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: Rate The Last Movie You Saw  ( 3950353 )
dave jenkins
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« #18075 : December 12, 2018, 08:53:02 AM »

But Brad Pitt and Juliette Lewis were real good as low lifes.
Also, not much of an acting stretch for either.



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« #18076 : December 12, 2018, 06:05:47 PM »

Also, not much of an acting stretch for either.

 ;D


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« #18077 : December 14, 2018, 02:54:27 PM »

The Equalizer 2 ( 2018).  The follow up to The Equalizer and Denzel Washington's first sequel.   I liked the original and would give the original a 8.5 out of 10.  This one slips back because of a weaker plot but the action still makes up for it.  I rate this one a 8 out of 10.  My interest in this series also has to do with the director, Antione Fuqua.  He has been tabbed to make the Scarface remake by Universal Studios in a project that has been in hold for years.  The current hold up is Fuqua wants Denzel Washington to play the lead but Denzel has balked at that.  The Equalizer series reminds me of the John Wick series.  Ive seen the original John Wick and need to see the second one.

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« #18078 : December 15, 2018, 11:32:55 AM »

Holiday Affair (1949) Director Don Hartman, with noirish cast of Robert Mitchum, Janet Leigh, Wendell Corey, Harry Morgan, and Gordon Gebert.

Before Christmas, department store clerk Steve Mason (Mitchum) meets big spending customer Connie Ennis (Leigh), really a commercial spy. He unmasks her but lets her go, which gets him fired. They end up on a date, which doesn't sit well with Connie's steady suitor, Carl (Corey), but delights her son Timmy (Gebert), who doesn't want Carl for a step-dad. Entertaining enough for what it is 7/10

I saw the last part of this today on TCM. Looks worthy to go back and watch the whole film...

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« #18079 : December 15, 2018, 03:33:56 PM »

I saw the last part of this today on TCM. Looks worthy to go back and watch the whole film...

It's a good movie


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« #18080 : December 16, 2018, 12:35:21 PM »

Moontide (1942) - 4/10
Road House (1948) - 5/10

An Ida Lupino double feature, courtesy of the Fox Noir line. A shame that neither of these pictures is very good, and it's not really Ida's fault: they just aren't that well written. The first is about hard living west coast beach denizens, with Jean Gabin in the lead. On the DVD supplements much speculation is given as to why Gabin never became a star in Hollywood, but a quick glance at any scene here makes the reason plain: he couldn't speak English. A picture can be pretty hard going when you can't understand what the leading man is saying half the time. The project was begun by Fritz Lang, but after two weeks he left the production--whether for personal or professional reasons, or a combination of the two, still remains unclear. Anyway, Archie Mayo came on to finish, and he preserved some of the Lang look (lots of night and fog). It's all done on sets. Claude Rains and Thomas Mitchell get to do some good work, but mostly the film is predictable and a snooze.

Road House is a better set-bound production, and with better casting. This time Ida is joined by Cornell Wilde and Richard Widmark in a tense love triangle, except it takes more than half the film to set the triangle up. Once in place, matters take their natural course: Widmark turns out to be a psychopath, intent on destroying his rival and enslaving the object of his desire. Sounds good on paper, but it doesn't really come off in execution. Widmark isn't sufficiently built up (he's frequently out of the picture), and it's forever before the sparks start flying between Wilde and Lupino. The climax, on a set meant to represent a forest retreat, is in fact anti-climatic. Maybe it's because Celeste Holm is along: her character is a drag on every scene she's in, and here her presence dissolves what little tension the director (Jean Negulesco) could manage. Ida is good, and Widmark falls back on his Tommy Udo performance, but neither is enough to save the picture. Road House is located in the very heart of Dullsville.

How I wish we'd get some better noirs on DVD, like for example, The Prowler . . .

I saw Road House on Youtube.  I agree that the film took a while to build up and that Widmark's character was neglected pretty much until about the middle of the movie.  I didn't mind the slow build up because I felt that the plot was building up to be pretty good.  That went away as soon as the plot went into the stealing of the Road House money.  From that point on the script was unbelievable and pretty much trash.  ONLY because of Widmark do I give this a 5 out of 10.  Its a 3 without him...

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« #18081 : December 17, 2018, 01:45:31 AM »

Roma (2018) - 8.5/10

Can you imagine Tarkowski at the top of his game doing a (almost) mainstream movie, grounded in the extremely detailed reality of Mexico in the 70's? This is what you get here and this is objectively a masterpiece that is both intimate and epic, comic and tragic, social and metaphysical. It's been released 3 days ago and saying it's pure cinema is already a cliché. In a non absurd world it would be nominated at the academy awards in most categories, and win all the major ones. Now I'm only giving it 8.5 because it's a subjective rating and I have problems with this kind of main characters.

Objectively:

Cinematography: 15/10
Performances: 9/10
Screenplay: 10/10
World creation: 12/10
Ambition: 10/10


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« #18082 : December 17, 2018, 09:40:41 AM »

Roma (2018) - 8.5/10

Can you imagine Tarkowski at the top of his game doing a (almost) mainstream movie, grounded in the extremely detailed reality of Mexico in the 70's? This is what you get here and this is objectively a masterpiece that is both intimate and epic, comic and tragic, social and metaphysical. It's been released 3 days ago and saying it's pure cinema is already a cliché. In a non absurd world it would be nominated at the academy awards in most categories, and win all the major ones. Now I'm only giving it 8.5 because it's a subjective rating and I have problems with this kind of main characters.

