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Author Topic: Rate The Last Movie You Saw  (Read 1807887 times)
dave jenkins
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« Reply #17430 on: October 26, 2017, 01:03:57 PM »

Antoine et Antoinette (1947) - 5/10. This begins promisingly: a working couple, striving to make ends meet, getting by on spirit alone. Antoinette is cute and men are constantly after her--the neighbor, a customer at work, Roland the grocer. Antoine is a boy scout in most things, but when it comes to his wife: watch out! Just when this situation seems ready to pay off (with Roland becoming ever more insistent), it gets sidelined for a stupid story about a winning lottery ticket that goes missing. Suddenly success is no longer a matter of personal initiative, that damned ticket has to be found at all costs. By the end, I'd completely lost interest in the couple. As they go racing down the road in their new motorcycle-and-sidecar (they found the ticket!) I wanted so much for a bus to swerve in and cream them. Also something is wrong with the Gaumont Blu-ray: it looks like it was transferred from videotape.

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« Reply #17431 on: October 27, 2017, 01:51:25 AM »

High Tide (1947): Lee Tracy and Don Castle drive off a cliff and are stuck inside the car as the tide rolls in. Flashback to the events leading up to that point. Tracy's a ruthless newspaper editor who sent a crook to the chair and has set his eyes on an even bigger gangster. He hires Castle to make sure he stays around long enough for it. And soon Castle's implicated in the murder of Tracy's boss. Decidedly B (it's a Monogram picture), convoluted plot, and noir through and through. Not a hidden gem, and the version I saw was barely watchable at best, making things hard to follow at times, but it was enjoyable enough. 6+/10

It's available on youtube, but as I said the quality is abysmal. The Film Noir Foundation has restored this movie from an original 35mm print, but I don't think it's been released on DVD/blu-ray yet. I would love to see it in good quality.

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« Reply #17432 on: October 27, 2017, 03:13:04 AM »

The Unbearable Lightness of Being (1988) 5.5/10

This movie at times is, yes, unbearable. If you want to sit through almost 3 hours of shit for a bunch of nude scenes with women with armpit hair and mustaches, this is the perfect movie for you. There’s a nice, cello-based musical theme. Best thing about this movie is the pet piglet. Actually, no - the best thing was when it was over.

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« Reply #17433 on: October 27, 2017, 09:39:33 AM »

The Unbearable Lightness of Being (1988) 5.5/10

This movie at times is, yes, unbearable. If you want to sit through almost 3 hours of shit for a bunch of nude scenes with women with armpit hair and mustaches, this is the perfect movie for you. There’s a nice, cello-based musical theme. Best thing about this movie is the pet piglet. Actually, no - the best thing was when it was over.
So, there was nothing in there about the 1968 Soviet invasion of Czechoslovakia? Nothing at all? Huh, I was mislead as to the content of the film, I guess . . . .  Cheesy

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« Reply #17434 on: October 28, 2017, 07:33:42 AM »

Seance On A Wet Afternoon (1964): Medium Kim Stanley and her weakling husband Richard Attenborough kidnap the daughter of a wealthy businessman, hoping to achieve fame and wealth by 'helping' the parents get their daughter back via Stanley's paranormal powers. Slow and talky movie, but wow, does it matter?! Amazing performances by Stanley and Attenborough, gorgeous and creative cinematography & directing, excellent creepy score (by Bond theme composer John Barry) and an overall tense atmosphere. 9/10

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« Reply #17435 on: October 28, 2017, 08:13:02 AM »

Seance On A Wet Afternoon (1964): Medium Kim Stanley and her weakling husband Richard Attenborough kidnap the daughter of a wealthy businessman, hoping to achieve fame and wealth by 'helping' the parents get their daughter back via Stanley's paranormal powers. Slow and talky movie, but wow, does it matter?! Amazing performances by Stanley and Attenborough, gorgeous and creative cinematography & directing, excellent creepy score (by Bond theme composer John Barry) and an overall tense atmosphere. 9/10

Never seen this one yet  Cry

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« Reply #17436 on: October 28, 2017, 08:48:56 AM »

Never seen this one yet  Cry

Try and find it if you can, I imagine you would be really into this one, even if only for the visual aspect of it.

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« Reply #17437 on: October 28, 2017, 11:40:31 AM »

Loving Vincent (2017) - 6/10. The conceit of the film is excellent: making every frame of a film about Van Gogh look like one of his paintings. You will believe that Van Gogh's pictures can move! In execution, however, things aren't all that. The lame plot follows the Citizen Kane template: after Vincent's death, a guy moves around interviewing people who knew him and we get flashbacks of Vincent as he was in life--but there is no Rosebud moment. Also, the filmmakers have decided to show all flashbacks in black & white! Not only is that a tired cliché, it completely robs the film of its raison d'être (How often did Van Gogh paint in black and white?) To add insult to injury, we have to endure a new version of Don McLean's "Vincent" at the end of the film. Amazing as this film is visually (at times), I don't think I'll be buying the BD.

