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: Rate The Last Movie You Saw  ( 4172454 )
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« #13200 : March 03, 2014, 11:34:12 AM »

Yeah, I love how instead of a cattle drive it's a women drive ;-) waddaya think Sergio thought of this?


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« #13201 : March 03, 2014, 11:39:37 PM »

Hamburger Hill 4.5/6 , noticed Spin City veteran Mike Boatman during the end credits.......

Big Boss of Shanghai 3.5/6 , Kuan Tai and Jimmy Lee turns to crime and Chen Sing as the boss. Article from '72 refers to Kuan Tai as "the next Bruce Lee ?" , that never really happened though (then Lee died and dozens of imitators started popping up like weed)

Ring of Death 3/6 , too much "comedy"......at least Drunken Master was more fun than this. Only decent thing is last scene with Wang Jang Lee.

Dragon dies hard 2/6 , well it was "hard" sitting thru this movie......Bruce Li dreams that the real Lee tries to tell him who killed him. No memorable fight scenes , whole thing just screams meh.

Chinese Kung Fu vs Godfather 4/6 , naive kid brings parcel from H.K to Amsterdam.......more of a comedy than straight martial arts. Lee Kun plays a womanizer who tries to help him versus the baddies.  Just like with Bolos "Amsterdam Connection" , it takes place in Ams and a brief scene in Paris as well.


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« #13202 : March 04, 2014, 06:00:29 AM »

Stalingrad (2013) IMAX 3D - 4/10. The Germans had a film with this name about 10 years ago; now the Russians have taken a crack at the subject. Actually, not. Stalingrad just turns out to be the setting of the picture--the filmmakers almost totally ignore the wider conflict (there is one Spielberg-level event at the beginning when the Russians cross the Volga that is pretty exciting) to focus on the fighting between two squad-level units occupying buildings on opposite sides of a city square. There's some sniping, an occasional foray that does nothing to alter the balance; neither side has the big guns necessary to win decisively (until the end, that is, when several Tigers roll up). So, while we're waiting for that final conflagration, we get a lot of talk from characters on either side of the tactical divide. On the Russian side, there are five men who worry about the right way to treat the 19-year-old girl they've discovered living in the building they're defending. This culminates with a birthday celebration that is planned with more care than any of the military operations in the film. Yes, the sentimentality of the scene is gag-worthy. Meanwhile, over in the Nazi zone, a German Captain frets about the fate of the Russian whore who reminds him so much of his dead wife . . . . Auuuggghhhhh, could we just have some killing, please? The occasional battle scenes aren't bad, but no one in either army seems to practice such combat essentials as cover and concealment, they'd all rather pretend that they're the Spartans in 300. I appreciated the IMAX-sized image; I'm not sure the 3D added much, although the lighting was always rather dark, so maybe the added depth helped to be able to differentiate between people and objects. I guess this film was such a hit in Russia that for 2014 Putin decided to follow up with The Crimea, in Super Global IMAX 4D.



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« #13203 : March 04, 2014, 06:04:31 AM »

Yeah, I love how instead of a cattle drive it's a women drive ;-) waddaya think Sergio thought of this?
"Mooooooove along, ladies. Moooooove along, little dogies."

Actually, I thought of Sergio when they dug up the rum from the Quackenbush grave. Could the idea of hiding treasure in a false grave in GBU have come from here?



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« #13204 : March 04, 2014, 06:06:44 AM »


Enter the Void (2009) - 8/10


First viewing? Amazing experience, isn't it? To me it's the perfect example of bad film full of genius ideas and some great execution. I'm really happy it exists and cannot wait to see it again but I would never advise it to anyone who's not working in the film industry.
The love hotel scene that ends with the intra-vaginal shot of a dick is utterly ridiculous, but they follow up with a touching and great birth scene in POV. The whole film is like that. It goes from empty to fascinating, ridiculous to genius. Looks like the first film of a genius teenager.

« : March 04, 2014, 06:10:23 AM noodles_leone »

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« #13205 : March 04, 2014, 11:01:28 AM »

the celluloid closet 7.5
the good, the bad and the beautiful 5
freaks 4
far and away 7.5
crimes and misdemeanors 8
frozen 7

« : March 04, 2014, 11:12:01 AM PowerRR »
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« #13206 : March 04, 2014, 05:02:27 PM »

"Mooooooove along, ladies. Moooooove along, little dogies."

