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Author Topic: Rate The Last Movie You Saw  (Read 1799550 times)
dave jenkins
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« Reply #15300 on: September 11, 2015, 05:49:00 AM »

The Man Who Wasn't There (2001) - Story: 6/10. Billy Bob: 10/10. Deakins: 10/10. Blu-ray: 10/10.

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« Reply #15301 on: September 11, 2015, 06:24:53 AM »

The Man Who Wasn't There (2001) - Story: 6/10. Billy Bob: 10/10. Deakins: 10/10. Blu-ray: 10/10.

Agree pretty much.

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« Reply #15302 on: September 11, 2015, 06:33:49 AM »

The Man Who Wasn't There (2001) - Story: 6/10. Billy Bob: 10/10. Deakins: 10/10. Blu-ray: 10/10.

You forgot "Dialogues: 9/10"

SPOILER:

Quote
Doctor: Your wife was pregnant. First trimester.
(awkward silence)
Doctor: There it is.
(awkward silence)
Doctor: I'm sorry.
(awkward silence)
Doctor: Hell, I hope I've done the right thing.
Barber: My wife and I had not performed the sex act in many years.

I don't know if you guys listened to it but he commentary track on the DVD is quite interesting.

« Last Edit: September 11, 2015, 06:37:08 AM by noodles_leone » Logged


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« Reply #15303 on: September 11, 2015, 09:01:30 AM »

I really love when this happens. As a serious Noir Aficionado when I get interested in a subject, i.e., Noir, I investigate all aspects of it, its sources and influences, hard-boiled detective and crime novels, pulp paperbacks, Black Mask and True Crime/Detective Mags, the Jazz age, the culture at the end of prohibition and WWII,the Blacklist and the transition to the Cold War, etc, etc,.

And, like me, I'm sure you all also check out or buy every book you can get your hands on about Noir to acquire more insight, more background, more films to pursue to fill your appetite. I enjoyed TCM's Summer of Darkness, also, participating in the class, the discussions and getting to re-watch some of the great, and see for the first time some of the forgotten Noirs.

I happy to say I've seen a lot of Noirs over the last five years easily over 300, and the new ones now are either marginally noir or very low budget. I was happy to catch The Female Jungle recently. It's not listed in Selby's Dark City The Film Noir, it's not in the first edition of Film Noir An Encyclopedic Reference to the American Style it did make the 2010 edition. So, there are still films out there waiting to be seen and re-discovered and added to the canon.

The same goes for Neo Noirs, but with Neo's it's even worse, Noir is a new craze, fad, the in-thing, Noir has a certain cachet that can add to sales for a particular film, and you'll find that there are films that are "no-brainers" as being no question "mainline" Noirs that aren't even mentioned, while others, that are a real stretch at being classified as so, that are included in lists. It makes you wary, it makes you question the author's knowledge or the extent of their research. It makes you curious to explore on your own.

Recently I re-watched a Don Siegle/Clint Eastwood collaboration Dirty Harry (1971), Siegle was one of the last of the Classic Noir directors, and the film did have some noir-ish sequences it's a good film but Noir lite. One thing it did was that it got me thinking and I remembered a much better Eastwood Neo Noir candidate. It wasn't very popular or particularly successful at it's original release because it wasn't your typical Eastwood vehicle, he played against type and his fans at the time didn't take to it.

Tightrope was Written and Directed by Richard Tuggle, though there are rumors that Eastwood either helped out or took over at some point. But judging from the comparison of style between this and other Eastwood directed films something doesn't quite wash. This film is very dark in subject matter and stylistically extremely Noir, more so than anything else ever directed by Eastwood so something must be attributed to Tuggle and a definite shout out to cinematographer Bruce Surtees. Right now, I'd say its one of the best set in New Orleans, Neo Noirs, others, that come to mind are The Big Easy, Johnny Handsome, Angel Heart, and The Drowning Pool.

The story, a recently divorced and somewhat alienated (from average women) Detective raising two daughters, enables his inner "demons" and gets his various sexual outlets/kicks with prostitutes in the Latin Quarter/Bourbon Street red light district of New Orleans. Soon the regular hookers he frequents in his district start showing up dead, sexually violated and strangled. He at first suppresses his connection to the victims, possibly questioning his own sanity, but as the serial killer gets closer to hearth and home, clues and detective work ultimately close the case in a denouement that you could say homages the ends of Act Of Violence, The City That Never Sleeps, and Highway 301. It's got a great jazzy/bluesy score too boot. It's easily a 10/10.

I'll do a full blown review once I catch up with the others already in my queue.

If you haven't seen it for a while watch it again with your Noirdar on, you wont be disappointed.

« Last Edit: September 11, 2015, 03:27:39 PM by cigar joe » Logged

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« Reply #15304 on: September 11, 2015, 11:21:08 AM »

I remember liking this one a lot. The soundtrack is especially cool. I think I used it in my own neo-noir short movie "Angels Die Too", along with most tracks from Mile's Kind Of Blue.

