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Author Topic: Rate The Last Movie You Saw  (Read 1831509 times)
drinkanddestroy
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« Reply #13185 on: February 24, 2014, 12:21:43 PM »

since yesterday, my signature picture appears (to me, at least) to be all stretched out, stretching out the whole page. does it look this way to anyone else? (it's happened in the past that it appeared that way to me for a day then went away, but if it is screwing everyone's page up, then I'll just delete the photo)

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« Reply #13186 on: February 24, 2014, 01:03:24 PM »

This page is stretched because of N_L's post. Is your signature OK in other threads?

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« Reply #13187 on: February 24, 2014, 01:40:49 PM »

Yep, that was my photo. I removed it.

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« Reply #13188 on: February 25, 2014, 07:14:08 AM »

Trans Europ Express (1967) - 5/10. On a trip from Paris to Antwerp (via TEE, natch), a film producer, a director, and the director's secretary put together ideas for a script. Concurrently, we see those ideas play out in a film-within-the-film. There is overlap between the two continua--characters from the outer story run into those in the inner one--and of course the inner story keeps changing due to revisions being done on it in the outer world. Hey, Alain Robbe-Grillet, this film was already made (and made better) by Duvivier. He called it Holiday For Henrietta, and it was even remade in English (Paris When it Sizzles) so that bumpkins like Groggy could see it. Adding the TEE and some light S&M doesn't really improve things.

A Single Shot (2013) - 5/10. Appalachian noir! (but filmed in British Columbia). Sam Rockwell plays a cracker out hunting on posted land who accidently shoots and kills a woman. It turns out the woman was sitting on a box of cash, though, so after disposing of the body Sam absconds with the dough. When will these film characters learn about grabbing large piles of illicit cash? Of course the owners come looking for it, etc. This film has some good points (Jeffrey Wright, William Macy) but it also has characters who do stupid things incessantly (a killer is coming after him, and yet the hero decides to pause and have a picnic with his new girlfriend). The worst thing about the film is its ending. The message of the film becomes: Life's a bitch, and then you die. This is much less interesting than noir's credo: Life is exciting, and then you pay for that excitement (and the cost is wildly out of proportion to the excitement).

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« Reply #13189 on: February 25, 2014, 02:48:55 PM »

True Detective s01e01 - 8/10
True Detective s01e02 - 7/10
True Detective s01e03 - 6/10
True Detective s01e04 - 10/10
True Detective s01e05 - 8/10

Twin Peaks in Louisiane with some of the finest acting you'll ever see on TV. The directing is unrevaled by most high end feature films. Great atmosphere. Smart but unequal scenario. Lots of poetic/philosophical quotes that you may either hate or love:

http://truedetectivequotes.tumblr.com/

The following 6 minutes action tracking shot from episode 4 left me speachless (because of the effectiveness of the scene, not because of the technical achievement):

http://www.youtube.com/watch?v=s_HuFuKiq8U
Agreed!

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drinkanddestroy
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« Reply #13190 on: February 25, 2014, 05:18:02 PM »

my signature photo is stretching out the whole page again. anyone else see this?

it's happened once or twice in the past like for a few hours, then went away. if it continues I'll just delete the link. ImageShack can be a pain in the ass

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« Reply #13191 on: February 26, 2014, 06:02:23 AM »

The Underneath (1995) - 8/10. Criterion Blu-ray. Steven Soderbergh's color remake of the classic film noir Criss Cross. Interestingly, rather than present things in more-or-less linear fashion as in the original, the filmmakers opted for an elaborate structures of time hopping, with different periods signaled by either colored filters or Peter Gallagher's facial hair (or lack thereof). I didn't find it hard to follow, but then I know Criss Cross pretty well, and Soderbergh sticks surprisingly close to the original story. There are a few interesting twists at the end, however, so it isn't a carbon copy. To get this on BD you have to buy Criterion's King of The Hill--The Underneath is a bonus feature! The disc also has an interview with Soderbergh in which he comes close to disowning the film. Clearly, it's not as good as some of his later efforts (Out of Sight, The Limey, The Informant, etc.), but the film isn't exactly chopped liver, either. Soderbergh uses the whole interview to talk about the film's effect on his career, never once mentioning Criss Cross! CC is #2 on Eddie Muller's Hit Parade (Jenkins would not place it that high, but it's a Top Tenner for sure), and SS can't even mention it once? This guy is so far up his own ass it isn't even funny.

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« Reply #13192 on: February 26, 2014, 11:12:09 AM »

MARTY (1955) Looks are unimportant; personality is all that matters. This movie stands for everything I oppose, yet it is a 9/10. (in case you were wondering: I have no idea about her armpit-hair situation, she never wears anything sleeveless)



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« Reply #13193 on: February 26, 2014, 04:33:02 PM »

I'll bet Ernest Borgnine had plenty of pit hair.

Quote
This movie stands for everything I oppose

So are you saying you think looks are all that matters and personality is unimportant?

