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Author Topic: Rate The Last Movie You Saw  (Read 1768762 times)
moviesceleton
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« Reply #14925 on: March 21, 2015, 10:24:10 AM »

Noah Baumbach 3-fer at Lincoln Center, a kind of loose trilogy (according to the official line):
Kicking and Screaming (1995) 35mm - 6/10. Losers graduate college and then find it difficult to move on. Seems like a student film, where the students involved first saw Whit Stillman's Metropolitan and decided they could put on the same kind of show. Some of the dialog is amusing.

The Squid and the Whale (2005) 35mm - 5/10. Two brothers watch as their parents split up, then take sides. If the earlier film was Too Much Stillman, this one shows the hand of Wes Anderson (who in fact co-produced). Too much hysteria. All the way through I was thinking, Rushmore did a lot of this better.

While We're Young (2015) DCP - 7/10. A childless middle-aged couple (Ben Stiller and Naomi Watts) meets a pair of twenty-somethings(Adam Driver and Amanda Seyfried) and re-discover their youth (sort of). But the youngsters are not entirely what they seem . . . . This time the filmmaker I kept thinking of was Woody Allen. Didn't we already make fun of foreign mystics in Annie Hall? Didn't we already have the intellectual-on-film-being-edited in Crimes and Misdemeanors? The couple are in the documentary filmmaking biz, and we get to see things about the industry that are kinda cool, but just as Baumbach gets close to making a statement about integrity and truth in filmmaking he pulls his punch. In the Q&A afterwards he admitted that he wasn't really interested in the topic, he just needed a profession for his characters that was visually interesting. For him the film was just about the relationship between the two oldsters. Which is OK, but no more than that.

Why do I keep trying with Noah Baumbach? Because a few years ago he made Greenberg, one of the funniest films of the millennium. I keep hoping lightning will strike twice, but it is looking less and less likely.
I have a very different opinion on him. To me he's one of the most interesting directors who have started out in the 90s or later.

I'd rate his films like this:
The Squid and the Whale 8.5/10
Margot at the Wedding 7/10
Greenberg 8/10
Frances Ha 9/10

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« Reply #14926 on: March 21, 2015, 07:53:36 PM »

Nightcrawler (2014) Just saw this finally on Netflix, Man a what a real disappointment especially after practically the whole board is creaming in their jeans over it. I wasn't too impressed, the premise is interesting but its hard to believe a schmuck petty thief weirdo is going to be able to drive that Challenger like a professional stunt driver, 6/10 I'll never watch it again.
 

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« Reply #14927 on: March 21, 2015, 10:01:16 PM »

the premise is interesting but its hard to believe a schmuck petty thief weirdo is going to be able to drive that Challenger like a professional stunt driver
This is like saying Major Kong in Strangelove wouldn't actually have been able to ride his bomb down to earth like a bronco. Both films are satires. Realism in either picture is pretty much beside the point.

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« Reply #14928 on: March 22, 2015, 02:44:36 AM »

This is like saying Major Kong in Strangelove wouldn't actually have been able to ride his bomb down to earth like a bronco. Both films are satires. Realism in either picture is pretty much beside the point.

I agree and I am happy that you finally changed your opinion on Gone Girl.

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« Reply #14929 on: March 22, 2015, 03:33:41 AM »

I guess the filmmakers should have included during the 80s style montage where they acquire fancier equipment, Lou taking professional driving lessons  Grin Grin Grin   

The difference is Strangelove was a humorous satire, I judge films by there re-watch-ability, yea yea yea we know that the news media feeds a morbid fascination I get it, that's why I hardly watch the news any more. It's not a film that I'm ever going to pop into a player or feel the need to ever own.

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« Reply #14930 on: March 22, 2015, 02:52:56 PM »

Nightcrawler (2014) Just saw this finally on Netflix, Man a what a real disappointment especially after practically the whole board is creaming in their jeans over it.

Hey, I only gave it a 7/10.

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« Reply #14931 on: March 22, 2015, 03:01:46 PM »

Hey, I only gave it a 7/10.

Yea a point higher, I'll admit Jake Gyllenhaal gave a pretty creepy performance, but like I stated I'll never feel compelled to watch it again.

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« Reply #14932 on: March 22, 2015, 03:34:35 PM »

Baby Face Nelson (1957) dir: Don Siegel with Mickey Rooney, Carolyn Jones, Cedric Hardwicke, Leo Gordon, Jack Elam, John Hoyt, Ted de Corsia, Elisha Cook Jr., Robert Osterloh, and  Thayer David.  A slightly noir-ish take on the career of Lester Gillis aka Baby Face Nelson. Not very factual but watchable 6/10.

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« Reply #14933 on: March 24, 2015, 06:37:21 AM »

I guess the filmmakers should have included during the 80s style montage where they acquire fancier equipment, Lou taking professional driving lessons  Grin Grin Grin   

The difference is Strangelove was a humorous satire
Hey, so was Nightcrawler. I chuckled all the way through, which is while I'll be returning to the Blu-ray again and again.

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« Reply #14934 on: March 24, 2015, 12:12:53 PM »

Cats are evil. Feed them to the rats . . .

against a rat army, a cat would fall, like any tyrant would.


All cats are they're own emperors. An army of emperors goes nowhere.

I saw a cat take the biggest shit ya ever seen yesterday. Disgusting. I always figured they hide it so we can't see it, but I guess I surprised one and walked in on him in the kitchen of my friend's apartment and it was nasty.
Actually, I think the cat did it purposely to take revenge on me since I started showing up at this friend's place, her cat has been the loser in a sort of love triangle, so now he hates me.

