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Author Topic: Rate The Last Movie You Saw  (Read 1768276 times)
cigar joe
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« Reply #15405 on: October 31, 2015, 07:34:32 AM »

yea what's up

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« Reply #15406 on: October 31, 2015, 12:48:32 PM »

Early form of midlife crisis.

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« Reply #15407 on: October 31, 2015, 05:10:24 PM »

3-D Film fest down at Film Forum this weekend, and I'm there to celebrate Halloween--or whatever--in style.

House of Wax (1953) - 5/10. First 3-D viewing. This is a pretty dull film (Frank Lovejoy and Dabbs Greer as the cops? C'mon!) The most entertaining thing is the guy with the cheesy paddle-ball routine.

Dial M For Masculine (1954) - 8/10. Second 3-D viewing. A man, Tony (Ray Milland), decides to murder his wife, Margot (Grace Kelly)—or, more accurately, to have her murdered. He surreptitiously removes her latch-key (a potent phallic symbol) from a purse in her handbag (a double labia! (a potent female symbol)), thus literally and symbolically withdrawing his protecting male presence. He passes the key to his surrogate with the intention that this second man use it to commit the greatest of violations on his wife while he, the husband, is away establishing an alibi. At the moment of crisis, however, Margot acquires an alternate double phallus, a pair of scissors, with which to defend herself (we subsequently learn that the murderer had relinquished Tony’s protecting phallus and thus was less potent than he should have been). The husband comes home to find his intended victim alive and his accomplice dead; Tony then manipulates the evidence to make it appear Margot has acted with malice aforethought rather than in self defense (she will then be hung for the crime; hubby really knows how to improvise a solid Plan B). Tony returns a key to the woman’s handbag—but, unbeknownst to everyone, it is the wrong key. As long as the wrong key is in the woman’s purse her world is out of joint. As things begin to go against her, the woman even produces the key and brandishes it before the three significant men in her life. The men stare at the spectacle, aghast. Although they cannot know that they are seeing a spurious phallus, perhaps at an unconscious level they sense something wrong. (Alternatively, they may simply be appalled at the sight of a woman publically waving a key around—“What??!! She dares to wield the sacred phallus??!!”). Eventually, a police inspector (John Williams) discovers what’s been going on, takes charge of the phallus, and restores order. Tony goes off to prison and a new boyfriend (Bob Cummings) is brought in to re-establish Margot’s place in our phallo-centric cosmos.  Another Hollywood happy ending. Thank you, Hitch's Cock, for doing misogyny so well.

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« Reply #15408 on: October 31, 2015, 06:23:31 PM »

But, uh, isn't this film a comedy? You say you were laughing at the gags?? Who ARE you, man, and why are you posting on D&D's account???
Hey man, it was on TCM ... Not like I went out and got the DVD .... 😉

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« Reply #15409 on: October 31, 2015, 10:02:22 PM »

 Charlie Chaplin is the exception to every rule  Wink

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« Reply #15410 on: November 01, 2015, 07:34:17 PM »

Kill Bill - 8/10
Saw this years ago, and for years I thought I hated this film. Watched volumes 1 & 2 back to back. Possibly my fav Tarantino besides Pulp Fiction and maybe Inglourious Baserds.

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« Reply #15411 on: November 01, 2015, 08:53:44 PM »

The Widow of St. Pierre (2000) crap

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« Reply #15412 on: November 01, 2015, 10:58:02 PM »

Where's the promised B&W version?

Not on this disk. I'm beginning to fear for that B&W I definitely want to see.

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« Reply #15413 on: November 05, 2015, 08:32:31 PM »

Spectre (2015) - 8/10
Casino Royale did for Bond what Batman Begins did for Batman. Unfortunately, Skyfall just flat out copied The Dark Knight. While I don't remember much of Quantum of Solace, Spectre is great. It's action packed, ridiculous, often silly, with more or less all you want in a Bond film. The villains aren't completely original, but they're a lot more entertaining than the Jok...uhh...the Skyfall one. I'm confused by the mediocre reviews ...this is highly enjoyable. It's fucking James Bond. Absurd but great opening sequence, and the theme song isn't nearly as shitty when paired with the opening credits. I think the only category Skyfall tops this in is Deakins' photography.

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« Reply #15414 on: November 06, 2015, 02:13:59 AM »

Kill Bill - 8/10
Saw this years ago, and for years I thought I hated this film. Watched volumes 1 & 2 back to back. Possibly my fav Tarantino besides Pulp Fiction and maybe Inglourious Baserds.

Inglourious Basterds isn't a real movie. There are 2 great scenes, a few good ones, 25 minutes of the worst piece of amateurish crap QT ever shot and the rest is mainly average hit and miss. Also, they completely forgot the meaning of "artistic direction" and "production value" 2 weeks before shooting.

Kill Bill would be the best Tarantino had he not forgotten how to write dialogues.

Spectre (2015) - 8/10
Casino Royale did for Bond what Batman Begins did for Batman. Unfortunately, Skyfall just flat out copied The Dark Knight. While I don't remember much of Quantum of Solace, Spectre is great. It's action packed, ridiculous, often silly, with more or less all you want in a Bond film. The villains aren't completely original, but they're a lot more entertaining than the Jok...uhh...the Skyfall one. I'm confused by the mediocre reviews ...this is highly enjoyable. It's fucking James Bond. Absurd but great opening sequence, and the theme song isn't nearly as shitty when paired with the opening credits. I think the only category Skyfall tops this in is Deakins' photography.

