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Author Topic: Rate The Last Movie You Saw  (Read 1760708 times)
noodles_leone
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« Reply #15690 on: February 27, 2016, 05:51:39 AM »

Bone Tomahawk (2015) -

Don't be put off by any potential horror/gore elements, this is a damn good western with some soul. It was clearly made by someone that loves and understands the genre. The casting is excellent, as is the dialogue, and moves at a nice clip even though it's paced in a relaxed way, like an old Hollywood western.

Bone Tomahawk is definitely more of a western than a horror movie, its gore is completely justifiable for those who aren't horror fans.

8.5-9/10

Whoever hasn't seen this needs to rectify that.

I just checked out the trailer, it does look cool. I had seen images of Kurt Russel in a western outfit and was wondering where it was from. This movie has the Coenest cast ever.

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« Reply #15691 on: February 27, 2016, 09:49:53 AM »

Good Morning (1959) - 3/10
My first experience with Ozu is certainly a bad one. This is shit and I hope DJ doesn't come and defend it. Bad fart joke after bad fart joke. An ensemble cast of annoying, empty, dumb characters indistinguishable from one another. Criterion print was so bad that even the one potentially redeeming factor, its use of color, becomes obsolete. Best part of the movie was the 20 minute nap I took somewhere in the middle.
Well, if you're not even going to make an effort to see the film under good conditions (there are excellent Blu-rays available from the UK and Japan (both with English subtitles)), then I don't see why you even bothered. Unless you were going in determined not to like the thing from the start. Which sounds like your style.

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« Reply #15692 on: February 27, 2016, 01:56:51 PM »

Network - 6/10 - 2nd viewing. Overwrought, clunky junk that thinks it's a lot cleverer than it really is. Having characters deliver lecture after lecture on the soullessness of society is exhausting, and the satire isn't funny enough to compensate. Prescient maybe, but more of Jerry Springer than Glenn Beck.

All the King's Men (1949) - 8/10 - Archetypical political corruption story, well-told and engagingly acted.

The Candidate - 7.5/10 - Robert Redford plays a Kennedyesque Senatorial candidate who starts as a lost-cause idealist and sells out when he actually becomes competitive. Familiar territory but told with humor and wit. Good supporting cast including Melvyn Douglas, Peter Boyle and Allen Garfield.

« Last Edit: February 27, 2016, 01:58:19 PM by Groggy » Logged


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« Reply #15693 on: February 27, 2016, 02:42:17 PM »

Network - 6/10 - 2nd viewing. Overwrought, clunky junk that thinks it's a lot cleverer than it really is. Having characters deliver lecture after lecture on the soullessness of society is exhausting, and the satire isn't funny enough to compensate.
Two words: Paddy. Chayefsky.

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« Reply #15694 on: February 27, 2016, 09:09:48 PM »

Well, if you're not even going to make an effort to see the film under good conditions (there are excellent Blu-rays available from the UK and Japan (both with English subtitles)), then I don't see why you even bothered.
I'm glad I didn't go through the trouble. time, money, and space can not be wasted on this. but, Ozu is not dead for me... I'm willing to try one of his films that doesn't fucking suck (somehow never got to watching Tokyo Story yet).

Horace and Pete (Episodes 1 - 5, or Act I) - 9.5/10
I can't recommend this show enough. It's simple and brilliantly written. Dark but sometimes hilarious. Some of the best characters in TV (or...web?). Excellent performances from the top-billed actors (Buscemi, C.K., Lange, Alda, and especially the girl from Roseanne) but pretty shitty performances from some of the side actors. That doesn't matter ...this is a masterpiece in the making.

The price adds up a bit, the first 5 episodes are $16 total... but every penny is worth it. This is better than anything you'll see most of the year on standard TV or cinema - https://louisck.net/show/horace-and-pete

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« Reply #15695 on: February 28, 2016, 02:41:01 AM »

The Revenant 7.5/10

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« Reply #15696 on: February 28, 2016, 09:40:41 AM »

The Good the Bad and the Ugly (1966/68) - 12/10. An enterprising young immigrant named Tuco tries to be a success in the US during the Civil War, but an evil gringo keeps trying to steal his money. The hero is played by Eli Wallach (Shirley Temple's Storybook) and his nemesis by Clint Eastwood (The First Travelling Saleslady). There's also another baddie running interference, played by Lee Van Cleef (My Mother the Car). After many adventures Our Hero digs up a fortune, but then the gringo appears and steals half of it. Isn't that what those devils always do? Oh well, Tuco knows how to track. It's only a matter of time before he catches up with the second half of his fortune and the thief who took it. Until then we can all dream about the exquisite revenge Tuco will exact upon his enemy . . . 

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« Reply #15697 on: February 28, 2016, 10:05:57 AM »

I'm willing to try one of his films that doesn't fucking suck
It's true that Good Morning isn't one of Ozu's best, but it isn't as bad as you think it is. As a round-eyed, butter-eating foreign devil, you can't fully appreciate what's going on in it. Next time you're in Asia, be sure to sign up for a farting seminar and get acculturated.

Not that I think it will do you any good (but maybe someone reading this board 500 years in the future will benefit), here is my list of Ozu's Top 10 (in descending order of greatness).

Early Summer
Equinox Flower
Late Autumn
An Autumn Afternoon
The End of Summer
Tokyo Twilight
Tokyo Story
There Was a Father
Late Spring
The Flavor of Green Tea Over Rice

EF, LA, and AAA form an unofficial trilogy; the individual films accrue resonance when viewed sequentially (the order is unimportant).

