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Author Topic: Rate The Last Movie You Saw  (Read 1762491 times)
cigar joe
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« Reply #15270 on: August 21, 2015, 04:10:52 PM »

The Hot Spot (1990) Directed by Dennis Hopper, with Don Johnson, Virginia Masden, Jennifer Connelly, Jerry Hardin, Jack Nance,
and William Sadler.

A Neo Noir/Film Soleil. A silver tongued grifter/fire bug (Johnson) pulls into a West Texas desert flyspeck driving a '59 Studebaker Hawk.
He scams his way into working as a used car salesman and begins to court the lots accountant (Connelly). The lots owner's over
the top femme fatale in heat wife (Masden) has other ideas. This film has that let's flip over a rock and see what crawls out/highway
car wreck quality that keeps you watching to see what will happen next. Nice desert cinematography with a great  soundtrack by Jack
Nitzsche played by John Lee Hooker, Miles Davis, Taj Mahal, Roy Rogers and drummer Earl Palmer. Surprisingly good 9/10

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« Reply #15271 on: August 24, 2015, 08:55:38 AM »

McQ
An old John Wayne trying to be Dirty Harry. Al Lettieri playing the ethnic bad guy (again, a drug dealer. Maybe Virgil Solozzo's Hispanic cousin).
Crappy movie 5/10

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« Reply #15272 on: August 27, 2015, 07:10:10 PM »

Pinocchio (1941) - 7/10
Really really weird. And it's not even about his nose growing... that's literally one scene. And why does a whale eat his dad? Where the fuck does the whale come from? Whatever I liked it.

Chungking Expess (1994) - 9/10
I love Wong Kar Wai. Still need to see 2046 and My Blueberry Nights.

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« Reply #15273 on: August 28, 2015, 04:34:10 PM »

The Man From U.N.C.L.E. (2015) IMAX - 6/10. Guy Ritchie's stylish remake of the 60s TV show (actually set in the 60s, but with 2015 dialog, natch). Some interesting visuals (split screen, for example) and a solid sonic design, the most interesting feature is the editing: scenes are shown with important plot points elided, and then shown again soon after with all the crucial bits put back in. The acting, though, is atrocious, but, since the film's a pastiche, the line readings aren't all that important anyway. I liked the gag with the torturer in his own electric chair.

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« Reply #15274 on: August 29, 2015, 12:17:48 AM »

Dawn of the Planet of the Apes 3/10

Why do people consider these shits are real movies?

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« Reply #15275 on: August 29, 2015, 11:22:03 AM »

The Hot Spot (1990) Directed by Dennis Hopper, with Don Johnson, Virginia Masden, Jennifer Connelly, Jerry Hardin, Jack Nance,
and William Sadler.

A Neo Noir/Film Soleil. A silver tongued grifter/fire bug (Johnson) pulls into a West Texas desert flyspeck driving a '59 Studebaker Hawk.
He scams his way into working as a used car salesman and begins to court the lots accountant (Connelly). The lots owner's over
the top femme fatale in heat wife (Masden) has other ideas. This film has that let's flip over a rock and see what crawls out/highway
car wreck quality that keeps you watching to see what will happen next. Nice desert cinematography with a great  soundtrack by Jack
Nitzsche played by John Lee Hooker, Miles Davis, Taj Mahal, Roy Rogers and drummer Earl Palmer. Surprisingly good 9/10

I remember rating  it much  lower but liking it... Embarrassed

I might/should give it another try one of these days.

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« Reply #15276 on: August 29, 2015, 11:22:56 AM »

Dawn of the Planet of the Apes 3/10

Why do people consider these shits are real movies?


Apparently, for the same reason some watch 'em. Tongue

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« Reply #15277 on: August 30, 2015, 07:20:40 PM »

Dawn of the Planet of the Apes 3/10

Why do people consider these shits are real movies?

I uhh...I really liked that one..

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« Reply #15278 on: August 31, 2015, 01:12:50 AM »

I uhh...I really liked that one..

I seem to remember that. But I cannot understand how/why. I thought the plot as well as the dialogues were laughably mathematical and predictable. Seriously, I predicted many lines with a frightening accuracy.

- I'll come with you.
- No, you stay here.
- How can I help you?
- ... By staying here.


