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Author Topic: Rate The Last Movie You Saw  (Read 1805581 times)
drinkanddestroy
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« Reply #11415 on: January 15, 2013, 03:09:04 AM »

Five Easy Pieces (1970) 10/10

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« Reply #11416 on: January 15, 2013, 03:45:39 AM »

Five Easy Pieces (1970) 10/10
For me it's one of those movies that don't hit your face as a great movie but still haunt you a year and a half later. It's seems I gave it 7/10 originally, but now I would go for 9/10 even though I haven't watched the movie in the meanwhile.

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« Reply #11417 on: January 15, 2013, 05:05:45 AM »

For me it's one of those movies that don't hit your face as a great movie but still haunt you a year and a half later. It's seems I gave it 7/10 originally, but now I would go for 9/10 even though I haven't watched the movie in the meanwhile.
it hit my face the moment I saw it.

SPOILER ALERT


and the ending was just awesome. Robert Osbourne said on TCM that the screenwriter wanted Nicholson's character to drive his car off the bridge, but Thank God she didn't win that battle. That would have been wrong wrong wrong. The ending as is is simply perfect: he just walks away, no resolution, on to the next town, the next mis-adventure, to the next poor chick who is gonna fall in love with him

similarly, that scene with his father was great: there was no big hug at the end, no understanding. There are no resolutions with his character. just constant turmoil with no end

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« Reply #11418 on: January 15, 2013, 09:09:53 AM »

Five Easy Pieces (1970) 10/10

That good huh? I've been meaning to check this out since enjoying Rafelson's Mountains of the Moon.

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« Reply #11419 on: January 15, 2013, 09:15:11 AM »

The Ghost Writer (2010) - 8/10

very mature "thriller". Nice plot (would have been much more adult without that "CIA rules the UK" bullshit), cool slow pacing, charming and realistic atmosphere (didn't say the movie is realistic), good acting, very efficient and discret cinematography... Add to this a noir atmosphere and you get a great ad for the job of writer.

I concur, bwana.

It needed a few more punches.

Was great to see Eli in it! Afro

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« Reply #11420 on: January 15, 2013, 01:11:21 PM »

Carnal Knowledge (1971) 7/10

I cringed during more than one of Nicholson and Garfunkel's talks together. Boy, did they ever put a makeup-enhanced fake pair of tits on Ann-Margaret  Grin Afro Afro


---------------------------------------------------------------------------------------

Platinum Blonde (1931) 8/10

I happened to catch this while watching TCM; it was a great time! Frank Capra's hilarious comedy staring Loretta Young, Robert Williams, and Jean Harlow, in that order. According to Robert Osbourne: The movie was initially titled "Gallagher," after the Young character's name; but by the time the movie was released, Harlow had made a big splash in The Public Enbemy as America's original platinum blonde, and the title of the movie was changed to Platinum Blonde to reflect that, despite Harlow's third billing.

But the movie's real revelation was Robert Williams, a 37-year old actor who has also spent lots of tim eon the stage and was now seen as possibly being the next being thing in Hollywood. But sadly, he dided 3 days after the films release from appendicitis (was it his very common name that inspired Noodles' alias?  Wink)

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Day for Night (1973) 8/10
The first movie I have ever seen from the French New Wave was The 400 Blows (which I understand was really the first FWN film ever); I have still yet to see a better movie from Truffuat. Neither Shoot the Piano Player, nor The Last Metro, nor Day for Night comes close. I ain't saying they're bad. But I don't believe they are Great movies, or that eaither of them challenge The 400 Blows as Truffaut's best.
And btw, I can say something similar about Godard with Breathless. Those were the first movies of each director, respectively, and IMO from the movies I have seen thus far, neither came close to that sort of greatness again.

That's not in any way a criticism. Every artist has a best work, whether it's his first or his last, but as long as he produces other solid stuff, he is ok. I'm certainly not saying Truffaut was a one-hit wonder, but IMO neither The Last Metro nor Day for Night come close to The 400 Blows. I still have a few more of Truffaut's famous films to see ,  I gave up on Godard after seeing his artys nonsense; if anyone can recommend a good movie of his that has a reasonably conventional story structure, I would watch it. But I can't stand being witness to his cutesy artistic games)



« Last Edit: May 14, 2013, 02:02:43 AM by drinkanddestroy » Logged

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« Reply #11421 on: January 15, 2013, 01:24:29 PM »


The first movie I have ever seen from the French New Wave was The 400 Blows (which I understand was really the first FWN film ever);
Nope, that would be Varda's La Pointe-Courte (1955).

