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Author Topic: Rate The Last Movie You Saw  (Read 1831403 times)
noodles_leone
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« Reply #16350 on: October 01, 2016, 03:38:30 AM »

L'aventure c'est l'aventure  Kiss/10

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« Reply #16351 on: October 02, 2016, 11:27:46 AM »

MARTIN SCORSESE PRESENTS MASTERPIECES OF POLISH CINEMA.

Some of these masterpieces ain't so masterful.

Aktorzy prowincjonalni / Provincial Actors (1979) - 5/10. A guy playing the lead in a classic Polish play out in the sticks has creative differences with his director. Meanwhile, he's also having problems with his wife at home. Could the problem in both cases be because . . . he's an asshole? This is a difficult film to watch because the central character is so unpleasant. The long-suffering wife (obviously the director's surrogate) is so nice she's bland. The film was Agnieszka Holland's first feature; happily, her later work showed improvement.

The Hourglass Sanatorium (1973) - 6/10. A man travels to a sanatorium that is able to manipulate time. So, although the man's father has died, the man can still see and speak with his father at the clinic. He can also re-experience a variety of events from his childhood and from the books he's read. I tried watching this once on DVD but couldn't make much headway. Now on Blu I was able to get through it but it was still a bit of a slog. There are some arresting images, but almost no plot. It's a relief when it all finally ends.

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« Reply #16352 on: October 02, 2016, 12:58:17 PM »

20,000 Years in Sing Sing (1932) 7.5/10

Spencer Tracy plays a crook in Sing Sing. Bette Davis is his moll. Arthur Byron plays the warden. Noir-style cinematography.

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« Reply #16353 on: October 03, 2016, 08:25:38 AM »

MARTIN SCORSESE PRESENTS MASTERPIECES OF POLISH CINEMA.

Watched Night Train again: I like it more and more. I need to upgrade it to an "8." The storytelling is good, but the technical achievement is outstanding. The integration of studio footage with live train travel is seamless.

Now on to more good stuff:

Walkover (1965) - 9/10. Tereza arrives in town to assume her duties as an engineer in a factory; Andrzej has come for a boxing match. Are the two together? They are together in most scenes, and they talk like they know one another. But are they actually together together? I guess that's what the film wants the audience to ask, and it eventually provides an answer, sort of.

The camera never stops moving. The most impressive work comes at the film's climax: Andrzej has won his first match, and is scheduled to fight again the next day, against a powerful boxer to whom he is certain to lose. So Andrzej is inclined to skip the match (and provide his opponent with the "walkover" of the title). He goes with Tereza to the train station, where he's spotted by one of the boxing match participants. What's up, Andrzej, you leaving? What about the match? There is no match, Andrzej says and hops on the train. The other guy steals a motorcycle and chases the train. We cut to a shot on board the train, facing away from the engine, toward the back of the train. In the foreground is an open portion of a train car; Andrzej and Tereza are standing on it. The camera tilts up: the train is passing under a bridge, and above the guy on the motorcycle is crossing the frame, calling out to Andrzej. No cut: the camera reframes to the side of the train car; the guy on the motorcycle is in the upper left-hand side of the frame, on an elevated road paralleling the train track; the guy is still crying out: "Come back, you coward!" Still no cut: the camera pans over to the right side of the train, then moves back to the left. A woman comes out of the train car and asks Andrzej and Tereza for a light. Still no cut. The motorcycle guy is now in the bottom left of the frame, still paralleling the train, still imploring Andrzej to come back. Suddenly Andrzej hurls his suitcase off the train, and still without a cut, hops down himself, propelled by the train's motion, leaps over a barrier, scrambles onto the back of the motorcycle; cycle and riders then speed away in the opposite direction. The actor did the stunt and again, there was no cut. One of the most amazing long takes I've ever seen. It was so fantastic I had to go back and watch it a second time. Jerzy Skolimowski has got to be one of the greatest writer-directors ever.

Nice jazz score. The film is pretty funny, and has a particularly hilarious ending.

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« Reply #16354 on: October 04, 2016, 06:49:51 AM »

MARTIN SCORSESE PRESENTS MASTERPIECES OF POLISH CINEMA.

Austeria (1982) - 7/10. More singing and dancing than Fiddler on the Roof--and this isn't even a musical! What it is is a drama about Jews running for dear life on the first day of WWI and holing up in a Jewish tavern (which is what the "austeria" is, I believe). All manner of Judaism is represented, but the Hasidim are the nuttiest. Told not make any noise that might attract bands of roving Cossacks, they immediately burst into song. Well, I guess if you gotta go, one way is in a state of religious ecstasy. This film is nicely photographed and edited: it uses brief flashbacks to provide backstory, but sparingly. One such begins with a desaturation effect and closes, to great dramatic effect, by bringing the full colors back in. Very nice.

