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: Rate The Last Movie You Saw  ( 5183072 )
noodles_leone
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« #20865 : September 08, 2023, 01:54:04 AM »

Something Wild (Demme, 1986) - 6.5/10
Very fun first half, the ton shoft isn't really nailed because the second part is much flatter and aged poorly (despite a great tailing sequence).

Buffalo '66 (Gallo, 1999) - 7/10
Highly manierist but really fun one. It would work surprisingly well as a double feature with Something Wild, with tons of parallels (including a common "let's visit my parents and pretend we're married" scene) and oppositions (ambitious new york businessman vs lost redneck).


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« #20866 : September 08, 2023, 05:45:27 PM »

Shoot the Piano Player (1960) - 4/10. Although a Truffaut film, it actually feels more like one made by Godard. But not good Godard. Truffaut later admitted he didn't like the material and tried to subvert it. It was from a David Goodis novel, and although that writer supplied sources for several good noirs, Goodis couldn't overcome Truffaut's indifference in this case. It's weird, because this wasn't a work-for-hire project: Truffaut had complete control over his projects and this is what he chose to do. This was only his second feature, though, so I guess his inexperience betrayed him.



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« #20867 : September 09, 2023, 07:04:02 PM »

Shoot the Piano Player (1960) - 4/10. Although a Truffaut film, it actually feels more like one made by Godard. But not good Godard. Truffaut later admitted he didn't like the material and tried to subvert it. It was from a David Goodis novel, and although that writer supplied sources for several good noirs, Goodis couldn't overcome Truffaut's indifference in this case. It's weird, because this wasn't a work-for-hire project: Truffaut had complete control over his projects and this is what he chose to do. This was only his second feature, though, so I guess his inexperience betrayed him.

I haven?t seen this in years but I am sure I rated it higher

« : September 10, 2023, 07:47:18 PM drinkanddestroy »

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« #20868 : September 10, 2023, 05:07:36 PM »

Mist/Foggy Town (1967) - 5/10. Korea's cheapjack answer to Hiroshima, Mon Amour, but with all the flashbacks for the guy. It's not very good, but it provided soundtrack material for Decision to Leave (2022). Hey, this film could be called DTL. In b&w and 2.35:1.



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« #20869 : September 12, 2023, 12:29:10 PM »

White Sands (1992) - Another 90's desert neo-noir that is more entertaining than it has any right to be. It was shot in scope with a great use of low angle shots, but the plot really sputters out in act III -- though the pacing doesn't suffer once things start to get a little silly. I really like Willem Dafoe, but he was miscast as a rural copper, though his performance is good -- he just looks too easily swayed by evil/has the face of a villain. This also might be the last solid movie with Mickey Rourke before boxing and plastic surgery destroyed his face. Sam Jackson, Emmet Walsh and Mary Elizabeth Mastrantonio round out the great cast. If Red Rock West looked like this movie, it would be a masterpiece. This has the look, but not quite the substance of a classic. A generous B-.

« : September 12, 2023, 02:38:35 PM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #20870 : September 12, 2023, 02:18:22 PM »

Thief (1981) - 10/10. I can't get over how good this film is, or how good the Criterion blu looks. Extended disccussion here: http://www.fistful-of-leone.com/forums/index.php?topic=11872.0



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« #20871 : September 12, 2023, 02:35:05 PM »

Thief (1981) - 10/10. I can't get over how good this film is, or how good the Criterion blu looks. Extended disccussion here: http://www.fistful-of-leone.com/forums/index.php?topic=11872.0

While I prefer the epic scale of Heat, Thief is a straight up masterpiece that somehow improves on every viewing, just like Heat. For me, anyways.

It's been way too long since I've last seen The Insider. I've had the bluray for years and never watched my copy of it.

While I understand a director's desire to embrace new technology, Michael Mann should have never stopped shooting on film. As far as movies since 1980 go, Mann's movies looked the best, with maybe Robbie Muller's best work as the only stuff that could compare to Thief, Manhunter and Heat. Christopher Doyle deserves a mention as well. 


Noodles, I'd give Something Wild another shot at a later time. I think you may like the movie more, and you may find the tonal shift to feel more natural and/or gradual on an additional view.

As for Buffalo '66, I really like the look of the movie. I'd love to read or watch something about how it was shot.

« : September 12, 2023, 03:59:27 PM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #20872 : September 13, 2023, 08:35:20 AM »

While I prefer the epic scale of Heat, Thief is a straight up masterpiece that somehow improves on every viewing, just like Heat. For me, anyways.
It's funny, I've never liked Heat, but after watching Thief again yesterday I had to put Heat on once more. If anything, my dislike of the film is greater than ever. You may be right that it looks good, but in all other respects I think it stinks: the writing, the casting, the acting, the soundtrack choices. Pacino is a walking cartoon. The dialog in all the "relationship" scenes is risible. At one time the shoot-out would have impressed me, but after Edgar Wright showed us how it should be done, even that has lost its charm. I don't think I'll be watching this again.