Cats are disgusting animals. Most importantly cuz its impossible to spend a night at a girl's place without getting cat hair all over your clothes.

« Last Edit: March 24, 2015, 02:19:48 PM by drinkanddestroy » Logged

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« Reply #14935 on: March 24, 2015, 01:40:14 PM »

Cats are disgusting animals. Most importantly cuz its impossible to spend a night at a girl's place without getting cat hair all over your clothes.
They'll also pee in your shoes if they get the chance.

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« Reply #14936 on: March 24, 2015, 02:25:24 PM »

They'll also pee in your shoes if they get the chance.

This one grabs my shoelaces whenever I walk in the house. (Being an Asian house, I can't wear my shoes, I have to leave my shoes at the door, so the fucking cat knows where to go when he's in the mood of a shoelace to chew.) I gotta remember to tuck the shoelaces inside. You believe this shit? The Asian women, they don't mind having disgusting cat hair all over the house, they don't mind the house stinks like cat shit and lo mein, but God forbid that you should wear your SHOES in the house  Roll Eyes Grin

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« Reply #14937 on: March 25, 2015, 04:18:01 PM »

Madame Bovary (1949) 6/10

Jennifer Jones is such a bad actress, she pretty much singlehandedly turns this into a mediocre movie. She is the main actress, in virtually every scene, she is so annoying, it's impossible to like the movie if you can't stand her. This could have been a good movie with another actress.

Also, I think this movie may have been somewhat hurt by being forced to add a framing device (showing the trial of Flaubert, and he tells the story of Madame Bovary at the trial; having that shown somehow pleased the censors more than if we just showed the story of Madame Bovary with no mention of the trial) I'd never read the book but still somehow the story and character was all so predictable once we heard the narration.

But again, the major flaw here is Jennifer Jones, I am so disgusted with her, absolutely ruining what maybe could have been a good movie.

And I have to mention the magnificent ball sequence, that was a great highlight of the movie.

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« Reply #14938 on: March 27, 2015, 06:03:01 AM »

Hickey & Boggs (1972) Watched another 70's gem yesterday, had to buy an MGM manufactured disc to do it.  Right from the get go of opening shot of the Santa Fe Superchief pulling into LA's Union Station and the shots of downtown you are in familiar noir territory, just updadted to the 70's. (on a side bar, it's got to be one of the last shots of the most  famous of the "named" trains the Superchief was discontinued in 1971) The film is not without flaws (the soon to dominate Action Genre creaping into the mix) but worth a screening on TCM if it's never been shown or resurrected if it has.    Or pick up a disc off Amazon 8/10
 
Here is a great spot on review from an IMDb regular
 
Culp directs self, Cosby in brutally effective early-70s noir update
Author: bmacv from Western New York

20 April 2002

Action and suspense films from the early 1970s have a distinctive period flavor to them. The surprisingly effective Hickey and Boggs co-star Robert Culp's sole directorial effort embodies that disillusioned and dissolute era of movie making. The rough and choppy editing, the oddly cropped shots keep the viewer on edge; so do the less than pristine cinematography and the cacophonous sound track, with dialogue overlaid on a constant, dull background roar of ambient noise. Often this proved to be a recipe for pretentious but empty disasters and cynical exploitation films; here, it all works to keep the level of unease of menace uncomfortably high.

Bill Cosby and Robert Culp play the title characters, a couple of down-on-their-luck Los Angeles private investigators. (Many moviegoers of the era apparently expected a big-screen reprise of their successful pairing in the television spoof of the 1960s, I Spy; how wrong they were.) They are engaged to find a missing woman by one of those creepily effete characters who, since Peter Lorre's Joel Cairo in The Maltese Falcon, exist only to set up private eyes in the movies. And as they go about their sleuthing, they uncover a trail of brutally murdered corpses, a situation which does not endear them to the police. They come to learn that the woman they're tracking holds the take from a robbery of the Federal Reserve Bank in Pittsburgh some years before; they've been hired as finger men by one of a number of murky but vicious groups seeking to retrieve the cash.

The movie forgoes crisp, clockwork plotting for a generalized miasma of corruption, duplicity and malaise. There are allusions to the turbulent politics of the times in the involvement of black militants and Chicano radicals; there are whiffs, too, of the specter of newly hatched sexualities that threaten the status quo. At the scene of one murder, they find crushed amyl nitrite poppers and gay porn, while the jaded oldster who engages them suns himself on a towel sited suspiciously close to a set of swings where young children are cavorting; for that matter Culp, in his cups and a masochistic, self-pitying mood, watches his ex-wife flaunt herself in a strip club to be ogled by drunken strangers.

The malaise, of course, becomes murderous in Walter Hill's very violent screenplay, touching Cosby's character (his estranged wife ends up tortured to death). Still, the two dead-end dicks soldier on, more though one another's goading than from any code or commitment they're both on the verge of giving up and sliding down into the vortex of lust, avarice and revenge that has become their world (and by extension, THE world). Describing Hickey and Boggs makes it sound like the ultimate downer; it is, but it's an uncommonly compelling piece of film making, and one that has pretty much fallen through the cracks of movie history.

« Last Edit: March 27, 2015, 06:04:07 AM by cigar joe » Logged

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« Reply #14939 on: March 28, 2015, 05:06:28 PM »

Plein Soleil - 8.5/10

It makes The Talented Mr Ripley look like made for TV. The 1999 version features by far the best murder scene. Apart from that, the French one is way better in every single possible way. Great film.

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