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« Reply #16355 on: October 04, 2016, 06:36:33 PM »

A few i've watched recently, I'm sure I'm forgetting some.

The English Patient (1996) - 6.5/10
Decent enough Hollywood epic/romance that's kinda like Lean-lite. It's not nearly as bad as I thought it'd be, actually pretty decent. Yup, overlong, and a bit hard to follow, but worth watching once. Some very memorable scenes, like lovemaking during the Christmas party and the desert plane stuff. I read this cuz, like noodles_leone, I just read The Conversations with Walter Murch. Finished it today. Excellent stuff. Starting Blink of an Eye tonight.

Red Rock West (1994) - 7.5/10
Nice dirty, raw-looking neo noir. It's flawed in a way that creates a grimy personality for the film's own good. Like most people comment, a bit too many twisty plot moments toward the end. But certainly worth watching.

Incendies (2010) - 8/10
That Denis Vellenuenvae guy is pretty fucking good. This was like every Once Upon a Time film plot mashed into one, which surprisingly works very very well. Until the end that is, where the big reveal is about as contrived as can be. But that's okay, the rest is excellent. Wouldn't put it up with Sicario or Prisoners, but as far as those 3 go, Denis is clearly one of the best filmmakers of his generation. Will continue going through his filmography up to the Arrival release.

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« Reply #16356 on: October 05, 2016, 05:45:02 AM »

MARTY AND THE POLES.

Salto / Jump (1965) - 4/10. A man on the run takes refuge in a small town. He changes the villagers' lives. Or something. Then his wife shows up. She's the one he's running from! The film is utterly tedious until the big let-down reveal at the end. What a masterpiece!

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« Reply #16357 on: October 07, 2016, 07:18:35 AM »

Had to take a break from the Poles, so . . .

Women in Love (1969) - 10/10. Wow, this restoration from the BFI is amazing. I've never seen the film, but the colors and flesh tones of this presentation look authentic. Billy Williams' lighting, especially outdoors, is remarkable for the production era.

I'm not much of a D.H. Lawrence fan, but according to the audio commentary by Larry Kramer, the guy who produced the film and wrote the screenplay, this film follows the book faithfully (and even adds a poem by Lawrence). The scene with Oliver Reed and Alan Bates wrestling in the nude is one of the most bizarre I've ever seen. Glenda Jackson flashes her tits--and her armpit hair (Drink, alert!). Eleanor Bron is in this! Even Vladek Sheybal!!! How is it I've never seen this very entertaining film before?

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« Reply #16358 on: October 07, 2016, 07:24:10 AM »

The scene with Oliver Reed and Alan Bates wrestling in the nude is one of the most bizarre I've ever seen. Glenda Jackson flashes her tits--and her armpit hair (Drink, alert!).

Two solid reasons to skip it.

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« Reply #16359 on: October 07, 2016, 08:32:16 AM »

Two solid reasons to skip it.

See DJ, even Europeans in 2016 don't like girls with armpit hair  Tongue

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« Reply #16360 on: October 07, 2016, 10:49:33 AM »

I think the comment comes because Ms. Jackson isn't known for her good looks. If we were talking about someone titoli actually lusts for (Paola Torrente, say), we'd get a different reaction.

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« Reply #16361 on: October 07, 2016, 12:49:30 PM »

I think the comment comes because Ms. Jackson isn't known for her good looks. If we were talking about someone titoli actually lusts for (Paola Torrente, say), we'd get a different reaction.

Does she shave her armpits?

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« Reply #16362 on: October 07, 2016, 01:51:56 PM »

Does she shave her armpits?
No idea. Great jugs, though.

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« Reply #16363 on: October 07, 2016, 03:36:34 PM »

No idea. Great jugs, though.
Which makes me wonder if Glenda Jackson has got any tits to show at all. I seem to remember another movie where she dared to bare her chest, but I could be wrong.

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« Reply #16364 on: October 07, 2016, 04:49:48 PM »

Her tits aren't bad (or weren't, back in '69). Shame she's always had the face of a horse.

UPDATE: You may be thinking of Vanessa Redgrave, who took off her top in Blow-up. There was nothing there (which fit with the theme of the film).

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