Somebody was paid hundreds of thousands of dollars to write this.
Every single time a human open his mouth in this movie (=25% of the screen time) it's ridiculous. And often overacted but what can they do?
The monkeys are another business and have there moments, which are usually ruined by the plot (What may have been a clever pacifist story in 1915 is just a pile of cliché in 2015) or Cesar's son.

Let's go back to our writer and his amazing work:

Producer: Ok let's see if we'll hire you. Let's try a central scene in the movie, a scene where the audience will understand that Cesar's son is a teenager just like a regular human teenager.
Screenwriter: I'll do something unique.

5 minutes later, the scene is written:

Cesar and his family are having diner.
Cesar: Listen to me!
His son angrily throws his plate and leaves.

Producer: wow great skills! Now we need 90 more minutes of that and BOOM we'll have a killer blockbuster that critics will label as "the intelligent blockbuster of the year". It's Dark Knight material, here!


It's still 3/10 because:

- occasionally great CGI - and occasionally terrible ones, like the deers (+1)
- a couple good moments with monkeys - not a lot and nothing amazing (+1)
- misc: rather clean direction with some cool ideas but half baked execution, Gary "now he's always wearing a moustache" Oldman, cute baby monkey... (+1)

« Last Edit: August 31, 2015, 05:15:14 AM by noodles_leone » Logged


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« Reply #15279 on: August 31, 2015, 07:51:08 AM »

Part of MoMA's celebration of Ingrid Bergman's 100th birthday:

Under Capricorn (1949) - 7/10. 35mm. What a pleasure to finally see this projected! Jack Cardiff's Technicolor is [insert cliché meaning "really, really good"]. The print was beat up in places, but on balance looked great. Shame about the plot (which I analyzed and fixed elsewhere, probably in the Alfred Hitchcock thread). Isabella Rossellini was on hand to intro the film. She explained that she selected the work for exhibition because . . . she had never seen it before. I hope she's happy now. I certainly am.

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« Reply #15280 on: August 31, 2015, 06:56:01 PM »

I seem to remember that. But I cannot understand how/why. I thought the plot as well as the dialogues were laughably mathematical and predictable. Seriously, I predicted many lines with a frightening accuracy.

- I'll come with you.
- No, you stay here.
- How can I help you?
- ... By staying here.


Somebody was paid hundreds of thousands of dollars to write this.
Every single time a human open his mouth in this movie (=25% of the screen time) it's ridiculous. And often overacted but what can they do?
The monkeys are another business and have there moments, which are usually ruined by the plot (What may have been a clever pacifist story in 1915 is just a pile of cliché in 2015) or Cesar's son.

Let's go back to our writer and his amazing work:

Producer: Ok let's see if we'll hire you. Let's try a central scene in the movie, a scene where the audience will understand that Cesar's son is a teenager just like a regular human teenager.
Screenwriter: I'll do something unique.

5 minutes later, the scene is written:

Cesar and his family are having diner.
Cesar: Listen to me!
His son angrily throws his plate and leaves.

Producer: wow great skills! Now we need 90 more minutes of that and BOOM we'll have a killer blockbuster that critics will label as "the intelligent blockbuster of the year". It's Dark Knight material, here!


It's still 3/10 because:

- occasionally great CGI - and occasionally terrible ones, like the deers (+1)
- a couple good moments with monkeys - not a lot and nothing amazing (+1)
- misc: rather clean direction with some cool ideas but half baked execution, Gary "now he's always wearing a moustache" Oldman, cute baby monkey... (+1)
The way you describe it sure makes it sound pretty horrible. I certainly wasn't a fan of the final act or the "monkey riding a horse shooting two machine guns at once" part, but I thought there were some pretty memorable scenes (the "bad" monkeys killing the "mean" humans, the Koba assassination attempt). I didn't get the vibe of it trying to be "intelligent blockbuster of the year", and although it tried to copy the darkness of The Dark Knight, it seemed to me the movie overall was pretty self-aware as an innocent, fun Hollywood action flick. I don't think the filmmakers are at fault for trying to make it intelligent / deep, though I think a dumb audience might be for trying to turn it into that for themselves.

