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Author Topic: Rate The Last Movie You Saw  (Read 1760773 times)
noodles_leone
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« Reply #13965 on: September 19, 2014, 08:12:03 AM »

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

No horse in OUATIA. Except MAY BE in this little scene, when, you know, Max and Noodles become friends. And also when they meet for the first time.


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« Reply #13966 on: September 19, 2014, 08:24:03 AM »

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.

Inarritu is a great director, but he also has trouble with substance. He should focus on regular stories instead of trying to put a pretentious but empty meaning.
Amores perros may not be his best work as a director, but it may be his best film. 21 grams would be much better without that whole "hearth" plot that is going nowhere. Babel is never as good as when the real story takes over. For instance, the Japanese part of the movie has little to do with the rest of the film but it's by far the best one. The Morocco part has absolutely no interest to me until the peeing scene. The Mexican part is boring (apart from the chicken scene) because the focus is on the sociology/politics bullshit.

Have you ever watched his 9/11 short? While Sean Penn made the best short film ever (not kidding), Inarritu really was an asshole with this one.

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« Reply #13967 on: September 19, 2014, 12:09:32 PM »

Inarritu really was an asshole with this one.

Is this the influence of our good Drink?

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« Reply #13968 on: September 19, 2014, 02:46:10 PM »

You guys made my day. Seriously.

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« Reply #13969 on: September 19, 2014, 04:47:59 PM »

huh? what did I do?

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« Reply #13970 on: September 19, 2014, 08:17:59 PM »

Brainstorm (1965) 7/10 Director: William Conrad, Jeffry Hunter saves an attractive Anne Francis from a suicide attempt, then becomes romantically involved and plots to kill her husband Dana Andrews.

from IMDb:

Underrated psycho-thriller directed by William Conrad

Author: bmacv from Western New York
17 July 2001

Like Raymond Burr, William Conrad started out in late-40s film noir as (no surprise) a heavy, and also ended up in series television ("Cannon"). But he also produced and directed both TV and some movies. His Brainstorm arrived in 1965, smack in the transition period from big old films made in the style of the studios to the newer kinds of filmmaking in the 1970s renaissance. It's an offbeat but interesting movie. The first third recalls Max Ophuls' Caught, the middle Billy Wilder's Double Indemnity, and conclusion Samuel Fuller's Shock Corridor. Jeff Hunter is a computer whiz working in some top-secret aerospace concern run by sinister mogul Dana Andrews. One night Hunter finds a car stalled on a railroad track with a woman (Anne Francis) passed out inside. He rescues her, and she turns out to be Andrews' wife, who was making a suicide attempt. Major complications ensue, with romantic involvement leading to attempts to "gaslight" Hunter which in turn engender a plot to murder Andrews. Viveca Lindfors turns up as an enigmatic psychoanalyst in this roiling plot that, in the spirit of the 60s, poses the question, "Is insanity contagious?"

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« Reply #13971 on: September 20, 2014, 09:45:50 PM »

Rear Window - 9/10 - 2nd viewing. Will comment more in the pertinent thread.

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« Reply #13972 on: September 20, 2014, 11:00:18 PM »

You must be forgetting the cops in the Bugsy scene.


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« Reply #13973 on: September 21, 2014, 05:11:49 AM »

You must be forgetting the cops in the Bugsy scene.



When you think about it, OUATIA has more horses in it than DYS.

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« Reply #13974 on: September 21, 2014, 11:39:17 AM »

A Walk Among the Tombstones (2014) – 8/10. A refreshing  take on the serial killer film, as directed by Scott Frank, who used to just write these things, and who now has, I guess, graduated to the Bigs (Frank wrote the screenplay, adapted from the novel by Lawrence Block). Opposing the sickos—they are a pair—is Liam Neeson, our current Mitchum.  Neeson plays an ex-cop-turned-PI who gets into the thick of things quickly, actually doing some real detective work. Things are clicking along nicely when—faster than you can say WTF?—a cute disadvantaged black boy is suddenly thrown into the mix to become . . . Neeson’s sidekick! Amazingly, this doesn’t really spoil anything, and maybe Frank decided to include the material with the kid just to prove he could direct a decent film even from a seriously compromised script. In other regards, the plot builds nicely to what turns out to be a series of showdowns with the baddies. I had to cry “foul” at one point, though, on account of some of the BS lighting. It’s one thing to light a “darkened” basement so that the audience can tell what’s going on; it’s quite another thing to allow the hero to use those lighting conditions to see something important that he would not otherwise have been able to detect. Apart from this instance, and another where Neeson sucker-punches a guy through a glass panel in a door,  I thought the filmmakers played fair.  Everything else depicted could have actually happened. The film is, at times, very violent, but mostly the violence is suggested rather than made explicit.

