AM »

Zero Dark Thirty (2012) 9/10. A woman in the CIA (Jessica Chastain) uses both HUMINT and SIGINT to run down UBL. Nicely done, almost clinical in its depiction of events. The first half is the intelligence work, spanning several years; the second half concentrates on the raid itself. SPOILER Seal Team Six blows bin Laden away!END SPOILER. I have no idea if Chastain's character is an invention or a composite or what, but she's believable and provides the necessary focus to make the drama hang together. This film isn't going to win any awards for cinematographic beauty: there are many, many handheld shots and grainy closeups to lend everything a look of authenticity; during the raid we go POV with the team members and see everything through the soupy green of night vision goggles. This doesn't hurt the storytelling, though; I was able to follow everything with no problem. The two-hour-forty-minute film rushes by as if it were half as long. The score by Alexandre Desplat is not memorable.

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« Reply #11217 on: December 12, 2012, 07:30:38 AM »

Zero Dark Thirty (2012) 9/10. A woman in the CIA (Jessica Chastain) uses both HUMINT and SIGINT to run down UBL. Nicely done, almost clinical in its depiction of events. The first half is the intelligence work, spanning several years; the second half concentrates on the raid itself. SPOILER Seal Team Six blows bin Laden away!END SPOILER. I have no idea if Chastain's character is an invention or a composite or what, but she's believable and provides the necessary focus to make the drama hang together. This film isn't going to win any awards for cinematographic beauty: there are many, many handheld shots and grainy closeups to lend everything a look of authenticity; during the raid we go POV with the team members and see everything through the soupy green of night vision goggles. This doesn't hurt the storytelling, though; I was able to follow everything with no problem. The two-hour-forty-minute film rushes by as if it were half as long. The score by Alexandre Desplat is not memorable.

Glad to hear. A shame this isn't getting a wide release until next month.

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« Reply #11218 on: December 12, 2012, 09:09:58 PM »

Zodiac (2007) 8/10

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« Reply #11219 on: December 13, 2012, 06:04:54 AM »

A few months ago, I saw Breathless/ A bout de Soffle --the first Godard film I'd ever seen, which also happens to be his first film -- and was blown away. (Should I be corny and say "it took my breath away"?) I enthusiastically filled my queue with a bunch of other Godard films, (starting with the ones from the same time period which had high ratings on IMDB).

Since then, I am sorry to say that I have seen three more of his films, one which I found so irritating I shut off halfway through (Pierrot e Fou); another of which had some interesting parts but also some annoying parts, specifically the musical interludes (Contempt/Le Mepris); then last night I saw one that I found completely uninteresting (Vivre Sa Vie). I think VSV had great potential if it had been done as a normal story, rather than using the "chapters," especially with the headings, which tell you all that's about to happen, like it's some sort of poorly-compiled book.

Maybe Godard thought he could do whatever the hell he wanted after the success of Breathless, and that everyone would see his movies no matter what just cuz he was so brilliant. Sure, Breathless was innovative, one of those "they said it couldn't be done this way, but I DID it, and was very successful" jobs; and maybe Godard then thought he had to keep getting more and more "innovative," or "artsy" or whatever you call it. I know these movies must have been very popular cuz they all have solid ratings on IMDB, but I for me, my ow post-Breathless enthusiasm is gone, and I will now be purging Godard from my queue......


........... unless someone can give me some specific recommendations of other Godard films (not comedies) which yo think are really good films AND which use a more conventional story-telling format. None of this cutesy stuff anymore.


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