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Author Topic: Rate The Last Movie You Saw  (Read 1837385 times)
cigar joe
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« Reply #15315 on: September 19, 2015, 05:56:46 PM »

The Bastard (1968) Director: Duccio Tessari, Stars: Rita Hayworth, Giuliano Gemma, Klaus Kinski, watchable, Rita looks terrible. 6/10

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« Reply #15316 on: September 20, 2015, 03:35:42 PM »

Pasolini (2014) - 6.5/10
"A kaleidoscopic look at the last day of Italian filmmaker Pier Paolo Pasolini in 1975." Willem Dafoe as Pasolini. I kinda wish I liked this more.

The End of the Tour (2015) - 8.5/10
"The story of the five-day interview between Rolling Stone reporter David Lipsky (Jesse Eisenberg) and acclaimed novelist David Foster Wallace (Jason Segel), which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'" Based on David Lipsky's book.

 Coincidentally I'm in the middle of Infinite Jest. I hesitated about seeing the film at least before finishing the book because I didn't want to hear Marshal From How I Met Your Mother's voice in my head when reading. But the film was showing at a festival where I got a free badge, so I thought WTF. And overall I really liked the film, I was almost crying when it was over. But still I can't decide whether I approve of it. Because I can really imagine (based on his writings) that David Foster Wallace would find a film like this very troublesome. Part of the problem is that he is not the protagonist so he doesn't have to change basically at all which leads to a kind of an Eternal Saint kind of a character. Making a film which strenghtens a saint kind of a picture of an artist who is already generally hailed as a genious sounds like a very stupid goal, so I'll assume it wasn't the filmmakers' intention. But if the goal of the filmmakers was to present him as a human being with failings, they, while not doing a terrible job, could have done a lot better by making him actually the main character. Now he is presented as a genious writer whose greatest asset is his regular-guyness but somehow in this process his regular-guyness becomes the opposite of itself: he's more regular, plain and unsexy than any of us, so in the end what was supposed to unmystify him becomes exactly his myth. But at the same time I find this approach of making Lipsky the protagonist the only possible one because how the fuck could you pretend that you know what Wallace's experience was like? Lipsky's account of the events is fairly believable because it's supposedly based on his interview recordings and his account of how it was / what it meant for him can be trusted to be based on at least some kind of a real first hand experience. Sorry for the babbling. Go see the film. EDIT: I forgot to mention the heavy gay subtext.

« Last Edit: September 20, 2015, 03:44:16 PM by moviesceleton » Logged

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« Reply #15317 on: September 22, 2015, 03:47:05 AM »

Watched this sort of Neo Noir Lite, based on the James Ellroy novel one of the LA Quartet. Directed by Brian DePalma with Josh Hartnett, Aaron Eckhart, Scarlett Johansson, Hillary Swank (doing a mild Katherine Hepburn) Mia Kirshner and Mike Starr. Visually had some interesting sequences, i.e., The POV camera (Lady In The Lake) segment at the Linscott mansion. Harnett looked too young for the part, everyone else was good. 7/10

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« Reply #15318 on: September 22, 2015, 04:51:29 AM »

Watched this sort of Neo Noir Lite, based on the James Ellroy novel one of the LA Quartet. Directed by Brian DePalma with Josh Hartnett, Aaron Eckhart, Scarlett Johansson, Hillary Swank (doing a mild Katherine Hepburn) Mia Kirshner and Mike Starr. Visually had some interesting sequences, i.e., The POV camera (Lady In The Lake) segment at the Linscott mansion. Harnett looked too young for the part, everyone else was good. 7/10

About the noirish aesthetic of the film: it looks good and elegant but too clean. It was shot in 35mm but the whole thing still looks digital, in a cheap way.