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« Reply #17438 on: October 30, 2017, 06:34:57 AM »

On Body and Soul - Ildiko Enyedi

This masterly film reminds me how amazing East European films often were until the 90s. It deserves a bigger audience, but only a handful of people will watch it.

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« Reply #17439 on: October 30, 2017, 11:09:52 AM »

On Body and Soul - Ildiko Enyedi

This masterly film reminds me how amazing East European films often were until the 90s. It deserves a bigger audience, but only a handful of people will watch it.

what happened after the 90s?

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« Reply #17440 on: October 31, 2017, 07:44:37 AM »

In France at least, I see the 2000’s as a decade of professionnalisation of the whole industry. We started to at least try to make our movies look ok. Not artistic, not stylized, just like somebody on set cared about what was happening. On the same time, many screenplays were directly influenced by Hollywood standards, which lead to a decade of uniform and empty movies. So it was just a decade of technical transition.

That decade created a big gap between high budget (10 millions and +) mainstream shit and cheap (3 millions and under) artsy stuff. Many people wrote about the lack of “films du milieu” (we previously had tons of them).

Now the whole thing matured a bit and we see a more stable industry. I think we may see interesting while not too artsy French movies soon.

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« Reply #17441 on: October 31, 2017, 08:33:34 AM »

In France at least, I see the 2000’s as a decade of professionnalisation of the whole industry. We started to at least try to make our movies look ok. Not artistic, not stylized, just like somebody on set cared about what was happening. On the same time, many screenplays were directly influenced by Hollywood standards, which lead to a decade of uniform and empty movies. So it was just a decade of technical transition.

That decade created a big gap between high budget (10 millions and +) mainstream shit and cheap (3 millions and under) artsy stuff. Many people wrote about the lack of “films du milieu” (we previously had tons of them).

Now the whole thing matured a bit and we see a more stable industry. I think we may see interesting while not too artsy French movies soon.

OK thanks.

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« Reply #17442 on: October 31, 2017, 01:24:40 PM »

what happened after the 90s?

Capitalism came, and funnily the new freedom killed the ambitious film production, which had bloomed despite the communistic censorship restrictions.

Enyedi for example became famous with My 20th Century (1989), made 3 more films in the 90s, which did not make it to Germany in any form, could not make another feature film after 1999 for 17 years (but worked for Hungarian TV), and won this year the Golden Bear of the Berlin Film Festival.

In the 80s many excellent East European films were at least shown on TV, but in the 90 this all disappeared more or less. There were still a few exceptions like Emir Kusturica, Lucian Pintilie and Goran Paskaljevic in the 90s, but only Kusturica really survived the 90s (but with meanwhile forgettable films) by still finding release companies for his films. And Kieslowski is far too long pretty dead.

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« Reply #17443 on: November 01, 2017, 02:36:23 AM »

Inside The Mafia (1959): Very loosely based on the murder of mobster Albert Anastasia and the so-called Apalachin meeting of the American mafia. Ted De Corsia gets gunned down in a barber shop, his righthand man Cameron Mitchell plans revenge. He takes over an emergency airstrip where the mafia's top guy will be flying to for a summit to discuss re-allocating the main territories. Low budget movie, but well made, and quite enjoyable. 6+/10

Available on yt in pretty decent quality.

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« Reply #17444 on: November 01, 2017, 06:40:45 AM »

Junior Bonner (1971) - 8/10. Uh oh, the new Kino blu is struck from the dreaded "dated master." Black levels are elevated, skin tones are frequently too red. It's like watching something from 8 years ago. Otherwise, though, the image is sharp and provides a good viewing experience. If one had time to view it, that is. That damn Mike Siegel has loaded this thing up with all kinds of extras. Two Passion & Poetry installments (one at 56min., the other at 26)! 3 animated image galleries (the one with the posters is particularly nice). Damn it, Mike, who has time now to watch the feature? (which includes commentary from the Peckinpah Posse (was this originally gonna be a Twilight Time release?)). Anyway, Passion & Poetry - Rodeo Time is worth the price of admissions alone: 80% of it is an interview with screenwriter Jeb Rosebrook, and man, he really knows where all the bodies are buried (he was there from the start: he originated the project, he was there when McQueen was attached, he remembers when Peckinpah got involved, he did re-writes on set). Anyway, a real fount of knowledge. Well done, Mike.

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