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Author Topic: Rate The Last Movie You Saw  (Read 1762697 times)
drinkanddestroy
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« Reply #12975 on: January 07, 2014, 02:54:10 PM »

I'm gonna come hard on ya.

Tomorrow.

you dirty dirty boy

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Dust Devil
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« Reply #12976 on: January 07, 2014, 02:55:51 PM »

you dirty dirty boy

This is a site for all those that don't have any other place to be, just like any other place on the net. Welcome, there's all kinds of us here. Cheesy

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« Reply #12977 on: January 07, 2014, 03:00:40 PM »

I'm gonna come hard on ya.

Tomorrow.

You come hard on me in dream and then you wake up to apologize.

Which is the lamest QT line ever (just a bit adapted here).

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« Reply #12978 on: January 07, 2014, 03:11:04 PM »

Several other times, when reviewing a heist movie, Ebert discusses the films of the sub-genre, and Grand Slam often comes up in the discussion (along with Rififi and Topkapi). I'm not gonna give links to each of these reviews; if you wanna find them, click here http://www.rogerebert.com/search?utf8=%E2%9C%93&q=grand+slam+heist

bottom line is, in none of those reviews either does Ebert ever say that Grand Slam is one of the greatest heist movies. (If you ever asked him point blank, "Is Grand Slam one of the greatest heist movies?" I believe it's possible he would say yes, because how many heist movies are out there, and what does "one of the greatest" mean? These relative and qualified statements don't mean much. Anyway, all I have to say is, unless I can find the specific place where Ebert calls this one of the greatest heist movies ever, I'd say that "quote" is bullshit.

However, no matter what Ebert says, D&D does believe it's one of the greatest heist movies ever (but putting that quote on the dvd wouldn't sell too many copies from my experience around here, seems like [unless your name is DJ] that may cause people NOT to buy it  Wink). You have Rififi, Le Cercle Rouge, The Asphalt Jungle. I absolutely loved Inside Man (2006), which IMO is a 10/10,  though I am not sure if you'd call it a heist film. I also remember liking The Score (2001), but I saw it like 10 years ago.
Those are the best heist films I can think of. So yeah, Grand Slam is one of the five greatest heist films I have ever seen.

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« Reply #12979 on: January 07, 2014, 03:17:13 PM »

what happened to you, Dust Devil? You go on a long hibernation, we don't hear from you for months (during which time Groggy stopped complaining about discussions from the RTLMYS thread being made into new threads  Wink ) .... what happened to you in the interim? Did you finally get in touch with someone who can get you in touch with yourself? I'd like to find out what color his hair is is it green? purple? so I can know how to properly title the movie of your life,  "Green is the warmest color"? Hey man, as long as you find happiness, nothing else matters (not even dickrash).

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« Reply #12980 on: January 08, 2014, 02:31:04 AM »

There are many, many heist movies, so the best heist movie ever, or one of the 5 best has something to say. I have watched Grand Slam once, and that was very long ago. Don't remember anything of the story, but I think it was a mediocre film.

Inside Man is indeed one of the best.

Which one is the first of the sub-genre? Probably The Asphalt Jungle.

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drinkanddestroy
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« Reply #12981 on: January 08, 2014, 03:06:46 AM »



yes, the earliest heist film that I can recall is The Asphalt Jungle (1950). I can't think of any heist films prior to 1950.... I put Grand Slam in the top 5. I haven't see Topkapi and some of the other late-60's-early 70's heist films, but I can't think of more than 4 heist films that I have seen that are in the same class as Grand Slam (Inside Man, Rififi, Le Cercle Rouge, The Asphalt Jungle).

SPOILERS FOR INSIDE MAN

Once we're on the subject of Inside Man, I figure you probably pitied Christopher Plummer at the end of that movie. Actually, I'm not sure - do you only pity defeated actual Nazis, or do you also pity defeated Nazi enablers/collaborators? - are they morally "ambiguous" enough for you?