Objectively:

Cinematography: 15/10
Performances: 9/10
Screenplay: 10/10
World creation: 12/10
Ambition: 10/10
   Gonna check this out.  Where did you see it? Thanx...

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« #18083 : December 17, 2018, 02:24:59 PM »

   Gonna check this out.  Where did you see it? Thanx...

Netflix. It's a Netflix original, although you can easily see it was designed for the big screen. You should watch it on the biggest screen available. I think it's got a limited theatrical release in the US. In France they cannot put it in a theater because the law would require Netflix to wait months (more than 12 if I remember correctly) before puting it online.


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« #18084 : December 18, 2018, 08:33:48 AM »

Netflix. It's a Netflix original, although you can easily see it was designed for the big screen. You should watch it on the biggest screen available. I think it's got a limited theatrical release in the US. In France they cannot put it in a theater because the law would require Netflix to wait months (more than 12 if I remember correctly) before puting it online.

Thanx.  I don't do netflix but I might see if they got a free trial or something...

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« #18085 : December 21, 2018, 10:15:11 AM »

The Predator (2018)  I had HIGH hopes for this one.  I'm a big fan of the original Predator film released in 1987.  I feel that film is one of the greatest science fiction films ever.  This is the fifth film featuring the Predator characters.   Shane Black, who starred in the original with Arnold Shwarenegger,  Carl Weathers, Bill Duke, etc.  co-wrote and directed the 2018 version.  Due to Black's involvement with the original film,  expectations that the franchise would return to its original themes were greatly expected by hardcore fans of the franchise.   Alas, Black may have turned in the WORST movie in the series.

This movie is a prime example of what happens when the Hollywood establishment controls a movie.  Whether Black and his co-writer, producers, etc. were on board with this junk is irrelevent.   What was bad?  EVERYTHING.  The plot took almost every Hollywood blockbuster cliche and half butt recylced it and had the gall to try and be CLEVER with it at the same time.  The plot was stupid and contrived.  The movie was soo bad that the last THIRD of the movie had to be redone after a screening.  The new version is bad so the original had to be off the charts bad.  The plot didn't make sense.  It had holes gallore and FEATURED a female scientist who's only job was to find out what the Predator was up to. Suddenly she had more combat moves than Army Rangers, lol.  The rest of the plot featured dumb characters taking their turns trying to out wit each other with stupid one liners WHILE fighting Predators.

One of the things that made the original so good was the more straight forward technology used to create the Predator character and the special effects.  The original Predator featured a man in a suit and he moved and acted like something that threw a chill in you.  The new movie features obvious CGI gallore and the Predators move across the screen like they are not even a part of the film.  Its like they were copied and pastied into the film and they move like robots.  The ONLY reason I've given this trope this much attention is because its a PRIME example of why I don't too much fool with " modern" Hollywood movies.  The sad part about it is this junk actually made a profit and THATS why they keep running it out there.  Sadly the attraction is the Predator itself which is such a profound and unique character in itself that they can continue to get fans hopes up with each new film.  This movie also gives me the opportunity to clarify something.  I use the word movie and film interchangeably here.  A movie to me is anything under a 7 rating.  A FILM is a 7 and above. I give this junk movie a 2 out of 10...


« : December 21, 2018, 10:59:18 AM moorman »
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« #18086 : December 22, 2018, 08:33:45 AM »

@MoMA, 4 with Ugo Tognazzi

L'Immorale (1967) 8/10. Ugo has a wife and two mistresses, plus 5 children to support. He dies trying to keep them all happy. This did a good job of taking an absurd premise and keeping it as real as possible. Pretty funny, too.

I mostri / The Monsters (1963) 3/10. Ugo and Vittorio Gassman, together again for the first time. This is composed of 20 vignettes, some as short as a minute. All are supposed to be funny but are not. It's sketch comedy, almost like a series of student films. Finally at the end there is one about boxing that works pretty well--especially if you don't like boxing or boxing movies.

Il magnifico cornuto / The magnificent cuckold (1964) 6/10. Ugo plays a successful businessman who suspects his young wife (Claudia Cardinale) of cheating. Of course, it's his acting on those suspicions that finally drive her to it. The film is amusing until the filmmakers go for the easy, cynical ending. Needless to say, Ms. Cardinale is wonderful to look at.

L'ape regina / The Conjugal Bed 7/10. A successful businessman finds, at 40, the perfect younger woman to marry. But she is insatiable. This is another film where the punch line is Ugo dies. I had seen Dillinger Is Dead and so was wary of another by Marco Ferreri, but this one was okay.

Until this retro, I had been entirely unfamiliar with Tognazzi's work. Now I look forward to seeing more films with him.



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« #18087 : December 23, 2018, 10:41:49 AM »

The Brighton Strangler (1945): John Loder is a stage actor who becomes the character of his latest play, the Brighton Strangler, when his theater's bombed during an airraid. Loder's great, aided a by a good script, co-written by director Max Nossack ('Dillinger', 'The Hoodlum'). Together with the nice cinematography by J. Roy Hunt ('Crossfire') it made this a good, creepy amnesia noir. 7+/10


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« #18088 : December 23, 2018, 07:26:20 PM »

2001: A Space Odyssey (1968). Just sampled the Blue Danube Waltz sequence on the new BD. Beautiful. And the image is so sharp you can read the instructions for the Zero Gravity Toilet (if your monitor is large enough). Film: 9/10. SFX: 11/10. Restoration and Transfer: 10/10.



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« #18089 : December 30, 2018, 07:58:49 AM »

Fracture (2007) 8.5/10

Saw Fracture last night, pretty good.  No one else but Hopkins can play that type of character so well.

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