Actually, I thought of Sergio when they dug up the rum from the Quackenbush grave. Could the idea of hiding treasure in a false grave in GBU have come from here?

yup, I thought of that, too.

I kinda like to think of this movie as Red River with women instead of cattle. You know, Taylor goes all authoritarian, just like Wayne, etc. A women drive. I just love that  ;D


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« #13207 : March 04, 2014, 05:11:19 PM »

First viewing? Amazing experience, isn't it? To me it's the perfect example of bad film full of genius ideas and some great execution. I'm really happy it exists and cannot wait to see it again but I would never advise it to anyone who's not working in the film industry.
The love hotel scene that ends with the intra-vaginal shot of a dick is utterly ridiculous, but they follow up with a touching and great birth scene in POV. The whole film is like that. It goes from empty to fascinating, ridiculous to genius. Looks like the first film of a genius teenager.
Yeah, that pretty much covers it. But instead of a genious teenager it's directed by a 45-year-old junkie.


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« #13208 : March 04, 2014, 06:01:00 PM »

The Quarrel - 4/10
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« #13209 : March 05, 2014, 06:25:52 AM »

I kinda like to think of this movie as Red River with women instead of cattle. You know, Taylor goes all authoritarian, just like Wayne, etc. A women drive. I just love that  ;D
Well, there's no ambiguity in Taylor laying down the law. It's clear--especially after the one woman is raped--that things have to be his way or the highway. Of course, that just leads to the men taking off, and there's nothing he can do about it, so maybe the plan wasn't very realistic to begin with. But then, that's what keeps the plot ticking along.

Another thing that struck me: the 1951 audience would have been filled with women who, after the men went off to WWII, had had to work what were traditionally male jobs. So they would have easily identified with the pioneer women on the screen (played by their can-do contemporaries).



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« #13210 : March 05, 2014, 07:19:11 AM »

The Agony and the Ecstasy (1965) - 7/10. Blu-ray transfer: 10/10. Michelangelo (Charlton Heston) paints the Sistine Chapel while his patron, warrior-Pope Julius II (Rex Harrison), kibitzes. It's not actually about watching paint dry. It's more like watching people talking about watching paint dry. Still, Carol Reed's direction is terrific, the sets and locations are terrific, the costumes are fugetaboutit good, the Alex North score is better than fantastic, and the art (filmed in Todd AO!) is the greatest in the world. The drama is pretty much reduced to the tug-of-war between the two principals, and of course, since the two depend on each other and have a mutual grudging respect anyway, by the end its revealed we've been watching a buddy picture all along. But the spectacle! For a film about a painter, I don't know how anything grander could have been mounted. At the beginning of the film there's a narrated prologue that introduces the historical Michelangelo and gives us a tour of some of his famous sculptures. This is actually informative and a pleasure, and helps set some context for the film we're about to see. I've read a recent web post about this new Blu-ray release decrying the film's opening, claiming that it stops the story dead. The story hasn't even begun! And, since this was a roadshow release, with an intermission and exit music (but no overture), the prologue simply takes the place of the opening music. (Nothing "stops a story dead" like an overture, what?) Anyway, the new BD provides eye-candy for the ages--we're talking an LoA-level transfer. Anyone claiming to love art who doesn't already have a copy of this disc is a damned liar!

Serpico (1973) - 10/10. An undercover cop (Al Pacino) is frustrated in his attempts to report police corruption in NYC. This is the ultimate in gritty 70s filmmaking. No sets were used. All filming was done at locations in the five burroughs (Staten Island excluded; I'm not sure about Queens). The new BD transfer is very fine. Anyone claiming to love seeing NYC on film who doesn't already have a copy of this disc is a damned liar!



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« #13211 : March 05, 2014, 03:23:37 PM »

Serpico (1973) - 10/10. An undercover cop (Al Pacino) is frustrated in his attempts to report police corruption in NYC. This is the ultimate in gritty 70s filmmaking. No sets were used. All filming was done at locations in the five burroughs (Staten Island excluded; I'm not sure about Queens). The new BD transfer is very fine. Anyone claiming to love seeing NYC on film who doesn't already have a copy of this disc is a damned liar!

according to Wikipedia, all boroughs were used except Staten Island http://en.wikipedia.org/wiki/Serpico#Production

I am a huge fan of Sidney Lumet, but I didn't love this movie, largely for the same reason I didn't love Price of the City: the cast.
Lumet specifically decided to use no well-known actors in those films – with the exception of Pacino in Serpico, who was well-known after The Godfather but not yet a major A-list star – RE: POTC, he said he didn't want a big-name guy playing the lead cuz he did not want "to spend two reels getting over past associations."

