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Author Topic: Rate The Last Movie You Saw  (Read 1760125 times)
noodles_leone
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« Reply #12615 on: October 28, 2013, 03:57:19 AM »

Yep. He got an Oscar for that (according the the audio commentary, it's the last Oscar for the best cinematography that went to a B&W movie).

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« Reply #12616 on: October 28, 2013, 06:40:59 AM »

A few things:

Seven Guns for the Macgregors - 7/10 - Action-packed, humor-tinged Spaghetti with the surreal element of Italians dubbed into Scottish-accent English. Not the deepest or most exciting of its genre but lots of fun.

The Damned - 8/10 - 3rd viewing.

Nosferatu - 8/10 - The Murnau version. I'll be checking out Herzog's soon.

Dracula (1932) - 7/10 - This one has its detractors and it's understandable why: the acting is broad, Browning's direction fairly stiff, the plotting a bit sloppy. It really scores on two levels: the creepy atmosphere and, of course, Bela Lugosi.

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dave jenkins
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« Reply #12617 on: October 28, 2013, 08:33:47 AM »

Violent Saturdays [What Our Jenkins has been spending his weekends watching]

8 Deadly Shots (1972) – At the beginning of our five-hour-and-sixteen-minute marathon our host at MoMA informed us that Peter von Bagh was, at that very moment, travelling between Helsinki and NY, and that by the time the screening finished he’d be present to speak with us. That promise was kept. The film—actually a four-part series shot on 16mm for Finnish TV—recounts in scrupulous detail the events leading up to the killing of four rural policemen in 1969. The perpetrator of the act, a farmer named Pasi, is played  by the film’s director, Mikko Niskanen, an actor who knows how to make farming and farm life look authentic. According to von Bagh, the world’s foremost authority on Niskanen, there’s a shorter version of the film, but that doesn’t serve the material as well: one must experience the entire runtime to appreciate the rhythms of country life (the film was shot over an 8-to-12 month period; all the seasons are represented). Well, OK, Peter, I’m sympathetic, but the long version could certainly stand some trimming, what? (Especially episode one, in which we are tediously instructed in the making, distribution, and enjoyment of moonshine).  Probably the most entertaining moment of the afternoon/evening was observing the audience react when von Bagh told us of the murderer’s eventual fate. For killing the four men he got life imprisonment, which, you will understand, worked out to 15 years. After his release the man went home and killed his wife. The audience was appalled, but the logic of his actions was undeniable—when you can have the state look after you for the rest of your life, why go back to back-breaking farming?

A Touch of Sin (2013) 7/10. Taking the opposite of Niskanen’s approach, Zhangke Jia presents a portmanteau--four stories from contemporary China that all end in violence. No ponderous detailing here: the length of a feature film only allows about 30 minutes for each vignette.  In the first story a villager, frustrated by local corruption and bureaucracy, decides he’s mad as hell and isn’t going to take it anymore—with extreme prejudice. The second story is about a man who has decided that The Way of the Gun is more fun than all the socially-sanctioned alternatives. The third episode concerns a woman (played by the director’s wife) driven to grisly self-defense. The fourth (which includes the director’s cameo) is a story about a young man who has little chance for social mobility. This is something of a thesis film, I gather. The thesis, though (environment determines character), is flawed, to say nothing of the fact that it is not adequately demonstrated (I take it that the director deplores the violence he depicts.  Why is it, then, that it is so often thrilling, so very satisfying?) Still, the film is interesting, if for only anthropological reasons. Twenty-first Century China, its landscape and culture, is more exotic than any world known to science fiction.

The Counselor (2013) 10/10. Ridley Scott makes something that, for once, isn’t, well,  didley squat. I guess it helps to have Cormac McCarthy as your screenwriter, and to populate his world with Fassbender, Bardem, Penelope Cruz, Brad Pitt, and a positively satanic Cameron Diaz (and stunning cameos by Bruno Ganz, Rosie Perez,  Ruben Blades, and others I wasn’t hip enough to recognize). The result is No Country For Old Men times 10, or as Manhola Dargis has it, No Country For Anyone. Unlike other crime pictures, there is nothing to glory in here. The criminality depicted is absolutely harrowing. I applaud any film able to bring that off these days.

Bastards / Les Salauds (2013) 4/10. A cynical exercise in audience manipulation. Nice Tindersticks song at the end, though.

« Last Edit: October 28, 2013, 08:38:37 AM by dave jenkins » Logged


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« Reply #12618 on: October 29, 2013, 01:13:26 AM »

8 Deadly Shots (1972)
Unable to rate it, eh?

"Boy" - Shônen (1969) - 7.5 or 8/10

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« Reply #12619 on: October 29, 2013, 02:14:49 AM »

Gravity - 9/10
Second viewing, with the girlfriend this time. Again in IMAX 3D. The imersion cannot be the same when you watch it twice in a week: the storyline is too thin, you already know everything that happens by hearth. Still an amazing landmark. Still in love with George Clooney.  Kiss

« Last Edit: October 29, 2013, 03:12:31 AM by noodles_leone » Logged


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« Reply #12620 on: October 29, 2013, 11:04:10 AM »

Unable to rate it, eh?
Kind of difficult. It isn't really comparable to your standard 2-hr feature film.

