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Author Topic: Rate The Last Movie You Saw  (Read 1767950 times)
dave jenkins
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« Reply #14190 on: October 24, 2014, 05:47:17 AM »

You sound like a PC guy. DJ sounds like a Mac guy.
Just the other way round. And if you get that kind of thing so wrong, how can we trust your analysis of anything else? Cheesy

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« Reply #14191 on: October 24, 2014, 06:01:59 AM »

Just the other way round. And if you get that kind of thing so wrong, how can we trust your analysis of anything else? Cheesy

I didn't say you had a mac Smiley
Actually I would have bet you had a PC, but not because of your personnality. Just because if you had a mac, you would use the word "iTunes" more often in your posts.

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« Reply #14192 on: October 24, 2014, 06:48:35 AM »

Birdman (2014) - 9/10. I saw this with some trepidation--there is no cliché more annoying than the apparently endless take. It's been done to death--it may still be a great technical achievement, but long ago any "art" that was in the technique has been drained off. And the idea of doing an entire feature as a single continuous take--a la Rope (simulated) or Russian Ark--is, at this late date, passé. Worse, it would seem to limit the action of the story to a short span of time. I'm all for observing the Aristotelian unities on stage, but when it comes to films I want stories that range. Imagine my delight, then, when I discovered that Birdman, while adopting the one-take approach, nevertheless managed a plot that covers (if I got it right) a week's period (this is accomplished with some very clever time-lapse trickery). Why did they bother with the one-take stunt, then? Well, in a story about an aging movie actor (Michael Keaton) trying to make it on Broadway, the gliding camera allows us to move very quickly backstage (often following Keaton, but not always) and to be continually surprised by the frequent moments of drama that suddenly erupt. Another cliché--that there is more drama behind the scenes of a play than what appears on stage--is thus effectively dealt with. Emotions among the actors shift quickly--one minute there is calm, the next, conflict, then we're back to calm--without the usual cues. This freshens the scenes of melodrama, makes them credible, and allows us to move past them quickly.  And en passant we are treated to wonderful moments of acting that don't overstay their welcome. The film is also a love letter to Broadway. We spend a lot of time in the bowels of the St. James, and get to see out the window the marquees of the neighboring theaters ("Hey, Phantom is still playing at The Majestic!") I've been to any number of Broadway productions during the last six years, and have never had the chance to see backstage--until now. We even get the obligatory visit to Times Square, but here integrated very successfully into the plot. The story--the trials and tribulations of putting on a show, exacerbated by the possibility that the leading man-writer-director is losing his mind--works (the ending is a bit of a cheat, though, but I can't think of a better). The images look great--does Lubezki know how to light, or what? Add to this a fantastic drum score by Antonio Sanchez--the most inventive score I've heard in years (ordered!)--and you have a package that really requires one to sit up and take notice. I can't wait for the Blu.

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« Reply #14193 on: October 24, 2014, 06:53:27 AM »

Just because if you had a mac, you would use the word "iTunes" more often in your posts.
Maybe. But I've never used Media Player in my posts either (until now).

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« Reply #14194 on: October 24, 2014, 07:33:33 AM »

I'm the one that has mentioned repeatedly that I used to watch lotsa movies on my laptop, rented from iTunes.

This just goes to show further how you aren't paying attention, n_l. And DJ says I am the one with ADHD  Shocked

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« Reply #14195 on: October 24, 2014, 08:57:10 AM »

Maybe. But I've never used Media Player in my posts either (until now).

That's right BUT if you had a mac you'd use the word iTunes just like you use IMAX.

I'm the one that has mentioned repeatedly that I used to watch lotsa movies on my laptop, rented from iTunes.

This just goes to show further how you aren't paying attention, n_l. And DJ says I am the one with ADHD  Shocked

Your posts are too long, I cannot memorize every word  Kiss

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« Reply #14196 on: October 24, 2014, 09:27:34 AM »

Los Angeles Plays Itself (2003) - 7/10. A documentary about the way in which Los Angeles locations have been used in movies, sometimes to represent the city, sometimes to stand in for more anonymous settings. The number of clips used is impressive (IMDb has a list here: http://www.imdb.com/title/tt0379357/trivia?tab=mc&ref_=tt_trv_cnn ), and the film runs nearly three hours. The first half is pretty solid, with multiple visits to the Bradbury Bldg. and other architectural curiosities, and there's a particularly cogent appreciation of how locations work in Double Indemnity to make that setting specific. But after a while the director feels the need to further justify his project by turning the whole thing into a social studies exercise (making sure we know the real story behind how L.A. got its water, how the cops in the 50s operated, what race relations there were like, yada yada yada). I don't care about the real L.A. at all (and if I did, I'd read a book on the subject). I just want to know about how the iconic images have operated in the films they're a part of, and to the extent that this film provides that information, it is successful.

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« Reply #14197 on: October 24, 2014, 09:30:32 AM »


Your posts are too long, I cannot memorize every word  Kiss

The longer the post, the more elaborately I can insult stanton   Evil

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« Reply #14198 on: October 24, 2014, 09:31:35 AM »

man, has this thread degenerated ...

