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: Rate The Last Movie You Saw  ( 5046803 )
noodles_leone
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« #15645 : February 11, 2016, 08:58:19 AM »

Yeah, but the Coens didn't write that one. That one and the one with Clowny and Zeta Jones I don't consider true Coens films because the bros didn't do the writing. A true Coens Bro production has a script by them. Which is the case here, but the film still sucks. So, yeah, this probably is their worst film, just edging out Burn After Reading.

Oh ok. Well if that's as bad as Burn After Reading it's still a little 8/10. I can live with that.
Didn't they write the Zeta Jones one? It's their least "Coen bros" movie but it's still ok to me. I heard they had written it but didn't want to direct it at first.


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« #15646 : February 11, 2016, 10:09:24 AM »

No, if you go to IMDb you'll see a bunch of other names attached to the writing credit. It's the Coen's least Coen-like effort, which may explain why I was never able to get all the way through it.

I may be wrong about The Ladykillers, though. I think the writer of the script for the original movie gets a credit, but maybe that's pro forma or a rights issue because of the use of the title and basic plot content. The Coens also have a writing credit, so maybe the script is largely their work.



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« #15647 : February 11, 2016, 10:57:30 AM »

Oh ok. Well if that's as bad as Burn After Reading it's still a little 8/10. I can live with that.
No, it's worse than BAR. That film had a few laughs. This has none, zero, zip, nada.



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« #15648 : February 11, 2016, 11:41:49 AM »

No, if you go to IMDb you'll see a bunch of other names attached to the writing credit. It's the Coen's least Coen-like effort, which may explain why I was never able to get all the way through it.

I just checked out and got a few quotes from ifc.com:

"In 1995, the Coens rewrote a script originally penned by other screenwriters; they didn’t decide to direct the movie until 2003."
"Ron Howard and Jonathan Demme were initially attached to direct."
"It's the first Coen Brothers movie with a co-producer. Until Intolerable Cruelty, which is co-produced by Brian Grazer, the Coens produced their movies themselves."

http://www.ifc.com/2015/05/15-things-you-probably-didnt-know-about-intolerable-cruelty

No wonder why it's their least Coen-like effort.
I was absolutely not convinced by this movie at first but my father quickly became a huge fan, so I had to watch it several times and it really grew on me. I like it now.

So far all Coen films are at least a good 6/10.
But I haven't watched yet their mainstream journey Ladykillers.

I only saw it dubbed in French in theater at the time. I didn't think much of it and never had the guts to give it another shot. I will at some point, though.

« : February 11, 2016, 11:43:10 AM noodles_leone »

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« #15649 : February 11, 2016, 01:22:31 PM »

It's gonna be a Jan Troell weekend! We begin with:

The Emigrants (1971) 10/10. This 3-hr movie is divided into two parts by an intermission. Part One makes the case for leaving 19th Century Sweden behind. There was no religious freedom there, not much economic freedom either (if you were lucky you had rotten land to till; if unlucky you had someone else's rotten land to till); society was rigidly stratified. Worse, the country was over-run with Swedes. Why would anyone stay there? Part Two makes things clear: you could die trying to leave. First there was the 10-week sea passage, which might be pleasant if you and your berth mates were not spending the whole time vomiting on each other. Then there was the journey by train and the long riverboat trip, and finally an overland trek on foot: why, exactly, did the Swedes have to go all the way to Minnesota to settle? (The film contains a great gag: Minnesota here is played by rural Sweden!). Anyway, I imagine the film accurately represents 19th Century emigration to the US, something close to what my own ancestors must have gone through (although they came from Germany). I feel a new appreciation for the sacrifices they made so I could be a citizen of the greatest nation on earth. I also come away from the film with a fervent determination to never again fly coach.

« : May 29, 2020, 08:22:47 AM dave jenkins »


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« #15650 : February 11, 2016, 07:13:39 PM »

Hail, Caesar! (2016) - 5.5/10
I feel kind of indifferent about this one - I wouldn't say that I dislike it or like it, really. I enjoyed all of the film recreations. I kind of liked the cowboy character and Brolin's character. The overall plot wasn't very enticing though. This is better than Intolerable Cruelty, but considering the Coens didn't also write that, then this is their worst film (Ladykillers is better).

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« #15651 : February 12, 2016, 05:59:14 AM »

Hail, Caesar! (2016) - 5.5/10
I feel kind of indifferent about this one - I wouldn't say that I dislike it or like it, really.
But will you ever feel like watching it again? I'm thinking . . . No.



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« #15652 : February 12, 2016, 12:58:53 PM »

31 Days of Oscar on TCM

saw a couple of overrated Carol Reed movies lately, The Third Man (second viewing) and The Fallen Idol (first viewing). Neither is great. Yeah, The Third Man has a few very famous scenes and a very famous score and all that, but IMO overall not a great movie. I'd give both films around a 7.5/10; maybe The Third Man a half-point higher.

Also saw a crappy early John Ford movie, The Lost Patrol (1934) 5.5/10. With Victor McLaglen, Boris Karloff and Wallace Ford. A patrol of British soldiers are lost in the Arabian desert during World War I. This story has been used for a number of other films.

https://en.wikipedia.org/wiki/The_Lost_Patrol_%281934_film%29

http://www.imdb.com/title/tt0025423/


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« #15653 : February 12, 2016, 01:15:22 PM »


saw a couple of overrated Carol Reed movies lately, The Third Man (second viewing) and The Fallen Idol (first viewing). Neither is great. Yeah, The Third Man has a few very famous scenes and a very famous score and all that, but IMO overall not a great movie. I'd give both films around a 7.5/10; maybe The Third Man a half-point higher.
You have no standards. TTM is a 5; TFI is a 4.



