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Author Topic: Rate The Last Movie You Saw  (Read 1765981 times)
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« Reply #13980 on: September 22, 2014, 02:58:30 PM »

Loan Shark (1952) Director: Seymour Friedman with Stars: George Raft, Dorothy Hart, Paul Stewart 7/10

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« Reply #13981 on: September 22, 2014, 04:25:24 PM »

Mosquito Coast 5/10

I had NEVER heard of this one. Peter Weir? Two Indiana Jones?
Interesting but difficult subject, sloppy script, aged directing. Still, some images will probably stay with me for a while so I cannot give the movie worst than a 5.

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« Reply #13982 on: September 22, 2014, 09:33:41 PM »

The Testament of Dr. Mabuse - 9/10 - Third viewing, this time with David Kalat's wonderful commentary track.

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« Reply #13983 on: September 23, 2014, 07:17:15 AM »

The Innocents (1961) 10/10. Criterion Blu: 10/10

Quote
What shall I sing to my lord from my window?
What shall I sing, for my lord will not stay?
What shall I sing, for my lord will not listen?
Where shall I go, for my lord is away?

Whom shall I love when the moon is arisen?
Gone is my lord, and the grave is his prison.

What shall I say when my lord comes a-calling?
What shall I say when he knocks on my door?
What shall I say when his feet enter softly,
Leaving the marks of his grave on my floor?

Enter my lord, come from your prison.
Come from your grave, for the moon is arisen.

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« Reply #13984 on: September 23, 2014, 11:48:29 AM »


Thursday (1998) - 6/10


I saw this before, not that boring.

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« Reply #13985 on: September 24, 2014, 06:18:38 AM »

Run Silent Run Deep (1958) - 8/10. Classic men-on-a-mission submarine flick, now in 1080p! There are the usual problems: a bad-luck skipper (Clark Gable) out to redeem himself, no matter the cost; an XO (Burt Lancaster) miffed he's been passed over for command; a resentful crew (Jack Warden, Rudy Bond, Rickles, and a very slimy Brad Dexter). Then there are the wily Japs themselves, who have the gall to actually speak their own language. Action scenes are competently arranged (thank you, Robert Wise), making judicious use of Navy-approved drill footage and miniatures in water tanks. Gay subtext? Hey, what's a submarine except a long tube full of (heh, heh) seamen. Take it in the shorts, Tojo!

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« Reply #13986 on: September 24, 2014, 07:08:02 AM »

The Spectacular Now - 7/10 - Another teen romance with mismatched teens (hard-partying Miles Teller, nerdy Shailene Woodley) getting together and overcoming their personal flaws. Like many such movies it's redeemed by the leads and a few twists, namely the open-ended conclusion which is neither Hollywood happy nor treacly tragedy. The story is thoroughly predictable though.

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« Reply #13987 on: September 24, 2014, 10:59:46 AM »

The Blue Max - 8/10 - A cynical take on WWI fighter aces: German pilot George Peppard is a ruthlessly ambitious prole clashing with aristocratic peers, used by government propagandists and bedding Ursula Andress. The battle scenes are impressive spectacle (especially the air raid during an infantry assault) and the interstitial material, though one-note, works well-enough. Peppard is stiff as usual, the romance subplot silly and Andress out of place. This is definitely a supporting cast movie, with James Mason, Jeremy Kemp, Karl Michael Vogler, Derren Nesbitt and the ubiquitous Anton Diffring among the players.

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« Reply #13988 on: September 24, 2014, 09:07:57 PM »

Hard Eight - 7/10
Boogie Nights - 10/10
Magnolia - 10/10
Punch-Drunk Love - 8.5/10
There Will Be Blood - 10/10
The Master - 9.5/10

Seeing the world premiere of Inherent Vice in 9 days, couldn't help myself this week. Worth it. And fuck all y'all Leone-board PTA haters! I'd probably give about 20 movies ever out of the 1000+ I've probably seen above a 9.5 ...those are four of them.