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« Reply #14199 on: October 24, 2014, 10:45:58 AM »

John Wick (2014) - 4/5

The story isn't the greatest but they make an interesting world that revolves around hired killers. Also, the action is pretty pretty good.

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« Reply #14200 on: October 24, 2014, 11:23:03 AM »

Presumed Innocent 5/10

Grey, uncinematic and not very interesting. Watchable though.

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« Reply #14201 on: October 25, 2014, 05:16:25 AM »

   
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Re: Titoli's Mini-Reviews
« Reply #260 on: September 05, 2012, 01:18:43 PM »        
Mr. Arkadin (1955) As it happens with other Welles movies (Lady from Shanghai, for example) this is better watched without sound and no inkling about what the characters say. I don't know if the two version I saw (this one  and the other dubbed in italian I saw on tv in the '80's, which could be the same one as the french dvd) approach Welles idea of what the movie should have been like, but I doubt could have been much better of the final product(s). And I can't stand those fake hair and beard and moustaches Welles sport. Still the movie has some famous scenes (Welles apologues) and angles and photography (especially the Naples dock scene) which can't but earn it a 8\10.

Agree pretty much with this, its great to watch, saw the Criterion DVD 8/10

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« Reply #14202 on: October 25, 2014, 05:54:50 AM »

100 rifles 4.5/6 , better than I expected........

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« Reply #14203 on: October 25, 2014, 02:53:33 PM »

20,000 Days on Earth (2014) - 8/10. 1080p. A fictional 20,001st day in the life of singer-songwriter-graphomaniac Nick Cave. Eschewing the typical approach to rock documentaries, we travel up close and personal as Cave goes about his business in and around Brighton, where, I was shocked to discover, the transplanted Australian lives. Interspersed with a few rehearsals and performances, the film is mostly made up of conversations he has with people: his shrink (or is that someone pretending to be his shrink?), Warren Ellis (his chief collaborator these days) the curators at the Nick Cave Archives (I kid you not). Cave spends a lot of time in his car, so the filmmakers add an interesting device of having people suddenly appearing in the vehicle to chat with Nick. He doesn't stop and pick them up, they're just suddenly there. First there's actor Ray Winstone (in the passenger's seat), then former band member Blixa Bargeld (in the passenger's seat) and finally Kylie Minogue (in the back seat). Does one have to be a Nick Cave and the Bad Seeds fan to enjoy the film? Well, I'm not all that interested in the guy and I found it interesting. It helps, I suppose, to like the recent album (Push the Sky Away), because the soundtrack features a lot of material from it (especially "Jubilee Street").

The Two Faces of January (2014) - 6/10. 1080p. 1962, Athens. Viggo and Kirsten are a seemingly nice tourist couple who come across Oscar Isaac, an ex-pat American who provides dodgy tour-guide services to visiting suckers. Suddenly the couple are in trouble, and Oscar, smelling the opportunity to lay his hands on a lot of Viggo's money, and maybe even his wife, decides to help. Before long they are three fugitives with a lot of interpersonal issues to work through. The action heads to Crete, then back to Greece, before finally landing in Istanbul (all played by the actual locations, and looking wonderful in the daytime. Nighttime, not so much). This is adapted from a Patricia Highsmith novel, not one of her better ones apparently. I had to roll my eyes when, at one point, a character asks another if he's wearing a wire. In 1962? In Istanbul? I'm guessing Highsmith's book was changed a bit.

La Dolce Vita (1960) - 5/10. 1080p. I've never liked this film--a near 3-hour demonstration that its title is ironic--but decided to give it another try now that it's available from Criterion. The new image is amazing, better probably than anything ever seen in cinemas (now when Anita Ekberg goes to the top of St. Peters, just before her hat "blows off," you can see the string attached that will perform the trick). It's certainly a pleasure to see beautiful people (Marcello Mastroianni, Ekberg, Anouk Aimée, Yvonne Furneaux) elegantly attired, riding in stylish cars, and the gliding camerawork is justly famous. But what about the story? Apart from the sub-plot with Steiner (Alain Cuny), the characters aren't very interesting, and I always give up caring about any of them early on. The ending, with the sudden re-introduction of Paola (Valeria Ciangottini), affords viewers a chance to play guess-the-meaning (one that seems pretty clear and simple to me). It's not enough of a reward, however, for having to sit through all 172 minutes.

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« Reply #14204 on: October 25, 2014, 03:18:49 PM »

John Wick (2014) - 4/5

The story isn't the greatest but they make an interesting world that revolves around hired killers. Also, the action is pretty pretty good.
Huh. And Blu-ray.com gave it a 9/10 and praised its 90-minute, fat-free run time. Also:
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“John Wick” achieves a spring in its step due to directors Chad Stahelski and David Leitch, two working stuntmen making their helming debut after decades arranging anarchy for other people. Playing to their strengths, the duo finds a ripe screenplay by Derek Kolstad that emphasizes violent encounters in a secret society of assassins and mob types, peppered with enough opportunities to create their own version of deadly encounters. Kolstad’s no-nonsense story secures Wick’s mission early . . .

Holy Mayhem, Batman, I can even see this in IMAX! What am I doing here still nattering on?

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