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« Reply #12621 on: October 29, 2013, 12:00:12 PM »

The Counselor (2013) 10/10. Ridley Scott makes something that, for once, isn’t, well,  didley squat. I guess it helps to have Cormac McCarthy as your screenwriter, and to populate his world with Fassbender, Bardem, Penelope Cruz, Brad Pitt, and a positively satanic Cameron Diaz (and stunning cameos by Bruno Ganz, Rosie Perez,  Ruben Blades, and others I wasn’t hip enough to recognize). The result is No Country For Old Men times 10, or as Manhola Dargis has it, No Country For Anyone. Unlike other crime pictures, there is nothing to glory in here. The criminality depicted is absolutely harrowing. I applaud any film able to bring that off these days.
Published screenplay, in da house!

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« Reply #12622 on: October 29, 2013, 06:03:52 PM »

The Counselor (2013) 10/10. Ridley Scott makes something that, for once, isn’t, well,  didley squat. I guess it helps to have Cormac McCarthy as your screenwriter, and to populate his world with Fassbender, Bardem, Penelope Cruz, Brad Pitt, and a positively satanic Cameron Diaz (and stunning cameos by Bruno Ganz, Rosie Perez,  Ruben Blades, and others I wasn’t hip enough to recognize). The result is No Country For Old Men times 10, or as Manhola Dargis has it, No Country For Anyone. Unlike other crime pictures, there is nothing to glory in here. The criminality depicted is absolutely harrowing. I applaud any film able to bring that off these days.

Really? http://www.salon.com/2013/10/26/meet_the_worst_movie_ever_made/

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« Reply #12623 on: October 30, 2013, 06:25:32 AM »

To each his own.

Quote
Cinema history is full of devil’s-candy productions that became seen as flops or disasters, from D.W. Griffith’s “Intolerance” to Joseph L. Mankiewicz’s “Cleopatra” to “Heaven’s Gate” and “Ishtar” and “John Carter.” Well, those movies are masterpieces, each and every one, compared to “The Counselor.”
Nah!

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« Reply #12624 on: October 30, 2013, 10:54:59 AM »

La beauté du diable /Beauty and the Devil/ Beauty of the Devil (1950) 6/10. Faust, but with a more convoluted plot. This time the learned doctor is played, initially, by Michel Simon, Mephistopheles by Gérard Philipe. Then they switch bodies (good thing, too: Simon was made to portray infernal characters). Oddly, there's no pact at first; Faust gets his renewed youth on approval. But then it's up to Mephisto to entice or trick his victim into signing away his soul (which he finally manages). After that, the film becomes incoherent. The fact that the bodies have been switched is forgotten--Mephisto (as Simon) is sent back to hell, and Faust (as Philipe) lives happily ever after with his 19-year-old gypsy girlfriend. Huh?Huh

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« Reply #12625 on: October 30, 2013, 11:13:57 AM »

Kiss Tomorrow Goodbye (1950) 6.5/10

The courtroom scenes in this movie are one of the most useless framing devices I have ever seen. Seems like they just did that cuz that was the style that crime dramas of the time (later to be classified by some French term) were doing. But it's just annoying and adds nothing at all. All that it does is, from the defendants you see in the opening scene, you know that Cagney was killed, and everyone else made it out alive.

Anyway, this movie seems to drag at times. I didn't enjoy many of the scenes with Helena Carter. She's a very good actress; but those scenes just weren't written well or sumthin; or maybe I enjoy seeing Cagney as gangster more than Cagney as lover.

Oh, and for Leone fans: there's one scene where someone tells Cagney: "You're nuts." Cagney's response is to slug the guy, and say, DON'T EVER SAY THAT AGAIN! DON'T EVER SAY THAT AGAIN!

sound familiar?  Wink

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« Reply #12626 on: October 31, 2013, 10:38:55 AM »

Red River (1948) 8/10. First Blu-ray viewing. Captain Bligh (John Wayne) is bringing victuals to the Kansas City railhead courtesy of H.M.S. Cattle Drive. The captain runs a tight ship—a little too tight where the neck of one crewman is concerned. Mr. Christian (Monty Clift) intervenes, setting the captain adrift. But wow, can that man row! In no time he’s caught up with the mutineers and is giving Christian one hell of a dressing down.  With Joanne Dru as the sultry native princess, desired by two men! The blu-ray has deep blacks and shining whites, and is largely free of damage (no cinema viewer ever had it so good). Too bad they couldn’t clean up the story's ending—it still sucks.

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« Reply #12627 on: October 31, 2013, 12:52:57 PM »

Red River (1948) 8/10. First Blu-ray viewing. Captain Bligh (John Wayne) is bringing victuals to the Kansas City railhead courtesy of H.M.S. Cattle Drive. The captain runs a tight ship—a little too tight where the neck of one crewman is concerned. Mr. Christian (Monty Clift) intervenes, setting the captain adrift. But wow, can that man row! In no time he’s caught up with the mutineers and is giving Christian one hell of a dressing down.  With Joanne Dru as the sultry native princess, desired by two men! The blu-ray has deep blacks and shining whites, and is largely free of damage (no cinema viewer ever had it so good). Too bad they couldn’t clean up the story's ending—it still sucks.

yes, the ending sucks – in fact, every scene with Joanne Dru sucks, except the one in the tent with John Wayne (no blame on her; they're just poorly written). But this is a 10/10 movie nonetheless. Heck, this is one of the 5 greatest AW's ever made.

is the blu-ray region-free? when can we expect a Region A release?

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« Reply #12628 on: October 31, 2013, 01:29:05 PM »


Paris, Texas (1984) - ?/10


So boring I couldn't finish it.

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« Reply #12629 on: October 31, 2013, 01:34:11 PM »

Paris, Texas (1984) - ?/10
So boring I couldn't finish it.

It's of those movies you may hate or love depending on your own mood. It's a shame you didn't get to the 15 min extended shot toward the end.

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