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« Reply #12982 on: January 08, 2014, 03:39:39 AM »



Once we're on the subject of Inside Man, I figure you probably pitied Christopher Plummer at the end of that movie. Actually, I'm not sure - do you only pity defeated actual Nazis, or do you also pity defeated Nazi enablers/collaborators? - are they morally "ambiguous" enough for you?

Actually you really have not the slightest idea what I have said about pitying certain people in certain situations. Or about the differences between life and art.

I don't pity mass murders in general. Or war criminals.

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« Reply #12983 on: January 08, 2014, 03:45:05 AM »

the Plummer character was not a mass murderer, and may well not have broken any laws of war.

obviously, art is very different than life. In movies, i root for James Cagney all the time, people often root fro croox, movies are a different universe. Still, there's a certain level I just don't see how anyone can cross -  I don't see how anyone can feel anything less than complete hatred for a movie Nazi, or a movie Stalin, or a movie Castro, (assuming you are the kind of person who truly despises these people in real life). There are plenty of people who don't.

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« Reply #12984 on: January 08, 2014, 05:46:19 AM »

what happened to you, Dust Devil? You go on a long hibernation, we don't hear from you for months (during which time Groggy stopped complaining about discussions from the RTLMYS thread being made into new threads  Wink ) .... what happened to you in the interim? Did you finally get in touch with someone who can get you in touch with yourself? I'd like to find out what color his hair is is it green? purple? so I can know how to properly title the movie of your life,  "Green is the warmest color"? Hey man, as long as you find happiness, nothing else matters (not even dickrash).

I materialize when the sense of righteousness and morality have been afflicted, to restore the balance and order to the world. Wink

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« Reply #12985 on: January 08, 2014, 06:42:31 AM »

So, let's start this.

(1) It's a movie that would have lived up to its hype EVEN IF it had been a bad movie since there is absolutely no hype about it.

(2) The drama worked for me after repeated viewings. I didn't care (in good or bad) at first but then it drew me into it. It's a really smart and well designed movie, you're not supposed to get all the nuances in one viewing. You see, when I say The Departed has to be seen multiple times to be enjoyed, it's because of an inherent flaw: there is just too much info to deal with. It has its advantages, but it all starts from a flaw. With BTDKYD, we're dealing with an intelligent movie. You're not supposed to crack it the first time. Now, I'm not saying the drama is the greatest element in it. It's just something that takes its time to work, and it works when you deserve it.

(3) Actually, the characters are 200% based ONLY ON THE UNEQUAL LOVE FOR THE 2 BROTHERS AND ON NOTHING ELSE, so if that's out of the blue then the whole movie is out of the blue.

(4) It's actually a great performance from him. Not only it worked perfectly for me from the first frame he appears, it's also the performance that made me understand and love his work. He's a true actor, Michael Caine style, who works his ass out, and it shows. The commentary track actually made me like his performance even better: Lumet gives multiple examples of things that PSH added to the movie, in terms of mise en scene. I remember that scene when he's talking to his brother, and the brother is shameful and is sitting while Hoffman is standing next to him, with his fists on the table. That came from PSH. In the script, they were both sitting in front of each other. The tension, the whole dramaturgy and the domination feeling in this scene are so perfectly tied with that single idea from PSH that it's impossible for me to imagine anyone else playing his character and doing a better job. It's not the only example. Listen to the audio track.

(5) EH isn't that bad in it. However, I agree, he's the weakest point of the whole film. Once again, it's not that he's actually bad, but everyone else is so perfect that he doesn't fit. He would have been surrounded by regular A list actors, he would have given an ok performance, apart from a couple over the top close up, but this one is on Lumet. The director should have just told "hey, a little bit less" and it would have worked fine. But all in all, it's quite unfair to say he gives a bad performance. It's like saying Chritian Bale did a bad performance in The Dark Knight: he did nothing wrong, he is just a professional with no particular charisma fighting with Caine, Freeman, Oldman... and Ledger's best performance ever.

(6) Nothing interesting to add: yes, but it works, doesn't it?

