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: Rate The Last Movie You Saw  ( 5068152 )
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« #12525 : October 07, 2013, 11:00:44 PM »

The Turin Horse (2011) - 8/10
So much more haunting depiction of the end of the world than Melancholia which was released the same year.

Blue Jasmine (2013) - 8/10
Cate Blanchett's role has Oscar bait written all over it, though she's good.

2 or 3 Things I Know About Her (2 ou 3 choses que je sais d'elle (1967))
The 35mm print I saw was all beaten up, and the subtitles seemed to be incomplete, so that could have effected my viewing experience (I experienced a good deal of camp). If Godard tries to develop a new cinematic language, how come all he has to offer comes in the form of spoken or written language? Yet still, his essay films are generally more interesting than his fiction.

« : October 07, 2013, 11:02:31 PM moviesceleton »

"Once Upon a Time in America gets ten-minute ovation at Cannes"
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« #12526 : October 08, 2013, 10:13:16 AM »


Trouble With the Curve - 4/10 - Part of this movie is a grouchy geezer rant against Moneyball, starring Clint Eastwood. The rest is an anodyne romance with Amy Adams and Justin Timberlake acting all cutesy. The leads are charming but there's no there, there. Just cliches and treacle.

Trouble with the Curve 9/10

Yes, part of this is a rant against Moneyball (and I certainly believe the Moneyball revolution is a good thing), and there is a cutesy romance between Timberlake and Adams, but how can you not mention the most important element of the story, which is the father-daughter relationship, and emotional distance? All the other elements of the story are just there to bring out that theme, which is really what this story is about.


--- There won't be many surprises here, some stuff may seem formulaic, and things ultimately wrap up a little too Hollywood-perfectly, (in the way a cute family movie may as opposed to some serious life drama), but I've always believed that even when something is predictable and formulaic, if done right, it can be enjoyable just the same.

--- Another thing about this movie, is how this is, in a way, what the heart and soul of baseball is all about. No way could you have a story like this about any other sport. There's something about baseball, how it's always the first game a father teaches a son (or in this case, a daughter), there's something about the game, just hearing the sound of the ball popping the mitt, two kids playing catch in the yard, or pulling over on the side of the road in some godforsaken town watching kids playing ball, the life of a scout, in the trenches (at least till Moneyball came around), this movie captures what people like me love about baseball.

The cast is all very good, top to bottom.

--- When Gran Torino was gonna be the last movie Eastwood acted in, I thought it was perfect, the way it ends, like John Wayne and farewell in The Shootist. But then, when I heard he was gonna act in Trouble with the Curve, my initial reaction was that it ruins the farewell in Gran Torino. Well, after seeing this movie, I am glad Eastwood did it - maybe it's kinda like his character, saying "I ain't goin nowhere yet!"


p.s. the movie definitely gets some of the legal and baseball dialogue wrong (eg. Adams cites a statute "precedent"; and she says a fastball "hung," – precedent is in a case, not a statute; and a breaking ball can hang, a fastball doesn't hang! But hey, I guess that itty bitty stuff is only for lawyers and baseball enthusiasts


----

SPOILERS

if there is one real criticism I have with the movie, it's how perfectly the script has everything wind up at the end: The draft pick is blown away by the pitcher Adams finds, swinging and missing on every pitch he sees from him; the young scout is fired immediately; Eastwood basically gets to write his won contract with the team; Adams not only winds up with Timberlake and gets back into baseball, but the other associate at her law firm blows his opportunity and then she gets the partnership offer from the firm again. If this movie supposed to be at the "trouble with the curve" we sometimes experience in life, well, things don't always wrap up that nicely. Eg. wouldn't it have been more than enough if Adams gets back into baseball and never works for that law firm again? Wouldn't it have been enough if the draft pick had trouble with the curve, did he have to swing and miss on every fastball too? (And now that the draft pick is a bust, Timberlake will probably be in good standing with the Red Sox again  ;) ) So yeah, the script gets too Hollywood at the end.... Also, the part about the old widower who still visits his wife's grave constantly and talks to her, is certainly something we've seen before, at least as far back as John Wayne in She Wore a Yellow Ribbon .... So, the movie ain't perfect, but how many are? This is damn good  :)

« : October 08, 2013, 10:35:08 AM drinkanddestroy »

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« #12527 : October 08, 2013, 09:12:38 PM »

" bluebeard "  1972  richard gets his balls kicked, what more could you want ?
great scene w/ Raquel Welsh as a nun ? music by ennio marricone.
eurosleazeistic  
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« : October 12, 2013, 01:43:07 AM sargatanas »
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« #12528 : October 09, 2013, 06:53:36 AM »

The father-daughter stuff didn't interest me anymore than the rest of it. But you're right, I should have noted it. My bad.



