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Author Topic: Rate The Last Movie You Saw  (Read 1770026 times)
chris
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« Reply #15420 on: November 07, 2015, 02:28:58 AM »

Spectre

It's professionally done and I'd give it 8/10 but there was something wrong about the photography/cinematography and I hanker for something a bit simpler with a more cohesive and slightly simpler plot but including memorable scenes and stunts which match scenes such as a man running over live crocodiles or skiing over a cliff and descending for a while before a parachute opens or the laser scene with Bond asking Goldfinger "Do you expect me to talk?" and Goldfinger replying "No Mr Bond I expect you to die!".

For me the colors sharpness and contrast in some of the scenes weren't consistent. It started with a good high contrast outside scene with very good blacks and whites but contrast in some of the later outside scenes was low with poorer blacks and washed out colors. This was also evident in some of the interior scenes and also a low depth of field/focus.  I found it quite distracting for a woman to be addressing a group of people sitting round a large table and for everyone except her to be blurred but perhaps I'm being too critical.

 

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« Reply #15421 on: November 07, 2015, 02:51:05 AM »

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).


Yes, cause we live after 1984, and therefore right is wrong and wrong is right.

Point for me, I guess ...




... and besides, Mélanie Laurent is great, great, great and sometimes more than great.

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« Reply #15422 on: November 07, 2015, 04:04:54 AM »

Yes, cause we live after 1984, and therefore right is wrong and wrong is right.

Point for me, I guess ...




... and besides, Mélanie Laurent is great, great, great and sometimes more than great.

By the way, in real life (from what I hear) and in interviews (from what I read/see), she's insufferable, self-centered and spoiled. That doesn't mean she's a bad actress (she's not). It means she needs to have a good text and be well directed. She got non of that in IB.

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« Reply #15423 on: November 10, 2015, 07:18:06 PM »

The Adventures of Tintin - 7/10
Fun at first, but character is soon replaced by way too much quirky action in the last act and a half... gets boring and about as structurally predictable as a movie of its type can get. It's beautifully animated and the action is nice, but lost interest very quickly. Regardless, it's definitely Spielberg's apology letter for Kingdom of the Crystal Skull.

Master of None: Season 1 - 8/10
Very strong season premiere for Aziz Ansari's new comedy. It's no Louie (yet) but could get there. For some episodes, I don't think 30-minute television could get any more well written and edited.

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« Reply #15424 on: November 11, 2015, 06:11:00 AM »

The Adventures of Tintin - 7/10
Fun at first, but character is soon replaced by way too much quirky action in the last act and a half... gets boring and about as structurally predictable as a movie of its type can get. It's beautifully animated and the action is nice, but lost interest very quickly. Regardless, it's definitely Spielberg's apology letter for Kingdom of the Crystal Skull.

The cinematography might be the best ever. The movie unfortunately rarely "works": embarrassingly bad humor put aside, they forgot to put slower paced scenes that let us discover a new world. That's a huge flaw in an adventure movie, which pushes Tintin away from Raiders of the Lost Ark and closer to Abrams' Star Trek movies. It's shame since the comics it's based on are adventure masterpieces I'd rank among:

Movies:

- Indiana Jones 3
- Terminator 2
- The Good, the Bad and the Ugly
- Star Wars 4 5 6

Books:

- Treasure Island
- It
- The Count of Monte Cristo
- The Lord of the Rings

Comic books:

- Blueberry: "Le Spectre Aux Balles D'Or" and "La Mine de L'Allemand Perdu"
- Corto Maltese in Siberia

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« Reply #15425 on: November 13, 2015, 12:17:54 AM »

Just saw GRAND ILLUSION again. Great stuff.

So, what do you think is the grand illusion(s) referred to in the title?

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« Reply #15426 on: November 13, 2015, 01:10:04 AM »

Renoir stated he chose this title "because it doesn't mean anything too precise". To me, the title refers to:

1) Peace
2) War between nations while the antagonism is clearly between classes

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« Reply #15427 on: November 13, 2015, 05:59:44 AM »

You forgot:

3) Suckers conned into thinking this is a great movie.

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« Reply #15428 on: November 13, 2015, 11:17:46 AM »

Renoir stated he chose this title "because it doesn't mean anything too precise". To me, the title refers to:

1) Peace
2) War between nations while the antagonism is clearly between classes

From Roger Ebert's review: http://www.rogerebert.com/reviews/great-movie-grand-illusion-1937
The break from the fortress prison produces the touching deathbed farewell between De Boeldieu and von Rauffenstein, which is the film's most touching scene, and then we join the workingman Marechal and the banker Rosenthal as they try to escape by walking cross-country through German territory. They're given shelter by a farm widow who sees security in Marechal, and perhaps Renoir is whispering that the true class connection across enemy lines is between the workers, not the rulers.

Do you think that is what it is? von Rauffenstein has this illusion that noblemen have a class connection – and ultimately it is he who kills his buddy de Boldieu – whereas the farm woman helps out Marechal and Rosenthal?

Maybe that is the theme ... because if it is not, then I really don't see a point to the farm scenes. The movie could have ended with the escape.

