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Author Topic: Rate The Last Movie You Saw  (Read 1799228 times)
Dust Devil
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« Reply #12990 on: January 09, 2014, 03:30:11 AM »


Knockaround guys (2001) - 5/10


Nothing new, but not boring all the way through.

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« Reply #12991 on: January 09, 2014, 06:07:56 AM »

The Golden Salamander - 7/10 -  a very young Anouk Aimee
I'm for that!

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« Reply #12992 on: January 09, 2014, 06:27:19 AM »

Dallas Buyer's Club, 8
Her, 8.5

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« Reply #12993 on: January 09, 2014, 01:56:14 PM »

August: Osage County a dysfunctional family soap yawner another SAG screener, not for me 6/10 for the performances.

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« Reply #12994 on: January 09, 2014, 03:12:56 PM »

August: Osage County a dysfunctional family soap yawner another SAG screener, not for me 6/10 for the performances.
I saw the play twice, once on Broadway, then again at the OSF in Ashland, OR. What makes the drama a success on stage guarantees that it will fail as cinema.  I have no interest in seeing the film.

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« Reply #12995 on: January 09, 2014, 05:34:14 PM »

Jigsaw (1949) Interesting noir starring Franchot Tone, Jean Wallace, Myron McCormick, Marc Lawrence, and Winifred Lenihan. It has surprising cameos by Burgess Meredith, Marlene Dietrich, Henry Fonda, and John Garfield and is the third noir I've seen that utilizes a POV camera in one sequence. 7/10

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« Reply #12996 on: January 09, 2014, 06:27:44 PM »

The Secret Life of Walter Mitty - 8
I had fun. Not too many movies are fun now. good adventure. not much like the short story but whatever. blatant messages/'meaning' works in the family-friendly tone.

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« Reply #12997 on: January 09, 2014, 06:42:00 PM »

I just saw Who's That Knocking at My Door (1967) for the second time (on DVD). It's Martin Scorsese's first feature (in black and white), starring Harvey Keitel - Mean Streets was written as sequel to this (There was also a script for a prequel, which never got made.) The movie is basically about the kinds of guys in Mean Streets, a few years earlier. Keitel is the only actor that appears in both movies - his character in WTKAMD is named J.R. – but it's a pretty similar concept: J.R. and his friends hang around the streets of Little Italy; J.R. struggles to reconcile his Catholic beliefs with the life of a boy on the streets; a big part of the story has to do with his girlfriend, and J.R.'s madonna-whore complex; and the movie also uses a rock-and-roll soundtrack.

When I first saw this (which was quite a while after I had first seen Mean Streets), I loved it; I gave it a 9/10. Now, I just saw Mean Streets twice in a row last week, I am in a trance over how awesome Mean Streets is, and then I decided to watch WTKAMD again - but it's a little of a come-down, I was a little disappointed, you can't watch WTKAMD and expect Mean Streets. It's certainly not Mean Streets - few movies are. But it is really good in it's own right - the scenes with the guys were made when Scorsese was in film school; then he added in the scenes with the girls later on. The one nude scene was filmed and added in a few years later, at the insistence of the distributor  Grin

Anyway, the bottom line is that if you are a Scorsese fan and haven't seen this movie, you'd better see it.

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« Reply #12998 on: January 10, 2014, 11:52:46 AM »

Just saw SPLENDOR IN THE GRASS for the first time (TCM). SPOILERS SPOILERS SPOILERS..... What a great, heartbreaking movie. Not cuz of fictional events that happened to fictional characters - but because it reminds you of the truth about it, how these sorts of things do happen to real people. People forced into life decisions not of their own doing, but decisions forced on them by various authority figures.having a life affected by poor decisions forced by others is the worst tragedy of all. Even if our values today are different than they were in 1928 Kansas, there are always parrallels that can be drawn. Very sad. Natalie Wood is simply incredible here

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« Reply #12999 on: January 10, 2014, 01:46:55 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.
Nice find, Grogster. I discovered it was streaming for free for Prime members at amazon (http://www.amazon.com/gp/product/B0097RP73M/) and had a watch. I concur with your "7" and everything you say (Anouk Aimee is SO young she's billed with only one name!). Great locations. I particularly enjoyed the boar hunt sequence at the end (although it could have been done better). The plot is a bit lame and Trevor Howard's character seems overly dim. Still, more entertaining than not.

