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Author Topic: Rate The Last Movie You Saw  (Read 1763812 times)
Groggy
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« Reply #11550 on: February 12, 2013, 08:32:37 PM »

A Bullet for the General - 7/10 - 2nd viewing. I saw this movie years ago and hated it. Watching it again I found a lot to like, especially the Volonte-Castel buddy dynamic, the score and especially the action scenes. The obnoxious Marxist posturing (and the slow second act) still sticks in my craw but I'm able to (mostly) look past it.

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« Reply #11551 on: February 12, 2013, 09:49:43 PM »

The obnoxious Marxist posturing (and the slow second act) still sticks in my craw but I'm able to (mostly) look past it.

don't let politics affect your opinion of the art

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« Reply #11552 on: February 12, 2013, 10:34:12 PM »

Abe Lincoln in Illinois (1940) 6.5/10

More here http://www.fistful-of-leone.com/forums/index.php?topic=11577.msg162843#msg162843

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« Reply #11553 on: February 13, 2013, 01:33:37 AM »

Citizen Kane (1941) 10/10 (fourth viewing)

--a damn fine movie, not my favorite movie of all-time; not even top 20. Of course, I can't appreciate how innovative it was in its time etc etc etc etc

-- We've all heard about the movie's innovativeness, the flashback structure, the technical mastery, editing and cinematography, etc. But what I took away from the movie after this viewing, something that isn't mentioned all that often, are the spectacular performances by virtually the entire cast. Everyone was, at the very least, believable in their roles. Some were great, some were damn fine, but there wasn't a single bad performance in the lot.

-- Welles's makeup as a very old Kane (from the picnic scene onward) was awful; he looked like a mummy

-- I didn't realize until TCM's Robert Osbourne pointed this out: in the final scene at Xanadu, one of the reporters -- with a pipe, fedora with brim pushed up, and a few lines of dialogue  -- is Alan Ladd. (Never thought much of him as an actor anyway).

TCM's 31 Days of Oscar continues......  Smiley

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« Reply #11554 on: February 13, 2013, 06:02:10 AM »

Citizen Kane (1941) 10/10 (fourth viewing)
--a damn fine movie, not my favorite movie of all-time; not even top 20. Of course, I can't appreciate how innovative it was in its time etc etc etc etc
Not all that innovative, as even Ebert admits. That is, it didn't do anything actually new. What it did was recapitulate all that cinema was capable of up to that time, times 10. Better to describe it as a tour de force.

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« Reply #11555 on: February 13, 2013, 06:17:41 AM »

Shirin (2008) 8/10. This is difficult to describe, so I'll lift the description from IMDb: "A hundred and fourteen famous Iranian theater and cinema actresses and a French star [Juliet Binoche]: mute spectators at a theatrical representation of Khosrow and Shirin, a Persian poem from the twelfth century, put on stage by Kiarostami. The development of the text -- long a favorite in Persia and the Middle East -- remains invisible to the viewer of the film, the whole story is told by the faces of the women watching the show." Actually, the women's faces--every one in CU--don't tell the story, they react to it, and that reaction (the story they're watching is a real tear jerker) colors our perception of the work (which we receive as audio only). How is this different from a radio play with incidental photography? Probably not much. However, Iranian women aren't bad looking, and if you've got to listen to a radio play, you might as well have something interesting to look at.

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« Reply #11556 on: February 13, 2013, 08:04:10 AM »

don't let politics affect your opinion of the art

It's the way the politics are presented more than the fact that they exist.

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« Reply #11557 on: February 14, 2013, 05:56:30 PM »

Atlantic City (1980) Director: Louis Malle, Writer: John Guare, Stars: Burt Lancaster, Susan Sarandon, Kate Reid, and Atlantic City.

Lancaster as a ex small time gangster, now numbers runner, who thinks he used to be something big becomes mesmerized by Saradon, who is learning to be a croupier. Her ex husband turns up with cocaine he has stolen from the Mafia. Sarandon's performance is one of her best, and iconic Lancaster brings a lot of cinematic memory. Haven't see this since 1980 - 8/10

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« Reply #11558 on: February 14, 2013, 06:10:19 PM »

Shield For Murder (1954) 7/10
Loophole (1954) 7/10

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« Reply #11559 on: February 14, 2013, 10:21:05 PM »

The Window (1949) 4/10

more here http://www.fistful-of-leone.com/forums/index.php?topic=10957.msg162884#msg162884

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

Riso Amaro/Bitter Rice (1949) 10/10


 why the fuck didn't women shave their armpits back then? this ain't the first old movie I've seen of women with hairy pits (Helen Mirren in Age of Consent had hairy pits AND legs) but I nearly vomited on the screen. I'll never ever get used to seeing that uuuuuuuggggggggggghhhhhhhhhhhhhhhhhh

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« Reply #11560 on: February 17, 2013, 02:01:37 AM »

Play Misty for Me (1971) 8/10

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« Reply #11561 on: February 17, 2013, 03:17:09 AM »

CRASH (2004) - 8/10

8th vision? It's amazing how no one likes the two first Haggis. This one is probably the one and only example of the Academy Awards doing their job.

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« Reply #11562 on: February 17, 2013, 07:33:50 AM »

The Conformist - 7/10 - Bertolucci's tale of an aspiring bureaucrat (Jean-Louis Trintigant) who joins Mussolini's Secret Service, finding he's not up for the task. The early scenes work best, when Bertolucci seems to be aiming at satire of bourgeois values being subsumed by Fascism. (Trintigant's confession is the movie's highpoint, comically and dramatically.) Unfortunately it grows heavy-handed, losing dramatic steam before dissolving into an awkward post-script. My main complaint is Bertolucci's heavy-handed direction; its annoying ostentation approaches Tom Hooper levels, a parade of Dutch angles, color shifts and rapid editing apropos of little.

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« Reply #11563 on: February 17, 2013, 12:40:57 PM »

The Conformist - 7/10 - Bertolucci's tale of an aspiring bureaucrat (Jean-Louis Trintigant) who joins Mussolini's Secret Service, finding he's not up for the task. The early scenes work best, when Bertolucci seems to be aiming at satire of bourgeois values being subsumed by Fascism. (Trintigant's confession is the movie's highpoint, comically and dramatically.) Unfortunately it grows heavy-handed, losing dramatic steam before dissolving into an awkward post-script. My main complaint is Bertolucci's heavy-handed direction; its annoying ostentation approaches Tom Hooper levels, a parade of Dutch angles, color shifts and rapid editing apropos of little.

RR rated it in the very first post of the thread.

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« Reply #11564 on: February 17, 2013, 12:43:12 PM »

RR rated it in the very first post of the thread.

And so things come full circle. [/thread]

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