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: Rate The Last Movie You Saw  ( 4084454 )
drinkanddestroy
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« #19290 : September 06, 2020, 03:06:51 PM »

Uh, does anyone else find an incongruity between these two quotes?

This movie is not particularly notable compared to other De Niro films.

« : September 06, 2020, 03:08:27 PM drinkanddestroy »

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« #19291 : September 06, 2020, 07:11:24 PM »

This movie is not particularly notable compared to other De Niro films.
How about, "This movie is not particularly notable compared to other notable De Niro films"?



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« #19292 : September 06, 2020, 11:10:36 PM »

I just saw this. I agree with the rating. Really good movie. (I also vaguely remember reading many years ago (probably in the NY Post's Page Six or something about Sarandon having the best bust in  the business or something. By the time I started watching her she was probably way past that; this movie is the youngest I've ever seen her, and based on a few fleeting moments, that description may well be accurate.)

Somehow Lancaster's character here reminds me somewhat of an aging Noodles-If we could see Noodles's life "in the asshole of the world" it would probably look something like that. And there's the crumbling Atlantic City, hoping for a revitalization. And the woman who came to AC decades earlier for a Betty Grable look-alike contest and never left. Good movie all aroud.

I really liked Roger Ebert's review (though I don't agree with him that it is a "Great Movie") https://www.rogerebert.com/reviews/great-movie-atlantic-city-1980

Good point about Noodles.

I have seen this one once, something like 15 years ago. I didn't love it at the time, but there is something about the atmosphere and about Lancaster that stayed with me to this day.



-------------------

I'm Thinking Of Ending Things (2020) - Weird/10
The great and  weird Charlie Kaufman is back. Well, he's still great and weird. A bit too weird for my own tastes during the second part of the movie, but it took me 3 viewings to appreciate Being John Malkovitch so who knows. The first half is more on the "great" side of things.

The Irishman (2019) - 10/10
I cannot stop myself from watching this movie. This time, I saw it by "little" clips of 30 to 60 minutes each time over the course of 2 weeks. No other movie has had such an impact and a fascination power on me since The Social Network. Unfortunately, I'm afraid I'm the only one on this board to have noticed Marty just gave a a huge masterpiece for the ages, but just in case someone is interested here are absolutely incredible podcasts about The Irishman, with key crew members being interviewed in depth for an hour or so:

https://the-call-sheet.simplecast.com/episodes/thelma-schoonmaker-tom-fleischman-eugene-gearty
https://the-call-sheet.simplecast.com/episodes/rodrigo-prieto
https://the-call-sheet.simplecast.com/episodes/sandy-powell-christopher-peterson

« : September 06, 2020, 11:30:09 PM noodles_leone »

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« #19293 : September 07, 2020, 04:09:17 PM »

The Sleeping Car Murders (1965) 

CigarJoe turned me on to this:

Finally got around to watching this.  FABULOUS!  For some reason I knew this was gonna be good and it didn't let me down.   First off, the cast was fantastic.  It starts with my favorite French Actress ( who is gorgeous)  Simone Signoret.  Jean Louis Trintignant and Yves Montand headline a fabulous cast.  Next, the crazy good plot was made even better by fantastic cinematography and musical scoring.  Everything was very good here.  The fast paced and VERY nuanced plot was the obvious centerpiece.   It was VERY well done and directed.  It lost me in a LOT of places, but you were still able to figure out what was happening.  Its gonna take a rewatch to really hone in on the plot as it unfolds.  Its a must watch.  Thanks CigarJoe...   8 out of 10...

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« #19294 : September 07, 2020, 07:28:27 PM »

The Sleeping Car Murders (1965) 

CigarJoe turned me on to this:

Finally got around to watching this.  FABULOUS!  For some reason I knew this was gonna be good and it didn't let me down.   First off, the cast was fantastic.  It starts with my favorite French Actress ( who is gorgeous)  Simone Signoret.  Jean Louis Trintignant and Yves Montand headline a fabulous cast.  Next, the crazy good plot was made even better by fantastic cinematography and musical scoring.  Everything was very good here.  The fast paced and VERY nuanced plot was the obvious centerpiece.   It was VERY well done and directed.  It lost me in a LOT of places, but you were still able to figure out what was happening.  Its gonna take a rewatch to really hone in on the plot as it unfolds.  Its a must watch.  Thanks CigarJoe...   8 out of 10...
moorman is right.



