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: Rate The Last Movie You Saw  ( 5105784 )
dave jenkins
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« #19545 : January 25, 2021, 10:14:15 AM »

Are you not gonna watch it on Netflix? I've got a feeling that one won't be getting a physical release.
I didn't like Public Speaking when it came out but I was also 20 years old and thought it was annoying. I liked Pretend It's a City a lot, 8/10.
I don't have Netflix so I'm hoping for a physical release. It may not happen, as you say, but The Irishman was Netflix and Scorsese, and it got released on disc, so there's a chance. If you like Pretend It's a City I'd think you'd like Public Speaking, so you should go back and try it again.



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« #19546 : January 26, 2021, 04:08:29 PM »

Generation War (Unsere Mutter, unsere Vater), 3-part mini-series.  German language, English subtitles.  I give 8.5/10, well worth watching.  Follows 5 young German friends from 1941-1945.

« : January 28, 2021, 08:32:46 AM Cusser »
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« #19547 : January 26, 2021, 08:32:18 PM »

Hey guys.

NETFLIX releases all its programs on DVD- at least in the US.
AMAZON is the the streaming service that doesn't- you have to subscribe to see original content.
So, if you have to choose, subscribe to AMAZON.
You can catch NETFLIX on disc.
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« #19548 : January 27, 2021, 03:46:53 AM »

Hey guys.

NETFLIX releases all its programs on DVD- at least in the US.
AMAZON is the the streaming service that doesn't- you have to subscribe to see original content.
So, if you have to choose, subscribe to AMAZON.
You can catch NETFLIX on disc.
Bruce

I have both plus, there is a lot on Youtube and OK.


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« #19549 : January 27, 2021, 09:29:36 AM »

The Battle of Algiers
Second viewing
Still 9/10

Christopher Nolan said:

Quote
"a timeless and affecting verit? narrative, which forces empathy with its characters in the least theatrical manner imaginable. We care about the people in the film simply because we feel immersed in their reality and the odds they face."
https://www.indiewire.com/gallery/christopher-nolan-favorite-movies/the-battle-of-algiers-battaglia-di-algeri-la-1965-3/?fbclid=IwAR0qtk6lVUwBF1w5DA3cKjjzjLZgf_pfamrH63tDexFdunGqdZ5SK1FhPBs


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« #19550 : January 28, 2021, 12:59:28 PM »

Fatman (2020) - 6/10.  A premise rather than a story: a spoiled rich kid gets mad when he receives a lump of coal for Christmas and orders a hit on Santa. Some OK gags, a lot of profanity, and a respectable body count help earn this instant yuletide classic an R rating. Expect a sequel.



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« #19551 : January 29, 2021, 03:41:32 AM »

The Two Jakes (1990) 4/10
So, I finally saw Chinatown's follow up, directed by Nicholson himself. It starts like a vaguely ok, easy cash grab machine: the acting is good, the cinematography by Vilmos Zsigmond looks good (although a bit too "classic noir" for a Chinatown film, especially when they add a stupid narration by Nicholson and some lame audio flashbacks), the dialogues are good. Nicholson's direction is messy and has no sense of pacing, but at least it isn't bland (and Zsigmond probably keeps things in check). Maybe the editing is where it went wrong. I'm not sure. Some scenes here and there stand out, especially when they go for the crazy stuff instead of the noir homage. Then in the middle it becomes stupid, with some terrible and laughable sequences and cringy dialogues ("You're like her: a prisoner of the past."). Nicholson surviving an explosion in a terrible montage plagued by horribly edited flashbacks from the first movie is the lowest point. The plot quickly becomes a copy and paste from the first film, but lamer and more clich? (oil instead of water? Really?). And then, surprisingly enough, the denouement is great. And is a real counterpoint to the one in the first film, without betraying it. I'll never watch it again, but that ending will stay with me.

