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Author Topic: Rate The Last Movie You Saw  (Read 1832707 times)
Groggy
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« Reply #16155 on: June 16, 2016, 12:57:38 PM »

The Kremlin Letter - 6/10 - 2nd viewing. Liked it a lot more the first time. Many plot strands and characters to keep track of, but what to end? Just a long, muddled, violent exercise in cynicism, redeemed by an excellent cast.

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« Reply #16156 on: June 17, 2016, 05:35:14 AM »

The Neon Demon 7/10
More accessible than Only God Forgives but without more substance.
It's captivating and always surprising although I was almost never 100% in it.
Gorgeous, presumptuous, empty and cool cool cool.
The worst part are the dialogues, which are always based on good ideas but poorly written, like a first draft.
Neo is great. For the very first time.
Watch it in theater or don't bother and if you're DJ don't bother anyway.
I'll buy the BD.

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« Reply #16157 on: June 17, 2016, 02:29:15 PM »

Tap Roots - 7/10 - Van Heflin and Ward Bond organize resistance to the Confederacy in Civil War era Mississippi. Romantic entanglements with Susan Hayward (as Bond's daughter) and some Confederate douchebag. Boris Karloff plays an Indian medicine man, complete with brown face and English accent. Based on a James H. Street novel, inspired by the Free State of Jones.

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dave jenkins
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« Reply #16158 on: June 17, 2016, 02:57:12 PM »

The Neon Demon 7/10
Watch it in theater or don't bother and if you're DJ don't bother anyway.
Taking you at your word.

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« Reply #16159 on: June 18, 2016, 06:34:43 AM »

The Birthday Party - 7.5/10 - William Friedkin does his best handling Harold Pinter's bizarre play about a washed-up musician (Robert Shaw) driven mad by two menacing visitors. Cinematic enough thanks to Friedkin's pounding, claustrophobic direction, but this kind of play (with characters speaking in veiled, cryptic threats) doesn't translate well to film.

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« Reply #16160 on: June 18, 2016, 12:29:43 PM »

The Luck of Ginger Coffey - 7/10 - Early Irvin Kershner film with Robert Shaw as an Irish immigrant to Canada struggling to find work. Downbeat and dreary, like a British kitchen sink film transplanted to Montreal, but well-written and acted.

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« Reply #16161 on: June 20, 2016, 10:12:16 AM »

Custer of the West - 3/10 - Garbage Little Bighorn story fails on every front. Constantly looks cheap despite its Cinemascope photography, is less accurate than They Died With Their Boots On, has a stilted script and lousy acting, starting with the egregiously miscast Robert Shaw. Some decent action scenes but you have to wade through mountains of shit to find them.

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« Reply #16162 on: June 20, 2016, 12:19:30 PM »

TCM has been showing a bunch of Billy Wilder movies lately. I saw Sunset Blvd. and Stalag 17 over the weekend. (I think it's my third viewing of each film.)

Stalag 17 is nearly a perfect movie, it gets a 10/10. I'm a little down on Sunset Blvd. though; I think that both Swanson's performance and the script could have been toned down a little. I'd rather that Norma Desmond wasn't THAT crazy, it would have made for a lot more believable story, if she would have just been a little less nuts. Also, the script, Holden keeps telling us stuff we already know, there's no subtlety. Again and again, stuff like "she's waving to a parade that had already passed her by ..." Very good movie, but a little over the top.

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« Reply #16163 on: June 20, 2016, 06:41:51 PM »

Watership Down (1978) - 6.5/10
I liked the blood.

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« Reply #16164 on: June 21, 2016, 06:40:10 AM »

I'm a little down on Sunset Blvd. though; I think that both Swanson's performance and the script could have been toned down a little. I'd rather that Norma Desmond wasn't THAT crazy, it would have made for a lot more believable story, if she would have just been a little less nuts.
Why does the story have to be believable? If Swanson were a vampire, would her performance need toning down? I don't remember anyone ever complaining that Lugosi played Dracula too over-the-top. What's that? Swanson isn't a vampire? Sez you, numbnuts!

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« Reply #16165 on: June 22, 2016, 07:39:14 AM »

She Wore a Yellow Ribbon (1949) - 9/10. John Ford's love letter to the profession of arms. Refreshingly, the film favors a meandering narrative over the conventions of drama (e.g. all action does not build to a single climax). This allows Ford to explore the work-a-day-world of professional soldiering whilst dispensing with the usual story elements enjoyed by children and retards. Naturally Ford wishes to honor the men who fought WWII, and there are occasionally anachronistic touches (A fort bar operating during duty hours?), but attention to the details of Indian fighting circa 1876 is often scrupulously observed. One thing I noticed on this viewing is the many times the troop mascot races along with the horse soldiers--like something a painter might have observed; also, I was gratified to see the men on patrol routinely walking their mounts as per SOP; another great thing is the use made of bugle calls. I did a little bit of bugling in Boy Scouts myself--I even got the merit badge--and I remember having to learn a lot of the calls. It wasn't always clear to me what the purpose of every call was. When, for example, was "Officer's Call" used? The picture gives us an answer: when the commander wants his officers--and only his officers--to leave the troop and join him on point.

Ford goes wrong when he decides to throw in the occasional "humorous" scene; Victor McLaglen's donnybrook in the bar is an egregious case (and the reason I can't give this film a "10"). Also, Ford's taste in music is insipid--we get the tiresome title theme again and again ("Hey, this approach worked so well in My Darling Clementine") and too rarely a jaunty air such as "Garryowen" (the march tune of the 7th Cavalry). But these cavils do not spoil things for me. And then there's the glorious Technicolor, rendered so well on the new Warner disc in 1080p. Break out the sunglasses! Finally, it's wonderful to have an entertaining film where irony is almost non-existent and cynicism is zero. It's amazing that, once upon a time, such a film could be made.

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« Reply #16166 on: June 22, 2016, 11:16:17 AM »

Finally, it's wonderful to have an entertaining film where irony is almost non-existent and cynicism is zero. It's amazing that, once upon a time, such a film could be made.

What about American Sniper?

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« Reply #16167 on: June 22, 2016, 04:53:16 PM »

What about Deadpool?

Seriously, don't we have a lot of insipid films without irony? They tend to be fantasy films though.

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« Reply #16168 on: June 22, 2016, 04:54:48 PM »

What about American Sniper?
There's plenty of irony in AS. When the hero meets the guy at the oil change place who has lost his leg, Kyle feels uncomfortable about they guy fawning over his record. And when Kyle runs into his brother on the airfield (one brother departing the theater as the other is arriving) the brother expresses deep cynicism. Even Kyle's death is freighted with irony. Eastwood did what he could with the material, but he's as much a product of his era as anyone.

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« Reply #16169 on: June 22, 2016, 07:56:52 PM »

Per le antiche scale / Down the Ancient Stairs (1975) - 4/10. In 30s Italy, Marcello Mastroianni runs an asylum . . . is that political allegory we're smelling? Yes, the rankest kind.  Marthe Keller, Barbara Bouchet, and Lucia Bose are all on hand, and Marcello is banging each (Ms. Bouchet, of course, the only one doing nude scenes). Then Françoise Fabian shows up, and still Marcello can't be happy. There must be something to those suspicions Marcello has that he's going insane. Not even a Morricone score can save this pile of dreck. https://www.youtube.com/watch?v=U2mTrUR2jtw

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