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Author Topic: Rate The Last Movie You Saw  (Read 1834288 times)
dave jenkins
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« Reply #15660 on: February 11, 2016, 01:22:31 PM »

It's gonna be a Jan Troell weekend! We begin with:

The Emigrants (1971) – This 3-hr movie is divided into two parts by an intermission. Part One makes the case for leaving 19th Century Sweden behind—there was no religious freedom there, not much economic freedom either (if you were lucky you had rotten land to till; if unlucky you had someone else’s rotten land to till); society was rigidly stratified. Worse, the country was over-run with Swedes. Why would anyone stay there? Part Two makes things clear: you could die trying to leave. First there was the 10-week sea passage, which might be pleasant if you and your berth mates weren’t spending the whole time vomiting on each other. Then there was the journey by train and the long riverboat trip, and finally an overland trek on foot: why, exactly, did the Swedes have to go all the way to Minnesota to settle? (The film contains a great gag: Minnesota here is played by rural Sweden!). Anyway, I imagine the film accurately represents 19th Century emigration to the US, something close to what my own ancestors must have gone through (although they came from Germany). I feel a new appreciation for the sacrifices they made so I could be a citizen of the greatest nation on earth. I also come away from the film with a fervent determination to never again fly coach.

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« Reply #15661 on: February 11, 2016, 07:13:39 PM »

Hail, Caesar! (2016) - 5.5/10
I feel kind of indifferent about this one - I wouldn't say that I dislike it or like it, really. I enjoyed all of the film recreations. I kind of liked the cowboy character and Brolin's character. The overall plot wasn't very enticing though. This is better than Intolerable Cruelty, but considering the Coens didn't also write that, then this is their worst film (Ladykillers is better).

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« Reply #15662 on: February 12, 2016, 05:59:14 AM »

Hail, Caesar! (2016) - 5.5/10
I feel kind of indifferent about this one - I wouldn't say that I dislike it or like it, really.
But will you ever feel like watching it again? I'm thinking . . . No.

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« Reply #15663 on: February 12, 2016, 12:58:53 PM »

31 Days of Oscar on TCM

saw a couple of overrated Carol Reed movies lately, The Third Man (second viewing) and The Fallen Idol (first viewing). Neither is great. Yeah, The Third Man has a few very famous scenes and a very famous score and all that, but IMO overall not a great movie. I'd give both films around a 7.5/10; maybe The Third Man a half-point higher.

Also saw a crappy early John Ford movie, The Lost Patrol (1934) 5.5/10. With Victor McLaglen, Boris Karloff and Wallace Ford. A patrol of British soldiers are lost in the Arabian desert during World War I. This story has been used for a number of other films.

https://en.wikipedia.org/wiki/The_Lost_Patrol_%281934_film%29

http://www.imdb.com/title/tt0025423/

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« Reply #15664 on: February 12, 2016, 01:15:22 PM »


saw a couple of overrated Carol Reed movies lately, The Third Man (second viewing) and The Fallen Idol (first viewing). Neither is great. Yeah, The Third Man has a few very famous scenes and a very famous score and all that, but IMO overall not a great movie. I'd give both films around a 7.5/10; maybe The Third Man a half-point higher.
You have no standards. TTM is a 5; TFI is a 4.

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« Reply #15665 on: February 12, 2016, 02:11:32 PM »

 Noir light, George Sanders, Geraldine Fitzgerald, Ella Raines, you'll find it similar to another well known noir. 7/10 Enjoy

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« Reply #15666 on: February 12, 2016, 02:15:23 PM »

Noir light, George Sanders, Geraldine Fitzgerald, Ella Raines, you'll find it similar to another well known noir. 7/10 Enjoy


you mean The Strange Affair of Uncle Harry ?

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« Reply #15667 on: February 12, 2016, 02:27:05 PM »

I'm thinking . . . Yes.

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« Reply #15668 on: February 12, 2016, 02:30:51 PM »

Forgot to add the link The Strange Affair of Uncle Harry (1945) sorry : http://www.dailymotion.com/video/x240s4n_the-strange-affair-of-uncle-harry-1945-feature_shortfilms

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« Reply #15669 on: February 13, 2016, 06:22:17 PM »

Joan of Paris (1942)

saw this as part of TCM's 31 Days of Oscar - this film got an Oscar nomination for Best Score

Silly little film  - basically propaganda for our allies in Occupied France - with lots of screwups. But it somehow manages to be entertaining; hence I give it a 7/10, which I have to give to any movie that entertains me no matter how dumb.

Five British bombers are shot down over rural France. They head to Paris to try to make a connection with the Underground so they can get back to England. Chief among them is Paul Henreid, who is a Free Frenchman who joined the Brits after the occupation. While in Paris, he meets and falls in love with Michele Morgan. (Truth is, I am so obsessed with Morgan from Port of Shadows that I'd enjoy any movie she is in.) Henreid works with a sympathetic priest (Thomas Mitchell) to make a connection with the Underground.