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« Reply #13000 on: January 10, 2014, 03:50:19 PM »

Just saw SPLENDOR IN THE GRASS for the first time (TCM). SPOILERS SPOILERS SPOILERS..... What a great, heartbreaking movie. Not cuz of fictional events that happened to fictional characters - but because it reminds you of the truth about it, how these sorts of things do happen to real people. People forced into life decisions not of their own doing, but decisions forced on them by various authority figures.having a life affected by poor decisions forced by others is the worst tragedy of all. Even if our values today are different than they were in 1928 Kansas, there are always parrallels that can be drawn. Very sad. Natalie Wood is simply incredible here

High Falls, NY is where they shot the waterfall sequence, just down the road south from here.

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« Reply #13001 on: January 11, 2014, 10:23:33 AM »

Il Bidone / The Swindler (1955) 8/10. MoC Blu-ray. Broderick Crawford in the title role: what a performance! Apparently, he not only learned Italian for the part, he changed his vocal style so completely that he sounded like an entirely different actor. Why the Academy failed to recognize Crawford for this performance is beyond me.

The premise of the picture is a good one: watching a swindler and his accomplices at work, fleecing not the usual fat-cats and deserving dupes in typical American films about confidence tricksters, but the very poorest of post-War Italy. Yeah, ingenious as some of these cons are, there are real victims involved. Does the aggregate misery these swindlers spread also have some kind of blow-back on the perpetrators, a retribution more spiritual than temporal? It’s a question worth exploring, and the film takes a decent stab at it.

SPOILERS
Everything in the film works well until the problematic final gambit. How are we to understand Crawford’s attempt to hold out on his confrčres at the end? Three possibilities present themselves. One, Crawford intended to return the money. Two, Crawford intended to keep all the money for himself. Three, full of self-loathing, Crawford positioned himself so that his accomplices would punish him as he felt he deserved. There are problems with all three explanations. One, if he intended to give the money back, why didn’t he leave it behind when he was talking to the crippled girl? Did he really think he’d have a better chance to return it after he left with his companions? Two, if he wanted all the money for himself, did he really think he’d be able to successfully hold out against the other men? Of course they were going to search him until they found it. A seasoned pro who knew the kind of men he was working with, how did he expect to get away with it? Three, OK, this seems the most plausible, but even if you felt like you wanted to die, would you want to go out with a beating? This must be one of the most awful ways to die. It would be so much easier to give everybody their share, then go home and blow your brains out.

Regardless, the final  moments of the film are too protracted. If Crawford is going to die, why milk it? Yes, I know Fellini wanted to show the children (young, unspoiled) going by on the road above him, a final image of hope to contrast with what is otherwise a scene of despair, but we needed to get there sooner. Why do we have to see Crawford lying out all night long?
END SPOILER

Although I have reservations about the film’s ending, otherwise the film is quite good. The party scene alone is worth the price of admission—and obviated the need for La Dolce Vita. It’s incredible that Fellini could, in rapid succession, produce La Strada, this, and Nights of Cabiria, and then go on for the rest of his career, thoroughly squandering his talent.

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« Reply #13002 on: January 11, 2014, 04:06:13 PM »

High Falls, NY is where they shot the waterfall sequence, just down the road south from here.

 Afro

nice, I was wondering about that.

