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Author Topic: Rate The Last Movie You Saw  (Read 1761045 times)
stanton
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« Reply #14700 on: February 07, 2015, 05:47:13 AM »

Night Moves, Arthur Penn, 1975 - 4/10

Gene Hackman and the final are good. The rest is a boring melodrama coupled with lazy filmmaking. I almost quited several times but stayed because the TV program said the last 15 minutes are good. They are.

Now you disappoint me again ...

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« Reply #14701 on: February 07, 2015, 07:12:22 AM »

Haha you know what? I thought about you while writing this in-depth review and I was pretty sure you liked that movie.

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« Reply #14702 on: February 07, 2015, 07:15:57 AM »

The Raid: Redemption 2/5
 I don't understand the hype or love for it.

The action.

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« Reply #14703 on: February 07, 2015, 09:29:55 AM »

Haha you know what? I thought about you while writing this in-depth review and I was pretty sure you liked that movie.

Night Moves gets better with every viewing. I have watched it meanwhile 6 - 8 times, and the last time I enjoyed it so much that I really gave it a 10. The characters and the acting are all exciting, and very believable, and far away from any kind of melodrama. It's maybe closer to Rohmer than to  The Maltese Falcon.

And a very pessimistic take on the genre.

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noodles_leone
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« Reply #14704 on: February 07, 2015, 09:35:10 AM »

Night Moves gets better with every viewing. I have watched it meanwhile 6 - 8 times, and the last time I enjoyed it so much that I really gave it a 10. The characters and the acting are all exciting, and very believable, and far away from any kind of melodrama. It's maybe closer to Rohmer than to  The Maltese Falcon.

And a very pessimistic take on the genre.

I see what they were trying to do, I don't think they did it. But yes the acting is terrific and it's the kind of movie that may grow on you with each viewing: the more you see it, the more you're sucked into the characters. Still, the flaws are too big to me to deserve a full rewatch anytime soon. I will rewatch the last scene, however, because of the shots when Gene Hackman understands who's behind all this.

« Last Edit: February 07, 2015, 09:38:18 AM by noodles_leone » Logged


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« Reply #14705 on: February 07, 2015, 10:56:14 AM »

The action.

Besides the fight scenes that are well choreographed, everything else is not worth mentioning.

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dave jenkins
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« Reply #14706 on: February 07, 2015, 11:09:53 AM »

Besides the fight scenes that are well choreographed, everything else is not worth mentioning.
But the fight scenes are the film's raison d'Ítre. Everything else is irrelevant.

Btw, the sequel is better.

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« Reply #14707 on: February 07, 2015, 11:14:55 AM »

Night Moves, Arthur Penn, 1975 - 4/10

Gene Hackman and the final are good. The rest is a boring melodrama coupled with lazy filmmaking. I almost quited several times but stayed because the TV program said the last 15 minutes are good. They are.
Stanton was talking this up recently, so I got a DVD to take another look (after, like, not having seen it for 35 years), and my feelings are pretty much yours. It's like an overly-padded Rockford Files episode. The good point being that I love The Rockford Files and they didn't make enough of them so I'll probably be returning to this at some point to get my fix. Also, there's the nostalgia factor: nothing quite says the 70s like the 70s. I only spent 10 years there, and it wasn't long enough.

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« Reply #14708 on: February 07, 2015, 11:27:37 AM »

But the fight scenes are the film's raison d'Ítre. Everything else is irrelevant.

Btw, the sequel is better.

It would make sense if there was non stop fighting but there is downtime between the fighting. The part where they try to tell the really stupid story, that really makes the movie DRAG on. The seriousness behind the ridiculous is too much. It might be tough but I can probably live without seeing the sequel.

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« Reply #14709 on: February 07, 2015, 11:31:36 AM »

But the fight scenes are the film's raison d'Ítre. Everything else is irrelevant.

Btw, the sequel is better.

