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Author Topic: Rate The Last Movie You Saw  (Read 1840963 times)
noodles_leone
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« Reply #13275 on: March 19, 2014, 03:54:06 AM »

SPOILER ALERT

The breakup scene; and the subsequent cafe scene - that is something I assume anyone who has endured a painful breakup and still was in pain years later could relate to

END OF SPOILERS


Yes! Especially the cafe scene. The other one is good although a bit "by the book", nothing new. The cafe scene is really good. I've heard that the scene was written/added very late in the process, which is weird because it seems to be the most "written" scene of the movie, with almost no room for improvisation.

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« Reply #13276 on: March 19, 2014, 05:10:16 AM »

SPOILERS THROUGHOUT POST
The breakup scene may be by the book, and sunthin you've seen a hundred other times, but this one absolutely feels real. Adele is actually crying, buckets and buckets of tears (and the aforementioned snot Sad ) there is no glycerin involved. If that was a vid someone posted on YouTube of a real breakup, you'd believe it.
As for the cafe scene, maybe the sexual aspect is the most "written" part, but that is not really whato got me. What got me was what Adele was going thru: being miserable for all that time with the feeling of being broken up on; then, all that time later, the pain is still so real, you meet your ex, who has moved on and whose life is fine without yours, while you are miserable without her, and wonder how you could have meant so much to someone once and now they can just not feel any pain over missing you; and how desperately, DESPERATELY, you hope, wish, dream.... and then ask, if maybe - just mayhe - they can make an impossible, fairly-tale like moment - which of course you know there is a zero % chance of happening - come true: that somehow, they'll take you back, and all your pain - you imagine - be gone.... Knowing this won't happen; knowing that now, the new "normal" is being "friends," which - while you pretend you are okay with - is in a way much more painful than not seeing that person at all, as your heart tears into a thousand pieces every time that person who once took her lips in yours, now merely gives you a peck on the cheek.... How her lipsn her tongue, her mouth - and oh yeah, her heart - used to be yours, and now, they no longer are. And no matter how many times you use  the word "closure," things may never be exactly as they were before even you met her (nevermind during the glory days of when you were with her)
Yes, anyone who could relate to such feelings - those moments of desperation when you meet again for the first time and try desperately to fight the new normal - your heart has to break at that scene

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« Reply #13277 on: March 19, 2014, 05:13:04 AM »

We should move this discussion to the CANNES 2013 thread, which has basically become the thread for BLUE IS THE WARMEST COLOR. Trouble is, I can't find that thread now that I am on my phone, so I made these posts in this thread instead. If a moderator can find that CANNES 2013 thread and then cut and paste these posts into that thread, that would be nice Smiley

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« Reply #13278 on: March 19, 2014, 06:10:12 AM »

I partly disagree. Yes, he's on the scene too soon, so there is that. Still, Grossman is fully right: the guy is good, but he lacks a little something. He's a Garfunkel. Maybe Mike was a Paul Simon.
But for me Garfunkel AND Simon as solo acts were nowhere. But Llewyn as a solo artist has the chops. Dude, did you buy the CD? I'm listening to Oscar Isaac as Llewyn and what he's doing is the real deal.

The early 60s were a very different place musically and audiences would not have appreciated what Llewyn was offering. There's that great scene early on when the Peter-Paul-and-Mary type act is doing "500 Miles" and everybody in the audience starts singing along. Llewyn looks around with a WTF? look on his face--as you and I would if we'd been there. Classic example of an artist and audience out of sync. But that doesn't mean there can never be an audience for him. Llewyn is a 21st Century musician--his audience wouldn't come until 2013.

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« Reply #13279 on: March 19, 2014, 07:12:02 AM »

Yes I bought the soundtrack (mp3) two days after leaving the theater. I also like a lot the 500 miles cover of Timberlake and Miss Drive. It's way better than the one by the real-life duo they're inspired from.

Llewyn always reacts like that in front of other people's success. I think it's part of his problem, but it's not a consequence: it's a cause. He doesn't have the right attitude. I know many people like him, who reject other people's successes by jealousy. They focus on what they don't like in their competitors' work. It's a very natural reaction but also a terrible habit. Picasso did the opposite.

The way he ends his performances is also a telling example of him beign out of synch with pretty much anyone else. He often adds a "that's all I've got" or this kind of classic comment by people who are afraid of being rejected, hence training the people around them to reject them. It's a mistake most wannabe stand up comedians make.

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« Reply #13280 on: March 19, 2014, 10:53:35 AM »

The Lego Movie - 7/10
The World's End - 7/10
Anchorman 2 - 6.5/10

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« Reply #13281 on: March 19, 2014, 05:03:24 PM »

Bring Me The Blu-ray of Alfredo Garcia (1974) 10/10. Man, is this one awesome looking transfer! Afro There's a few speckles (or my rating would go to "11") but I'm absolutely convinced this never looked so good in the cinema. And TWO audio commentaries. AND another installment of Passion and Poetry (with audio clips of Sam reading from the screenplay!). (Yeah, Mike Siegel also gets a 10/10). Buy this disc. Bennie and Al want you to.

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« Reply #13282 on: March 19, 2014, 07:02:09 PM »

Bring Me The Blu-ray of Alfredo Garcia (1974) 10/10. Man, is this one awesome looking transfer! Afro There's a few speckles (or my rating would go to "11") but I'm absolutely convinced this never looked so good in the cinema. And TWO audio commentaries. AND another installment of Passion and Poetry (with audio clips of Sam reading from the screenplay!). (Yeah, Mike Siegel also gets a 10/10). Buy this disc. Bennie and Al want you to.