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« Reply #15305 on: September 12, 2015, 02:50:50 AM »

Wild Takes (2014) 6/10
The ultra low budget is far too apparent and the film would HUGELY benefit from another pass at editing (and color grading) but this anthology of stories of people who just crack up is really, really fun. Seriously, watch it.
https://www.youtube.com/watch?v=QUnXv6R2HI8

« Last Edit: September 12, 2015, 02:52:19 AM by noodles_leone » Logged


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« Reply #15306 on: September 12, 2015, 08:56:15 AM »

L'instinct de mort: Mesrine Part 1 (2008) - Another gangster bio pic! Can't have enough of those, I guess. The film has a certain style--the director likes to use split screen a lot, in inventive ways. The cast is okay (with some incredibly good looking female supporting players), and the vintage clothes, cars, and desaturated colors are fun. Most interesting to me was the peek at life in a Canadian maximum security prison circa 1969. Who knew the Canuck's could be such hard asses? Just nostalgia now, apparently.
Still pretty entertaining. I guess I now agree with noodles_leone that part one is better than part two; part 2 becomes just a series of episodes, with Mesrine becoming more megalomaniacal and less interesting. It goes on a bit. Part 1 has this arc that pays off with Mesrine's adventures in North America that's pretty cool. After breaking out of a Canadian maximum security prison, Mesrine and his buddy go back, armed to the teeth, and try to break some more guys out. They have a firefight with the guys in the guard towers. Talk about bad-ass!

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« Reply #15307 on: September 12, 2015, 08:59:48 AM »

Still pretty entertaining. I guess I now agree with noodles_leone that part one is better than part two; part 2 becomes just a series of episodes, with Mesrine becoming more megalomaniacal and less interesting. It goes on a bit. Part 1 has this arc that pays off with Mesrine's adventures in North America that's pretty cool. After breaking out of a Canadian maximum security prison, Mesrine and his buddy go back, armed to the teeth, and try to break some more guys out. They have a firefight with the guys in the guard towers. Talk about bad-ass!

I haven't seen those since... probably since when we first discussed them. I have the DVDs so I'll watch them soon.

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« Reply #15308 on: September 13, 2015, 06:25:23 AM »

I haven't seen those since... probably since when we first discussed them. I have the DVDs so I'll watch them soon.

That's the Vincent Cassel film, right, I liked them also.

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« Reply #15309 on: September 14, 2015, 06:45:33 AM »

Three from the Hasse Ekman retro now at MoMA, all in 35mm:

Banketten/ The Banquet (1948) - 6/10. A wealthy industrialist is about to be fêted; meanwhile, his three children cause him concern. His eldest is a dissolute cynic, great with a bon mot, but good for little else. His youngest is going commie. His middle child, his one daughter, is unhappily married and wants to start an affair with the friend of her younger brother. This film is very much like a play, with good bits of dialog and a few riveting scenes, but it all turns to obvious socialist propaganda in the end.
 
Wandering With the Moon (1945) 4/10. An idealistic young man and a even younger actress take to the road and meet various interesting characters. Eventually, some of the characters reassemble to take part in what is essentially a Swedish Nancy Drew adventure. It goes on too long.

Gabrielle (1954) 7/10. A Swedish diplomat goes to Paris to take up his new post while his wife spends the summer alone in the archipelago. While he waits for his wife to rejoin him, the diplomat imagines a variety of scenarios in which his spouse in unfaithful to him. It's kind of a Swedish Unfaithfully Yours, but with fewer laughs. Photographed by Gunnar Fischer, the sepia-toned print I saw had few blemishes and looked really good.

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« Reply #15310 on: September 14, 2015, 08:05:11 AM »

Prisoners - 7.5/10
First "real" viewing (after having watched it twice while working). Really good. Some weaknesses in the typical thriller and flash back sequences but the rest is very good.
Fun little piece of trivia: the most famous shot of the film was improvised on set (and got the crew and the production pretty upset).
http://blogs.indiewire.com/theplaylist/prisoners-director-denis-villeneuves-discusses-our-best-shot-of-the-year-20131219

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« Reply #15311 on: September 14, 2015, 09:13:09 AM »

The Incident (1967) A forgotten gritty NYC ensemble Crime Noir, watch ASAP available right now on Youtube here:

https://www.youtube.com/watch?v=Ue0AtGoaxKI

Directed by Larry Peerce, written by Nicholas E. Baehr (based on his teleplay Ride with Terror, which had been previously adapted as a 1963 television film). Cinematography by Gerald Hirschfeld (Guilty Bystander, C-Men)

Joe Ferrante (Tony Musante) and Artie Connors (Martin Sheen) two alienated and obsessed with causing trouble they give a hard time to a pool hall owner for closing early interrupting their game, then briefly harassing a passing couple on the street, then finally mugging an old man for his eight dollars and beating him into unconsciousness, they board the last car of a New York City Subway train and psychologically terrorize the passengers who cannot move to another car.