P.S. Remember how Donovan’s “Hurdy Gurdy Man” got re-purposed to good effect in Zodiac? Something similar happens here—a coincidence?—to provide underscoring for, albeit, a very different kind of scene, with the use of “Atlantis” (Donovan’s response to “Hey, Jude”). More than anyone, Donovan was associated with Flower Power, but it seems now this music can only be used in 21st Century films ironically. Not complaining. Just saying.

P.P.S. I determined to see this film partly as a result of seeing the trailer. However, the trailer has a number of spoilers in it I wish I hadn’t seen before going in. I’m starting to agree with Drink about not watching trailers before seeing a film for the first time. Anyway, it’s better to avoid the trailer on this one in particular.

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« Reply #13975 on: September 21, 2014, 12:03:03 PM »

Happiness (1998) - 9/10
Fucked up, funny, dark, original, heartbreaking, entertaining, sometimes strangely "touching" (uhggg), and an all around great film. Hilarious use of music and a rather sticky, yet surprisingly uplifting ending. This is like an ensemble Altman but with a discomforting, dirty feeling that's a slap in the face to Hollywood. I feel like I could be the only person on earth fucked up enough to love this. As usually a stand-out supporting performance from Philip Seymour Hoffman, who channels the loneliness of his Scotty character in Boogie Nightsin a more darkly comic way the following year.

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« Reply #13976 on: September 22, 2014, 08:50:26 AM »

Jersey Girl (2004) - 6.5/10
A fun rom-com with a Kevin Smith twist on the dialogue. George Carlin is good. Pretty run-of-the-mill but the overwhelming hate should really only come from Smith's fanboys and a pretty bad lead performance.

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« Reply #13977 on: September 22, 2014, 12:56:21 PM »


Sling Blade (1996) - 5/10

The proven Hollywood cheesecake filled to the top with corn syrup formula strikes again! Perhaps this is unfair as this was done about 20 years ago, but I had the feeling I saw this 10 000 times so far (at least). Predictable to the bone with 2 smaller turns of coin in the 2 hours of run-time that, ironically to say at least, only solidify the feeling you knew all the major bends all along. Too simple altogether.


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« Reply #13978 on: September 22, 2014, 01:02:50 PM »

Saskatchewan - Raoul Walsh, 1954

A 100% mediocre Injun western set (and shot) in Canada. Rather forgettable in every aspect. 2/10

It seems that Walsh had the same opinion: Weak story and screenplay, but he liked the Canadian landscapes, and tried to capture their whole beauty. Otherwise it was an "everything went wrong" movie.

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« Reply #13979 on: September 22, 2014, 02:13:00 PM »

Fitzcarraldo (1982) - 8/10. The plot is too thin to justify its runtime, and the Making Of documentary about the film by Les Blank, Burden of Dreams, is probably the better movie, but damn, this is still compellingly watchable (especially in the new Bfi Blu-ray). Thomas Mauch just doesn't get enough credit for his lighting choices or his agility with hand-held cameras. Herzog's major contribution to cinema is removing the distinction between documentaries and features, and here we get footage on How to Stage Opera in Primitive Conditions, The Rubber Industry in 19th Century Peru, The Practices of Native Peoples in the Amazon Basin, and, of course, How to Pull a Steamship Over a Mountain. Never mind that no one actually ever needed to pull a steamship over a mountain--the historical events that Herzog lightly recreates actually involved disassembling the ship before hauling it, something that Herzog wasn't interested in depicting. But having set himself a monumental (and monumentally useless) task, it sure is interesting to see how it all plays out. Everything after the portage is pretty anti-climactic, although the shoot-the-rapids sequence (even with the brief use of a miniature) isn't exactly boring. And then there's Kinski to watch. Too much opera, though, and not enough Popol Vuh.

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