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« #19295 : September 08, 2020, 03:00:48 PM »

Rewatched Oliver Stone's U-Turn (1997) I'll up my rating to an 8/10.


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« #19296 : September 08, 2020, 08:11:55 PM »

Rewatched Oliver Stone's U-Turn (1997) I'll up my rating to an 8/10.
CJ is right.



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« #19297 : September 10, 2020, 07:09:54 PM »

Motherless Brooklyn (2019) - 5/10. If Chinatown didn't exist, this might be thought a pretty impressive flick. As the Polanski film does exist, however, Edward Norton's effort is little more than an act of cinematic cannibalism. Instead of LA and the water scandal, we get NY and the building projects of Robert Moses, here styled Moses Randolph (Alec Baldwin). Instead of a tale of incest and the pursuit of power, we get miscegenation and the pursuit of power. Needless to say, there's a jazz score (a pretty good one) When something novel is injected into the mix it doesn't come off (Edward Norton's character has Tourette's--it's ultimately irrelevant. There is a happy ending--very dull. And why is Thom Yorke on the soundtrack?). The film seems to be there to answer the question, What would have happened if Jake had been bumped off in the first ten minutes of Chinatown? We certainly find out, but it was a question no one was asking. And of course, the dialog is replete with anachronisms: I heard "keep me in the loop" and "update me" and other such in a 1950s setting. And "asshole" is frequently thrown around when the curse words of choice then were "bastard" and "son-of-a-bitch." There is some decent CGI, though--the computer recreation of Penn Station was impressive. The movie helped me pass a dull plane ride, but I can't imagine getting any pleasure out of it a second time.



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« #19298 : September 11, 2020, 04:21:57 PM »

Motherless Brooklyn (2019) - 5/10. If Chinatown didn't exist, this might be thought a pretty impressive flick. As the Polanski film does exist, however, Edward Norton's effort is little more than an act of cinematic cannibalism. Instead of LA and the water scandal, we get NY and the building projects of Robert Moses, here styled Moses Randolph (Alec Baldwin). Instead of a tale of incest and the pursuit of power, we get miscegenation and the pursuit of power. Needless to say, there's a jazz score (a pretty good one) When something novel is injected into the mix it doesn't come off (Edward Norton's character has Tourette's--it's ultimately irrelevant. There is a happy ending--very dull. And why is Thom Yorke on the soundtrack?). The film seems to be there to answer the question, What would have happened if Jake had been bumped off in the first ten minutes of Chinatown? We certainly find out, but it was a question no one was asking. And of course, the dialog is replete with anachronisms: I heard "keep me in the loop" and "update me" and other such in a 1950s setting. And "asshole" is frequently thrown around when the curse words of choice then were "bastard" and "son-of-a-bitch." There is some decent CGI, though--the computer recreation of Penn Station was impressive. The movie helped me pass a dull plane ride, but I can't imagine getting any pleasure out of it a second time.
Fair, but harsh. Just out of curiosity, what's the line for you when it comes to influence?



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« #19299 : September 11, 2020, 06:03:30 PM »

It can't just be ALL influences. There's got to be something extra that makes the exercise worth viewing. Otherwise, just watch the influences (which are usually better).



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« #19300 : September 11, 2020, 06:15:10 PM »



Cet homme est dangereux (This Man Is Dangerous) (1953) Eddie Constantine's second outing as Lemmy Caution. Lemmy Caution escapes a Kansas Penitentiary and heads to France to thwart a planned kidnapping of a young American Heiress who is hanging out on the riviera gambling on a private yacht. The owner of the yacht is working with local mobster Siegella Gr?goire Aslan whose M.O. is to always wears gloves so that he never leaves a trace.

