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: Rate The Last Movie You Saw  ( 5178750 )
dave jenkins
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« #20640 : February 11, 2023, 01:41:41 AM »

This is actually his best film (together with Persona meanwhile), a really excellent film. 10/10 yes, yes, yes ...
stanton's evaluations: 1/10, yes, yes, always . . .



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« #20641 : February 11, 2023, 06:29:37 AM »

stanton's evaluations: 1/10, yes, yes, always . . .

10/1 comes closer tot he truth ...


dave jenkins
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« #20642 : February 11, 2023, 05:10:01 PM »

TAR (2022) - 7/10. For the first half this is a perfect movie. Then, unhappily, in the second part, Todd Field defaults to melodrama. Why Mr. Field couldn't follow through on the nuanced approach he so carefully constructed at the beginning is beyond me. The change in manner also has the effect of introducing anomalies like dinky Cate Blanchet knocking Mark Strong on his ass. In what universe is that possible? Mrs. J, who watched this with me, put her finger on the problem when she asked, "Why did the movie turn into Whiplash at the end?" Why indeed.
Fantastic looking film, though. Here's why:
https://www.indiewire.com/2023/02/tar-cinematography-florian-hoffmeister-1234807120/
Quote
Early in the testing process, Field and Hoffmeister fell in love with a lens that was not feasible for a variety of reasons. ?It was an old piece of glass, and it was idiosyncratic, to say the least,? Field told IndieWire. ?It had huge depth of field issues. But we liked the quality of it a lot and spent a good deal of time trying to figure out how to get there.? Working with ARRI in Berlin, Hoffmeister ultimately realized he could approximate the look of the older lens by using the architecture of ARRI?s Signature Primes but detuning the glass to alter the optics. The trick was to avoid going too far in either direction, since Hoffmeister didn?t want the cinematography to be too clean and clinical, but he also didn?t want any flares or other visual interference that would interfere with the visual objectivity that served as his and Field?s guiding principle. ?Even in the most clinical situations, there had to be a sense of humanity,? Hoffmeister said, adding that it took six weeks of trial and error to arrive at the lens configuration that struck the desired balance.

The custom lenses were only half of the equation when it came to creating the film?s unusual visual properties; another key was the creation of a digital film emulsion system that replicates the grain and color science of celluloid in camera, not by relying on post-production grading. ?ARRI did extensive tests during [the transition from analog to digital exhibition] to create a digital template so that they could be sure that a film graded in the digital suite and then created as a film-out on the ARRILASER would match [in both celluloid and digital presentations],? Hoffmeister said. Keeping this in mind, he proposed applying the technology to ?T?r? and showed Field some test footage. ?He got completely excited about it, because it really proved that you could marry digital and film to create a perfect celluloid-esque look.?


Both Hoffmeister and Field loved the idea of the celluloid look being baked into the digital ?negative? as opposed to being something manipulated entirely in the DI. ?It was something that could be dealt with at the front end,? Field said. ?You would still have the ability to grade as if you shot on film, but with a mode of capture that was understandable based on a pre-subscribed set of circumstances in the camera itself.? Now, the technology commissioned by Hoffmeister and Field for ?T?R? will be available to other filmmakers in the form of the ARRI Alexa 35, a new camera that allows cinematographers to burn the celluloid properties into the image from the start.




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« #20643 : February 12, 2023, 04:36:04 AM »

Hmmm I?ll have to look for more information about that camera and the actual process behind it. Thanks.


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« #20644 : February 13, 2023, 01:10:10 AM »

Little Big Man (Arthur Penn, 1970) - 48th viewing, still 10/10
Bullet Train (David Leitch, 2022) - some fun scenes after all, 4/10
Guy (Alex Lutz, 2018) - cannot stop thinking about this one since the first time i saw it, and I really wonder if it works for a non french audience, let alone a non european one, 9/10

« : February 13, 2023, 01:17:58 AM noodles_leone »

dave jenkins
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« #20645 : February 13, 2023, 05:00:59 PM »

