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Author Topic: Rate The Last Movie You Saw  (Read 1768753 times)
Dust Devil
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« Reply #13950 on: September 18, 2014, 03:25:11 AM »



Nebraska (2013) - 8/10

Simple yet subtle.

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« Reply #13951 on: September 18, 2014, 07:36:12 AM »

Abbott and De Niro were still married at the time they did this, and knowing that has always made their scenes together more enjoyable for me. A very funny film.

Yes, and I forgot to mention something: did you notice the connection with OUATIA? (Not Bobby.)

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« Reply #13952 on: September 18, 2014, 09:00:16 AM »

Yes, and I forgot to mention something: did you notice the connection with OUATIA? (Not Bobby.)
The main character is nuts?

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« Reply #13953 on: September 18, 2014, 01:12:04 PM »

The main character is nuts?

No no, another actor appears in both movies.

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« Reply #13954 on: September 18, 2014, 01:51:42 PM »

Jerry Lewis was in OUATIA??? I completely missed that!

(OK, here's my real guess: the Asian house boy in TKOC was one of the attendants at the opium den in America).

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« Reply #13955 on: September 18, 2014, 02:34:43 PM »

Until They Sail (1957) 7/10

This movie is kinda frustrating because the story has potential to be a very good movie, but ultimately it is no better than a good movie 7/10 is my lowest rating for a "good movie." The material just wasn't handled as well as it should be.

The story focuses on 4 sisters (Jean Simmons, Joan Fontaine, Piper Laurie, and Sandra Dee) living together in New Zealand during World War II. The local men are all off at war, so there are no men around, until the American Marines come. So the movie is about the loneliness caused by war, the temptation to do the "improper" thing and have affairs with soldiers and of course, some of these soldiers are married with kids back home the effect this has on the lives of the girls, etc.
You have tramps, affairs, the insistence on remaining proper, illegitimate pregnancy, murder, loneliness, etc.

Dee plays an ingenue (though she delivers a good performance). She has a sweetheart at war, flirts with Americans, but eventually marries her sweetheart as if nothing happened. So I guess she is the prototype of the girl who messes around, never tells her finace about it, and then goes back to her fiance when he returns from the war and they live happily ever after.
Laurie plays the bad girl - first she marries some local loser, cuz there's nobody else in town, and when he finally goes off to war, she starts banging every American soldier she can find.
Fontaine plays the proper girl she is upset at Laurie for running off like a tramp, until of course Fontaine herself finds a Marine she loves and ends up having an illegitimate child.
Simmons has a husband off at war, and is faithful to him, until she hears he is killed and then finally does have an affair with a Marine, played by Paul Newman.
There are a lot of similarities between Fontaine and Simmons both proper, resist the Americans at first before eventually falling in love, IMO they probably could have been combined into one character.
Dee is kind of there in the background, the sweet, innocent girl, peeping at her sisters and their lovers; the story doesn't focuses on her much.
Laurie takes up a big chunk of the first half of the movie, and then disappears for almost the whole second half before reappearing at the end. Fontaine has some scenes in first half and then also almost entirely disappears in the second half. Simmons doesn't have a huge part in first half certainly not more than any others, despite being first-billed but the second half is almost entirely about her and Newman.

So its kinda weird how it was handled; somehow it feels like you never get too close to any one character cuz there is an uneven representation of the various characters, ow someone can be there for a while then disappear, then switch to someone else. Maybe the movie shoulda been longer.

I should point out that this does NOT descend into mere soap opera of who slept with whom; there is a decent focus on the effects of war on the local population. But somehow, this all could have been done better.

Toward the end, Simmons asks Newman, in frustration, "Why did you all come here?" and Newman answers, "Because there was a war." A good line that should end the movie ... but the movie ends in a stylized cliched kiss with sentimental chatter that I didn't like.

Directed by Robert Wise ... this movie is in black-and-white CinemaScope, I can't remember seeing any other movie in b/w 'Scope.

For me this was a missed opportunity, what could have been a good story about an interesting subject that just wasn't made very well.

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« Reply #13956 on: September 18, 2014, 02:52:56 PM »

... this movie is in black-and-white CinemaScope, I can't remember seeing any other movie in b/w 'Scope.
That's because, dumbass, you don't watch Japanese films.

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« Reply #13957 on: September 18, 2014, 02:58:28 PM »

That's because, dumbass, you don't watch Japanese films.

That's because my idea of entertainment isn't seeing a bunch of men crying.


