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Author Topic: Rate The Last Movie You Saw  (Read 1839687 times)
Groggy
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« Reply #12645 on: November 08, 2013, 06:33:50 PM »

Life is Tough, Eh Providence? - 6/10 - Tomas Milian's Charlie Chaplin impression is inspired. Otherwise it's a typical Spaghetti comedy that stops just before wearing out its welcome.

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« Reply #12646 on: November 09, 2013, 03:00:06 PM »

Two Weeks in Another Town (1962) 8/10. I get why Morrissey likes this film--a Roman setting, beautiful people, fabulous clothes, backstabbing in the entertainment industry, a tortured artist. And on the soundtrack, wall-to-wall Raksin. Hey, those are probably the reasons I like the film too!

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« Reply #12647 on: November 09, 2013, 03:29:40 PM »

The Burglar 7.5-8/10

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« Reply #12648 on: November 09, 2013, 05:55:31 PM »

Battle of the Bulge (1965) 7/10

I'm not a historian; I'm judging the film purely from a cinematic point of view, and not taking into account what I understand to be the many historical errors

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« Reply #12649 on: November 09, 2013, 09:07:25 PM »

Battle of the Bulge is terrible from both an entertainment and historical point of view. For a start, I never knew there were vast deserts in Belgium.

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« Reply #12650 on: November 09, 2013, 09:09:54 PM »

12 Years a Slave - 9/10 - Really powerful stuff, substituting preaching for a straightforward approach to slavery. Episodic narrative, a jarring mix of beautiful scenery and brutal violence, and pitch-perfecting casting from Chiwetel Ejiofor down (save an incongruous Brad Pitt cameo). Even Hans Zimmer does fine work.

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« Reply #12651 on: November 09, 2013, 11:00:59 PM »

Battle of the Bulge is terrible from both an entertainment and historical point of view. For a start, I never knew there were vast deserts in Belgium.

well as I said, I wasn't focusing on the historical stuff at all; I was focusing purely on it as a movie, as entertainment. Yes, there were significant problems (how about that coward played by James MacArthur who didn't seem to know a thing about being a soldier, yet somehow rose to the rank of lieutenant... Telly Savalas is a good actor, but his character seemed to be preparing for Kelly's Heroes... the Dana Andrews character's whole job was to sit there and wrongfully criticize every word of Henry Fonda's...) also, in some of the battle scenes, there was a significant problem with the color – for example, in a very early scene when Robert Shaw's tanks begin attacking, you'll see one shot where the trees look a dark green, and then the next shot, from a different angle, the trees look bright green. I don't know if they shot 'em at different times of day and screwed up the continuity, or if there was some problem with the negative or the restoration or whatever.

I agonized over whether to give this a 6.5/10 or a 7/10 – and for me, the difference between those two ratings is the biggest difference that can be, because a 7/10 is the lowest rating for a "good" movie; 6.5/10 is the highest rating for a bad movie. Ultimately, I gave it a 7/10 because there were hardly any moment that I was bored or not enjoying myself or saying "Let's move on!" and just keeping me interested in a 167-minute movie alone is saying something. With that being said – although 7/10 is my lowest rating for a good movie – when a movie is that long, ans supposed to be a big epic war movie, a 7/10 is a disappointing rating. So overall, I say it's generally a fun watch but has lots of problems. Especially, I must re-emphasize, that James MacArthur character. He's an annoying actor to begin with [I've seen him previously in The Young Stranger (1957), and he is awfully annoying there] and his character in Battle of the Bulge was just awful.

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« Reply #12652 on: November 09, 2013, 11:33:12 PM »

Pepe le Moko (1937) 7/10

at the end, when Pepi is taking a walk supposedly through the Casbah, it's a bunch of awful process shots.

Line Noro, the actress playing Ines, is one of the ugliest girls I have ever seen on screen; would Jean Gabin (or anyone) ever stand to date her? or even look at her once?