(7) He was very good to me, although not the DeNiro kind of good. Just very good.

( 8 ) Ah, you see? You can be right too! In the commentary track, Lumet underlines a cool little detail in his performance in the bar. I won't spoil it.

1) That's not true, here I often read and heard its advocates proclaiming it's the return to greatness for its director Sidney Lumet. There was not as much hype about as for, say, Hobit, but it had its share.

2) Ok, I grant you and the movie that: you're not supposed to crack it the first time around. Still, it remains a valid point, what I already wrote, that I'm not gonna watch any movie again if I don't find anything in it that caught my interest.

3) It is somewhat out of the blue, yes. I do not know if it was intended, but in the end EH's character ends up being a complete imbecile in my view, who sets everything going. However, I doubt many viewers see this, and so further I doubt it was its makers intention at all. It reminds me a lot about the story of Cain and Abel: Cain is the one to blame, yes, but is not the one to hate (which goes on from the very start, and sets all the other events). Here PSH is somewhat of a dick, and for no given reason he's being treated like crap by everybody else (his wife, his father, his brother). Of course we only feel that energy around, since we can't go back in time and inspect his childhood (courtesy of the director I suppose).

4) This is similar to what I said earlier: I can't like the character on the basis of something that I can't sense, be it the DT or wherever else. It's a completely missed point, only what you spontaneously detect has value to you. Trust me, I used to be the grand champion of explaining to people why some movies (and other stuff) are great - a complete waste of time, for them, and more importantly - for me. Cinema is that sort of art, as art is that sort of art. It can't be liked on the basis of objective explanations, it can either sit right with you or not. Granted, it can, perhaps be somewhat amplified in either direction, but from a starting point. Hence, I believe you he made valuable contributions to the role, but that doesn't make it a great performance, maybe they should have added him as a cp-writer.

5) He acts as a complete fuck-up as a character, so naturally, EH's performance doesn't do much justice to that.

6) Works for what, actually? On the top of what I said - her character doesn't have a hint of purpose in the movie, in my book. What does she do, except fuck his fucked-up brother?

7) No, he's far from very good to me, he seems like chosen on the basis of past glory. He brings very little to a role not so interesting in first place.

8 ) I don't have the DVD, you can put me out of my misery right now if you know of good ole Christian charity and good will.

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« Reply #12986 on: January 08, 2014, 09:00:38 AM »

I don't pity mass murders in general. Or war criminals.

While in fact, they should be pitied the most.

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« Reply #12987 on: January 08, 2014, 04:33:15 PM »

 Roll Eyes

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« Reply #12988 on: January 08, 2014, 04:44:16 PM »

Act of Love (1953) 9.5/10 ... staring Kirk Douglas, directed by Anatole Litvak

I saw this film on TCM; based on an Amazon search, it seems this film has entered the public domain, and the only way it is available is through this dvd set of public-domain films http://www.amazon.com/Box-Office-Gold-Movie-Pack/dp/B0012VCN9W/ref=sr_1_1?ie=UTF8&qid=1389224558&sr=8-1&keywords=act+of+love+kirk+douglas
(looks like it's only about $14, so if even two or three of these 50 films are good, it's a worthwhile purchase.)


 Douglas plays an American solider in Paris during WWII this is after the liberation, far from the front lines he and a French girl fall in love, despite themselves. This is all a flashback; there's a framing device wherein Douglas returns to France years after the war.

There's a couple of cinematic contrivances that are annoying, which I won't bother to discuss because I doubt anyone here has seen the movie, which has never been discussed on these boards.

All I can say is, (if you don't wanna but that dvd pack) don't miss this movie the next time it plays TCM  Afro Afro

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« Reply #12989 on: January 08, 2014, 08:36:31 PM »

The Golden Salamander - 7/10 - Standard thriller with Trevor Howard foiling gunrunners in Tunisia. Gets some extra points for a nice cast (including Herbert Lom and a very young Anouk Aimee) and some strikingly directed scenes, especially the silent, rain-swept opening.

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