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Author Topic: Rate The Last Movie You Saw  (Read 1803238 times)
Groggy
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« Reply #11250 on: December 16, 2012, 09:09:01 AM »

Some people prefer beer to fine wine and that's their prerogative. Somehow I go on living.

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dave jenkins
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« Reply #11251 on: December 16, 2012, 10:18:11 AM »

Your opinion, not everybody's.
Why should we take account of the opinions of "everybody's"? What kind of track record does "everybody's" have?

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« Reply #11252 on: December 16, 2012, 12:08:34 PM »

Why should we take account of the opinions of "everybody's"? What kind of track record does "everybody's" have?

We shouldn't.

It means that it is not some kind of truth that Corbucci was a lesser director than Leone.

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« Reply #11253 on: December 16, 2012, 12:13:18 PM »

Some people prefer beer to fine wine and that's their prerogative. Somehow I go on living.

Yeah, and some think that Corbucci is the fine wine ...

For me Corbucci and Leone complement one another. Even if both made SWs, they made them very different. Corbucci belongs for me just like Leone to the most important directors of westerns. As important as Mann or Boetticher or Hawks.

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dave jenkins
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« Reply #11254 on: December 16, 2012, 12:27:27 PM »

Even if both made SWs, they made them very different.
See, this where we part company. I don't see Leone as making SWs at all.

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« Reply #11255 on: December 16, 2012, 01:30:56 PM »

An American Werewolf in London - 7/10 - Enjoyable horror/comedy romp.

Far from the Madding Crowd - 6/10 - John Schlesinger tries to outdo David Lean but isn't up to the task. Possibly Hardy's novel is a complex masterpiece but the movie plays as a trite, overblown soap opera. The four leads are all broad archetypes: vain hussy Julie Christie, sleazy Terence Stamp, pathetic Peter Finch, rugged salt-of-the-earth Alan Bates. Thus it's hard to care about any of them, quite a contrast from Schlesinger's smaller pictures. For all the beautiful photography and period detail there's just not enough substance to justify a three hour run-time.

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« Reply #11256 on: December 16, 2012, 02:33:25 PM »

"Le Dernier Metro" by Truffaut is a must see.
"La Sirčne du Mississipi" is excellent too.
Already mentioned: "La Nuit Américaine"

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« Reply #11257 on: December 16, 2012, 03:39:26 PM »

Synecdoche, New York (2008) - 9/10

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« Reply #11258 on: December 16, 2012, 10:49:41 PM »

Synecdoche, New York (2008) - 9/10

Can you write a couple lines of what your thoughts are? I've been meaning to check it out.

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« Reply #11259 on: December 16, 2012, 11:29:35 PM »

Can you write a couple lines of what your thoughts are? I've been meaning to check it out.
I'll assume you like other films written by Kaufman.

It's basically a dream movie without the "it's all a dream" twist. It's the most freeform film of all of the Kaufman flicks I've seen - it kind of builds its own logic but it's so full of holes that you'd better throw logical thinking out of the window. The "logic" here is build on dreams and emotion, subconscious. And it's not really a comedy; it's absurd but not laugh-out-loud funny.

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« Reply #11260 on: December 17, 2012, 04:37:29 AM »

Monster (2003) 9/10 (First viewing. Saw the blu ray disc).

It's unbelievable how the makeup transforms perhaps the hottest woman in Hollywood into one of the ugliest characters in movie history -- and Theron must have gained significant weight for this role too. Talk about fucking casting against type.

IMO Christina Ricci delivers a performance every bit as great as Theron's, and every bit as essential to the movie.

--------

There's no doubt that -- while murders can never be condoned, no matter how bad the killer's childhood/upbringing -- it's certainly appropriate to explore that upbringing/circumstances. However, I'm in watching the interviews with Theron and writer/director Patty Jenkins on the blu ray's special features, and some of their comments/indications are quite nauseating. They may pay lip service to the "we're not condoning anything" part, but from their comments, it's pretty darn clear that their hearts are not entirely in the right place, to put it mildly. Eg., Jenkins talks about how "when you see women like Aileen Wournos on television, and 95% of the world sees them a certain way, I was sure that the fact that she broke my heart was personal, and that no one else would ever see it." As awful as Wournos's  backstory was, I would only use the term "broke my heart" when talking about a serial killer, when discussing my feelings on her victims.
Jenkins, talking about reading letters Worunos wrote to one of her friends on Death Row "This is the honesty no one ever got to hear."  Roll Eyes

Theron: 'I wanted to get a sense of what she must have gone through. I wanted to hear her speak." Theron was also whining about how  eg. some times when Wournos raised her handcuffed hands to brush away a wisp of hair, the press photographed her in a way that made it seem as if she was making a  sign of choking herself. In Theron's words: "Something so innocent turned so cruel and vicious looking."I don't ever condone misleading photographs, but again, why the fuck is your heart breaking over this serial killer?Any sympathy I feel lies entirely with the victims. My heart is broken for them and their families, and not even on tiny bit for her.
At the point where Theron says, "This is not the diary of a serial killer; it's about someone trying to find light in the darkest place you could probably imagine; it's about someone who found this little sliver of light..." I just shut off the fucking disc. Fuck that.

I am all for showing all sides to a story, but -- depending of course on how these interviews were edited -- Theron and Jenkins's overwhelming feeling seems to be of  very serious compassion for Wournos.

Anyway, I should emphasize that my disgust lies entirely with these statements by Theron and Jenkins in the interviews. I have no problem with the way Wournos is portrayed in the movie. And that's really all that matters.

« Last Edit: December 17, 2012, 05:06:13 AM by drinkanddestroy » Logged

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« Reply #11261 on: December 17, 2012, 05:42:46 AM »

Yôkihi / Princess Yang Kwei-fei (1955) - 4/10. In China during the Tang Dynasty, an imperial concubine suffers. Dull Mizoguchi, in dull color. Why a Japanese film director should make a film about Chinese history is beyond me, and apparently, it was beyond Mizoguchi as well. The experiment was not repeated.

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« Reply #11262 on: December 17, 2012, 05:53:00 AM »

The Departed (2006) - 6/10

Enjoyable, at times.

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« Reply #11263 on: December 17, 2012, 05:55:09 AM »

BLACK SWAN (2011)   - 7/10

Third (and, at least for a long time, last) viewing.
Aronofsky is a great filmmaker but he's still telling teenagers stories. Stories told by a (brilliant) teenager. Everything is too big, too simple. The Black/White swan metaphor is already something ultra simple. Does he has to insist on it by showing a pink Portman dressed in pink wit ha pink room with pink teddy bears?  Come on, we ALL experience this control vs life struggle, and none of us dress in pink and act like a little girl.
That's a shame because as a filmmaker, he's really great. But it's the same experience than watching The Fontain: regular individual scenes range from good to perfect, the acting is top notch (you can love or hate Portman, very very few actress can do what she does on some extended shots here; and by "very very few" I mean "Meryl Streep"), there is an extra layer of mystery... that is spoiled by teenager bullshit.

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« Reply #11264 on: December 17, 2012, 06:28:27 AM »

Black Swan is a tedious turd that reeks of art house pretension. Natalie Portman's the only reason to watch and even she can only do so much.

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