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Author Topic: Rate The Last Movie You Saw  (Read 1768932 times)
cigar joe
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« Reply #13500 on: April 30, 2014, 04:35:02 PM »

Wicked Woman (1953) directed by Russell Rouse. A blonde floozy (Beverly Michaels) drifts into town and gets a job as a waitress at a local bar. She sets her sights on the bar's handsome owner (Richard Egan), who is married to an alcoholic (Evelyn Scott). Runty flophouse neighbor (Percy Helton) complicates the scam to impersonate Scott, sell the bar and run to Mexico. Entertaining enough 7/10.

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« Reply #13501 on: April 30, 2014, 07:58:35 PM »

Little Fugitive (1953) first American Independent film a real gem Directed by Ray Ashley, Morris Engel, and Ruth Orkin. Starring Richie Andrusco as Joey, & 1953 Coney Island. 10/10

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« Reply #13502 on: May 01, 2014, 07:55:30 PM »

Scarlet Street - 8/10

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« Reply #13503 on: May 02, 2014, 01:32:28 AM »

Captain Amerique: The Winter Soldier - Marvel

Cap 2 was less good than expected, even slightly boring despite a reasonable story. Even Scarlett Johansson was less cool than in Avengers and Iron Man, which is telling. 5/10

Her - Spike Jonze

A subtle and intelligent love story between an introverted guy (you feel sorry for him when you see his moustache) and a computer voice. Scarlett Johansson was great as the voice. 8,5/10

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« Reply #13504 on: May 03, 2014, 06:26:38 AM »

The Andromeda Strain (1971) - 9/10. A team of scientists (led by Arthur Hill and David Wayne) race to prevent a micro-organism of extra-terrestrial origin from putting us all in a world of hurt. Robert Wise does Michael Crichton's novel proud, with the help of some outstanding industry specialists: Boris Leven on set design, Albert Whitlock on mattes, Douglas Trumbull on special photographic effects. They even found someone to deliver a pretty fantastic electronic score. The script suffers a bit from too much exposition put into characters' mouths, and the big statement at the end is pretty ridiculous (are we all REALLY supposed to be worried about future micro-biological threats from space?), but for the most part this is a very effective thriller, one that works even without much action (although James Olson does his best to inject a little at the end). The film still looks good, and now, thanks to a new German Blu-ray release (in a way cool steelbook!), it probably looks the best it ever has. Thank you, Kraut Nation!

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« Reply #13505 on: May 04, 2014, 04:14:52 AM »

Scarlet Street - 8/10

yeah, I saw the movie a while ago and gave it the same rating. I saw it on the Alpha DVD, which is awful quality; but happily, I see that according to Beaver, there are some good DVD/BRD of the film, too http://www.dvdbeaver.com/film3/blu-ray_reviews56/scarlet_street_blu-ray.htm

I see that TCM is playing it on Tuesday at 2:15 PM EST, so I'll record it and watch it some time; I hope the quality is good, it'll be nice to finally watch the movie in good quality; eventually, maybe I'll get the Kino BRD or one of the other good-quality discs of this movie.

There is further discussion of the movie and the various versions of it in the Film Noir Discussion/DVD Review Thread, starting here http://www.fistful-of-leone.com/forums/index.php?topic=1822.msg146641#msg146641

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« Reply #13506 on: May 04, 2014, 09:33:47 AM »

The Year of Living Dangerously - 8/10 - Peter Weir's last Aussie film has journalist Mel Gibson caught up in Indonesia's tumultuous '60s, befriending Chinese journalist Linda Hunt and wooing Brit diplomat Sigourney Weaver. Part historical thriller, part romance, it's an entertaining movie that does a good job depicting a controversial event without speechmaking.

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« Reply #13507 on: May 04, 2014, 01:43:26 PM »

A Pig Across Paris (aka Four Bags Full) / La traversée de Paris (1956) - 6/10. During the Occupation, two men (Jean Gabin et Bourvil) attempt to cross Paris at night with four suitcases of Black Market pork. Hilarity ensues . . . until it doesn't. A promising premise, with several comic episodes, goes terribly wrong when things turn serious in the second half of the film. I guess the filmmakers didn't want anyone to get the idea that the Occupation was all jokes and laughter. Too bad. The tacked on ending, to remind everyone they've been watching a comedy, doesn't work at all.