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« #12529 : October 09, 2013, 08:41:46 PM »

Les Maudits aka The Damned (1947) 10/10

WOW! I HAVE JUST SEEN A GREAT MOVIE!

This won Best Adventure and Crime film at Cannes.


This film, directed by Rene Clement, just had its TCM premier; the Cohen Film Collection recently released it on dvd/blu ray for the first time.


Here is the original review from the NY Times

http://movies.nytimes.com/movie/review?res=980DE0D9153CE23BBC4E51DFB2668383659EDE

Movie Review
Les Maudits (1947)
' The Damned,' an Adventure Film, Arrives
A. W.
Published: April 26, 1948


Having had more than a casual acquaintance with the heel of the oppressor during the war years, the French have been able to observe his mind with clarity if not with philosophical detachment. And in "The Damned" (Les Maudits), a melodrama with pronounced psychological overtones, which began a stand at the Rialto on Saturday, director René Clement and an excellent cast microscopically dissect the oppressor and collaborator under the harrowing duress of fear of impending retribution after the end of the conflict. The view is realistic—not pretty—but the end result is a film, which except for a somewhat flamboyant finish, is a taut, wholly believable and absorbing adventure.

The producers, apparently taking literally the old saw having to do with rats on a sinking ship, have set the tale moving in April of 1945 when a Nazi general, a hig-hranking gauleiter and his aide board a U-boat in a pen at Oslo. Already aboard are an Italian Fascist industrialist, his wife, who also happens to be the general's mistress, a renegade French newspaper man and a timorous Scandinavian scientist and his 'teen-aged daughter. The voyage toward South America is halted at the outset by a depth-bomb attack which wounds the industrialist's wife and necessitates surreptitiously landing in France and kidnapping a doctor. The latter, cognizant that he is not long for this world, uses the only weapon at his command, his medical knowledge, to spread a false "psychosis of contagion" among the tense members of what he terms a "veritable Noah's Ark."

The scenarists and Director Clement, realizing that "communal life" within the tight confines of a submarine would be "a Chinese torture," focused their cameras on each fleeing bigwig in turn. And the dissolution of resistance is methodical and inevitable almost from the moment the group learns of the death of Hitler and the end of the war. It would be unjust to single any of the cast out for special mention since each performance is a tile, meaningless alone, but feying neatly into a complete mosaic.

Fosco Giachetti gives a completely satisfying performance as the industrialist defeated by the turn of his fortunes and who, while knowing of his wife's infidelity, is consumed by love. Count as equally sound the portrayals turned in by Paul Bernard, as the traitorous, fawning journalist; Jo Dest, as the vengeful gauleiter; Henri Vidal, as the trapped medico; Hurt Kronefeld, as the tight-lipped and coldly forceful general; Florence Marly, as his mistress; Michel Auclair, as the gauleiter's subservient aide, and Dalio, as a reluctant South American agent.

Director Clement, whose work, if memory serves, has not been seen here until now (his "La Bataille du Rail" is slated to be released in the near future), has kept the dialogue as brisk as the action, which has been photographed in a terse, almost documentary fashion. And though the languages used include German, some Italian and English as well as French, the language the ill-fated damned speak is eloquent enough even without the many English subtitles employed. Its small flaws notwithstanding, mark down "The Damned" as a graphic and generally exciting entertainment, which also is a sober comment on the wages of political sin.