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« #15654 : February 12, 2016, 02:11:32 PM »

 Noir light, George Sanders, Geraldine Fitzgerald, Ella Raines, you'll find it similar to another well known noir. 7/10 Enjoy


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« #15655 : February 12, 2016, 02:15:23 PM »

Noir light, George Sanders, Geraldine Fitzgerald, Ella Raines, you'll find it similar to another well known noir. 7/10 Enjoy


you mean The Strange Affair of Uncle Harry ?


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« #15656 : February 12, 2016, 02:27:05 PM »

I'm thinking . . . Yes.



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« #15657 : February 12, 2016, 02:30:51 PM »

Forgot to add the link The Strange Affair of Uncle Harry (1945) sorry : http://www.dailymotion.com/video/x240s4n_the-strange-affair-of-uncle-harry-1945-feature_shortfilms


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« #15658 : February 13, 2016, 06:22:17 PM »

Joan of Paris (1942)

saw this as part of TCM's 31 Days of Oscar - this film got an Oscar nomination for Best Score

Silly little film  - basically propaganda for our allies in Occupied France - with lots of screwups. But it somehow manages to be entertaining; hence I give it a 7/10, which I have to give to any movie that entertains me no matter how dumb.

Five British bombers are shot down over rural France. They head to Paris to try to make a connection with the Underground so they can get back to England. Chief among them is Paul Henreid, who is a Free Frenchman who joined the Brits after the occupation. While in Paris, he meets and falls in love with Michele Morgan. (Truth is, I am so obsessed with Morgan from Port of Shadows that I'd enjoy any movie she is in.) Henreid works with a sympathetic priest (Thomas Mitchell) to make a connection with the Underground.

Meanwhile, the Gestapo know exactly who Henreid is, arrest him, but the head Gestapo guy, Herr Funk (Laied Cregar, played with all the eccentricities that all high-ranking Nazis were played with in these movies) lets him go. As Funk explains to his agents, it's best to let Henried go, tail him, and hope he leads them to the other four bombers they know are floating around somewhere.

But then, all sense goes out the window: the Gestapo's idea of a tail is this one man, the same man, following Henreid around all day. He sticks to Henreid (like a postage stamp), Henreid has to do all he can to shake the tail. Now, I thought the Gestapo's point was to secretly follow Henreid and hope he leads them to the other four guys. How is this accomplished when the guy just sticks to Henreid with no pretense of secrecy? Stupid, of course. Furthermore, this tail is at least 20 years older than Henreid, and during one of the many times that Henreid is walking down a dark street, he could simply outrun the guy, or even strangle him. Yet Henreid just tries to duck from one alley to another. Stupid.


SPOILER ALERT TILL END OF POST


Then at the end, when Morgan is forced by the Gestapo to give up Henreid & Co., she leads them to where they are rendezvousing but of course just a  minute late  ... if she was planning on leading the Gestapo astray, knowing she'd be killed afterward, shouldn't she lead them far away from where the men are rendevouzing? But of course, leading them to that spot but one minute late is more fun cinematically. As are the other shitty stuff in the movie - more fun cinematically even though it makes no sense.

Then at the very end, a scene with Mitchell speaking to Morgan in prison, as she is about to be led out to be killed. A needless scene.

But I do give them credit for the ending. There is no happy ending - Morgan gets killed. But in the final shot, you see 5 British bombers flying in the sky ... Point is, sacrifices had to be made as we fight the good fight and the world can be free.


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« #15659 : February 13, 2016, 11:49:35 PM »

Five Graves to Cairo - 8/10 - WWII thriller/propaganda flick by Billy Wilder. Excellent opening scene (a tank full of dead bodies drifting across the desert), followed by a slow forty-five minutes or so. Once the actual plot gets under way it's really good, the Macguffin is exceedingly clever, and some of the big suspense scenes (when the Nazi Lieutenant discovers Franchot Tone's identity) are brilliant. The script is also littered with most of Wilder's usual wit, though there's also a lot of speechmaking about the evils of Fascism/et al. The ending is also a bit underwhelming.

Just saw this on TCM; I give it a 7.5/10

For those who can't get enough of Erich von Stroeheim as the German officer in GRAND ILLUSION, you can feed your habit by also watching FIVE GRAVES TO CAIRO. Reworking of an old play, updated to be about WW2.

I liked Franchot Tone here (if you can accept him playing a Brit with American accent). Baxter does a nice French accent. I also remember her doing a good Mexican accent in a weird movie called something like WALK ON THE WILD SIDE, so she was good with these accents.

I disagree with what you said about speechmaking. Maybe I am erong, but I only recall one speech about facsism vs. freedom. I can deal with one speech like that.

Also, I disagree with you on the ending, I think it is pretty good

SPOILER ALERT FOR REST OF POST

Baxter is a sacrifice, in war there aren't any real "happy endings." In order for the war to be won and freedom to prosper, a lot of people had to die, and I think that in any good war movie, there have to be important people dying. I think this ending is good - she makes the ultimate sacrifice, Tone visits her grave and then he is called away to fight.

« : September 01, 2016, 11:31:08 PM drinkanddestroy »

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