Again, I wasn't expecting much so was again pleasantly surprised. Poison Ivy the first Caution flick was directed by Bernard Borderie he showed a flair for on location shooting and the first film had a lot of atmosphere.

This second Caution flick was directed by Jean Sacha who also shows some style but this one is lighter in atmosphere and in this film the back and forth dialogue between Eddie the various women and the gangsters is a bit snappier and more humorous. The Siegella gang hangs out (like El Indios gang) in a deserted monastery. Eddie fakes being drunk like Eastwood in Fistfull, There is a good copy available on DVD from Video Dimensions with English Subs, 7/10
Finally caught up with this and it was a lot of fun. Thanks, CJ, for putting me on to Video Dimensions--hey, they even offer choice of English subs, white or yellow! Cubby Broccoli must have seen the film, there's lots of James Bond in it. Huh, maybe even Fleming himself was a fan.



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« #19301 : September 12, 2020, 10:11:50 AM »

Black Statement Book (Kuro no h?kokusho)/The Black Report (1963) - 10/10. Like a very, very, very good episode of Law and Order, but in Japan (where there are no jury trials, all cases are argued before three judges). A clever lawyer games the system to spring his guilty client. Yasuz? Masumura made this riveting crime procedural.



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« #19302 : September 15, 2020, 09:36:39 AM »

Dames Don't Care (Les femmes s'en balancent) (1954) French-Italian Noir



The 3rd Lemmy Caution flick.

Like the first directed again by Bernard Borderie. The writing credits are Bernard Borderie for the adaptation of  Peter Cheyney's novel. Additional dialogue was by Jacques Vilfrid and Bernard Borderie. Cinematography was by Jacques Lemare. Music was by Paul Misraki.

The stars are Eddie Constantine as Selby Frayme / Lemmy Caution, Nadia Gray as Henrietta Aymes, Dominique Wilms as Paulette Burdell, Robert Berri as Fernandez / Jean Termiglio, Dar?o Moreno as Perera, the Head Waiter of Casa Antica, Nicolas Vogel as Jim Maloney, Fran?ois Perrot as Langdon Burdell, Paul Aza?s as the watchman at the Bridge, Guy Henry as Daredo, Paulette's Friend, Emilio Carrer as Dr. Madrales, Gil Delamare as Sagers, Dominique Bukar as B?nito Burdell, Georgette Anys as Mrs. Martinguez, Martine Alexis, and Robert Burnieras Metts, the Police Chief.

The Story

Desert looking. Aloe Vera. Parched ground. Southern Italian coast. Early Evening. You hear it long before you see it.

1950 Oldsmobile Futuramic 98 Convertible Coupe Deluxe. Horn blaring. Tools down the scrub land bordered two lane. Turns off and goes up the entrance road to the Casa Antica.

The Coupe Deluxe is dusty. Sun oxidized. A Dull finish. The doorman runs over and lifts the hood.

The American Oldsmobile contains the burlesqued epitome of the "Ugly American" a loud mouth drunk. A VO tells us its FBI agent "Lemmy" Caution. The doorman pops the hood and pulls the horn connection plug. The blaring stops. Lemmy tells him not to touch anything else. He then announces loudly that "Me? I'M gonna tank up," he pivots and stumbles off towards the entrance leaving his lights on.

Cheap rumba music, heavy on bongos and horns.

Lemmy's style of drunk walk is the one where you lean in the direction you want to go and just when you are about to fall on your face you're legs and feet instinctively go into survival mode and propel you along while you lurch side to side grabbing support from whatever is within range.

The Casa Antica is a mostly alfresco night club, a high end kitsch version of an ancient "beer" garden set among fountains, faux Greco-Roman ruins of marble blocks, broken columns,and statuary. All that, is Frankenstein-ly attached to a bleak Italian Modern bar/kitchen building, with a full casino on the second floor.

Lemmy grips a broken pillar leans way out towards the maitre d and waves a hello. The maitre d steps over, leans into Lemmy and asks....

Maitre d : Table for one sir?
Lemmy [waving him off while letting go and stumbling on to the dance floor yells out] : The best table. [walks into a couple on the dance floor and putting his hands on the mans back] The best whiskey. [he sits down at an empty table] And the best seat.