Problem is, the cast in both films is, IMO, for the most part awful. There are two exceptions: great performances were delivered by Pacino in Serpico and Jerry Orbach in POTC (Orbach was not well known before POTC; but he was terrific in that movie, which introduced him to the world.) I definitely liked Serpico better than POTC, possibly cuz Serpico had a great lead. But I absolutely couldn't stand most of the cast in both movies.

The casting of these two movies is the only thing I can say I disagree with about the great Sidney Lumet. A great director. And a great interview subject, as well. Anytime you can, watch his interviews - whether on a DVD's bonus features, or on TCM, you can probably find stuff on YouTube. Listening to him is a joy.


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« #13212 : March 05, 2014, 03:41:07 PM »

I love the casts in both films. I think you're nuts.

Thanks for confirming that Queens locations were filmed for Serpico. I thought it likely but I couldn't tell for sure. It's fun to play I Know Where That Is while watching the movie. I'm pretty sure I spotted a location in Williamsburg in one shot, near where Sergio later filmed. I'll certainly be returning to Serpico to play the Locations Game in the future.



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« #13213 : March 06, 2014, 06:17:27 AM »

Dead of Night (1945) 6/10. The classic supernatural portmanteau from Ealing. Five stories are linked with a frame story, and, as is par for the course, some of the stories are a lot better than others. The best is the justly famous one with Michael Redgrave as a ventriloquist with a creepy dummy. There is also a pretty effective tale about a haunted mirror, and a couple of very brief stories that don't amount to much. My favorite episode was the comical one: two golfers in love with the same woman play a round for the lady's hand; the loser then retires from the links and from life. But he soon comes back to haunt the winner. The golfers are played by Basil Radford and Naunton Wayne--Charters and Caldicott, together again for the first time!--and do their usual thing. The story is clever, too. I wish I could say that about the frame story that links everything together. The setting for the frame is an English country house where people who have gathered tell each other about their encounters with the supernatural. The pattern is the simple one where, as the character talks, we see the events they're describing in flashback. However, at the end of the picture, the main character has some kind of weird experience where all the flashbacks seem to collapse upon him. But this is cheating--the flashbacks are for us, the audience; the characters don't experience them as the stories are told, they just hear the stories. Why would the main character experience--and recognize--elements of the flashbacks that he has never seen? The tail-in-its-mouth ending is also predictable and unsatisfying. I guess a lot of anthology films descend from this one, though (to say nothing of anthology TV shows like The Twilight Zone).



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« #13214 : March 06, 2014, 01:53:57 PM »

Saw CASABLANCA again last nite, I'd dvr'd it when TCM recently showed it as part of its 31 DAYS OF OSCAR. God, I love this movie. I rarely watch even the best movies more than once in 2 years, but this is an exception: TCM probably shows CASABLANCA (and A STREETCAR NAMED DESIRE) like 3 times a year, and I try not miss a showing. This one of those movies that when I watch it, I just wanna wrap my arms around the screen and hug it. The dialogue is second to none. The acting is incredible - with the exception of Paul Henreid, who is merely adequate, every single member of the cast, down to the smallest bit parts, is perfect. This is probably Bogie's greatest performance. There are probably more famous lines from this movie than any other. (AFI's 100 greatest quotes list thinks so, with 6 entries for CASABLANCA, next are GONE WITH THE WIND AND THE WIZARD OF OZ, with three http://en.wikipedia.org/wiki/AFI%27s_100_Years...100_Movie_Quotes ) The line OF ALL THE GIN JOINTS IN ALL THE TOWNS IN ALL THE WORLD, SHE WALKS INTO MINE is an all-time great....... THE GERMANS WORE GRAY, YOU WORE BLUE....The final scene on the runway, in the fog..... WE'LL ALWAYS HAVE CASABLANCA :) :) :) :) :) :)

« : March 06, 2014, 05:01:47 PM drinkanddestroy »

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