The Drop (2014) 8/10. 4K DCP. In Crooklyn, Tom Hardy and James Gandolfini tend bar. Usually the bar is just a bar, but sometimes it operates as a drop for all the illicit cash in circulation for the Chechen mafia. Gandolfini used to own the bar, but somehow the Chechans got it away from him, a sore point with him to this day. Hardy, his cousin, just seems focused on doing his job and not making waves. One night on the way home from work he hears whimpering in a trash can he passes and lifts the top to find a badly beaten baby pitbull. The woman whose trash can it is comes outside to find out what's going on--it's Noomi Rapace. Soon Hardy has a new dog and a new girlfriend. Then one night the bar gets held up. Happily, it was not a "drop bar" night; the robbers just get what's in the till. But its still $5,000, and the Chechens want their money. Also, another employee got his head broken and Gandolfini had to call an aid car, and that got the police involved. Now a detective (John Ortiz) is nosing around, asking a lot of inconvenient questions. The detective recognizes Hardy, who he's seen at morning mass for years. He wants to know why Hardy goes regularly but never takes communion. Meanwhile, a guy (Matthias Schoenaerts), fresh out of the psycho ward, appears and begins harassing Hardy. First it's about the dog, then it's about the girl--it seems they're both his exes. And apparently he wants to be very unreasonable about things. Is Hardy going to man up and face this nut down?

All the different elements of this tight little drama are connected: the bartenders, the dog, the girl, the psycho, the Chechens. It's a great pleasure to see the different strands being expertly woven together, with everything leading to a very intense and very satisfying climax. This is the way to direct a crime film: in at an-hour-46, and all muscle.
Watched this again with the commentary on, the driector and writer conversing. Dennis Lehane, the writer, points out a scene in the bar where the Chechen bosses are served whiskies and the head man remarks on how good it is. Turns out this was included in the scene because Lehane wanted to honor his favorite drink. It's hard to make out the label, but Lehane tells us it's Midleton, which, as it turns out, is an Irish whiskey. I've never had it, I'm a Glenfiddich 18 man. I'd like to try Mr. Lehane's suggestion, but it sure is expensive. Anybody here got a bottle?



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« #20646 : February 14, 2023, 05:15:00 AM »

My latest 5 IMDb ratings are:-

6/10 - The Crooked Road - 1965 thriller with Robert Ryan getting involved with European politics.

7/10 - The 1,000 Eyes of Dr Mabuse - 1960 resurrection of the 1930s insane criminal mind story from Fritz Lang.

8/10 - The Girl Who Knew Too Much - 1963 Mario Bava serial murder hunt through the historic Rome landscape.

6/10 - Signpost To Murder - 1964 murder hunt in a large mill house with a big wheel as it's main feature.

7/10 - Hay-Fork and Bill-Hook - Boris Karloff 1961 Thriller episode about a St Valentine's Day superstition.


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« #20647 : February 15, 2023, 08:02:52 AM »

For Valentine's Day this year, it was these two:

The Green Room (1978) - 5/10. Dull re-imagining of a Henry James story. It doesn't work, no matter what stanton may say.

The Man Who Loved Women (1977) - 8/10. I love Charles Denner, and in this he's in almost every scene. Of course, there's lots of female talent too. Although episodic, the story is artfully constructed so that it doesn't seem episodic (it helps that the female characters are made distinct from each other, and so the hero must respond differently to each one). The fact that the guy is writing a book isn't obvious at first--I like the way it sneaks into the plot. And then the bits that occur outside the scope of the book add extra interest. Finally there are great cinematic touches, like suddenly changing the little girl's dress from red to blue, that introduce the idea of caprice, which keeps the whole thing from feeling too programmatic. Sometimes Truffaut really delivered.



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« #20648 : February 15, 2023, 09:36:38 AM »

For Valentine's Day this year, it was these two:

The Green Room (1978) - 5/10. Dull re-imagining of a Henry James story. It doesn't work, no matter what stanton may say.



I say, if this is the Truffaut film, I don't remember much from it. Maybe a 6/10, maybe you are right. But The Hour of the Wolf is whatever I can say a marvellous film for all those fearless souls who love visual storytelling.

For The Green Room (2015) by Jeremy Saulnier I say it's a pretty good action-thriller with Imogen Poots with a gun in her hand. 8/10

« : February 15, 2023, 09:37:40 AM stanton »

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« #20649 : February 15, 2023, 02:09:48 PM »

Everything Everywhere All At Once (2022) - 1/10. Eleven Oscar nominations . . . and it's a complete POS. Hard to believe that Hollywood could produce something worse than Babylon in the same year in which Babylon' was released. But they did it.