Lemmy  watches his contact FBI agent Sagers. He's the one  dancing with an older woman that Lemmy bumped into. The club waiter arrives with a glass, an ice bucket, and whiskey bottle. Lemmy grabs the bottle, the waiter stands there. Lemmy tells him "Ya getting in my way. Get lost"

Lemmy turns back to Sagers, Lemmy calls him an old gigolo. Sagers stops dancing and goes over to Lemmy.

Sagers : I didn't hear you right.
Lemmy : Sure you did, I called you an old gigolo
Sagers : You mind stepping out.

As Sagers turns Lemmy sticks out his leg and trips him. They fight. With Lemmy throwing wild haymakers. Eventually Sagers lands a right hook. Lemmy decked. Lemmy declares out loud that he takes it all back, Sagers is a real man, and he'll buy him a drink. Lemmy grabs his whiskey bottle, tells the waiter to bring another, and then shakes Sagers hand.

Sagers and Lemmy sit at a table and before they can talk the same waiter arrives with another bottle. Lemmy stares at him and tells him again to get lost.

Lemmy is not drunk after all. Lemmy tells Saugers his cover name is Selby Frayme. Sagers tells him that he thinks he's been around too long. Lemmy asks about the letters. Saugers tells he they should be at Henrietta Aymes' house and he passes Henrietta's key to Lemmy. Lemmy asks about the phony dollars. They are looking for the source of counterfeit U.S. thousand dollar bills. Saugers tells him nothing new. Lemmy says that tomorrow he'll get a cable, hes being reassigned to the New York office and and himself, Lemmy is taking over. At that moment Henrietta herself makes the scene. She and her escort walk across the dance floor and up the stairs to the casino.

Lemmy tells Sagers no hard feelings and gets up. He pinballs off another couple dancing. He careens towards the maitre d. Lemmy waves and wobbles a "So long chubby," while grabbing his lapel. "See ya around." While the maitre d fixes his jacket. Lemmy waves a, wait a minute, finger in the air and gives the maitre d a big tip. Lemmy tells him "buono sera" (good night in Italian) pirouettes, and stumbles out.

So ends the hilarious opening sequence of the English language release of Dames Don't Care. Available to stream on Amazon Prime. Again wasn't expecting much and was pleasantly surprised 7/10.

« : September 15, 2020, 03:03:47 PM cigar joe »

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« #19303 : September 15, 2020, 06:47:54 PM »

Dames Don't Care. Available to stream on Amazon Prime.
Very thank you.



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« #19304 : September 17, 2020, 09:58:12 AM »

Johnny Allegro (1949) - 6/10. Kind of Gilda meets The Most Dangerous Game. Instead of Gilda (Rita Hayworth) we get Glenda (Nina Foch) and instead of Johnny Farrell (Glen Ford) we get Johnny Allegro (George Raft). George Macready is in both pictures, playing totally different characters: in Gilda he's Ballin, in JA he's Vallin! [Note to PowerRR: that last sentence contains sarcasm]. Well, for a George Raft film this is somewhat watchable. It's now part of the Noir Archive Collection (Volume 1, 1944-1954) and it looks really, really good in 1080p.

The Black Book (1949) - 9/10. Every time I watch this (I must be on my 10th viewing by now) it gets better and better. Did Anthony Mann/ John Alton watch Citizen Kane a few times or what? This contains the best work Basehart ever did ("Don't call me Max!"--ha!) And man, is Arnold Moss good! Now in stunning 1080p (also part of the Noir Archive Collection) it has the best day-for-night photography you'll ever see.

Roman Holliday (1953) - 10/10. Not part of the Noir Archive Collection but in 1080p nonetheless. Maybe this is the first time I realized the film was shot by two DPs, Franz Planer and Henri Alekan. Maybe one for locations, one for the studio? In any event, I am unable to detect an differences, scene for scene, in the "look" of the picture. Most of the gags still work really well, and the bittersweet ending is effective. Oh yeah, Audrey is very photogenic.



"McFilms are commodities and, as such, must be QA'd according to industry standards."
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