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Author Topic: Rate The Last Movie You Saw  (Read 1767033 times)
dave jenkins
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« Reply #17115 on: May 23, 2017, 09:58:35 AM »

Girls und Panzer, der Film (2015) 8/10. The greatest anime TV show is now the greatest anime movie! Well, kinda. This starts out great, with a running tank battle that lasts 25 minutes. Peerless CGI. But then the plot kicks in, and it's a (heh) retread. If the girls don't win the big match, their school will close! Wait, that was the plot for the TV show, and the girls were successful, so, . . . what? Turns out the Ministry of Education welched on the first deal, but they're willing to offer a new one, and this time they'll even put things in writing. So it's win or die for our tankery girls. Complicating matters is that the team they're going up against has a captain who must also win if she is going to save the Punchy Museum (Punchy is a great character, a Hello Kitty type bear in bandages--he's always being bullied by other stuffed characters. Genius: kawaii and kawaiso , simultaneously in a single being). So true moral complexity is achieved with this clash of virtues. Makes things kind of heavy, though. What made the show so successful was the light tone throughout. This is good, just not up to the amazing standards of the original series.

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« Reply #17116 on: May 24, 2017, 08:40:07 PM »

Alien: Covenant - 3/10
Dull as fuck, and I liked Prometheus.

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« Reply #17117 on: May 25, 2017, 05:29:27 AM »

Eating Raoul (1982)
 

 
Hilarious black comedy about an insufferably boring couple Paul and Mary Bland who think of a creative way to open up a restaurant. 9/10

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« Reply #17118 on: May 25, 2017, 02:26:16 PM »

Get Carter (1971). Brilliant, love it. 10/10. Caine has stated that he wanted Carter to get away in the end. So did I.

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« Reply #17119 on: May 25, 2017, 02:41:03 PM »

Get Carter (1971). Brilliant, love it. 10/10. Caine has stated that he wanted Carter to get away in the end. So did I.

Agree a great Neo Noir. no matter what tit's thinks !!!!

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« Reply #17120 on: May 25, 2017, 05:00:13 PM »

Get Carter (1971). Brilliant, love it. 10/10. Caine has stated that he wanted Carter to get away in the end. So did I.

SPOILERS FOR "GET CARTER"

i remember hearing someone say that they killed off carter to ensure that no crappy sequel would be made. No idea if that's serious

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« Reply #17121 on: May 25, 2017, 08:00:04 PM »

i remember hearing someone say that they killed off carter to ensure that no crappy sequel would be made. No idea if that's serious

Yes, that's what I read.

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« Reply #17122 on: May 26, 2017, 04:00:22 AM »

Get Carter (1971). Brilliant, love it. 10/10. Caine has stated that he wanted Carter to get away in the end. So did I.

Great movie, Michael Caine is superb. The ending took me quite by surprise the first time I watched the movie. It fits the mood of the movie IMHO, but yeah, I also wanted him to get away with it.

Director Mike Hodges also made 2 other neo noirs that are well worth checking out, 'Croupier' (1998) and 'I'll Sleep When I'm Dead' (2003), both starring Clive Owen.

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« Reply #17123 on: May 26, 2017, 10:54:17 AM »

Xh, Croupier has been on my list for a long time.

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« Reply #17124 on: May 27, 2017, 06:28:28 AM »

Get Carter (1971). Brilliant, love it. 10/10. Caine has stated that he wanted Carter to get away in the end. So did I.

Outstanding neo-noir. Ending cements its status as top draw neo.

When Jack went home!

Get Carter, not just one of the finest exponents of British neo - noir, but one of the greatest British films ever, period. Michael Caine stars as Jack Carter, a tough no nonsense operator in the London underworld who returns to his home town of Newcastle Upon Tyne when his brother turns up dead.

Directed and adapted to screenplay by Mike Hodges from Ted Lewis' novel Jack's Return Home, Get Carter is a bleakly atmospheric masterwork that takes the period setting of the time and blends harsh realism with film noir sensibilities and filters it through an uncut prism of doom.

