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Author Topic: Rate The Last Movie You Saw  (Read 1831080 times)
PowerRR
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« Reply #14505 on: December 29, 2014, 03:17:48 PM »

Winter Sleep (2014) - 7.5/10
Sub-Chekhov in Cappadocia, or 3-hours-plus of people talking. But it's OK because it was filmed with the Sony F65. There's one nighttime sequence that I swear was shot without any illumination whatsoever, just silhouettes against the night sky: detail was lacking, but there was an image there, something that never could have been achieved on film.  At other times, in scenes with plenty of light, colors and details are impressively realistic. Depth-of-field is also often very good. I cannot discount the possibility that some CGI was used. Storywise things take their time as characters--often in monologues--reveal themselves. Tension is manifest among all the characters, between the main character and a boy with a rock, between the main character and his wife, between the main character and the man he employs, between the main character and the local school teacher, between the main character and the local imam, between the main character's sister and the main character's wife, between the main character's wife and a family she wants to help. There are no good guys and no bad guys; everyone has their reasons.

This is, of course, an art film, so I should have stayed far, far away.

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« Reply #14506 on: December 29, 2014, 05:19:30 PM »

Winter Sleep (2014) - 7.5/10
Sub-Chekhov in Cappadocia, or 3-hours-plus of people talking. But it's OK because it was filmed with the Sony F65. There's one nighttime sequence that I swear was shot without any illumination whatsoever, just silhouettes against the night sky: detail was lacking, but there was an image there, something that never could have been achieved on film.  At other times, in scenes with plenty of light, colors and details are impressively realistic. Depth-of-field is also often very good. I cannot discount the possibility that some CGI was used. Storywise things take their time as characters--often in monologues--reveal themselves. Tension is manifest among all the characters, between the main character and a boy with a rock, between the main character and his wife, between the main character and the man he employs, between the main character and the local school teacher, between the main character and the local imam, between the main character's sister and the main character's wife, between the main character's wife and a family she wants to help. There are no good guys and no bad guys; everyone has their reasons.

This is, of course, an art film, so I should have stayed far, far away.

Hmmmmmm . . . .

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« Reply #14507 on: December 29, 2014, 05:35:17 PM »

I thought it was very good and agree with/support your observations... just not the rating. Figured I might as well copy and paste your thoughts instead of writing my own. This is definitely a one-time viewing type movie, and for that I can't give it anything close to a 10...rewatchability is a pretty big factor in my rating system.

And this was shot entirely digitally? If so, that raises the standard to a whole new level for digital moviemaking. Far better than even Fincher.

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« Reply #14508 on: December 29, 2014, 06:18:42 PM »

I thought it was very good and agree with/support your observations... just not the rating. Figured I might as well copy and paste your thoughts instead of writing my own. This is definitely a one-time viewing type movie, and for that I can't give it anything close to a 10...rewatchability is a pretty big factor in my rating system.

And this was shot entirely digitally? If so, that raises the standard to a whole new level for digital moviemaking. Far better than even Fincher.
Well, I certainly think the film is re-watchable, mainly for the digital video aspects. The characters can be a bit wearing, and I'm in no hurry to reacquaint myself with them. But I'll pick up the blu if and when it becomes available.

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« Reply #14509 on: December 29, 2014, 10:16:46 PM »

Anastasia (1956) 9/10

I really enjoyed the movie. Wonderful performances all around. Ingrid Bergman looks all wrong in blond hair. She is supposed to be playing a Russian, but while many Russians have blond hair, plenty of them have dark hair, too. They should have left her a brunette. Also, her skin color looks very weird. I don't know if it's the Technicolor or just the usual awful makeup (why do women think they look good with shiloads of powder on their face? Whether a movie is in in black&white or in color, women are so often loaded up with powder and they look ridiculous why do people think pale is pretty? And it's so clearly fake cuz the men  and sometimes even other women have different color skin. I've never understood why women think they look pretty with powder making their skin look pale). Anyway, Bergman is great, as is Yul Brynner, and the rest of the cast.
In real life, I despise the Romanov dynasty (heck, I have no use for any royalty, but) the Czars were absolutely brutal murderers (the Commies that replaced them weren't any better, but that's another story), my attitude toward them is no different than if there was a rumor that Hitler or Stalin or Kim Jung Un had a long-lost child, either; I wouldn't care for any sweet family moments of the grandmother reminiscing or whatever. For the movie's sake, I just take the story as is and don't worry too much about the politics I obviously greatly enjoyed the movie; and I suppose you could have this story about any long-lost child of any royal dynasty (who I wouldn't have liked any more!) but while watching the movie, every once in a while I thought, "I really despise all these people." And btw, as an aside, I find it absolutely pathetic that some people are really enamored of royalty. Maybe this is just the American in me I would hope that it's actually the libertarian in me  Wink

This is a real good movie, the TCM print looked really nice. I've mentioned that I dislike CinemaScope in general it's always horizontally stretched compared to all other formats, the faces are short and fat; and the image looks curved when the camera pans but I guess that if you are ever gonna use anamorphic widescreen, the place to use it is for a scene of a big ball.