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« Reply #15698 on: February 28, 2016, 12:33:13 PM »

The End of Summer (Kohayagawa-ke no aki) is the one I liked the most when I watched a bunch of them in the 80s. I needed a few of his films to get used to Ozu's style and his view of mankind. But then I enjoyed them.

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« Reply #15699 on: February 28, 2016, 03:14:40 PM »

A Face in the Crowd - 8.5/10 - Andy Griffith as a jailhouse troubadour who becomes a folk hero and demagogue; Patricia Neal his discoverer-sometimes lover, Lee Remick his bimbo wife, Walter Matthau a cynical journalist. Very well-done portrait of mass media and the power of personality; Griffith's a revelation, especially if you'd only his seen his TV show. Dock half a point for the overstated ending.

Room - 8/10 - Brie Larson and her little boy, locked in a shed by a creepy kidnapper. The first hour is engaging in that Wall-E/Cast Away sense; it's not quite like anything you've seen before, and it's interesting to explore how they exist in their cloistered little world. Then they escape, and the movie becomes more predictable, though still engaging. Larson has her Oscar sewn up; she's far better than Cate Blanchet or the other nominees.

« Last Edit: February 28, 2016, 04:03:41 PM by Groggy » Logged


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« Reply #15700 on: February 28, 2016, 08:22:28 PM »

The Spider (1945) Directed by Robert D. Webb Starring Richard Conte, Faye Marlowe, Kurt Kreuger (The Dark Corner), Ann Savage (Detour), Mantan Moreland, John Harvey, Martin Kosleck and Walter Sande. Interesting low budget film that was Richard Conte's first Noir, set in New Orleans. He plays a private detective who is hired to retrieve a letter for a client. The letter is held by his sometime partner Ann Savage who unfortunately is soon murdered. Mantan Moreland provides some eye popping stereotypical shtick as Conte's associate. 5/10

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« Reply #15701 on: February 29, 2016, 06:08:17 AM »

The Graduate (1967) 10/10. First viewing. I’ve avoided seeing this film for almost 50 years. Having just watched the Criterion blu-ray, I can’t tell you why. I guess I never believed people when they told me it was funny. I’d see clips from it, especially the “Plastics” gag, and go, That’s funny? In fact, the film really is funny, but all the humor is situational, emerging as the characters interact. Sound bites can’t do the Buck Henry script justice.

The humor is only the half of it, though. This film is the Citizen Kane of its generation—it could have been entitled Citizen Ben. Like Kane, The Graduate assembles all the cinematic techniques known to man up to that point and puts them on display, and not gratuitously, but to serve the story. Reflections, depth of field shots, telephoto shots, inventive framings, a traveling camera, “pre-lapping” dialog: the film has  it all.  Scene transitions are a wonder. Some are very flashy (Ben jumping on a pool raft and, after a cut, landing on Mrs. Robinson, et. al.) but all are successful at propelling the story.  Some scenes play out in long takes (Nichols, like Welles, was a man who came from the theater), but when they’re done there’s no lingering, it’s on to the next great moment. And there are only great moments.

The film has four principals: Ben, Mrs. Robinson, Elaine (the very beautiful Katherine Ross), and a cute red Alfa Romeo. Alfa Romeo doesn’t have a lot of lines, but he does provide the occasional shot of adrenaline when conversation lags. Anne Bancroft’s Mrs. Robinson is both sad and hilarious. There are a lot of wonderful character actors working in support (Norman Fell, for one). William Daniels and Elizabeth Wilson  do their best as Ben’s parents—the parts are a bit flat but at least they’re not up on screen a lot. Buck Henry’s cameo is amusing.

The casting of Dustin Hoffman is famously one of the greatest movie-making decisions ever. There is no doubt that his performance as the title character is key to the film’s success, and that no other actor could have been substituted for the role. Still, there is a problem. The part as written calls for a tall, blond, over-achieving debate team captain and track star. Hoffman is dark, short, and nebbishy. How to reconcile this? One solution: Hoffman represents a projection of the character’s inner being. While the other characters see him as a WASP superman, the audience perceives him as he perceives himself, weak and faltering.

The Graduate hasn’t dated, mostly because it features characters we can still recognize. Although presented as a counter-culture figure, Ben is merely discontent.  He has no cause other than himself. The film thus features a completely self-absorbed protagonist—another thing it has in common with Citizen Kane. And in 2016’s Culture of PowerRR, Ben still makes a credible Everyman.

Quote
Mr. Braddock: Ben, what are you doing?
Benjamin: Well, I would say that I'm just drifting. Here in the pool.
Mr. Braddock: Why?
Benjamin: Well, it's very comfortable just to drift here.
Mr. Braddock: Have you thought about graduate school?
Benjamin: No.
Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work?
Benjamin: You got me.

« Last Edit: February 29, 2016, 06:12:05 AM by dave jenkins » Logged


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« Reply #15702 on: February 29, 2016, 06:11:13 AM »

Counterpoint: The Graduate is shit.

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« Reply #15703 on: February 29, 2016, 06:14:18 AM »

Shit it ain't, but a 10er also not really. But still a great film. Always fun to watch.

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« Reply #15704 on: February 29, 2016, 08:29:53 AM »

I find it funny that dj, who goes to the ends of the earth to see obscure foreign films, didn't see THE GRADUATE! for all these years  Evil

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