---

As much fun as this movie is to watch, the cutesiness between the French and Germans really is silly. I assume that is (at least part of) what DJ objects to. It's not just von Rauffenstein and De Boeldieu. Even the guards and their prisoners seem more like buddies amused by each other than guard and prisoner. Maybe that's what some people believe - the politicians declare war on each other whereas the soldiers don't have a problem with each other, but still ... I've never heard of a POW camp that seems to be so buddy-buddy. Maybe that was Renoir idealistic vision, if only enemies could really be such good friends.

Whatever, it is a great movie to watch, themes be damned  Wink

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« Reply #15429 on: November 15, 2015, 08:32:15 PM »

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.

I saw this last night, it's the best Daniel Craig Bond that I've seen, you are right about the dialog. When the kegs were going out the baggage car door when the rope was wrapped around the "Odd Job" like big guy (I don't give a shit WTF his name was) my wife and I looked at each other and said "Glad he didn't hang around" too bad Craig didn't. The best segment was the Mexico City, Day of the Dead, it went South from there. At most a 6.5-7/10.

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« Reply #15430 on: November 16, 2015, 11:11:14 AM »

Coup d'Etat / Kaigenrei [Martial Law] (1973) - 6/10. A stylized rendering of the 2.26 Incident of 1936, when a Japanese military group tried to stage a coup. The event is seen from the perspective of Ikki Kita, a political writer who did not take part in the uprising but who wrote a book that may have influenced/encouraged it. Anyway, that perceived influence was enough to get him a death sentence--after the rebellion was put down, Kita was secretly tried and executed. Interestingly, the goal of the coup--to put Japan under permanent martial law--was essentially realized as Japan became increasingly more militarized after this incident. Anyway, every frame of this film is a work of art, but the whole thing is a bit of a bore. A film about a guy who only talked about revolution and never did anything about it isn't exactly an exciting tale.

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« Reply #15431 on: November 16, 2015, 11:21:28 PM »

Wrapping up Truffaut week. . .

The Soft Skin (1964) 5/10. A married intellectual begins an affair with an air hostess. It doesn't end well. Apparently, clandestine relationships in early 60s France were hard to pull off--what, no love hotels? Instead of showing the humor in the situation, though, Truffaut makes us take everything straight. There's even a weekend in Reims that's interminable (which may be always the case in Reims, but why put the audience through it?). The melodramatic ending is labored, predictable, and unwarranted (despite being based on, I understand, an actual event). There are several nice touches--a kitten feeding on the remains of a breakfast tray that's been set outside the door of a trysting spot, the sound of a camera going off when the wife discovers the existence of photographic evidence of her husband's infidelity--but these are insufficient to redeem an exceedingly routine plot.

Discussion of plot will occur in this post. ie. As much much spoiler as in a typical Ebert review.

Just saw this movie, on BRD. I liked it. Yeah, it's a routine plot, but plot ain't much the point here.

Acting is very good.

Suspense is done very well.

I only wish there had been some early scenes with the wife before he meets the lover, so we would get to know and like the wife. We barely see the wife before the affair starts, so the deck is stacked against her, we never have conflicting feelings.

We start rooting for the lovers, and eventually it hits you: whoops, these are people doing very bad things!

ending is probably weaker part of the movie, but I give it an 8/10. I have to emphasize, the acting by both main characters is terrrific.

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« Reply #15432 on: November 17, 2015, 10:00:17 AM »

I only wish there had been some early scenes with the wife before he meets the lover, so we would get to know and like the wife. We barely see the wife before the affair starts, so the deck is stacked against her, we never have conflicting feelings.
Good point.  Afro

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« Reply #15433 on: November 17, 2015, 12:31:47 PM »

Devil in a Blue Dress (1995) - 7/10. Standard PI flick in period (LA/1948) with the kicker that most of the characters are African-American. It's a bit dull until Don Cheadle shows up and throws his brand of psycho-for-good into the mix. Not sure I understand the title: yeah, Jennifer Beals wears a blue dress, but how is she a "devil"? Lots of B.S. lighting (all the nighttime stuff) and none of the period bric-a-brac looks like it has ever been used before. But a diverting entertainment, certainly.

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« Reply #15434 on: November 19, 2015, 09:25:53 AM »

The Apu Trilogy (out on Blu from Criterion):

Pather Panchali (1955) - 11/10. Early in the 20th Century, a boy is born into poverty in rural India. He is happy growing up. Then an old woman who lives with the family dies. Later, Apu's older sister also dies. And when a train goes by it makes a sad sound.

Aparajito (1956) -8/10. Apu and his parents move to the holy city of Benares (now Varanasi). Apu's father dies. Mother and son return to a rural area to live, but then Apu enters school. He does very well, and wins a scholarship to continue his studies at a school in Kolkata. This means mother and son must part. Later, his mother dies.

Apur Sansar (1959) - 9/10. In Kolkata, Apu is having a hard time making ends meet. He drops out of school but continues writing (and getting published). A friend invites Apu to a wedding in the country, but the groom turns out to be unsuitable and the ceremony is called off. But the auspices are so good, and Apu looks like Krishna, so he's drafted to keep the men's side up. But it's okay because the bride is Sharmila Tagore--and only 13! Too bad she will later die in childbirth (the character, not the actress). Time for Apu to start singing his theme song, "Alone Again, Naturally."

All three films have soundtracks by Ravi Shankar.

Given the fact that neither Hitchcock nor Leone made trilogies, this must be the best trilogy ever made. Now that it's finally restored and put out on Blu, the world may come to an end.

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