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Author Topic: Rate The Last Movie You Saw  (Read 1764856 times)
PowerRR
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« Reply #13890 on: September 04, 2014, 08:08:44 PM »

You seem to equate "forgettableness" with "re-watchableness" - to me, the two are not the same thing.
That's a good point. I guess I won't know if it's actually forgettable for quite a while eh? Anyways, characters and visuals I feel are two huge selling points for me in a film. The characters didn't interest me too much, and the visuals overall weren't exactly amazing - the camerawork is (make sense, sorta?). I can think of several films pre-1953 with more stunning visuals, though I agree the camerawork is ahead of its time.

I've really wanted to see Avalon for a while. I'll check it out soon.

The Ballad of Narayama - 8.5/10
Now this is a visual masterpiece for sure. Maybe the best use of color I've ever seen in a film. It's shot completely on set with painted backgrounds, yet feels as cinematic and beautiful as can be. Excellent story & characters as well. However, the music - both vocal and instrumental - can become infuriatingly distracting in an otherwise excellent film. It's shot in 1958, but looks like something out of the mid 70's. Criterion Blu-Ray highly suggested.

« Last Edit: September 04, 2014, 08:18:00 PM by PowerRR » Logged
T.H.
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« Reply #13891 on: September 05, 2014, 12:17:02 AM »

I have to say that most of Ophuls work that I've seen is forgettable because nothing has stayed with me outside of maybe a couple moments in 'Letter'. Generally speaking, I don't care for the characters in his movies whatsoever, they're mostly unlikable and Ophuls films has that British period piece drama vibe (minus the usual stationary camera) that so doesn't jibe with my taste. I have no urge to check out any more of his work or revisit anything I've seen.

I don't see how Big Trouble in Little China can be viewed as forgettable, regardless of whether or not you actually enjoyed it. I couldn't let that comment go, I love that movie way too much.

« Last Edit: September 05, 2014, 12:20:44 AM by T.H. » Logged


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« Reply #13892 on: September 05, 2014, 07:03:07 AM »

The Seven-Ups (1973) another Wow, 10/10 forgot how great the car chase was in this one actually rivaling the chase in Bullitt (1968) Set in and around my old hoods, Astoria, Long Island City, Sunnyside, also with Manhattan & Harlem River.
Took your recommendation and ordered this on Blu (from Germany), which, by the way, looks fabulous. I can't quite go a "10" on this--seems a bit slow at times--but I did enjoy it. The car chase is, as you say, impressive (and it should rival the one in Bullitt, because the same people were involved). There's a nice archival Making Of on the disc that shows the director working closely with Bill Hickman to achieve the requisite mayhem. Here's something I wondered, though--the chase crosses the GW bridge, Jersey-bound, and then seconds later they're passing an exit for Briarcliff Manor! Say what?

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« Reply #13893 on: September 05, 2014, 10:26:28 AM »

Took your recommendation and ordered this on Blu (from Germany), which, by the way, looks fabulous. I can't quite go a "10" on this--seems a bit slow at times--but I did enjoy it. The car chase is, as you say, impressive (and it should rival the one in Bullitt, because the same people were involved). There's a nice archival Making Of on the disc that shows the director working closely with Bill Hickman to achieve the requisite mayhem. Here's something I wondered, though--the chase crosses the GW bridge, Jersey-bound, and then seconds later they're passing an exit for Briarcliff Manor! Say what?

Well it's a car chase The Unsuspected is similar, starts off on I think the Sawmill River Parkway and ends up under the Triboro Bridge, I've heard similar comments about the chase across San Francisco in The LineupCheesy

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« Reply #13894 on: September 05, 2014, 01:19:30 PM »

Oh, yeah, we can play this game all night: In McQ John Wayne leaves Seattle heading south on I-5; minutes later he's out on the Pacific Coast, 150 miles away.

I just expected a greater commitment to realism in The Seven Ups for some reason. Silly me.

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« Reply #13895 on: September 05, 2014, 03:08:46 PM »

I just expected a greater commitment to realism in The Seven Ups for some reason. Silly me.

I think the only possible road once they cross the GW that resembles the road in the film should have been the Palisades Parkway, but doesn't allow buses or trucks, the other option would Route 4 but it's through quasi industrial Ft. Lee.