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« Reply #13958 on: September 18, 2014, 03:25:20 PM »

A Blueprint for Murder (1953) Director: Andrew L. Stone with Joseph Cotten, Jean Peters, Gary Merrill 7/10

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« Reply #13959 on: September 18, 2014, 09:24:10 PM »

Inside Man - 7/10 - Modestly clever heist movie which hits all the familiar marks until the end sweeps everything away. Slick direction and good cast (especially Denzel and Jodie Foster) work wonders. Entertaining but you wonder if it's worth the ride.

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« Reply #13960 on: September 18, 2014, 09:59:50 PM »

Inside Man - 7/10 - Modestly clever heist movie which hits all the familiar marks until the end sweeps everything away. Slick direction and good cast (especially Denzel and Jodie Foster) work wonders. Entertaining but you wonder if it's worth the ride.

IMO this is one of the greatest heist movies ever made. This movie obviously doesn't have a scene of technical detail of cracking a safe like Rififi, Grand Slam, or Le Cercle Rouge; that's not what the movie's focus is on. But I thought that the crooks' strategy was brilliant that moment when you realize what their strategy is is one of those great AHA moments you have in cinema.

The only significant award this movie won (if you can even call this significant) was AFI's Movie of the Year it didn't get any awards from any Critics groups, it didn't even get a single nomination from the Oscars or Golden Globes.
But as I said from the moment I first saw it, this is one of the all-time great heist movies.

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« Reply #13961 on: September 18, 2014, 10:09:29 PM »

Liverpool (2008) - 5.5/10
For an experimental film (depending on which point one describes something as 'experimental'), the best compliment I can give is that I don't mind watching it. Guy gets off a boat after years, sees his mom, she doesn't remember him, he leaves the family with a souvenir, they're happy, the end. That takes 80 minutes. I'm sure there's tons more meaning for other people (whether they pretend there is, or there actually is) but for me ... not all too much. It's extremely well shot, and the almost complete silence and mystery somehow works in making the characters kind of interesting. This is a trillion times better than Alonso's Fantasma, but not quite up to par with Los Muertos ...which is also not that great.

Babel (2006)- 6/10
This is brilliantly disguised as a masterpiece. The storytelling is captivating as fuck, Innaritus direction is astounding, each and every performance is near perfect, editing is brilliant. And then you start to realize that the screenplay is a total piece of trash.

1. Ooooo luck at how diverse and edgy this is - Morrocans and Americans the prime center of the narrative? That's good, but nah - lets throw in some Mexicans too

2. Oh no - wait - where are the Asians? Quick: 30-minute subplot about ASIAN girl who wants to get fucked!

3. ....What's that have to do with the story? Who cares. Lets just very loosely connect it to the Morrocan part and hope the audience doesn't notice that now and then, the narrative is interrupted by the story of a horny virgin Asian chick

4. Wait. Stop. Let's make her deaf too, just in case the idea of "boundaries and mis-communication of language and diversity" isn't obvious enough yet.

5. Since we're throwing in Mexicans, obviously we can't not throw in a heavy political statement concerning border control and immigration.

6. Finally, let's write it ALLLLL conveniently together, so that everything happens at the precise time and it's wicked cool and stuff and there's so many near coincidences so that audience is all like "OMG LOOK AT EVERYTHING CONNECTING"

But seriously, up until I started to realize how fucking awful and generally blatant with everything this screenplay is, Babel was a masterpiece. At about the mid-way point of the film I was realizing I hadn't been this captivating by a movie in a long time. And regardless of the script, Inarritu is absolutely a masterful director- as he's also proven with the far superior Biutiful and 21 Grams (which I don't want to describe as less subtle than Babel, but at least less blatant). It's worth a viewing for a nice drama/thriller hybrid if you look past how outright silly it is.

I'd like to think it's just an experiment in taking a horrible script and making it as good as it can possibly be. Goes to show that a director isn't only as good as his writer.

« Last Edit: September 18, 2014, 10:40:53 PM by PowerRR » Logged
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« Reply #13962 on: September 18, 2014, 11:13:40 PM »

Jerry Lewis was in OUATIA??? I completely missed that!

(OK, here's my real guess: the Asian house boy in TKOC was one of the attendants at the opium den in America).

Trigger.

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« Reply #13963 on: September 19, 2014, 05:42:27 AM »

Trigger.

Huh

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« Reply #13964 on: September 19, 2014, 06:17:56 AM »

Can't say I remember a horse in either TKOC or OUATIA.

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