Jack Carter as created by Caine and Hodges is the quintessential film noir anti-hero. He smokes French cigarettes and reads Raymond Chandler, there is no hiding the respect and homages to classical noir pulsing away as Jack goes on his not so merry way. He's a vengeful angel of death, but sexy as hell with it, he even has humorous pearls of wisdom to spout, delivered with relish by Caine who is at his snake eyed best.

In a strange quirk of the narrative, Jack is home but he's a fish out of water, he's a suited and booted Cockney lad moving amongst the flotsam and jetsam of North Eastern society. It's a crumbling landscape of terraced houses and coal yards, of seedy clubs and bed and breakfast establishments where, as Jack wryly observes, the beds have seen untold action.

Jack Carter is a hard bastard, borderline psychotic once his mind has tuned into the frequency that plays to him the tunes of mistrust, of double-dealings, liars and thieves, of pornographers and gangsters who thrive on gaining wealth while the society around them falls into a depression. It's Fog on the Tyne for sure here. Yet Jack is not devoid of heartfelt emotion, his family ties are strong, and there is a point in the film when Jack sheds a tear, it is then when we all know that all bets are off and there will be no coming back from this particular abyss.

Hodges and cinematographer Wolfgang Suschitzky strip it all back for maximum impact, so much so you can smell the salt of the murky sea, feel your lungs filling up with chimney smoke, the whiff of working class sweat is all around, and all the time Roy Budd's contemporary musical score jingles and jangles over proceedings like a dance of death waiting to reach its operatic conclusion. And with Caine backed up by a roll call of super working class character actors, Get Carter just gets better as each decade of film making passes.

Like its antagonist/protagonist (yes, Jack is both, a deliberate contradiction) it's a film as hard as nails, where home format releases should be delivered through your letterboxes in a metal case. No lover of film noir can have an excuse to have not seen it yet. Funny, sexy, brutal and not without a ticking time bomb of emotional fortitude as well, Get Carter is the "A" Bomb in Grey Street. 10/10

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« Reply #17125 on: May 27, 2017, 06:34:20 AM »

The Conjuring 2 (2016) - http://www.imdb.com/title/tt3065204/reference 8/10

Though it is in no way close to being the actual story it is based on, it's a damn underwear soiler.

The Neighbour (2016) - http://www.imdb.com/title/tt3330764/reference 7/10

Effective thriller  - frantic resolutions...

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« Reply #17126 on: May 27, 2017, 09:25:47 AM »

Thanks for the review, Spike. Get Carter is a movie I could talk about for hours. Looking at pictures of Newcastle now, it's hard to believe how it was. Just as a time capsule it is fascinating. I come from a city very much like this one, it used to be nothing but iron, coal and steel.

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« Reply #17127 on: May 27, 2017, 10:49:44 AM »

The Conjuring 2 (2016) - http://www.imdb.com/title/tt3065204/reference 8/10

Though it is in no way close to being the actual story it is based on, it's a damn underwear soiler.

It's a solid 2/10 in my book. They don't even pretend it's an actual movie. Everything that was ok-to-good in the first one is forgotten, they only took the very worst stuff and overplayed them to death. The cinematography and the editing are among the worst I have seen in the "horror flick, but in a sleek way" trend of the past 15 years.

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« Reply #17128 on: May 27, 2017, 12:34:39 PM »

Cops vs Thugs / Kenkei tai soshiki boryoku (1975) - 7/10. A cop in Western Japan discovers it's not such a good idea to be friends with a yakuza underboss. Gritty 70s police actioner, and the soundtrack's got wah-wah guitar to prove it (looks and sounds good on the new Arrow blu).

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« Reply #17129 on: May 27, 2017, 02:46:53 PM »

Le Notti Bianche (1958) - 7/10. Wow, talk about impressive sets! And Rotunno apparently knew how to light them. According to IMDb, Maria Schell actually learned her lines in Italian and spoke them correctly. She was not dubbed by an Italian actress--did she dub herself in her own voice? That's the inference; impressive if true. Oh, the Dostoyevsky story is OK.

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