Miracle Mile (1989) - 7.5/10
Such an odd movie. It's got the strangeness, photography, and music of After Hours except without the comedy (or at least much less comedy). This style puts you into a strange, surreal-feeling late 80's world. And talk about an unexpected, morbidly depressing ending. This is a conventional concept with a style and ending that makes it stand out. A lot of horrid dialogue and acting in there, but ...nobody's perfect. Subtle but impressive writing / editing that makes a majority of the movie believably paced in real time. Use of color and nighttime photography is reminiscent of several other great movies of the decade (After Hours, Repo Man, Paris Texas).

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« Reply #15281 on: September 01, 2015, 12:04:42 AM »

The way you describe it sure makes it sound pretty horrible.

I was pretty sure I had written a well balanced review.

But yeah, it has its moments, usually involving apes and 0 to 5% humans and mainly monkeys, just like the first one. Apart from that it's Kingdom of Heaven with Apes (I like Andrew Serkis better than Orlando Bloom so in a way that's ok but I really, really hate KoH) and many critics loved it for that:

Quote
"Dawn of the Planet of the Apes" is loud, smart and ferociously committed to its premise, and it leaves an intriguingly bitter aftertaste. [...] These new installments in the series aren't as satirical as the original "Apes" movies, but they're just as playfully political [...] I've seen a few critics insist that "Dawn of the Planet of the Apes" is an allegory for the Israel-Palestinean conflict, and certain echoes of that real world tragedy may indeed be present; but for the most part, the film's allusions struck me as more general, like the contours of a fable intended to spark dreams and eventually lead to wisdom.
http://www.rogerebert.com/reviews/dawn-of-the-planet-of-the-apes-2014

People actually learn with that film that war was a bad thing and that you shouldn't judge a whole race/population because you didn't like what a single guy did to you?

I'm fully aware that attacking a movie's "message" isn't really fair play but the emptiness of most of the characters/relationships and the many grandiloquent lines push the message upfront.

Fear The Walking Dead - Episode 1 4/10
It looks exactly like a Walking Dead episode. If you like the original series, you'll feel right at home. I'm not watching a second one.

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« Reply #15282 on: September 01, 2015, 11:17:51 PM »

The Lion in Winter (1968) first viewing, TCM

8.5/10

I think O'Toole was terrific here. Better than Hepburn. I think I liked O'Toole's performance here better than in Lawrence of Arabia.


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« Reply #15283 on: September 02, 2015, 02:14:19 AM »

Dheepan (Palme d'Or 2015) - 6.5/10? I guess?

Jacques Audiard isn't Spielberg/Scorsese/Leone, but he's the most skilled director France ever had. And he's the only one on Earth doing what he's doing. So that's a start. Unfortunately, for obscure reasons, he only made one really good film (De Battre Mon Coeur s'est Arrêté) altough is later films have become increasingly brilliantly crafted. Is it because he's not done a "personal" film since then?  Is it because, like Kechiche, he's been relying too much on unknown/amateur actors and pseudo realist dialogues and that it reduces a lot the kind of stories he can tell? The fact that his films look like Ken Loach social films improved with beautiful lighting and ALWAYS end as genre films is sure a dangerous move. Is it because he needs a screenwriter that understand what a structure is? Not sure about that. McKee isn't the solution to every single problem in filmmaking and I have the impression that Audiard kind of know what he's doing. Well, may be it's a bit of all this, and also a lack of ingenuity/passion in his films (they're all high concept films that seems to have been done because they could be "interesting").

Anyway, as always, incredibly well crafted as a whole, about 5 plain ridiculous dialogue scenes, 5 great ones, mostly very good ones and a story that start on a good premise but doesn't fall on its feet. I don't know if the Palme d'Or is deserved, haven't seen most of the contestants, but it sure isn't a shameful choice.

Side note: while gathering the respect and admiration (to a point that is pissing a few people off) of the French film-making community over the years Audiard, has become despised and hated by a good chunk of the intellectual critic.

I know there are admirers of his father's work on the board but have you guys ever seen Jacques Audiard films or am I just talking to myself here?

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« Reply #15284 on: September 02, 2015, 04:38:25 AM »

Director: Ole Bornedal, Stars: Ewan McGregor, Nick Nolte, Patricia Arquette, Lauren Graham, Nick Nolte, Brad Dourif, and Alix Koromzay, a thriller quasi horror film, nightwatchman at a morgue gets involved with serial killer of prostitutes, watchable 7/10

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