« : January 29, 2021, 03:48:47 AM noodles_leone »

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« #19552 : January 29, 2021, 06:45:08 AM »

The Two Jakes (1990) 4/10
So, I finally saw Chinatown's follow up, directed by Nicholson himself. It starts like a vaguely ok, easy cash grab machine: the acting is good, the cinematography by Vilmos Zsigmond looks good (although a bit too "classic noir" for a Chinatown film, especially when they add a stupid narration by Nicholson and some lame audio flashbacks), the dialogues are good. Nicholson's direction is messy and has no sense of pacing, but at least it isn't bland (and Zsigmond probably keeps things in check). Maybe the editing is where it went wrong. I'm not sure. Some scenes here and there stand out, especially when they go for the crazy stuff instead of the noir homage. Then in the middle it becomes stupid, with some terrible and laughable sequences and cringy dialogues ("You're like her: a prisoner of the past."). Nicholson surviving an explosion in a terrible montage plagued by horribly edited flashbacks from the first movie is the lowest point. The plot quickly becomes a copy and paste from the first film, but lamer and more clich? (oil instead of water? Really?). And then, surprisingly enough, the denouement is great. And is a real counterpoint to the one in the first film, without betraying it. I'll never watch it again, but that ending will stay with me.
You have more courage than I. I don't dare go within 100 miles of that film.



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« #19553 : January 29, 2021, 10:10:23 AM »

Museum Hours (2013) - 10/10. A revolution in cinema. What Wenders was always getting at, but never quite achieving. Jem Cohen has finally done it.
To be less cryptic: It's a successful blend of a documentary and a feature. And it's set in Vienna. And most of it takes place in an art museum, so we see lots and lots of paintings (especially by Bruegel).



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« #19554 : January 29, 2021, 10:10:36 AM »

I used my COVID isolation (I just got out of it) and 3 meals to get through it so I have less merit than you think.


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« #19555 : January 31, 2021, 05:41:58 AM »

Movies with real, true great editing:

Goodfellas (1990) - The case against it being one of the 10 greatest movies of all time: the story can feel a little rushed in places, the voice-overs are probably used too often (Karen Hill shouldn't have had any voice-overs), it wasn't shot in scope and scenes like Layla (piano exit) should have been able to breathe a little more. Maybe I slightly prefer Heat and L.A. Confidential over Goodfellas in terms of 90's movies, or maybe I don't. Goodfellas is an obvious masterpiece, but there's little things I wish were handled a touch differently. But it's also the most re-watchable non-comedy ever made. A++

Taxi Driver (1976) - Arguably Scorsese's greatest artistic achievement, or at least one of the nicest looking movies shot in 1:85 -- the neon, wow. The story of a man losing his mind combined with the film noir and Searchers influences really put this one over the top. Along with all that dream theory material (maybe all this happens in his mind as he sits outside the campaign office). I also agree with Jenkins that the movie should have been way more politically incorrect by not casting Harvey Keitel in the pimp role. Travis Bickle was despicable, so might as well go there... A+


You have more courage than I. I don't dare go within 100 miles of that film.
You honestly should. I thought it was completely forgettable when I saw it years ago, but it's an interesting, flawed movie at worst upon a re-watch. Noodles is right about the awkward flashbacks to the first film, and the explosion + any action scene was handled rather poorly, but it's something of a flawed (almost) classic. It's directed rather well outside of the obvious exceptions, and had some plot points been handled better, it would be a cult classic at this point. But it really should be a cult classic for anyone that loves period crime films. 

« : January 31, 2021, 05:51:09 AM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #19556 : January 31, 2021, 08:28:18 AM »

Goodfellas (1990) - The case against it being one of the 10 greatest movies of all time: the story can feel a little rushed in places, the voice-overs are probably used too often (Karen Hill shouldn't have had any voice-overs), it wasn't shot in scope and scenes like Layla (piano exit) should have been able to breathe a little more. Maybe I slightly prefer Heat and L.A. Confidential over Goodfellas in terms of 90's movies, or maybe I don't. Goodfellas is an obvious masterpiece, but there's little things I wish were handled a touch differently. But it's also the most re-watchable non-comedy ever made. A++

Arguably, "almost" a comedy.
Bill Burr has a nice bit about that movie: https://www.youtube.com/watch?v=u_pyvTsN0NM&feature=youtu.be
I like how he pintpoints the way the guy runs under the rain with an unlit cigar toward the beginning of the movie: this, to me, is one of the reasons the movie is so rewatchable. It's so filled with funny little details all over the place, just like the greatest comedy ever made would be... and yet it's not a comedy. But it's close.