 Afro Afro Afro Sounds great.

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« Reply #13283 on: March 20, 2014, 05:48:49 AM »

THE SEA WOLF 7/10 (TCM)

CONFIDENCE GIRL... (a badly beaten up TCM print) This movie gets a 7/10, which I believe ties the highest rating I've ever given a 1950's narrated police procedural.

JESSE JAMES (TCM, 3rd viewing) 8/10

THE MAN WHO WASN'T THERE (2001) (DVD) 7.5/10

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« Reply #13284 on: March 21, 2014, 06:33:30 PM »

Bethlehem (2012) - 8/10. The Wire goes to Israel, sort of. Only instead of the cops vs. drug gangs, it's Israeli intelligence vs. Palestinian groups. Situations seem well observed: assassinating a terrorist is tougher than you might expect; then the dead man becomes an important football between Hamas and Fatah-al-Islam, as each party wants to claim the "martyr" for themselves. And that's just for starters. Things continue, bleakly. There's no real ending, of course.

The Grand Budapest Hotel (2014) - 2/10. As if you'd wandered into the greeting card section of your local grocery, and, after leafing through any number of amusing, lavishly illustrated, impressively packaged gags and sentiments, suddenly find you've wasted an hour and forty minutes on the activity. Any sane person learns from the experience and promises himself never to do it again.

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« Reply #13285 on: March 22, 2014, 04:49:35 AM »

The Grand Budapest Hotel (2014) - 2/10. As if you'd wandered into the greeting card section of your local grocery, and, after leafing through any number of amusing, lavishly illustrated, impressively packaged gags and sentiments, suddenly find you've wasted an hour and forty minutes on the activity. Any sane person learns from the experience and promises himself never to do it again.

Even if you dislike the story, the packaging itself is worth more than 2 points. The casting alone deserves at least 2 points.

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« Reply #13286 on: March 22, 2014, 08:18:10 AM »

Even if you dislike the story, the packaging itself is worth more than 2 points. The casting alone deserves at least 2 points.
A completely empty film.

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« Reply #13287 on: March 22, 2014, 04:37:48 PM »

Indeed. Just like:

12 Years A Slave 5/10

Just another empty film.
Well done, although with the worst casting ever. To be fair, the actors do what they can with the (lack of) character they have. I didn't learn anything about slavery. I learned far more in QT's Django Unchained, which says a lot. But like I said, well done: very well shot, well edited, it looks good, great production design...
Hans Zimmer lost it. After remaking his Gladiator score for a decade, he became completely unable to be good at anything else.

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« Reply #13288 on: March 22, 2014, 06:00:40 PM »

Indeed. Just like:

12 Years A Slave 5/10

Just another empty film.
Well done, although with the worst casting ever. To be fair, the actors do what they can with the (lack of) character they have. I didn't learn anything about slavery. I learned far more in QT's Django Unchained, which says a lot. But like I said, well done: very well shot, well edited, it looks good, great production design...
Hans Zimmer lost it. After remaking his Gladiator score for a decade, he became completely unable to be good at anything else.
I haven't seen this film and probably never will. It sounds like 2 hrs. of obviousness (ie. tedium). So, I can't really comment on it, but from what I've heard about it I'm pretty sure there are characters in it. Characters who may not be all that well written, or all that well acted, by characters nonetheless.

This is exactly what is missing from Wes Anderson's latest film. We get a series skits. Skits do not require characters since all that is necessary from a scene is that the joke or the sentiment or the what-have-you is communicated. It's Saturday Night Live done the Anderson way, with visual panache and humor-inducing preciousness.

It was not always so. The panache and preciousness were always there to a degree, but not at the expense of characters. To my mind, Rushmore is a masterpiece, not because Max is so quirky, but because beneath the quirkiness there is a real human being hungry for the approval of others. Through a series of trials, he finally gets the approval he seeks, and in the process forges bonds with other very human characters. The film is both funny and dramatically satisfying. Bottlerocket worked almost as well. I did not think Tenenbaums, The Life Aquatic, or The Darjeeling Express were as successful, though not because of a lack of commitment to characters (more of a problem of fitting real characters smoothly into the Anderson style). But things began going seriously wrong with Fantastic Mr. Fox. Here was, ostensibly, a children's film, thus obviating the need for psychological complexity. It was also an animated film, so Anderson could elevate visuals over substance. All well and good for a one off, but Anderson, when he came back to live action, neglected to return to character driven drama. With Moonrise Kingdom he featured pre-adolescent hero and heroine who, though not in any way precocious, were more mature than any of the adult characters (that was the joke). Now in Budapest Hotel we get more of the child-adults from the previous film, all concerned with petty things. They are amusing to a point, but they can never develop, because to develop would mean to cease to be petty, and pettiness is the source of their humor. Thus they continue on, cartoons made flesh.

A shame, really. Anderson early on showed what he is capable of, but I don't think he'll ever find his way back to that point. There is just too much positive feedback for him to ever give up being who he's become. He is now a boutique-level Disney.

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« Reply #13289 on: March 22, 2014, 09:57:13 PM »

Boardwalk Empire: Season 4 - 6.5/10
A step up from the last season for sure, but the show has still lost its touch since the end of the second season. They keep killing off the only interesting characters. One season to go.

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