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« Reply #15319 on: September 22, 2015, 06:47:17 PM »

Room 237 (2012) - 3/10
Marketed as an in-depth analysis of The Shining by several theorists, though itself as a documentary analyzed by many viewers as a comedic study of obsession and delusion of said theorists. If the former, than this film is a 0, from the ridiculous theories to being literally 100% footage of Kubrick movies (no original footage, none of the interviewees are once shown - only narration). If the latter, it still sucks - the documentary would be much more interesting if it were focused more on the obsessives rather than clips of Kubrick's film. It is amusing for 15-20 minutes or so, but for some reason, it's 102 minutes. Hard pass.

Cave of Forgotten Dreams (2010) - 7.5/10
It's Herzog, so it will be good. Nothing remarkable on Herzog terms, but good. Much preferred his more recent doc Into the Abyss, and obviously classics like Little Dieter (potentially my choice for best doc ever made, or at least tied with others),  My Best Fiend, Grizzly Man, Lessons of Darkness, etc.

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« Reply #15320 on: September 23, 2015, 04:00:11 AM »

About the noirish aesthetic of the film: it looks good and elegant but too clean. It was shot in 35mm but the whole thing still looks digital, in a cheap way.

Agree, it definitely lacked something.

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« Reply #15321 on: September 23, 2015, 06:06:14 AM »

Cave of Forgotten Dreams (2010) - 7.5/10
It's Herzog, so it will be good. Nothing remarkable on Herzog terms, but good. Much preferred his more recent doc Into the Abyss, and obviously classics like Little Dieter (potentially my choice for best doc ever made, or at least tied with others),  My Best Fiend, Grizzly Man, Lessons of Darkness, etc.
Must be seen in 3D.

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« Reply #15322 on: September 23, 2015, 06:23:04 AM »

Every Thing Will Be Fine (2015) - 8/10. The latest Wenders: sort of a cross between To The Wonder and Boyhood. But in 3D. And with Rachel McAdams as the first girlfriend this time, instead of the keeper. And with James Franco in for Ben Affleck/Ethan Hawke. It includes some interesting supporting players: Peter Stormare, Patrick Bauchau, Charlotte Gainsbourg, a bunch of people I've never seen before. In terms of lighting, this is one of the darkest films I've ever seen, and that's before you put on the glasses. But many of the images are incomparably beautiful. The lighting and the Montreal locations created a cinematic space I have never been in before, a brave new WendersWorld. The effects of my visit are still with me.  I'm very much looking forward to seeing this again in 2D.

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« Reply #15323 on: September 23, 2015, 12:17:36 PM »

Do you think the 3D added something to the film? That it was used to make the relations between the characters different than it was possible in 2D?

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« Reply #15324 on: September 23, 2015, 02:28:19 PM »

The 3D made for some interesting photography: windows and windscreens with stuff on them so as to provide a layer of texture over the underlying image. Sometimes there'd be some very interesting reflections. Very pretty, at least at times. But I never felt the photography was enhancing the narrative in any way. It's possible that some of the pretty picture-making might serve to put viewers into a more contemplative state, so that they'd think about the scenes and/or themes more. But the film has tons of fade-outs; it was almost as if Wenders wanted to draw back from making any kind of strong statement, as if he wanted to keep everything tentative. The characters, and therefore the relationships between them, remained pretty cryptic.

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« Reply #15325 on: September 23, 2015, 03:37:52 PM »

Aroused (1966)

So where did noir go after 1959? There was a definite decline in Crime Genre films (of which Film Noir was, in great part a sub-genre though it did infiltrate other Genres also) if you check the year by year Genre lists, so that explains at lot, along with Hollywood closing down "B" productions. A good portion of it migrated over to TV, but there it was still sanitized by the Television Code and its "Seal of Good Practice" which functions much like the Hayes Code. Interestingly though, there were some independent productions that combined Film Noir with looser restraints in the industry that brought along the sexploitation films.

"FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!"
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Aroused (1966) is one of those directions, and it's a real gem. Directed by Anton Holden written by Holden and Ray Jenkins and Robert Shull and stars nobodies, Janine Lenon, Steve Hollister, Joanna Mills, Fleurette Carter, Ted Gelanza, and Tony Palladino. A good log line would be "Psycho meets a female Mike Hammer."

The story is simple, a peeping tom psycho with a mother-who-was-a-prostitute fetish follows hookers around, kills them and then violates them. Detective Johnny of NYPD is assigned to the low publicity case (who cares about hookers) The latest dead prostitutes bi/hooker girlfriend teams up with well meaning but screw-up Detective Johnny to track down the psycho.

This is the second Neo Noir in the vein of as titoli put it "Noir meets sexploitation flick" that I've seen (there are probably more out there) the first being Satan In High Heels a fetish Noir (1962), but the sex isn't anything you don't see nowadays and the film is artistically done with beautiful chiaroscuro Noir stylistics, a shout out to Gideon Zumbach director of photography (as Anibal Paz, I wonder if Argentinian cinematographer Aníbal González Paz was visiting NYC in 1965-66). This film is exponentially better, it's highly stylized, with a wonderfully Noir aesthetic. It's on the cheap but has good direction and a descent plot both furnished by Director Anton Holden.

The way the street shots are shot suggests that possibly it was shot guerrilla style with no permits but they look great and bring back memories of that time period. I noticed a street location from The Incident (1967) that I just recently watched which used the Bronx Biograph Studios so some of it may be shot also in that borough. I'll give it a 8/10 for accomplishing so much with so little has a jazzy score to boot. It could be on a triple bill with Blast Of Silence and The Incident ;-)

Available on DVD from Something Weird Video.

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« Reply #15326 on: September 23, 2015, 08:11:54 PM »

From One Second to the Next (2013) - 8/10
Herzog takes what could easily be a corny "Don't text and drive" after school PSA and puts an artful & emotional touch on it in this 30-minute short documentary. Worth watching for sure.

Black Mass (2015) - 7/10
This year's very well-made yet likely forgettable gangster movie. Depp is terrific as Bulger, and director Scott Cooper (who finally made a good movie) shows a lot of restraint in his style in terms of holding back from super 70's period piece Scorsese rip-off mumbo jumbo. It's a well-paced and subtle drama with some bursts of action. Worth seeing but probably not worth going back to.

Must be seen in 3D.
Eh. 2D or 3D, Gravity and Hugo sucked just the same. I can't imagine Cave is any better in the format.

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« Reply #15327 on: September 24, 2015, 02:13:02 AM »

Eh. 2D or 3D, Gravity and Hugo sucked just the same. I can't imagine Cave is any better in the format.

There are lies in your mouth and a bounty on your head.

I know you like Gravity.
Hugo had the best use of the still imperfect 3D technology.
I'm pretty sure Cave is better in 3D.

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« Reply #15328 on: September 24, 2015, 05:48:14 AM »

The Satan Bug (1965) 1080p. Dull bio-terror "thriller." Mostly just a lot of scenes of guys driving around in the desert. George Maharis is the uninspiring lead, and he gets little support from Richard Basehart (doing a dodgy accent), Anne Francis, and Ed Asner. Dana Andrews is in the picture too. The high-tech 60s lab sets look cool. Film: 3/10. Blu-ray transfer: 9/10.

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« Reply #15329 on: September 25, 2015, 06:49:03 AM »

Busting (1974) 1080p - 7/10. Vice cops in 70s LA played by Elliot Gould and future murderer Bobby Blake. Their nemesis is sleaze merchant Allen Garfield/Goorwitz. Trouble is, the LAPD is so corrupt that Gould and Blake can't make any headway against him. So they go cowboy. This doesn't get them anywhere either, but it makes for a fun ride. Cameos are supplied by Michael Lerner, Sid Haig, Antonio Fargas, and the broad who was in Serpico with Pacino. Peter Hyams wrote and directed. The travelling shots in this are to die for.

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