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Author Topic: Rate The Last Movie You Saw  (Read 1769917 times)
noodles_leone
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« Reply #14880 on: March 07, 2015, 02:41:34 AM »

Chappie - 3/5

Can you elaborate? I don't know if I have to see it.
Also, what's your rating of District 9 and Elysium?

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« Reply #14881 on: March 07, 2015, 03:36:03 AM »

Can you elaborate? I don't know if I have to see it.
Also, what's your rating of District 9 and Elysium?

I'd give District 9 a solid 5/5 while Elysium would get a 3/5. As far as Chappie goes, its a real mixed bag. The absolute first factor you have to take in mind is that two of the main characters that the film follows is Die Antwoord, a South African rap-rave group, and the films soundtrack consists of a lot of their music. Also, they are the most interesting people to watch in their interactions with Chappie because Hugh Jackman and Dev Patel have characters that don't really go anywhere and seem to just be filler. I'd give it a 3 because of those interactions, technically the film looks and sounds good, and the action scenes (though limited) look great.

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« Reply #14882 on: March 07, 2015, 04:06:18 PM »

Kings of the Road / Im Lauf der Zeit (1976) DCP - 9/10. On the road in Germany in the 70s. In B&W. In Robby Muller's B&W (with the ghost of Walker Evans looking over his shoulder). As Stan Lee would say, "Nuff said."

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« Reply #14883 on: March 07, 2015, 04:35:18 PM »

Moon - 5/5

What a shame it took me so long to finally get around to watching this.

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« Reply #14884 on: March 08, 2015, 03:41:29 AM »

I'd give District 9 a solid 5/5 while Elysium would get a 3/5. As far as Chappie goes, its a real mixed bag. The absolute first factor you have to take in mind is that two of the main characters that the film follows is Die Antwoord, a South African rap-rave group, and the films soundtrack consists of a lot of their music. Also, they are the most interesting people to watch in their interactions with Chappie because Hugh Jackman and Dev Patel have characters that don't really go anywhere and seem to just be filler. I'd give it a 3 because of those interactions, technically the film looks and sounds good, and the action scenes (though limited) look great.

Thanks!
I'll probably wait for VoD.

Birdman 8/10
Wow, that was really, really good.


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« Reply #14885 on: March 08, 2015, 12:14:43 PM »

The Killing of a Chinese Bookie (1976 Version) - 4/5

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« Reply #14886 on: March 09, 2015, 09:38:17 AM »

3 from MoMA's Wim Wenders retrospective:

Die linkshändige Frau/The Left-Handed Woman (1978)  DCP – 8/10. There’s not much to the story, and IMDb has it covered: “After returning from a business trip, Bruno (Bruno Ganz) finds that his wife Marianne (Edith Clever) wants her husband to move out and leave her alone with their son. A struggle with loneliness and adapting to the new situation ensues.” The interesting thing is that the motive for the break-up remains obscure. Was the woman somehow discontent, and if so, in what way? The film doesn’t say. The film doesn’t say because the characters don’t say. There isn’t a lot of meaningful talk here. What there is, though, is some stunning color photography by Robby Muller of Clamart, Hauts-de-Seine, France. Peter Handke is the director of record, but since he uses Wenders’ photographer and editor (with Wenders producing) one is tempted to wonder what the difference is between a film by Wenders based on a Handke script and a film by Handke based on a Handke script. Well, the Handke-directed film has fewer pop tunes. Also, this isn’t a road movie. But otherwise . . .

Wrong Move (1975) 35mm beat-to-shit print – 5/10. A group centering around a wannabe writer (Rudiger Vogler) comes together and hits the road in Germany in the 70s. Less an adaptation of Goethe’s Wilhelm Meisters Lehrjahre than of Peter Handke’s response to it. Goethe’s novel is a Bildungsroman, but as Wenders has pointed out, the journey in the film is not one of self-discovery, just the opposite.  The biggest problem with the film, though, is all the useless talk—it’s one thing to show aimless movement in the film (which can be diverting when Robby Muller is at the camera), but listening to aimless dialog is tedious. It’s unlike Handke to make this mistake—his film scripts are usually quite terse—but perhaps here he was trying to out-Goethe Goethe. Wrong move.

The State of Things (1982) 35mm print, rough at the beginnings and ends of reels - 7/10. A movie director (Patrick Bauchau) making a Sci-Fi feature near Lisbon runs out of filmstock and money and goes in search of his absconding producer. The picture is mostly about the down time of cast and crew, which gets old fast, even with Henri Alekan’s cake-and-icing photography. Things pick up when the director gets to LA, however, and circles in on his quarry. The producer is played with slimy aplomb by Alan Gorrwitz (Alan Garfield), who travels around in an RV singing a catchy song: "What did you do with your life, my friend/What did you do with your life, my friend/What did you do with your life, my friend/In Hollywood/In Hollywood/In Hollywood.“ I see the appeal. I could sing that for hours myself.

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« Reply #14887 on: March 09, 2015, 09:56:07 AM »

NIGHT MUST FALL

Robert Montgomery playing an Irishman; he's pretty good, it's funny to watch him; especially in the early scenes, it looks like he is trying not to laugh when he is talking. It's damn funny. Rosalind Russell is also good, as is the old woman whose name I forget.