According to IMDB, Mireille Balin – the girl who played Gaby, the Parisian girl Gabin falls for – fell in love with a Wehrmacht officer during the occupation of Paris. Toward the end of the war, they were arrested, he was never heard from again, she was eventually released and made one more movie, before – I am happy to report – she died 20 years later, miserable and broke http://www.imdb.com/name/nm0050249/bio?ref_=nm_ov_bio_sm

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« Reply #12653 on: November 09, 2013, 11:34:52 PM »

From Here to Eternity (1953) 8.5/10

The performances here are terrific, up and down the line.

Deborah Kerr looks pretty in blond hair... and she does a pretty much perfect American accent.




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

SPOILER ALERT


I like that the movie doesn't tell you what date the events are taking place (I just assumed that it was the present, ie. 1953) so that when the attack on Pearl Harbor came, I wasn't expecting it at all; and all throughout the movie until that moment, I was able to just focus on the story as it was happening, without wondering when the attack was gonna come.

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« Reply #12654 on: November 10, 2013, 07:13:48 AM »

Highway 301 7/10 Steve Cochran is good as ruthless gang leader on crime spree
Strange Impersonation 6/10 weird soapy noir from director Anthony Mann
The Unknown Man 6/10

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« Reply #12655 on: November 10, 2013, 09:29:43 AM »


I agonized over whether to give this a 6.5/10 or a 7/10
Dude, this is just a chat board. Did you forget to take your medication?

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« Reply #12656 on: November 10, 2013, 04:02:46 PM »

Hunt the Man Down (1950) 4/10

further discussion http://www.fistful-of-leone.com/forums/index.php?topic=11835.0

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« Reply #12657 on: November 10, 2013, 04:34:41 PM »

INSIDE LLEWYN DAVIS - 8/10

It could reach 9/10 with the blu-ray viewing (I'm definitely getting the BD the day it is available). It's going to be RR's movie of the year by far. Others will be bored to death.
I take back my criticisms about the grading of the trailer: on a big screen, the shots are absolutely gorgeous. John Goodman's scenes are some of the finest Americana sequences you'll ever see.

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« Reply #12658 on: November 11, 2013, 04:54:31 AM »

The Lawless (1950)  Joseph Losey's film about racial tension in a small California town 6/10

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« Reply #12659 on: November 11, 2013, 06:46:33 AM »

@ MoMA, two by Alain Cavalier, both introduced by Serge Toubiana of the Cinémathèque Française.

La Chamade / Heartbeat (1968) 8/10. Catherine Deneuve is a kept woman, and she likes it that way. Michel Piccoli (of course) is the one keeping her. One day Deneuve meets a handsome man her age (some Pretty Boy) and is smitten. The man is a work-a-day drudge who cannot offer La Deneuve the advantages she's used to--a stylish cabriolet, frocks by Yves St Lauren--so instead tries to instill in her a work ethic. Piccoli magnanimously lets his mistress go . . . knowing she'll be back. Half the film is made up of shots of Deneuve, a very effective strategy. The English title doesn't seem to do justice to the French. In one post-coital moment, Deneuve listens to her young lover's heart beating and comments on how rapid it is. His answer is that she is listening to a chamade. Deneuve asks, "C'est que c'est chamade," or words to that effect. The man tells her they'll look it up later in the dictionary. They never do.

Serge says: "This was made when Catherine Deneuve was 25 and acclaimed the most beautiful woman in the world."


Mise à sac  / Pillaged (1967) 7/10. A caper film extraordinaire. Not content with a single bank or a casino, a gang of 12 are commissioned to raid an entire village! The setting is a factory town in the French alps. The men go in at night, take charge of the police, fire department (I'm not sure why), and the telephone exchange. Then, while the residents sleep, they loot the payroll in the factory safe, after which they simultaneously blow the vaults of two different banks and then go to work on the safety deposit boxes. It's Rififi times 30! For good measure, they clean out the cash in the local supermarket before departing. It's a perfect plan, flawlessly executed . . . until it isn't. The way in which everything unravels at the end is a bit disappointing, but until that moment the film is a corker. Cavalier did the screenplay with Claude Sautet, adapting a novel by Donald Westlake.

Serge says: "Although UA provided the financing for the film, it was never released in the U.S. This could be the film's American premiere!"

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