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« Reply #11422 on: January 15, 2013, 01:48:24 PM »

Nope, that would be Varda's La Pointe-Courte (1955).

of course, none of these groupings are very scientific, but, although Varda was associated with the FNW, I believe that 1955 was too early for a film to be considered a New Wave film

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« Reply #11423 on: January 15, 2013, 02:04:09 PM »

The real first film for me is Chabrol's Le beau Serge. And his 2nd film was also released before The 400 Blows.

But there are also the early films of Louis Malle. Who was like Varda at least a forerunner.

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« Reply #11424 on: January 15, 2013, 02:08:50 PM »

Holy Motors - 7/10
Crazy, insane, nonsensical, messy, intriguing, and somehow quite entertaining. Pointless? Probably. But, oh well.

In Bruges - 8/10

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« Reply #11425 on: January 15, 2013, 02:28:23 PM »

Holy Motors - 7/10
Crazy, insane, nonsensical, messy, intriguing, and somehow quite entertaining. Pointless? Probably. But, oh well.
I watched it with the English translation being read to my earphones by a Polish cowboy. Now, was that weird! That's probably why I gave it 9/10.

Skyfall (2012) - 8/10
Solid entertainment.

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« Reply #11426 on: January 16, 2013, 08:15:05 AM »

The Princess of Montpensier (2010) - 9/10: Beautiful photography, impressive hats and gowns, the stunning Mélanie Thierry in the title role. And for a literary adaptation, this is a film with hella pace (the opening scene has galloping horses, and they pretty much set the tempo for all that follows). The real star of the film is Madame de Lafayette's original story, and it's to director Tavernier's credit that he mostly keeps out of the way while it unfolds. Man, could that broad craft a plot. She's one of the people I'm hoping to meet in the next life (hmm, maybe I should be working on my French). In the meantime, I'm firing up the Kindle and downloading The Princess of Cleves (not a sequel). Can't get enough of 16th Century France.
Just watched the Optimum blu last night. Jenkins, you are sooooo right!

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« Reply #11427 on: January 16, 2013, 09:23:44 AM »

I just saw Body and Soul (1947), the boxing movie with John Garfield.

The movie was supposed to be groundbreaking in its cinematography of the boxing scenes, but what actually bothered me very much is that you hardly even see any boxing scenes! There are just a few occasional montages, but IMO there is not nearly enough time spent on the boxing scenes here. One of the first things I look for in a boxing movie is to see if the actor is convincing as a boxer, but in this case, it was impossible for me to tell cuz you hardly ever see him boxing! The other famous boxing movies, like Champion and Raging Bull, have tons of boxing scenes; this has almost none; therefore, I wouldn't even call this a "boxing movie." It's just a drama about someone who happens to be a boxer. The only time you really see some extensive boxing scenes is by the final fight -- but that fight is thrown, and therefore there isn't even any real boxing! The fighters are basically dancing around, grappling, tapping each other etc. (don't worry, I didn't spoil anything; you learn in the very first scene that the final fight is thrown; see below) 

Another problem I have with the movie is that the opening scene -- the framing device -- basically gives away the entire story. That is completely unnecessary here. Contrast with, for example, Champion (1949), in which the final fight is also used as a framing device. In that movie, the fighter (played by Kirk Douglas), walks out into the ring for the final fight, the announcer begins to tell his story, and we have the flashback to the body of the movie; so the opening framing scene gives away nothing of what is to come. But in Body and Soul, once you watch the opening framing scene, you know almost everything that will happen, until we return, at the end, to that framing scene again.

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« Reply #11428 on: January 16, 2013, 01:45:24 PM »

Just watched the Optimum blu last night. Jenkins, you are sooooo right!

You forgot to include something in your review: it's UNWATCHABLE. I've only seen a bunch of separate scenes while watching somthing 100 times better on TV a year ago, but I'll let the beloved Walter Sobchak review the movie for me:

"Fucking amateurs."

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« Reply #11429 on: January 16, 2013, 10:33:18 PM »

Midnight Mary (1933) 8/10

 Loretta Young was a babe -- and a damn fine actress too.

This pre-Code-enforcement movie has the earliest mention of the word "sex" I have ever seen -- I can't remember that word ever subsequently being used  in a movie prior to the 50's.  Also, the movie has a pregnancy by a single woman.

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