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drinkanddestroy
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« Reply #13194 on: February 26, 2014, 05:36:37 PM »


So are you saying you think looks are all that matters and personality is unimportant?

No, but I am saying that no matter how hard I tried, and no matter how nice the girl was, I could never want to seriously date an ugly girl. (Then again, no matter how hard I tried, and no matter how nice the girl was, I could never wanna seriously date any girl, period. Halfway through my first encounter with any girl, I'm already plotting my eventual exit strategy. It's a sad, sad state of affairs....)

[This movie would make more sense if it was a good-looking person attracted to an ugly person. As it is, what's the movie saying - that ugly people are also human and have feelings, and that they are attracted to ugly people, if they like their personality? No shit. Ugly people get married to each other all the time.]

Btw, this movie has one of the most hilarious lines ever, when Borgnine says, "You see, dogs like us, we ain't such dogs as we think we are."   Grin Grin Grin

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« Reply #13195 on: February 27, 2014, 04:57:47 AM »

so I made my signature pic smaller on ImageShack; now the picture looks like an awful low-resolution shot. I won't have my beautiful South Beach looking like that, so I just got rid of the pic.

Now I gotta get rid of Image Shack, which is annoying the hell outta me so much that by now, I am sure I am annoying the hell outta you. So can you help me stop annoying you with complaints about Image Shack by suggesting a good free file-sharing site? Thanks  Smiley

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« Reply #13196 on: February 27, 2014, 06:11:05 AM »

King of the Hill (1993) - 9/10. In Depression-era Missouri, a young boy (Jesse Bradford) must survive alone in a residential hotel after his brother is sent away, his ailing mom enters a TB clinic, and his travelling-salesman dad leaves for an assignment. It's better than you'd expect, mostly because it's based on the memoirs of A.E. Hotchner, so, although a certain amount of sentiment is built in, it is free of the tropes of melodrama. Beautifully photographed--it looks like they took the colors of an Edward Hopper painting and applied them to Norman Rockwell's subjects--Steven Soderbergh says if he were making the film now he'd go for a grittier look. Yeah, well, I don't know how many more gritty-looking Depression-era films we need. A large part of the reason this film is as interesting as it is is that it looks like it's set in an idealized past, but the action plays out in a world where poverty, prostitution, suicide, police corruption, etc. nonetheless exists. The film has an interesting cast: Jerome Krabbe, Lisa Eichhorn, Karen Allen, Spalding Gray, Elizabeth McGovern, Adrien Brody, and a 14-year-old Katherine Heigl as a beautiful young monster.

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« Reply #13197 on: March 01, 2014, 07:02:55 PM »

King of the Hill (1993) - 9/10. In Depression-era Missouri, a young boy (Jesse Bradford) must survive alone in a residential hotel after his brother is sent away, his ailing mom enters a TB clinic, and his travelling-salesman dad leaves for an assignment. It's better than you'd expect, mostly because it's based on the memoirs of A.E. Hotchner, so, although a certain amount of sentiment is built in, it is free of the tropes of melodrama. Beautifully photographed--it looks like they took the colors of an Edward Hopper painting and applied them to Norman Rockwell's subjects--Steven Soderbergh says if he were making the film now he'd go for a grittier look. Yeah, well, I don't know how many more gritty-looking Depression-era films we need. A large part of the reason this film is as interesting as it is is that it looks like it's set in an idealized past, but the action plays out in a world where poverty, prostitution, suicide, police corruption, etc. nonetheless exists. The film has an interesting cast: Jerome Krabbe, Lisa Eichhorn, Karen Allen, Spalding Gray, Elizabeth McGovern, Adrien Brody, and a 14-year-old Katherine Heigl as a beautiful young monster.

Saw it last night myself I'll go a 7-8/10

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« Reply #13198 on: March 01, 2014, 07:04:05 PM »

Face of a Fugitive (1959) Director: Paul Wendkos Stars: Fred MacMurray a man falsly accused for murder who escapes the sheriffs and starts a new life in a town at the border of the States to Mexico. Not a bad Western actually 6.5-7/10

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« Reply #13199 on: March 02, 2014, 05:52:14 AM »

Who Is Harry Kellerman And Why Is He Saying Those Terrible Things About Me? (1971) - 6/10. Georgie Soloway (Dustin Hoffman) is a very successful Dylan-esque singer/songwriter, but because he cannot maintain a relationship with another human being he is, and you would expect, very unhappy. We see the world filtered through his fragmenting psyche, a series of flashbacks and hallucinations. It's a kind of Citizen Soloway, or maybe Inside Georgie Soloway. Eventually he comes across Barbara Harris, who, as a poster on another forum has said, seems to have wandered in from a different--and better--movie. She may be Georgie's last hope, but because she gives such an amazing performance in a Dustin Hoffman vehicle, she's quickly sidelined. In the end, Georgie maintains the one sustaining connection he has achieved in his life: the one with his shrink (Jack Warden).

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