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« Reply #13896 on: September 05, 2014, 06:10:43 PM »

I think the only possible road once they cross the GW that resembles the road in the film should have been the Palisades Parkway, but doesn't allow buses or trucks, the other option would Route 4 but it's through quasi industrial Ft. Lee.
The actual road they used was, of course, the Taconic, so it would have to be playing another Parkway, so I guess the PP is elected.

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« Reply #13897 on: September 06, 2014, 11:08:41 AM »

Los Muertos (2004) - 6.5/10
Kinda shitty, kinda great.

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« Reply #13898 on: September 06, 2014, 11:27:40 AM »


Kinda shitty, kinda great.

Some call it shreat.

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« Reply #13899 on: September 06, 2014, 11:35:32 AM »

Saint Laurent (2014, Bonello) - 6.5/10
Shreat.

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« Reply #13900 on: September 06, 2014, 01:49:43 PM »

The Trip to Italy (2014) - 7/10. I enjoyed the immensely funny The Trip from 2010, Steve Coogan's and Rob Brydon's gastronomic tour--with jokes- of the English North, so I was happy to sign on for this excursion to sunnier climes and cuisine. The duo are a bit less funny this time--they trot out a lot of the old routines, the Pacino impersonations, the Michael Caine ones, the Sean Connery, the Brando, the DeNiro. Worse, things tend to get a bit soapy as we go along (Steve is worried that he isn't spending enough time with his son, Rob is torn over whether to pursue an affair or stay true to his wife--aaauuuggghhhh!). Still, the food looks fabulous, as do the sights. It's actually a very good tourist promotion video, although I note that what makes the places look particularly appealing is the lack of contact with real Italians (only waiters and hotel staff have any lines). On balance, though, the film has enough scenery and humorous moments to keep things entertaining.

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« Reply #13901 on: September 06, 2014, 08:38:54 PM »

Good Morning Vietnam - 8/10 - Some questionable plot twists in the second half, but manages to be funny and heartfelt in equal measure. Robin Williams gets a role playing to his dual strengths as actor and comedian; I don't think I've enjoyed him more anywhere else. Nice supporting cast, especially Bruno Kirby Jr. appealing to his Silent Majority of polka fans.

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« Reply #13902 on: September 07, 2014, 09:43:25 AM »

Room at the Top - 7/10 - Working class lad Laurence Harvey comes to the big city dreaming of girls and success. He hooks up with Simone Signoret but marries soppy Heather Sears, daughter of Donald Wolfit's business maven, to advance his career. Typical morality play but Jack Clayton's direction is a striking mix of dinginess and expressionist close-ups. Good cast, though Harvey's roughly as convincing a Yorkshireman as he is a Texan.

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« Reply #13903 on: September 07, 2014, 06:30:08 PM »

Heart of Glass  [Herz aus Glas] (1976) In a late-18th-century Bavarian town there is a single industry, a glassblowing factory that produces a brilliant red ruby glass. The master glass blower has died, taking the secret of the red glass with him. The local Baron/factory owner becomes obsessed with the ruby glass and its secret ingredient. He soon descends into madness along with, apparently, the rest of the townspeople. Can the secret ingredient be . . . blood?

The main character is actually Hias, a seer and shepherd from the hills, who predicts the destruction of the factory in a fire. (According to Wikipedia: "Hias" is based on the legendary Bavarian prophet Mühlhiasl, a Nostrodamus-like figure.) In fact, the plot-- written by director Herzog, based partly on a story by Herbert Achternbusch--is almost secondary to the film, an armature upon which Herzog can hang his images and the music of Popul Vuh and the gnomic utterances of the seer.
 
The images in this film astound: the interior shots are lit like Rembrandts, but all the outdoor work is reminiscent of the German Romantic landscape paintings of Caspar David Friedrich. Herzog’s DP, the brilliant Jörg Schmidt-Reitwein--himself the son of a painter-- really knew what he was doing. The Bfi, transferring this in 1080p, have kept faith with him. Film: 10/10. Transfer: 10/10.

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« Reply #13904 on: September 08, 2014, 04:14:48 PM »

The Third Man (1949), English, German, Russian spoken no subs, a great international noir if there ever was one. 10/10

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