Hard Eight is a solid effort, a strange neo-noir / father+son drama hybrid. The plot can go all over the place with the movie's intentions unclear and the characteres a bit underdeveloped. Although it's better on repeat viewing, I feel the script could either be tightened up or even made longer to flesh out the characters (it was originally 2.5 hours, though still unseen). Boogie Nights is perfection - I love every fucking frame of that movie. The 2.5 hours feel more like 30 minutes. If not for OUATIA, I'd easily consider it my favorite film by a long shot. Magnolia is also a masterpiece, but with its forgivable flaws (the singalong scene, slightly uneven pacing). Punch-Drunk Love is maybe the darkest rom-com ever made and probably PTA's most symbolic and experimental film, but it lacks the scope that makes his other work so perfect. There Will Be Blood is an utter masterpiece no matter what anyone here thinks. The Master - also just about perfect - though I've always felt it loses its steam in the final 30 minutes or so.

All 6 films include some of the best camera work and editing I've ever seen, and each one (other than Hard Eight, which is pretty silent) has an astounding use of both instrumental and soundtrack music. Much better than even Scorsese's use, and even the Anderson-Greenwood collaboration is almost up to par with Leone-Morricone.

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« Reply #13989 on: September 25, 2014, 07:13:03 AM »

Dr. Mabuse, the Gambler - 8/10

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« Reply #13990 on: September 25, 2014, 10:10:08 AM »

Melvin and Howard (1980) - 9/10
Excellent, excellent film. Love it. Small but memorable co-titular role from Cheyenne.

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« Reply #13991 on: September 25, 2014, 11:16:14 AM »

Ghost World (2001) - 9/10. 1080p. A teen comedy, pregnant with irony, but utterly devoid of satire. How is that possible? Terry Zwigoff knows you don't have to take the piss out of reality. All one need do is hold a mirror up and reality will piss itself. The shock of recognition is sufficient. Can the film be faulted for adding a through line to what should have been a story of utter aimlessness? Perhaps. Or offering a means of escape for a character trapped in world where transcendence is impossible? That may be its greater fault. Still, the depiction of the ghost world--the kitsch world, the RR Power world--is spot on. Too few films can stare at this harrowing subject with such unflinching persistence: Bravo, Mr. Zwigoff. (I've been patiently waiting for this to arrive on Blu in Zone A; I finally gave up and bought the region-free German one, whose transfer is excellent).

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« Reply #13992 on: September 25, 2014, 02:08:28 PM »

Still, the depiction of the ghost world--the kitsch world, the RR Power world--is spot on.
wah? i'd hope not... I caught about 30 minutes of the middle of the movie once and hated every character other than scarlett johansen, found them to be completely un-relatable and infuriating hipsters.

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« Reply #13993 on: September 25, 2014, 05:53:47 PM »

The Winslow Boy (1999) - 6/10 - David Mamet's adaptation of the Terence Rattigan play. Good acting, adequate direction, faithful to the source material, modestly entertaining. All it needs is something more than competence.

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« Reply #13994 on: September 26, 2014, 06:40:24 AM »

The Equalizer (2014) - 6/10. IMAX. A Former CIA Black-Ops type (The Denzel) lives quietly in Boston and works at the local Home Depot (say, what?). One day he notices that the Russian mafia are giving a hard time to one of their hookers (ChloŽ Grace Moretz, who's about as Russian as my left nut), and decides to mix in. Remind you of something you saw once on TV? The difference, of course, is that ultraviolence has been added. Apparently, though, The Denzel didn't want to pay for a stunt double, because a lot of the action takes place off screen. Still, there's a fair bit gore: corkscrew-fu, barbed-wire-fu, pole-pruner-fu, powerdrill-fu (hey, having that Home Depot job really pays off), and finally, sprinkler-system-fu (this last is necessary so that The Denzel can be photographed in slo-mo with lots of water dripping off him--did I mention that Antoine Fuqua still thinks he's John Woo Wong Kar-Wai?). The plot is predictable and takes forever to get going, but once The Denz commits things build nicely. The principal baddie is played by Marton Csokas, a real find--he's the new Eric Braeden (I hope he plays lots more villains before he gets his cushy job on a soap). The music choices are pretty lame. At the end I got excited when the opening bars of "New Dawn Fades" were played, but then it turned out not to be the Joy Division original but Moby's anemic cover version. The exit music sucked.

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