Thief, OTOH, as you say, just gets better with every new re-watch.

Hey, is Blackhat any good? There's a new edition form Arrow coming (it's been delayed a couple times) and I'm wondering if I should pick it up. I'm a huge Tang Wei fan.



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« #20873 : September 14, 2023, 10:42:13 AM »

It's funny, I've never liked Heat, but after watching Thief again yesterday I had to put Heat on once more. If anything, my dislike of the film is greater than ever. You may be right that it looks good, but in all other respects I think it stinks: the writing, the casting, the acting, the soundtrack choices. Pacino is a walking cartoon. The dialog in all the "relationship" scenes is risible. At one time the shoot-out would have impressed me, but after Edgar Wright showed us how it should be done, even that has lost its charm. I don't think I'll be watching this again.

Thief, OTOH, as you say, just gets better with every new re-watch.

Hey, is Blackhat any good? There's a new edition form Arrow coming (it's been delayed a couple times) and I'm wondering if I should pick it up. I'm a huge Tang Wei fan.

You'll either give Blackhat a 1 or a 9, I'm not sure which. To me it's a tremendous mood piece thriller. The plot can feel a bit rushed at times, and the character development is mostly brushed to the side, but it's one of the rare modern movies that I really enjoy.

Edgar Wright's movies are way too silly, cutesy and quirky for any action scene, or scene for that matter, to have any weight or importance imo. I find him to be a slave to his style, much like Wes Anderson; and like Anderson, his movies straight up annoy me outside of the early comedies. If Wright doesn't take his movies remotely seriously, I won't either.

I think Heat is one of the greatest movies ever made, and I love the casting, the music (the New Dawn Fades cover really works), acting, family side plot, etc. I think Pacino gets unfairly knocked for his performance in Heat due to everything that followed -- it's Pacino's Metallica's Black album. It was pretty damn good but gets maligned because it was a turning point.

There just aren't hardly any crime movies made with the care and style of Heat, or genre movies in general. What's comparable, The Wild Bunch, The Red Circle...



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« #20874 : September 14, 2023, 02:13:10 PM »

The Verdict (1946) - 6/10. Not the Paul Newman film, this is the one with Greensteet and Lorre (together again for the first time); it was Don Siegel's first film. Although the plot may have seemed clever at the time (it contains both a locked room problem and a variation on The Murder of Roger Ackroyd) it's pretty predictable now. (Hang on, The Murder of Roger Ackroyd was published 20 years earlier--so maybe even audiences of the time weren't all that impressed). Joan Loring, whom I usually love, is miscast, as both a Cockney and a dancehall girl. Still, Greenstreet is fun to watch.



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« #20875 : September 14, 2023, 06:11:18 PM »

The Mackintosh Man (1973) - 7/10. The espionage film John Huston made after The Kremlin Letter, this one with Paul Newman and Dominique Sanda (always a pleasure). The script is credited to Walter Hill, but he claims he only wrote the first half. Actually, that's the part that' s pretty dull--things improve considerably in the second half. Locations are London, Galway, and (maybe) Malta. The film is free to stream with ads here: https://www.youtube.com/watch?v=71KqgBxqSWU
The wife is a huge Dominique Sanda fan, and I knew she'd love this, so I got the Warner DVD and spun it for her. When we got to the ending [SPOILER] where Dominique blows both Ian Banon and James Mason away, [END SPOILER] Mrs. J jumped up, did a little dance, and screamed "Subarashii!"

Yeah, baby, Ms. Sanda is definitely subarashii.



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« #20876 : September 15, 2023, 02:03:19 PM »

I don't know revolvers. 

And I don't know how many railroads crossed to the west in 1883, but in first episode some settlers said the train to Oregon from Texas/wherever was expensive.


At least 3 in 1883


The Southern Pacific Railroad was completed in 1881.

1881: the SP met the Rio Grande, Mexico and Pacific Railroad (a subsidiary of the Atchison, Topeka and Santa Fe Railway) with a "silver spike" ceremony at Deming, New Mexico

January 12, 1883: the SP completed its own southern section, meeting its subsidiary Galveston, Harrisburg and San Antonio Railway at the Pecos River in Texas, and linking New Orleans to Los Angeles.

The Atlantic and Pacific Railroad completed its route connecting the AT&SF at Albuquerque, New Mexico, via Flagstaff, Arizona, to the Southern Pacific at Needles, California, on August 9, 1883.