Rest of the cast includes Classic Noir vets Thelma Ritter (Pickup On South Street, Call Northside 777, Rear Window), Jan Sterling (Caged, Mystery Street, Union Station, Ace In The Hole, Appointment With Danger) and Gary Merril (Where The Sidewalk Ends, A Blueprint For Murder) and also Ed McMahon, Diana Van der Vlis, Donna Mills, Victor Arnold, Jack Gilford, Robert Bannard, Brock Peters, Ruby Dee and Beau Bridges.

Great chiaroscuro cinematography of late 60s NYC and the NYC Subway system.

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« Reply #15312 on: September 14, 2015, 06:36:01 PM »

The Crash Reel (2013) - 8/10
Documentary about pro snowboarder Kevin Pierce's near-fatal crash and his several year long recovery process and dreams to return to snowboarding one day. Fast-paced with an interesting set of character, worth watching.

39 Pounds of Love (2005)- 4/10
A documentary about a man named Amin who is afflicted with the disease Spinal Muscular Atrophy. At the time of filming in his 30's (now dead), he was told by the doctors that he would live only until two years old. I discovered this because I am in the looong editing process of a documentary on the same subject matter. This was shortlisted for the documentary Oscar, but I'm not quite sure how - the filmmakers did a very poor job of presenting Amin's story, clearly not understanding where the most interesting focus of his story is. Many obviously staged scenarios. It drags even at 70 minutes.

The Jinx: The Life and Deaths of Robert Durst (2015) - 10/10
Other than maybe some few-episode stretches of Breaking Bad, I don't think I've seen anything so consistently riveting and intense for 5 hours - and it's a documentary. This is clearly inspired by The Thin Blue Line, and although it does not have it's atmospheric and dreamlike quality that makes Blue a masterpiece, it's got everything else from the artful re-enactments to masterful editing and a story paced and presented as a mystery film. Although similar to Thin Blue Line, this stands out on its own and is a much more modernized documentary masterpiece in its own way.

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« Reply #15313 on: September 15, 2015, 07:04:38 AM »

Natural Born Killers (1994) A satirical, Neo Noir, sensory overdose, psychedelic acid road trip to Hell.

Directed by Oliver Stone, based on a Quentin Tarantino story, with Woody Harrelson, Juliette Lewis, Tom Sizemore, Russell Means, Tommy Lee Jones, Rodney Dangerfield, Edie McClurg, Balthazar Getty, and Robert Downey Jr.

It's a bizarre black comedy satire of the American 24 hr news cycle celebrity/violence culture, much in the vein of Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) and A Clockwork Orange (1971).

I've managed to not see this somehow since it's release, and I believe my experience was all that more enhanced since I've begun delving into Noir and Neo Noir so heavily. The film like a delayed strobe sporadically flashes between Black & White and Color film, it has these insanely canted Dutch Angles while at other times they tilt teeter-totter like along with other Noir stylistics, it uses documentary style footage and live breaking news parodies, animation, TV sit com satire, super 8 film sequences, TV quasi News Specials, and music video style promos and hyper violence mixed with cultural and natural Iconography all in a assault on the senses.  It's INSANITY, with a complimentary soundtrack.

But then again its full of these little "just killing", (as Donald Trump uses the phrase, lol) picsaresque noir vignettes that stuck in my mind amidst all the designed chaos.

One you can call  Mallory The 1990s Femme Fatale sequence where Blondie-Mallory goes off half cocked away from Mickey in a cocktail dress, and ends up seducing a town pump gas jockey on the hood of a Corvette in the garage bay. He looses control and Mallory frustrate-edly pushes him off pulls a revolver out of her bag and blows him away. She then grabs her shed panties and flings them at the corpse exclaiming "that was the worst head I ever got"! and stomps off.

Welcome to the 90s. We are post code but it's still using dialog and suggestive images to jump start your imagination, but it actually has very little nudity in the whole film, your imagination fills in the rest just like it did during Classic Noir.

A following related vignette has Jack Scagnetti the sadistic detective on their trail recreating the crime scene at the town pump. He picks up the panties and smells them then tosses them to a deputy. Sees the imprint of Mallory's ass on the hood remarks that it's a "fine ass", then makes note of the saliva drops in an obviously related location. He then leans over the corpse and extracts a pubic hair from the dead mans teeth and exclaims "Malloy meet Jack Scagnetti".

Another is the Mickey & Mallory take their marriage vows sequence. They are standing on a high bridge over a canyon its shot with a tongue in cheek tenderness which is temporarily shattered when a pickup full of jeering hecklers drives by. Mickey keeps it under control in truly warped solemnity saying "I will not murder anybody on my wedding day".

Other times the vignettes are just small homages to the past cinema like when Mallory & Mickey are dancing at the diner the sequence changes from full traditional lit color to Astaire & Rogers low key chiaroscuro.

I'll do screen caps and a fuller review when I can, I have a few others ahead of it that I really should do full reviews for.

Caution this film will not be for everyone. 9/10

« Last Edit: September 16, 2015, 09:26:30 AM by cigar joe » Logged

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« Reply #15314 on: September 15, 2015, 10:07:30 AM »

The Jinx: The Life and Deaths of Robert Durst (2015) - 10/10
Been meaning to see this. Isn't the Blu-ray out today?

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