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« Reply #13508 on: May 05, 2014, 06:33:25 AM »

The Man With the Golden Arm (1955) - 3/10. So terrible, it's actually very funny at times. In fact, if I didn't know better, I'd swear this was an SCTV parody of a mid-50s message picture. Frank Sinatra plays a guy who is not only a junkie but a card sharper AND a talented musician. And his name is--get this--Frankie Machine! If that weren't enough, the wonderful Eleanor Parker throws herself into the worst part ever written for an actress. She really IS Mrs. Machine. Then there are all the clichéd secondary characters, the hoods and corrupt cops, all played by decent actors working hard to be 100% cardboard. Kim Novak is there, too, but mostly for decoration (she affects a voice somewhere between Madeleine's and Judy's). The jazz score, not a bad piece of music in itself, is used terribly--we get The Big Crescendo every time Frankie is on his way to his fix, and even once, when his connection is laying out the paraphernalia, Preminger has each item Mickey-Moused as it gets set down! (I'm not sure about the characters, but I'm pretty sure the director was on drugs when he made this). There are two deaths in the film, and each one is staged in such a manner that when I saw them I had to fall to the floor and roll about in fits of laughter. The humor is, of course, all unintentional, but it's real, so the film is due a couple points for its entertainment value. Sure glad, though, that Preminger went on to better things.

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« Reply #13509 on: May 06, 2014, 06:18:50 AM »

Beneath the 12 Mile Reef (1953) 6/10. The rivalry between sponge fisherman on the west coast of Florida intensifies when the son of the leader of the Greek team falls for the daughter of the leader of the Conch team. It's even less interesting than it sounds. But in compensation there is some very nice underwater photography (framed for Cinemascope), and one of Bernard Herrmann's best scores.

Open Range (2003) 7/10. There's one hellacious gunfight in this film, but it takes Costner forever to get to it. And then the aftermath drags on and on. I guess Kevin loved shooting up in Alberta so much he never wanted to stop, and then, because this was a project for TV, he was allowed to cram an hour's worth of material into a two-and-a-half hour cut. Well, it does look very beautiful (although the over-reliance on reflectors becomes annoying). For PQ, the German Blu-ray is the way to go.

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« Reply #13510 on: May 07, 2014, 12:22:52 AM »

The Wonderful Country (1959) - 6/10. What a frustrating film! Robert Mitchum is a gunrunner and pistolero working for the Castro family south of the border. While transporting some rifles from the U.S. side Mitchum's horse falls, and Bob has to recuperate in an American town while his leg mends. And then the rifles go missing. Surely, we say to ourselves, watching for the first time, this is where the story will take off--Mitchum will have to run down the missing weapons before his employers get wind of the problem and decide to terminate (with extreme prejudice) Mitchum's contract. Doesn't happen. Then, as Mitchum is still recuperating, he catches the eye of the local military commander's wife (Julie London). Mitchum likes what he sees too, so it would be only natural for a love triangle to develop, with Mitchum and the commander (Gary Merrill) duking it out for the affections of the woman they both love. No, that never really happens either. Mitchum, after recovering, attends a party where a friend of his is killed: Bob responds with an immediate return kill. Mitchum has a credible self-defense plea he could play, but rather than use it, he runs away. Obviously, the posse is gonna go after him and the film will now become a fugitive-from-justice story. Uh, nope. Crossing back into Mexico, Mitchum finds the Castro brothers at each other's throats. The elder brother (Pedro Armendáriz) wants to hire Mitchum to assassinate his rival--ooo, good, good, a blood-for-money plot!--but Bob says no. (Huh?). Pedro doesn't like that answer, so he sends "the boys" out to track Bob down. Okay, the on-the-lam-from-the-padrone story isn't as interesting, but at least we have a plot, no? No. Nothing comes of this. Then there's the sub-plot in which Gary Merrill and the Castros put together a task force to go after those pesky Apaches. It would have been nice if even this had, at some point, become the dominant line, just so we'd finally have a story. Man, this film has so many ideas, but it doesn't adequately use any of them. The location photography in and around Durango is nice: hence the title, The Wonderful Country. What a shame they couldn't have shot The Wonderful Screenplay.

I just saw this movie, I give it a 7.5/10

I think the point of the story  - SPOILER ALERT - is about the character: how he was forced to live life as a gunslinger in Mexico because of an incident earlier in his life, and how, in the end, he is finally able to put down his gun and live a peaceful life in the US of A, which is really what he deep down has wanted all along. And the movie is about how he was finally able to do it, despite all the obstacles.
All these things that may be happening, which you thought would turn into what the story was about – eg. the gun deals, fighting the Apache, the posse after him – are things that potentially could prevent his living the life he wants; but he says "NO" to them because he really does want to settle down and live a peaceful life back in America. (Would he have this same desire if he didn't lose the guns and break his leg? Who knows. But maybe once he decides that he wants to give up his current life, the story is about him doing his best to try to overcome all the obstacles to doing that.) You may find that boring as the storyline of a Western, and I'm not necessarily defending it, I'm just saying the movie does have a story, it's just not the story you think it's gonna be, and you don't realize what the story has really been about until close to the end.