THE DAMNED (LES MAUDITS), screen play by Rene Clement and Jacques Remy; dialogue by Henri Jeanson; scenario by Jacques Companeez and Victor Alexandrou in collaboration with Victor Pahlen; directed by Rene Clement; a French film produced by Andre Paulve and Michel Safra and presented by Discina International.
The Physician . . . . . Henri Vidal
Hilde Garosi . . . . . Florence Marly
General Von Hauser . . . . . Kurt Kronefeld
Ingrid . . . . . Anne Campion
Forster . . . . . Jo Dest
Willy Morus . . . . . Michel Auclair
Garosi . . . . . Fosco Giachetti
Coutourier . . . . . Paul Bernard
The Captain . . . . . Jean Didier
Larga . . . . . Dalio


On TCM, Ben Mankiewicz discussed how Clement recreated the interior of a German U-Boat in painstaking detail and with actual dimensions, and how he filmed under those conditions. It all feels incredibly real and claustrophobic. The term "documentary realism" may be one of those tired and overused cliches, but if ever that term was appropriate, it is here.

WATCH THIS MOVIE!


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

A little movie trivia: The character of Larga, the South American importer and corrupt Nazi agent, was played by Marcel Dalio (billed as "Dalio"), a Jew who had escaped the Nazis and eventually made his way to America. Dalio had been a popular pre-war actor – he had big roles in The Rules of the Game and Grand Illusion – and he later got some work in Hollywood. He had an uncredited role as Emil, the croupier, in Casablanca; after Claude Rains closes down Rick's, "I'm shocked, shocked...." it's Dalio that gives him "your winnings, sir." http://www.youtube.com/watch?v=SjbPi00k_ME
Dalio's wife was Madeleine LeBeau, who had a credited role in the same movie, as Bogie's jilted girlfriend. LeBeau, at 90 years old, is the last surviving credited cast member of Casablanca  :)

« : October 10, 2013, 12:04:49 AM drinkanddestroy »

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« #12530 : October 10, 2013, 06:50:03 AM »

On Dangerous Ground (1952) 8/10
While The City Sleeps (1956) 7/10
Pickup (1951) 6/10
Repeat Performance (1947) 7/10
The Bribe (1949) 8/10


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« #12531 : October 10, 2013, 09:57:49 AM »

On Dangerous Ground (1952) 8/10
While The City Sleeps (1956) 7/10
Pickup (1951) 6/10
Repeat Performance (1947) 7/10
The Bribe (1949) 8/10
I don't like ODG quite as well as you (I can only go a "7"--the stuff with the blind girl is cloying), but otherwise we are in agreement.



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« #12532 : October 11, 2013, 05:55:16 AM »

My Brilliant Career - 8/10 - Judy Davis plays a headstrong Aussie girl who struggles to find fulfillment outside Victorian norms. Sounds like a routine costume drama, but Gillian Armstrong delivers a beautifully nuanced character study instead.



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« #12533 : October 11, 2013, 06:07:07 AM »

Los Olvidados aka The Young and the Damned (1950) 9/10


what an amazing movie! and what an amazing dream scene! The best movie dream ever other than OUATIA   ;)


The only thing I didn't like was the first minute of preaching by the overvoice, clearly putting the impetus for change on SOCIETY and specifically reaching out to the PROGRESSIVES, as if that's gonna solve society's social ills (which, btw, contrasts with the bit toward the end of the movie, where the judge tells the mother [correctly, IMO] that much of her son's problems are her own fault). But anyway, after that initial minute of preaching, I forgot about that crap and enjoyed the movie. And what a movie it is!


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« #12534 : October 11, 2013, 08:38:49 AM »

Yeah, it's a great movie, but what the heck is an "overvoice"? Sounds very fascistic......



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« #12535 : October 12, 2013, 03:50:34 AM »

BLUE JASMINE 8/10

Best Woody Allen since... let's say 2000.


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« #12536 : October 12, 2013, 03:55:35 AM »


The Seventh Seal (1957) - 8.5/10


Could have done without some mono-/dialogue, still superb.

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« #12537 : October 12, 2013, 04:56:01 AM »

Il bidone (1955) Dr. Fellini, stars Broderick Crawford, Richard Basehart, Franco Fabrizi, and Giulietta Masina  Con man Augusto (Crawford), who swindles peasants dressed as a bishop, works a grift (death bed confession & a buried treasure) with two younger men. Good 7/10.


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« #12538 : October 12, 2013, 05:58:56 AM »

The Price of Power - 6/10 - 2nd viewing. Didn't like it as much the second time.



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« #12539 : October 12, 2013, 10:11:35 PM »

Voice-over *   ;)


There are three types of people in the world, my friend: those who can add, and those who can't.
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