The movie is enjoyable for the first 2/3, then less enjoyable at the end. Long final sequence is a bunch of rambling. I guess if I have to rate it I will give a 6.5/10 (appropriate, cuz that is two-thirds Wink )

Take a look next time it plays TCM, the earlier stuff is enjoyable

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« Reply #14888 on: March 09, 2015, 01:49:01 PM »

3 from MoMA's Wim Wenders retrospective:

Die linkshändige Frau/The Left-Handed Woman (1978)  DCP – 8/10. There’s not much to the story, and IMDb has it covered: “After returning from a business trip, Bruno (Bruno Ganz) finds that his wife Marianne (Edith Clever) wants her husband to move out and leave her alone with their son. A struggle with loneliness and adapting to the new situation ensues.” The interesting thing is that the motive for the break-up remains obscure. Was the woman somehow discontent, and if so, in what way? The film doesn’t say. The film doesn’t say because the characters don’t say. There isn’t a lot of meaningful talk here. What there is, though, is some stunning color photography by Robby Muller of Clamart, Hauts-de-Seine, France. Peter Handke is the director of record, but since he uses Wenders’ photographer and editor (with Wenders producing) one is tempted to wonder what the difference is between a film by Wenders based on a Handke script and a film by Handke based on a Handke script. Well, the Handke-directed film has fewer pop tunes. Also, this isn’t a road movie. But otherwise . . .

Wrong Move (1975) 35mm beat-to-shit print – 5/10. A group centering around a wannabe writer (Rudiger Vogler) comes together and hits the road in Germany in the 70s. Less an adaptation of Goethe’s Wilhelm Meisters Lehrjahre than of Peter Handke’s response to it. Goethe’s novel is a Bildungsroman, but as Wenders has pointed out, the journey in the film is not one of self-discovery, just the opposite.  The biggest problem with the film, though, is all the useless talk—it’s one thing to show aimless movement in the film (which can be diverting when Robby Muller is at the camera), but listening to aimless dialog is tedious. It’s unlike Handke to make this mistake—his film scripts are usually quite terse—but perhaps here he was trying to out-Goethe Goethe. Wrong move.

The State of Things (1982) 35mm print, rough at the beginnings and ends of reels - 7/10. A movie director (Patrick Bauchau) making a Sci-Fi feature near Lisbon runs out of filmstock and money and goes in search of his absconding producer. The picture is mostly about the down time of cast and crew, which gets old fast, even with Henri Alekan’s cake-and-icing photography. Things pick up when the director gets to LA, however, and circles in on his quarry. The producer is played with slimy aplomb by Alan Gorrwitz (Alan Garfield), who travels around in an RV singing a catchy song: "What did you do with your life, my friend/What did you do with your life, my friend/What did you do with your life, my friend/In Hollywood/In Hollywood/In Hollywood.“ I see the appeal. I could sing that for hours myself.


I did not like Wrong Move that much either, but State of the Things is excellent. Maybe his best film, one of the best German films ever.

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« Reply #14889 on: March 09, 2015, 04:38:39 PM »

The Killer Inside Me (2010) Director: Michael Winterbottom with Stars: Casey Affleck, Kate Hudson, Jessica Alba, Ned Beatty, with cameos from Elias Koteas and Bill Pullman, from the Jim Thompson novel.

Recently watched the 1976 version, this one is a uptick on the brutality scale and uses the novels 50's setting, but I didn't buy Jessica Alba's whore character Joyce Lakeland, she looked more sleepy than seductive way too skinny and too contemporary, 50's gals were curvier. Susan Tyrrell in 1976 was better but not ideal either. The rest of the cast was good better than 1976. Both versions are flawed. 7/10

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« Reply #14890 on: March 10, 2015, 10:02:26 AM »

I did not like Wrong Move that much either, but State of the Things is excellent. Maybe his best film, one of the best German films ever.
In 1983 it was my favorite Wenders also. But he made some better films subsequently. And I just discovered one of his best, The Goalie's Anxiety at the Penalty Kick.

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« Reply #14891 on: March 10, 2015, 10:15:49 AM »

Robbery (1967) - 6/10. Dull heist picture (based on the famous Mail Train Robbery). It has a few suspenseful bits, which is probably why Peter Yates was asked to direct Bullitt.

The Nightcomers (1972) - 4/10. Dull prequel to "The Turn of the Screw"/The Innocents. Even the few BDSM scenes can't liven things up. Brando does another one of his dodgy accents (Irish) and rambles on in several scenes because, no doubt, he couldn't be bothered to learn lines. Another Michael Winner catastrophe.

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« Reply #14892 on: March 10, 2015, 02:18:57 PM »

In 1983 it was my favorite Wenders also. But he made some better films subsequently. And I just discovered one of his best, The Goalie's Anxiety at the Penalty Kick.

I think I saw it as a child on TV, and never had a chance since then to revisit it. I hope this will change soon.

I like Paris Texas very much, and I love Wings of Desire (The Heaven above Berlin), it was a great decade for Wenders. Afterwards none of his films were really great, became often a bit dull and longish. But I haven't seen any of his documentaries.

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« Reply #14893 on: March 11, 2015, 06:16:46 AM »

Spring in a Small Town (1948) - 7/10. A classic of Chinese cinema, or so they tell me. The characters are all very stiff, even (dare I say?) ceremonial. The plot is nothing special--typical love-triangle fare--and bears an uncanny resemblance to Satyajit Ray's Charulata (1964).

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« Reply #14894 on: March 12, 2015, 10:36:51 AM »

Life of Riley (2014) - 6/10. Alain Resnais' final film, his third Alan Ayckbourn adaptation. Not particularly memorable.

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