The reviews mainly say "it's just a tad under Skyfall", which for some means "it's still great" and for others "it's crap" but considering all the praise Skyfall got it seems to me the movie is still well received.

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« Reply #15415 on: November 06, 2015, 02:40:08 AM »

Inglourious Basterds isn't a real movie. There are 2 great scenes, a few good ones, 25 minutes of the worst piece of amateurish crap QT ever shot and the rest is mainly average hit and miss. Also, they completely forgot the meaning of "artistic direction" and "production value" 2 weeks before shooting.


This is something where I don't know what you mean, and where we are on the opposite sides of the spectrum. Same for the forgotten dialogues in Kill Bill.

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« Reply #15416 on: November 06, 2015, 04:09:18 AM »

This is something where I don't know what you mean, and where we are on the opposite sides of the spectrum. Same for the forgotten dialogues in Kill Bill.

About IB:
1) The terrible scenes are the French ones so my guess is we'll never agree (although I'm 100% right so I'm afraid you're 100% wrong).
2) Do you really watch this movie and see a real story flowing in front of you or do you see a collection of independent scenes lousily tied together? Because that's what I'm seeing here. Weirdly enough, Pulp Fiction is more of a consistent movie to me: there is some real work done to tie the whole thing together. In IB, you could rearrange the scene in almost any order, remove one, add another, change 2 lines and it would work exactly the same. Only Waltz' character development is here to remind us that QT usually perfectly knows how to withhold information from us and deliver it at the right time. Still, I'm really open to the discussion on this point since I may very well have missed interesting stuff here. Even the title is misleading and shows that QT probably switched focus many times writing this.
3) QT has never been a king of production value with big budgets. In Reservoir Dogs, every dollar is seen on screen. When QT's budgets rose, I suspect he began to put most of it in his and his talents' pockets. There is nothing inherently wrong with that but I've always looked for immersive "perfect" visuals (hence my love for Leone, Fincher, Scorsese, Spielberg and the others, you know, the great guys), which usually start with spending money AND VISION into sets and costumes, and getting talents with feature film faces. IB looks incredibly cheap. Brad Pitt looks like a feature film guy, but Mélanie Laurent, BJ Novak and Eli Roth look like they just escaped from a Friends episode. Brühl and Schweiger (although I quite like them) look like they should be in an obscure made for TV German flick. The first scene (which I like) looks like a middle-to-high end amateur short movie. The forest scenes look like sketches for a French TV talkshow with guest stars. Most of the interior or street sets are desperately empty: not sure if that was intentional or not, but I'm sure it doesn't do the job at all.

TLTR:
1) Mélanie Laurent and the black guy
2) It's not written as a real movie
3) It doesn't look like a real movie

About Kill Bill:
Please tell me more! What particular dialogues did you like? I can save a few one-liners here and there such as "My name is Buck and I'm here to fuck" (which works surprisingly better in the French version) or "How do I look? / Ready." but most of the time it sounds like someone trying to be QT without half his genius. I like a lot the Madsen scenes at the beginning of Kill Bill 2. The dialogues are way more "'low key" than the regular Tarantino pop stuff but it's good.

« Last Edit: November 06, 2015, 04:13:18 AM by noodles_leone » Logged


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« Reply #15417 on: November 06, 2015, 05:39:44 AM »

Spectre (2015) - 8/10
Casino Royale did for Bond what Batman Begins did for Batman. Unfortunately, Skyfall just flat out copied The Dark Knight. While I don't remember much of Quantum of Solace, Spectre is great. It's action packed, ridiculous, often silly, with more or less all you want in a Bond film. The villains aren't completely original, but they're a lot more entertaining than the Jok...uhh...the Skyfall one. I'm confused by the mediocre reviews ...this is highly enjoyable. It's fucking James Bond. Absurd but great opening sequence, and the theme song isn't nearly as shitty when paired with the opening credits. I think the only category Skyfall tops this in is Deakins' photography.
Do not believe the liar known as PowerRR. This film sucks. It is boring as hell. The story is a total snooze. The camera is always too close to the action. Mendes has taken shaky-cam to its logical extreme and developed spastic-cam. The women in the film are showing up 10 years too late. The film is constantly referencing earlier Bonds: Goldfinger, OHMSS, and most especially, From Russia With Love. This is an incredibly stupid ploy: we are constantly being reminded of better films we should be watching instead. Locations are Mexico City (OK), Rome (a bit dull), Austria (Good), Morocco (also Good), and London, London, London (why? why? why?). It's better than Skyfall, which I absolutely loathe, so that isn't any kind of a recommendation. The dialog in this is some of the dullest ever written.

Oh, be sure to see it in IMAX.

« Last Edit: November 06, 2015, 05:41:17 AM by dave jenkins » Logged


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« Reply #15418 on: November 06, 2015, 08:03:03 PM »

Nah Spectre is great. So is IB and Kill Bill's dialogue. you guys should like more movies. besides Scott Pilgrim.

I do agree that QT's last 2 movies have looked like shit, as does Hateful Eight so far. The guy is a huge film advocate, but he may as well shoot digitally.

Spectre was shot on 35mm but Skyfall looked more like film.

The Color Purple - 8/10
Always - 6/10

A couple 80's Spielbergs. Liked them both more than I expected. I guess Always is kinda awful but I didn't mind it for some reason.

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« Reply #15419 on: November 07, 2015, 01:51:53 AM »

Nah Spectre is great. So is IB and Kill Bill's dialogue. you guys should like more movies. besides Scott Pilgrim.

There simply aren't more movies besides Scott Pilgrim. There is only Scott Pilgrim.

There is also Gravity but only if you own an IMAX theater.

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