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Author Topic: Rate The Last Movie You Saw  (Read 1763492 times)
dave jenkins
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« Reply #15615 on: January 30, 2016, 09:42:20 AM »

Fallen Angel (1945) - 7/10. This picture has a huge structural problem: two-thirds of the way through the most interesting character gets written out. The story never recovers. Up until that point, though, things are peachy keen, in a noir sort of way. Dana Andrews and Linda Darnell star.

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« Reply #15616 on: January 30, 2016, 11:03:52 AM »

Fallen Angel (1945) - 7/10. This picture has a huge structural problem: two-thirds of the way through the most interesting character gets written out. The story never recovers. Up until that point, though, things are peachy keen, in a noir sort of way. Dana Andrews and Linda Darnell star.

McKee wasn't around at the time.

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« Reply #15617 on: January 31, 2016, 07:31:59 AM »

Room (2015) - 7.5/10
Real good, won't watch again. Check it out.

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« Reply #15618 on: January 31, 2016, 08:44:32 AM »

The Spirit of the Beehive (1973) – 5/10. In rural Castile, in 1940, a six-year-old girl, unable to comprehend the adult world around her, copes by developing a fantasy world of her own. I’ve tried to like this well-photographed film, but it’s just never going to happen. The premise is so stooooopid.  Childhood is a debilitating condition that needs curing as quickly as possible.  It should no more be celebrated than the mumps. Adulthood is where the action is, which is why coming-of-age tales work so well. This is a paean to arrested development.

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« Reply #15619 on: January 31, 2016, 03:02:24 PM »

Sicario - 8/10
Refer to Groggy's review, my thoughts exactly.

Horace and Pete (2016) - 8.5/10
Louie CK's take on an Altman-esque "play as a film" is a twisted, modern version of Cheers without a laugh track. Excellent performances all around including Alan Alda, Steve Buscemi, Jessie Lange, and CK himself. This is the first episode of a 'web series' but very much stands as a short film of its own. It won't be long before CK is no longer considered a great stand up comedian, but instead as an auteur rank-able among today's best filmmakers.

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« Reply #15620 on: February 01, 2016, 10:54:27 AM »

Humoresque (1946) - 9/10. That gag with Isaac Stern's hands and John Garfield's torso really works. Man! But thank goodness for the academy ratio; I'm not sure the illusion would go over as well in widescreen. The cast in this are so good--I think this was probably Garfield's best performance: half boxer, half aesthete. Crawford is suitably bitchy, but also has that whole MILF thing going for her. Everybody in support is great, too, especially the woman playing Garfield's mother, but also the guy playing Crawford's hubby. Of course, huge kudos to Oscar Levant, who is very funny. Strange thing about Levant, he's in a bunch of pictures written by different people (Rhapsody in Blue, The Bandwagon, this) but he's always the same character delivering the same shtick. He's got more zingers in this than in any other picture of his I know. Then there's all the great music: Dvorak, Chopin, Gershwin, Wagner's Liebestod from Tristan. I would have missed the cool Carmen Fantasie that Waxman scored, and its significance, if not for a helpful supplement on the Warner's DVD. Even so, the documentary doesn't talk about any of the low-brow music in the flick. I've seen the film before, but this time through I noticed how often the principals make their way back to a certain piano bar. The locale has its purpose for the narrative--there are several scenes where the characters have to talk together and they need some place to do it--but more than that, the bar provides music for audience members not so keen on the classical repertoire. This film has something for everybody: melodrama and music, clothes and martinis, a mom and pop store and room with a view. Lots of fancy music, but if you wait you can go back to the piano bar and hear show tunes. And who's performing the tunes? I had to go to IMDb for this, but it turns out to be a woman named Peg La Centra, a singer with Artie Shaw who also became Paul Stewart's wife. I have to dock the film a point for its risible ending (just WHY does Crawford kill herself? Wouldn't it have made more sense for her to have made a mistake with some sleeping pills? Granted, the walk into the surf is more dramatic, but still.) Nonetheless, this film has more entertainment per square inch than any of the crap they're making today. Where's the Blu-ray?

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« Reply #15621 on: February 04, 2016, 07:50:56 PM »

The Look of Silence (2015) - 9/10
Fucking bravo. A must watch for everyone ever. One of the best films of the year / will go down in cinematic history. Go watch it.