The Northern Pacific Railway (NP) completed the fifth independent transcontinental railroad on August 22, 1883, linking Chicago with Seattle.

The Great Northern Railway was built, without federal aid, by James J. Hill in 1893; it stretched from St. Paul to Seattle.

the last one In 1909, the Chicago, Milwaukee & St. Paul (or Milwaukee Road) completed a privately built Pacific extension to Seattle. On completion, the line was renamed the Chicago, Milwaukee, St. Paul and Pacific


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« #20877 : September 15, 2023, 08:13:53 PM »

It's funny, I've never liked Heat, but after watching Thief again yesterday I had to put Heat on once more. If anything, my dislike of the film is greater than ever. You may be right that it looks good, but in all other respects I think it stinks: the writing, the casting, the acting, the soundtrack choices. Pacino is a walking cartoon. The dialog in all the "relationship" scenes is risible. At one time the shoot-out would have impressed me, but after Edgar Wright showed us how it should be done, even that has lost its charm. I don't think I'll be watching this again.

Thief, OTOH, as you say, just gets better with every new re-watch.

Hey, is Blackhat any good? There's a new edition form Arrow coming (it's been delayed a couple times) and I'm wondering if I should pick it up. I'm a huge Tang Wei fan.

I love Heat. I also love Thief.

Blackhat has a director?s cut, which has never been released beyond cable TV showings. It is different and better. When Arrow announced their ?two versions?, it seemed many fans expected the second to be the director?s cut. That turned out not to be the case. Perhaps the delay involves Arrow now looking into getting rights for that cut? Hope so.

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« #20878 : September 19, 2023, 04:07:58 AM »

I love Heat. I also love Thief.

Blackhat has a director?s cut, which has never been released beyond cable TV showings. It is different and better. When Arrow announced their ?two versions?, it seemed many fans expected the second to be the director?s cut. That turned out not to be the case. Perhaps the delay involves Arrow now looking into getting rights for that cut? Hope so.
According to posters on HTF, Arrow back in May issued this statement in their newsletter:
Quote
We listened to your feedback about our release of Blackhat not including Michael Mann's revised director's cut of the film and we are very pleased to confirm that the original digital files have been found. It will now be included as a second Blu-ray Disc. To allow time for disc authoring and quality control, we have had to push the release date back to 4th September. We hope you understand the necessity for this delay and are as excited as we are to be able to feature this significantly different version of the film alongside the two previously announced cuts.

So, apparently, yes, the DC will be included, but no, not in UHD.



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« #20879 : September 20, 2023, 11:57:41 AM »

The Train (1964) - 9/10. This has a lot going for it: beautiful b&w location shooting, large-scale practical FX, a very athletic leading man. The plot is convoluted and interesting (although I have a couple reservations about it--see below). The story is mission-driven, and there's no gratuitous romantic sub-plot (although Jeanne Moreau makes a couple appearances, almost as if to say, This is where the love scene in the picture would begin if there were one, but there isn't!) The soundtrack by Maurice Jarre is good; the film's editing is impressive.

It's not perfect, though. The few problems the movie has can be traced to its (generally good) screenplay. Act Two, although very entertaining, takes on a kind of Mission:Impossible quality. This has the unfortunate effect of undercutting the film's genre, while also invalidating the movie realism established in the first act. This isn't fatal, though, and by Act Three things are back on course for the gritty climax.

My other problem is with the ending, which isn't bad as it now stands, it just could be better. [SPOILERS from here to the end.] Throughout the film Paul Schofield is obsessed with the paintings he wants to spirit out of France at the close of WWII. At every turn, though, he is thwarted by Burt Lancaster's "Labiche," so that over the course of events Schofield's Nazi Colonel becomes intent on getting Labiche. Late in the film, though, a subordinate insists he must choose between the paintings or Labiche. He chooses the paintings, but he has to think about it.

Ultimately, though, he understands he won't get the paintings. This causes him to despair, and in a final confrontation, he essentially goads Labiche into killing him. This doesn't make much sense, and cheats the audience of a potentially exciting showdown. Yes, he really wanted those paintings, and he's bummed he can't have them. But he also really wanted to kill Labiche, the guy who is responsible for preventing him from having the art. Why doesn't he do his damnedest to kill his nemesis now? That would be more psychologically plausible, and would provide a great final confrontation.

As it is, Frankenheimer does a clever bit of intercutting between the murdered hostages and crates marked with the names of dead artists. He poses the question, visually, Which is more valuable, Art or human life?--and leaves the answer for us to decide. That clever bit of editing could still be part of an ending that would also include an exciting final duel.



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