Of course, maybe then you can argue that the title "The Wonderful Country" is inappropriate for such a movie....

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« Reply #13511 on: May 07, 2014, 03:27:22 AM »

KILLING THEM SOFTLY - 7/10

Great atmosphere, good characters, very good acting (the worst actor being Brad Pitt, whose only crime is to do a regular job), good dialogues and very tiny script (they obviously focused on dialogues and drew a few parallels with the economic crisis).
Not much to criticise here, except that it's one of the few 7/10 movies that will not bring anything more to the table with rewatches.

3rd viewing. The more I watch it the more it looks like the first film of a brilliant director. As a 3rd film it's a bit disappointing considering the potential (of both the director and the project).

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« Reply #13512 on: May 07, 2014, 05:21:13 AM »

I think the point of the story  - SPOILER ALERT - is about the character: how he was forced to live life as a gunslinger in Mexico because of an incident earlier in his life, and how, in the end, he is finally able to put down his gun and live a peaceful life in the US of A, which is really what he deep down has wanted all along. And the movie is about how he was finally able to do it, despite all the obstacles.
Zzzzzzzzzzzzzzzzzzzzz . . . .
Quote
All these things that may be happening, which you thought would turn into what the story was about – eg. the gun deals, fighting the Apache, the posse after him – are things that potentially could prevent his living the life he wants; but he says "NO" to them because he really does want to settle down and live a peaceful life back in America. (Would he have this same desire if he didn't lose the guns and break his leg? Who knows. But maybe once he decides that he wants to give up his current life, the story is about him doing his best to try to overcome all the obstacles to doing that.) You may find that boring as the storyline of a Western, and I'm not necessarily defending it, I'm just saying the movie does have a story, it's just not the story you think it's gonna be, and you don't realize what the story has really been about until close to the end.
At which point you ask for your money back.

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« Reply #13513 on: May 08, 2014, 06:16:58 AM »

Becoming John Ford (2007) - 7/10. The Twilight Time team (Redman and Kirgo) intersperse clips of Ford-at-Fox films with talking heads (Rudy Belmar, Lem Dobbs, et. al.) talking about what else?. A lot of platitudes (and they have to have all the heads in a phony-looking b&w that's rather annoying), but they do a couple things that are interesting. One is having people read from Zanuck's and Ford's published writings, to create a kind of running conversation between the two men. This is more theatrical than informative, though. But every once in a while one of the pundits says something that's kind of interesting. For the first time I think I understand what Zanuck was up to in his cut of Clementine: all the changes he wanted to make were things that had been done in previous Ford films. Zanuck just wanted to give the public what he (probably rightly) imagined they wanted, to make the film more Ford-like (production as if John Ford were Henry Ford!). Ford, post-War, of course, wanted to achieve Ford-ness through other means (i.e. it was time to try to do some things differently). No wonder he soon thereafter left 20th Century Fox.

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« Reply #13514 on: May 09, 2014, 08:20:45 AM »

Il Sorpasso (1962) - 7/10. An Italian buddy picture, a road trip film, an unfunny comedy: you can tag this thing with any number of descriptors. But probably the most accurate thing anyone can say about it is that it's the ultimate gay subtext flick. Catherine Spaak gets second billing in this, her name comes before Trintignant's, and yet we wait and wait for her to appear. What the cuss? Then I understood. I wondered if others had picked up on the obvious, so I went to IMDb and looked for relevant comments. They were there:
Quote
count the numerous gay undertones (Bruno – the infinitely narcissistic 40ish mamma's boy -- using the ladies' toilet without a blink; Bruno teaching aunt Lidia how to apply cat-eye make-up; Bruno and Roberto's body contact especially after the night-club fight; Bruno giving up potentially easy conquests, such as the German girls and the waitress; Bruno instantly recognizing Occhio Fino is gay; Bruno jokingly to Roberto: "Well, you know, I don't fancy men but if even if I did you're not my type"; "When we get back to Rome I'll introduce yo to mamma and we can see each other every day" etc).
The car, of course, is the perfect phallic symbol. The men do not speak the love they dare not name, but settle for the throb of the Lancia on their way to--not le petite mort--but his older brother.

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