I wouldn't say that everything else is irrelevant. Everything else sucks. Hard. If it had been irrelevant, they would have edited it out. They didn't. Now the film has to be rated taking in consideration everything that's in it, including some of the worst dialogue/acting/character/plot development scenes ever. I wouldn't give it a 3 because the action IS great and is the point of the film. But I cannot give above 6 because 6 I'll already go to hell just because 6 is above average.

Stanton was talking this up recently, so I got a DVD to take another look (after, like, not having seen it for 35 years), and my feelings are pretty much yours. It's like an overly-padded Rockford Files episode. The good point being that I love The Rockford Files and they didn't make enough of them so I'll probably be returning to this at some point to get my fix. Also, there's the nostalgia factor: nothing quite says the 70s like the 70s. I only spent 10 years there, and it wasn't long enough.

ďIn the words of my friend Bernardo Bertolucci, [by making movies] you're creating a nostalgia for a past that never existed." - M. Cimino

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« Reply #14710 on: February 07, 2015, 11:46:00 AM »

Lust For Life (1956) 1080p. Man, what beautiful images! Man, what a beautiful Blu-ray! Man, what a stooopid drama! Vincent Van Gogh, apparently, died for our sins. But not before doing more emoting than any three hambones put together. Who told Kirk Douglas he could act? He could, of course, but his directors should have kept the news from him ("Kirk, you're terrible, but if you just low-key everything we'll be okay.") OMG, and then Anthony Quinn shows up and it's Dueling Hambones: The Motion Picture. And then Miklůs Růzsa's score never lets up--a great score, sure, but one that belongs in an epic, not a chamber piece. The film's saving grace: Van Gogh's paintings, and the places where he composed them. Vincente Minnelli's conceit (maybe it was Dore Schary's) was that we see just about every location Van Gogh painted in as well as the finished product. And in the mid-50s just about everything was still there (the famous yellow house that Van Gogh shared with Gaugin had to be reconstructed). So we get this one trick again and again: first the location, then the painting; sometimes the painting, then the location. It never gets old, because the colors are off-the-chart fabulous. Tremendous landscapes and paint-scapes (in 2.35:1). Too bad about the story (but we've always got Pialat's Van Gogh). Anyone who claims to revere cinema and/or painting and doesn't possess at this very momentthis Blu-ray is a liar, a black liar (looking at you, Drink). Image: 10/10. Drama: 2/10.

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« Reply #14711 on: February 07, 2015, 12:49:08 PM »

Stanton was talking this up recently, so I got a DVD to take another look (after, like, not having seen it for 35 years), and my feelings are pretty much yours. It's like an overly-padded Rockford Files episode.

Don't trample down on the outsiders, don't trample down on the outsiders.

Night Moves is neither lazy filmmaking nor does it make much sense to compare it with The Rockford Files.

Night Moves is precise filmmaking, nothing showy in it, but every shot feels inspired and thoughtful.


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« Reply #14712 on: February 07, 2015, 01:44:43 PM »

RE Night Moves

I'm somewhere in the middle, I feel like if Altman directed Night Moves it would be some sort of masterpiece. The look and feel of it is too much of its time and cheap, I understand why DJ made the Rockford Files/TV comment. The score is bad for 70s TV movie standards too.

Speaking of Altman, I watched my bluray copy of The Long Goodbye and somehow the movie gets better with each view and I absolutely loved it four views ago. It's pretty much perfect even though I wonder why Mrs. Wade hires Marlowe in the first place.

Can we please get R1 blurays of California Split and McCabe and Mrs. Miller already...

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« Reply #14713 on: February 07, 2015, 04:12:34 PM »

Speaking of Altman, I watched my bluray copy of The Long Goodbye and somehow the movie gets better with each view and I absolutely loved it four views ago. It's pretty much perfect even though I wonder why Mrs. Wade hires Marlowe in the first place.
She genuinely wants her husband back. She trusts Marlowe because of his friendship with Terry. (It's unclear at what point she knows Terry is still alive). It's only after the death of Roger Wade that everything changes.

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« Reply #14714 on: February 07, 2015, 07:12:27 PM »

American Sniper - 7-8/10 - Pretty routine, though well-done war movie. Not sure why it's generating such controversy.

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