Meanwhile, the Gestapo know exactly who Henreid is, arrest him, but the head Gestapo guy, Herr Funk (Laied Cregar, played with all the eccentricities that all high-ranking Nazis were played with in these movies) lets him go. As Funk explains to his agents, it's best to let Henried go, tail him, and hope he leads them to the other four bombers they know are floating around somewhere.

But then, all sense goes out the window: the Gestapo's idea of a tail is this one man, the same man, following Henreid around all day. He sticks to Henreid (like a postage stamp), Henreid has to do all he can to shake the tail. Now, I thought the Gestapo's point was to secretly follow Henreid and hope he leads them to the other four guys. How is this accomplished when the guy just sticks to Henreid with no pretense of secrecy? Stupid, of course. Furthermore, this tail is at least 20 years older than Henreid, and during one of the many times that Henreid is walking down a dark street, he could simply outrun the guy, or even strangle him. Yet Henreid just tries to duck from one alley to another. Stupid.


SPOILER ALERT TILL END OF POST


Then at the end, when Morgan is forced by the Gestapo to give up Henreid & Co., she leads them to where they are rendezvousing but of course just a  minute late  ... if she was planning on leading the Gestapo astray, knowing she'd be killed afterward, shouldn't she lead them far away from where the men are rendevouzing? But of course, leading them to that spot but one minute late is more fun cinematically. As are the other shitty stuff in the movie - more fun cinematically even though it makes no sense.

Then at the very end, a scene with Mitchell speaking to Morgan in prison, as she is about to be led out to be killed. A needless scene.

But I do give them credit for the ending. There is no happy ending - Morgan gets killed. But in the final shot, you see 5 British bombers flying in the sky ... Point is, sacrifices had to be made as we fight the good fight and the world can be free.

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« Reply #15670 on: February 13, 2016, 11:49:35 PM »

Five Graves to Cairo - 8/10 - WWII thriller/propaganda flick by Billy Wilder. Excellent opening scene (a tank full of dead bodies drifting across the desert), followed by a slow forty-five minutes or so. Once the actual plot gets under way it's really good, the Macguffin is exceedingly clever, and some of the big suspense scenes (when the Nazi Lieutenant discovers Franchot Tone's identity) are brilliant. The script is also littered with most of Wilder's usual wit, though there's also a lot of speechmaking about the evils of Fascism/et al. The ending is also a bit underwhelming.

Just saw this on TCM; I give it a 7.5/10

For those who can't get enough of Erich von Stroeheim as the German officer in GRAND ILLUSION, you can feed your habit by also watching FIVE GRAVES TO CAIRO. Reworking of an old play, updated to be about WW2.

I liked Franchot Tone here (if you can accept him playing a Brit with American accent). Baxter does a nice French accent. I also remember her doing a good Mexican accent in a weird movie called something like WALK ON THE WILD SIDE, so she was good with these accents.

I disagree with what you said about speechmaking. Maybe I am erong, but I only recall one speech about facsism vs. freedom. I can deal with one speech like that.

Also, I disagree with you on the ending, I think it is pretty good

SPOILER ALERT FOR REST OF POST

Baxter is a sacrifice, in war there aren't any real "happy endings." In order for the war to be won and freedom to prosper, a lot of people had to die, and I think that in any good war movie, there have to be important people dying. I think this ending is good - she makes the ultimate sacrifice, Tone visits her grave and then he is called away to fight.

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« Reply #15671 on: February 14, 2016, 07:41:10 AM »

Deadpool (2016) - 8/10. Hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha. I like these Marvel superhero films that don't take themselves too seriously. Ant-Man was the film for kids; this is the one for kids over 30.

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« Reply #15672 on: February 14, 2016, 11:36:34 AM »


The Whisperers (1967) - 7/10

Old 'n' tough to swallow British social drama from the late 60s; character driven, without too much plot maneuvering, but with solid acting and directing. Worth a look.

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« Reply #15673 on: February 14, 2016, 01:39:23 PM »

Two for Valentine's Day, courtesy of a Hulu trial period:
Cousin Cousine (1975) - I've been avoiding this movie for 40 years, and now I know why. It's a silly film filled with silly characters. Marie-Christine Barrault, however, is attractive (note to Drink: Ms. Barrault's underarm hair is so blonde as to be practically invisible!).

Scattered Clouds (1967) - A Japanese Brief Encounter. And man is it Japanese! Nothing quite takes the edge off romance as do constant intimations of mortality, you know?

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« Reply #15674 on: February 14, 2016, 08:45:30 PM »

MAKE WAY FOR TOMORROW (1937) 5/10

http://m.imdb.com/title/tt0029192/

supposed to be some sort of forgotten masterpiece. It's shit.

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