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« #19557 : January 31, 2021, 09:58:53 AM »

Movies with real, true great editing:

Goodfellas (1990) - The case against it being one of the 10 greatest movies of all time: the story can feel a little rushed in places, the voice-overs are probably used too often (Karen Hill shouldn't have had any voice-overs), it wasn't shot in scope and scenes like Layla (piano exit) should have been able to breathe a little more. Maybe I slightly prefer Heat and L.A. Confidential over Goodfellas in terms of 90's movies, or maybe I don't. Goodfellas is an obvious masterpiece, but there's little things I wish were handled a touch differently. But it's also the most re-watchable non-comedy ever made. A++

Taxi Driver (1976) - Arguably Scorsese's greatest artistic achievement, or at least one of the nicest looking movies shot in 1:85 -- the neon, wow. The story of a man losing his mind combined with the film noir and Searchers influences really put this one over the top. Along with all that dream theory material (maybe all this happens in his mind as he sits outside the campaign office). I also agree with Jenkins that the movie should have been way more politically incorrect by not casting Harvey Keitel in the pimp role. Travis Bickle was despicable, so might as well go there... A+
The one thing that counts against Goodfellas is the final summation by Henry Hill spoken at the end directly into the camera. Yeah, right, give the degenerate drug pusher the last word. Hill was scum, and the film should have acknowledged that (if even indirectly). That's one of the reasons (but not the only reason) I prefer Casino, which, to my mind, has a more honest ending.

I agree that Taxi Driver is a great looking film (photography and lighting and editing, et. al.). I cannot emphasize enough, though, how important the Herrmann score is to the entire presentation. This may be the only Scorsese with a truly great score. Once Marty got sucked into the whole American Graffiti approach to soundtrack arranging (and I say this acknowledging how well the tunes are curated on Goodfellas) a really important avenue of cinematic expression was lost to us. One of the reasons I really like the Cape Fear remake is that Scorsese had Bernstein go back to Herrmann's original composition and actually improve it. Other than it and Taxi Driver, what other Scorsese OST is worth owning?



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« #19558 : January 31, 2021, 06:50:58 PM »

Eugenia Grandet (1946) - 7/10. Balzac in Italian, and in the Hollywood fashion. Alida Valli was quite lovely at the time. Who was Mario Soldati? https://ok.ru/video/2431073978990



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« #19559 : January 31, 2021, 09:23:33 PM »

Quote
Senso (1954) 10/10. An Italian noblewoman at the time of the Risorgimento falls for an Austrian cad; he exploits her, then she gets revenge.

Mark Rappaport calls this the most beautiful movie ever made, and, well, it's certainly in contention. In the booklet accompanying the new CC Blu-ray, Rappaport waxes ecstatically: "It is not exactly an accident that the film brings to mind Manet, Veronese, Tintoretto, and Titian, among others. It is as if we were in a Manet painting twenty-four frames a second. Which is not to say that it has the studied, frozen, waxwork, art-directed quality of a period film like Barry Lyndon (1975), about which critics raved that each frame was a masterpiece. Senso is much more fluid than that. You don't want to hang the images on the wall. You want to live in them. The figures move in architectural surroundings with the grace and elegance of Veronese figures come to life. They inhabit the backgrounds as if they and history are one. Which also explains the lack of close-ups in Senso." That's a partial explanation. It should also be remarked that there are no close-ups in opera.

And Senso is a film steeped in opera. Visconti begins the picture at the opera, at a performance of Il trovatore; then the characters in the audience leave the theater, and begin playing, in the streets and buildings of Venice--what a set!--their own melodrama. One mirrors the other, of course, but here Visconti makes a move that seems counter-intuitive but is nonetheless brilliant. The soundtrack for the love story is provided not by Verdi, but by Bruckner, from his Wagnerian 7th Symphony. Beyond the fact that the music works so well, was Visconti, in his choice of dueling composers, underlining the political tensions between his Italian and German-speaking characters? I wouldn't put it past him.

The acting is appropriately operatic, and that will not please everyone. Alida Valli plays every scene over the top, and in the most magnificent gowns and veils (she's veiled in most scenes). It is unclear to me whether or not she dubbed herself in the Italian language version. And I can't comment on Farley Granger's performance, as so much of it comes from the Italian voice actor who dubbed him. That voice does, to my ears, sound suitably smarmy. Apparently, the producers could have had Brando for the part, but thought Granger the better choice. Go figure.

This movie features some of the best looking battle scenes ever filmed. Kubrick and Bondarchuk, if they saw the film when released (it never had a regular U.S. run), must have been envious.

During a re-watch tonight Mrs. Jenkins wandered into the room, took a look at one frame, and declared: "Gone With the Wind!" An astute observation. It really is an Italian Gone With the Wind, with Alida Valli in the Clark Gable role and flaming Farley Granger playing Scarlett O'Hara. With a much better ending, of course.



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