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SPOILER ALERT TILL END OF POST
To me, there is no real mystery here, it's pretty clear with virtually zero doubt that the movie is telling you that Ingrid Bergman's character is a fraud. The movie doesn't imply any doubt. The only thing you may say that might leave some doubt is that final clue that convinced the grandmother that Bergman's character coughs when she is nervous. Is that great research by the character about Anastasia? Or coincidence that the character had that same coughing characteristic as Anastasia? Or does that mean maybe she is the real Anastasia? I don't know, but that one clue isn't convincing me that the movie leaves you with mystery. To me, this is a straight impostor case, the movie is telling you that all along, and you could argue that it would have been better if they had made it more mysterious, and made you think there is more of a real possibility she could be the real Anastasia, rather than telling you from beginning to end that this is an absolute phony.

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« Reply #14510 on: December 30, 2014, 12:56:41 AM »

Saw The Wolf of Wall Street streaming on Netflix, entertaining, especially the Quaalude segment and all the naked wimnez, (no wonder it was well recieved, duh) probably never watch it again though and could have been an hour shorter. 8/10

Many scenes are far too long for the movie' sown sake. Not sure what I would have cut: almost everything is great. But I'm pretty sure this could be one hour shorter just by shortening the longest scenes.

Still, this movie is always a pleasure to watch and watch again.

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« Reply #14511 on: December 30, 2014, 08:03:11 AM »

Well, I certainly think the film is re-watchable, mainly for the digital video aspects.
Well the digital video looks a lot like film, but how does that become a re-watch factor for you? I mean, there are some really beautiful transition shots between the extended conversations... but couldn't you generally use the same argument as for Inherent Vice where this could practically work just as well as a radio play?

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« Reply #14512 on: December 30, 2014, 10:30:25 AM »

La jalousie (2013) - 6/10. A film by Philippe Garrel starring Louis Garrel. Garrel fils plays an actor who leaves one woman for another, and then the second woman in turn leaves him. WTF? If one were to argue that the French are now post-human this could be exhibit #1. Well, at least it all gets done in 77 minutes. The images are beautiful (though perhaps overly contrast-y); this is one of those 2.35:1 b&w films Drink has never heard of.

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« Reply #14513 on: December 30, 2014, 10:47:26 AM »

Well the digital video looks a lot like film, but how does that become a re-watch factor for you?
Because there are scenes that look like film that could not have been achieved on film. I'm thinking of some of the scenes with impossibly low light levels. There are some shots here that are not only beautiful, but achievable only digitally.

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« Reply #14514 on: December 30, 2014, 12:06:18 PM »

Well, I certainly think the film is re-watchable, mainly for the digital video aspects. The characters can be a bit wearing, and I'm in no hurry to reacquaint myself with them. But I'll pick up the blu if and when it becomes available.
I'm definitely going to re-watch the film at some point but the length of it is probably going to push that encounter into unknowable future. Main reason for wanting to re-watch the film is the great amount of dialogue: I can't remember almost any of it and yet it seemed like it would benefit from closer observation. Actually a friend of mine made a case that Winter Sleep would work better as novel than film because then you would have time to stop whenever you want, re-read and think about what the characters are saying. I can definitely see where she's coming from, though I think in the end she's wrong.

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« Reply #14515 on: December 30, 2014, 12:53:48 PM »

I'm definitely going to re-watch the film at some point but the length of it is probably going to push that encounter into unknowable future. Main reason for wanting to re-watch the film is the great amount of dialogue: I can't remember almost any of it and yet it seemed like it would benefit from closer observation. Actually a friend of mine made a case that Winter Sleep would work better as novel than film because then you would have time to stop whenever you want, re-read and think about what the characters are saying. I can definitely see where she's coming from, though I think in the end she's wrong.
It's a lot like a drama rather than a film. I made the comparison with Chekhov and I'll stick with that. The kinds of long speeches you get in Winter Sleep are like those in Three Sisters, Uncle Vanya, The Cherry Orchard.

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« Reply #14516 on: December 30, 2014, 03:21:18 PM »

Actually a friend of mine made a case that Winter Sleep would work better as novel than film because then you would have time to stop whenever you want, re-read and think about what the characters are saying. I can definitely see where she's coming from, though I think in the end she's wrong.
As it turns out, your friend's intuition was a good one: http://www.online-literature.com/anton_chekhov/1261/

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« Reply #14517 on: December 30, 2014, 03:28:59 PM »

I got the BRD for Christmas. I really want to see it but given the fact that the length of the film is what comes first in every single discussion about it, I'm expecting something far too long.

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« Reply #14518 on: December 30, 2014, 03:35:40 PM »

In fact, as you watch, time passes quickly. Just make sure you've allowed the 3 hrs. plus on your schedule (you won't want to stop once you've begun).

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« Reply #14519 on: December 30, 2014, 06:09:47 PM »

The Judge (2014) Director: David Dobkin Stars: Robert Downey Jr., Robert Duvall 8/10 SAG screener but I'll probably never watch it again.

The Theory Of Everything (2014) Director: James Marsh, Stars: Eddie Redmayne, Felicity Jones, Tom Prior 8/10 SAG screener but ditto, I'll probably never watch it again.

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