One great thing about waterfall locations as opposed to any other movie locations from 50 years ago - it probably looks the same now as it did then  Wink

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« Reply #13003 on: January 12, 2014, 03:00:07 AM »

The Remains of the Day (1993) 9/10

The acting is absolutely amazing up and down the line.
This film is beautiful to look at – kinda creepy when you realize the nefarious activities going on behind that beautiful facade, which is exactly the point.

I really love the color, looks like the colors are all very realistic – thankfully the film wasn't made now, when everything is washed out.

RE: the story: SPOILER ALERT you might argue that the stuff about the love aspect, the repressed emotions, may have been unnecessary; that perhaps this is a film that wanted to cover too much ground; that a butler so devoted to his boss as to pay no mind to what's going on behind those fancy doors is practicing a dangerous devotion indeed, and that now that we know what the horrors of WWII wrought (helped along by the appeasement of Hitler), it was unnecessary to show that, OH BTW, his nullification of self ALSO LED TO HIS BEING UNABLE TO LOVE - as if, when considering the millions of people the Nazis killed, we'd give a damn about the additional fact that this guy is incapable of love; ie. if they'd have shown the butler so devoted to his master as to ignore the political goings-on at the home, would it not have been sufficient tragedy and waste of his life even if the butler had been able to love a woman.... on the other hand, of course, you can argue that the two go hand in hand – only the sort of man who could completely repress romantic feelings, could also repress any concern over the humanity the Nazis are endangering. Perhaps, they both have to happen in order for us to believe any – ie. we couldn't believe that he'd ignore the Nazi appeasement if we didn't also see him ignoring his own feelings.

Personally, once I realized the effects of the goings-on in that house, of the appeasement of Nazis leading to the deaths of millions, I really couldn't give a shit about the repressed love; I sure as hell wasn't crying when the elderly butler and housekeeper separated for the last time. Certainly, the love part was not the focus (as evidenced by the fact that the movie ends with the political part, not the love part), but by the time I realized the consequences of the political goings on on the house, I absolutely didn't give a damn about the love aspect; and perhaps you could argue that too much focus was given to the love aspect in the "present day" scenes - which occur after we know the consequences of WWII.


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« Reply #13004 on: January 12, 2014, 07:17:28 AM »

The Remains of the Day (1993) 9/10

RE: the story: SPOILER ALERT you might argue that the stuff about the love aspect, the repressed emotions, may have been unnecessary; that perhaps this is a film that wanted to cover too much ground; that a butler so devoted to his boss as to pay no mind to what's going on behind those fancy doors is practicing a dangerous devotion indeed, and that now that we know what the horrors of WWII wrought (helped along by the appeasement of Hitler), it was unnecessary to show that, OH BTW, his nullification of self ALSO LED TO HIS BEING UNABLE TO LOVE - as if, when considering the millions of people the Nazis killed, we'd give a damn about the additional fact that this guy is incapable of love; ie. if they'd have shown the butler so devoted to his master as to ignore the political goings-on at the home, would it not have been sufficient tragedy and waste of his life even if the butler had been able to love a woman.... on the other hand, of course, you can argue that the two go hand in hand – only the sort of man who could completely repress romantic feelings, could also repress any concern over the humanity the Nazis are endangering. Perhaps, they both have to happen in order for us to believe any – ie. we couldn't believe that he'd ignore the Nazi appeasement if we didn't also see him ignoring his own feelings.

Personally, once I realized the effects of the goings-on in that house, of the appeasement of Nazis leading to the deaths of millions, I really couldn't give a shit about the repressed love; I sure as hell wasn't crying when the elderly butler and housekeeper separated for the last time. Certainly, the love part was not the focus (as evidenced by the fact that the movie ends with the political part, not the love part), but by the time I realized the consequences of the political goings on on the house, I absolutely didn't give a damn about the love aspect; and perhaps you could argue that too much focus was given to the love aspect in the "present day" scenes - which occur after we know the consequences of WWII.
Your objections are valid. Yet you still give the film a "9." You are certifiable.

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