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« Reply #15622 on: February 05, 2016, 06:46:24 AM »

Les Rendez-vous de Paris (1995) – 8/10. Three vignettes about male-female encounters in the City of Light. In the first, “ Le rendez-vous de 7 heures”, a young woman, through a series of coincidences, learns the truth about her boyfriend (a café near Pompidou Center is featured). In the second, “The Benches of Paris”, a man and woman hold a number of assignations in public places around the city—gardens, parks, a cemetery, greenhouses. The man would like to get the woman alone, but she insists on the public meetings. A strategy to resist his blandishments, perhaps? Eventually the woman seems to break down and agree to a hotel date, but, of course, there’s a twist. The final episode is called “Mère et Enfant, 1907” and refers to a Picasso painting by that name. A young painter with a studio near the Picasso Museum has agreed to escort a Swedish tourist through the museum. Sensing no spark between them, the man guides the woman only to the doors of the building, makes his excuses, and leaves. On the way back to his studio, however, he passes a woman he finds irresistible; he turns about and begins following her. Naturally, she too is headed for the museum . . . Each story is suitably light, and it is a pleasure to bask in Rohmer’s witty dialog. It’s also great fun to ogle the actresses—could Eric pull the birds, or what? The three leads here are, respectively, Clara Bellar, Aurore Rauscher, and Benedicte Loyen. I know nothing about these ladies beside the facts they appear in this film and are wonderful to look at (they all have fabulous noses).

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« Reply #15623 on: February 06, 2016, 06:11:55 AM »

Tightrope - 7/10 - Clint is very good as a police officer confronting his demons while hunting a New Orleans serial killer. The movie is stylish but uneven.

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« Reply #15624 on: February 06, 2016, 08:51:29 AM »

Perceval le Gallois (1978) 11/10. A cinematic miracle: it's as if Rohmer was able to take his cameras back to 12th Century France and record, not real life (boring), but a dramatic performance of Chrétien de Troyes' Arthurian romance. And it's a musical! With Fabrice Luchini as the parapetetic title character. Rohmer is inordinately faithful to his source--he leaves that which was never finished incomplete, and does not shy away from that bane of modern storytelling, digressions. I have loved this film since I first saw it (at SIFF) in 1978, and it gets better every time I return to it. And now I can watch it endlessly on Blu!

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« Reply #15625 on: February 06, 2016, 04:13:38 PM »

Perceval le Gallois (1978) 11/10. A cinematic miracle: it's as if Rohmer was able to take his cameras back to 12th Century France and record, not real life (boring), but a dramatic performance of Chrétien de Troyes' Arthurian romance. And it's a musical! With Fabrice Luchini as the parapetetic title character. Rohmer is inordinately faithful to his source--he leaves that which was never finished incomplete, and does not shy away from that bane of modern storytelling, digressions. I have loved this film since I first saw it (at SIFF) in 1978, and it gets better every time I return to it. And now I can watch it endlessly on Blu!

I saw it back then but can't remember much, only that I put it under Ronconi's Orlando Furioso.

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« Reply #15626 on: February 06, 2016, 05:02:31 PM »

The Pretender (1947) - 7/10. Albert Dekker plays a dodgy financier who, desperate for funds, decides to make an advantageous marriage. Only problem, the object of his desires already has a beau. So Dekker hires a hit man to eliminate his rival. Circumstances quickly shift, however, and Dekker finds himself suddenly married to his intended. Just as suddenly, he also realizes he has inadvertently placed himself in the killer's gun sight. And try as he might, there doesn't seem to be any way to cancel the contract. Hey, it's a noir world, baby! The picture's nice sense of dread is augmented by a Theremin and the high-contrast photography of John Alton. Any amazon Prime-ster can enjoy this snappy little tale here: http://www.amazon.com/gp/video/detail/B00GBCZ1EG/ref=atv_piv_owned Don 't have amazon Prime? Hey, it's a noir world, baby!

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« Reply #15627 on: February 06, 2016, 06:38:34 PM »

Perceval le Gallois (1978) 11/10. A cinematic miracle: it's as if Rohmer was able to take his cameras back to 12th Century France and record, not real life (boring), but a dramatic performance of Chrétien de Troyes' Arthurian romance. And it's a musical! With Fabrice Luchini as the parapetetic title character. Rohmer is inordinately faithful to his source--he leaves that which was never finished incomplete, and does not shy away from that bane of modern storytelling, digressions. I have loved this film since I first saw it (at SIFF) in 1978, and it gets better every time I return to it. And now I can watch it endlessly on Blu!

Luchini often relates the shooting of this movie on stage (he's doing La Fontaine, Céline and others readings that usually become one man shows) and it's hilarious.

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« Reply #15628 on: February 07, 2016, 04:53:43 AM »

The Brotherhood of the Bell (1970) -7.5/10

Great acting, atmosphere and pacing for a TV movie; it could have been even better without the naive ending.

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« Reply #15629 on: February 07, 2016, 09:36:49 AM »

Luchini often relates the shooting of this movie on stage (he's doing La Fontaine, Céline and others readings that usually become one man shows) and it's illarious.
You've seen him do this?

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