I came here for a sanity check after watching this since everyone seems to be speaking so highly of it. I could not agree more. It was so bad that my wife and I just gave up watching it about two-thirds of the way through.

Its weirdness made me think of Scott Pilgrim vs the World. The difference being that Scott Pilgrim was great and solidified Edgar Wright in my mind as a very talented director (haven?t seen his latest production since I don?t like horror movies).


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« #20650 : February 15, 2023, 06:09:15 PM »

Its weirdness made me think of Scott Pilgrim vs the World. The difference being that Scott Pilgrim was great and solidified Edgar Wright in my mind as a very talented director (haven?t seen his latest production since I don?t like horror movies).
That's a pretty good way to contrast two films with off-the-wall stories that are very different in execution. I too like Scott Pilgrim a lot; it was made with the highest level of craftsmanship. Not so that other POS.

Btw, I think Baby Driver is probably Wright's best film. It fills me with admiration and delight every time I watch it.

Now just to put things in perspective, I went to the cinema today and saw something even worse than EEAaO:

Marlowe (2023) - 0/10. I didn't think Hollywood could make anything worse than last year's worst film. I should not have underestimated the Crap Factory (and Neil Jordan). I shall now wait for noodles to tell me how good this film really is.



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« #20651 : February 16, 2023, 03:31:25 AM »

There is a lot of insanity in those latest posts. To be able to accurately attack a movie you first have to understand what it was trying to achieve. That feeling of ?too much? (that Scott Pilgrim wasn?t after) is stated right in the title. It is trying to be too much, too fast, for too long


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« #20652 : February 16, 2023, 06:07:05 AM »

It is trying to be too much, too fast, for too long
And ends up not being anything (except propaganda).

Meanwhile, Jacques Rivette, dead but releasing Blu-rays like there's no tomorrow (because there isn't), has several things out via Cohen. Here's two:

Gang of Four (1989) - 5/10. Four young women study acting with a coach played by Bulle Ogier. That part is OK, but the secondary plot about an undercover cop looking for drugs is sooooooooo boring. Most of the women aren't very cute, either (the one exception being Ines de Medeiros). Nathalie Richard is also in the picture, always a pleasure.

Secret Defence (1998) - 7/10. Another conspiracy-theory story, better than I remembered. It can be argued the film takes too long to relate its simple plot, and there's no doubt another filmmaker would have shortened the action. For example, in one sequence we are shown the heroine (Sandrine Bonnaire) taking an extended journey: she leaves an office in Paris and uses the Metro to go home; there she packs a bag and returns to the Metro; she makes her way to the train station; from there she travels by TGV to Dijon, where she changes to a local train to continue to (I think) Chagny; there she decides to not take a bus, walks the last part of her trip, even though night has fallen; she arrives. Total screen time is something like 15 minutes, an eternity, where nothing much happens. But I was elated. Rivette has flouted Drink's Dictum: When uneventful, never show the journey, only the arrival. Hey, Rivette doesn't give a shit about what Drink thinks. My man!

« : February 16, 2023, 06:46:11 AM dave jenkins »


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« #20653 : February 16, 2023, 07:51:59 AM »

Hunters, Season 1 and Season 2 on Prime.  Interesting, set in the late 1970s, a group goes after Nazis who escaped justice in 1945. Al Pacino, Carol Kane, Jennifer Jason Leigh, others...rate 6/10 excellent at times, some times uneven...

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« #20654 : February 16, 2023, 10:22:58 AM »

There is a lot of insanity in those latest posts. To be able to accurately attack a movie you first have to understand what it was trying to achieve. That feeling of ?too much? (that Scott Pilgrim wasn?t after) is stated right in the title. It is trying to be too much, too fast, for too long

How does living up to its title make it a good movie? To borrow DJ?s turn of phrase, I could make a movie called POS and then make a POS. It wouldn?t stop it being a POS though :)

I can tolerate a non-sensical plot, and even appreciate it, if I?m impressed by the cinematography, editing, montage, transitions, use of sound. But all I felt I was watching was unhinged and run-of-the-mill executed craziness?which to your point might be the point. But it isn?t going to make me appreciate it. Scott Pilgrim stands out to me because it is so well executed, not because it is simply weird.

Anyway, each to their own. Clearly DJ and I are in a minority. Then again, some of my absolute favorite films (Legend of the Pianist on the Ocean, Cross of Iron) are barely appreciated by others. So I get it.

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