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: Rate The Last Movie You Saw  ( 4166107 )
T.H.
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« #19965 : September 22, 2021, 04:02:14 PM »

Fight Club (1999) - Where is this movie's mind? While it certainly feels, and sure as hell looks like some type of masterwork, it's one gigantic narrative cheat and not very bright. The book and subsequent movie are the type of works that spring up when times are generally pretty damn good -- though I'll give this movie credit for nailing and lampooning that strange late 90's/early 2000's Limp Bizkit/Woodstock '99 era. But so many of those kids misunderstood this movie, and what's actually to be understood, isn't very thought provoking. But it's masterfully shot outside of those dated CGI zooms of wires. B


Dirty Work (1998) - Yeah, well, things could be worse, you know....I could have got my nose bit off by a Saigon whore! RIP Norm

« : September 22, 2021, 04:03:15 PM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #19966 : September 23, 2021, 01:15:01 AM »

Zappa (2020) - 10/10. Surprisingly well balanced, comprehensive, even affecting. I liked all the attention given his concert music. This is one of the rare cases where the talking heads actually have intelligent things to say. In this case, they actually know what they're talking about. Particularly insightful is Ruth Underwood, who was there at the beginning, there at the end, and still knows how to perform "Black Page" (which we see a snippet of her doing). On the blu there is even a deleted scene of Haskell Wexler talking about filming Uncle Meat. Now I guess I'll re-watch Medium Cool . . . (for which Zappa wrote the music).

Zappa appears in a club scene.
He sings one of his worst songs; another in his tiresome denounciations  of the counterculture.
He was a real reactionary at heart, despite his radical musical ideas.

« : September 23, 2021, 01:16:08 AM uncknown »

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My article on the restoration of the The Big Gundown
http://thekinskifiles.blogspot.com/2009/01/cinemaretro-13-big-gundown.html
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« #19967 : September 25, 2021, 09:15:07 AM »

I Am Waiting (1957) - 6/10. Nikkatsu noir. A Yokohama cafe owner searches for his missing brother. I heard Eddie Muller in a podcast say good things about this film, so I had to try it. It's pretty much just a Japanese imitation of American crime films of the period, though. Nothing special.

Straight Time (1978) - 8/10. Dustin Hoffman violates his parole in order to rob banks with Harry Dean Stanton. Hey, Harry is a stand-up guy, why not? Great cast in addition to HDS: Theresa Russell, Gary Busey, M. Emmet Walsh, Kathy Bates, even an appearance by Eddie Bunker (who wrote the novel on which the movie is based). The only thing that doesn't really play is Dusty trying to throw his weight around. Who would credit that midget with being a heavy? Still, probably the greatest exploration of an ex-con's relationship with his parole officer. The new blu looks very good, in fact, probably better than the way the film looked in cinemas back in the day.

« : September 25, 2021, 09:23:49 AM dave jenkins »


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« #19968 : September 25, 2021, 06:47:23 PM »

Fight Club (1999) - Where is this movie's mind? While it certainly feels, and sure as hell looks like some type of masterwork, it's one gigantic narrative cheat and not very bright. The book and subsequent movie are the type of works that spring up when times are generally pretty damn good -- though I'll give this movie credit for nailing and lampooning that strange late 90's/early 2000's Limp Bizkit/Woodstock '99 era. But so many of those kids misunderstood this movie, and what's actually to be understood, isn't very thought provoking. But it's masterfully shot outside of those dated CGI zooms of wires. B


Dirty Work (1998) - Yeah, well, things could be worse, you know....I could have got my nose bit off by a Saigon whore! RIP Norm
DIRTY WORK IS BETTER THAN FIGHT CLUB

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« #19969 : September 25, 2021, 06:54:37 PM »

How you been? Long time since you poster


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« #19970 : September 26, 2021, 05:10:52 AM »

L'Assassinat du p?re No?l (Who Killed Santa Claus?) 1941 Alpen Noir - Christmas Noir - Snow Noir - 7/10


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« #19971 : September 26, 2021, 05:20:35 AM »

DIRTY WORK IS BETTER THAN FIGHT CLUB
...Or so the Germans would have us believe.



Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #19972 : September 26, 2021, 06:13:56 AM »

DIRTY WORK IS BETTER THAN FIGHT CLUB
Mr. Power, you're alive!



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« #19973 : September 27, 2021, 01:23:42 PM »

Two O'Clock Courage (1945) - 6/10. Amnesiac Tom Conway, accused of murder, searches for the truth with the help of a female cab driver (Ann Rutherford). Bettejane Greer is one of the suspects. Very jokey, a kind of noir parody, but watchable because the mystery is just interesting enough. Anthony Mann directed.



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« #19974 : September 28, 2021, 08:00:30 AM »

Hi everyone I've been great. Busy the past few months working on my new movie and moving in with my stupid girlfriend. Also I talk to my real girlfriend noodes_leone on FB messenger a lot so I get some SLWB scoop there. I still lurk a lot. I guess I just haven't had much to say! Let me leave some recent ratings:

Valley Girl - 3.5/10
The Florida Project - 9/10
Almost Famous - 7/10
The Piano - 8/10
Labyrinth - 7.5/10
Bottle Rocket - 7/10
They Live - 9/10
There Will Be Blood - 10/10
United 93 - 8/10
Bound - 7.5/10
Malignant - 4/10
Moulin Rouge! - 2/10
The Thing - 8/10
Days of Heaven - 8/10
Oldboy - 5/10
The Fog - 6/10
Sword of Doom - 7.5/10
Changeling - 5.5/10
Punch-Drunk Love - 10/10
Candyman (2021) - 5/10
Candyman (1992) - 6/10
Prisoners - 8/10
Naqoyqatsi - 8/10
Powaqatsi - 8/10
Koyaanisqatsi - 10/10
The Dead Zone - 8.5/10
Big Trouble in Little China - 7/10
Assault on Precinct 13 (1976) - 8.5/10
Men In Black Who Liked to Have Sex with Each Other - 8/10

« : September 28, 2021, 08:05:33 AM PowerRR »
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« #19975 : September 28, 2021, 11:20:25 AM »

Mank (2020) - This would have worked better if it used fictional characters since this seems to have little to no basis in reality. While I don't really care that much when movies take dramatic license, Mank takes 'dramatic license' to the extreme. Welles fanatics would have to be infuriated watching this, but at least it was beautifully shot, I guess. But for a Fincher movie set in the 30's + 1940, you expect more. The first hour is really damn good, but then the 1934 CA gubernatorial election plotline really drags this down. Disappointing. Barton Fink (1991) and Ed Wood (1994) are much better movies dealing with similar subject matter. A very generous B- due to its setting and visuals.

Mank (2020) - 3/10. In order to beatify the life and work of St. Mankiewicz, the makers of Mank decided to demonize just about everybody else. Not Welles: he's irrelevant, apparently he did almost nothing on the screenplay. The movie isn't really about Citizen Kane, or the writing of it, anyway, rather, it's about a man who supported Upton Sinclair for governor of California in 1934. It's also the story of a wonderful drunk with a heart of gold, who, in life, was completely ineffectual in every regard, but was able to bear witness to the perfidy about him. That perfidy is performed, in flashback, by a cast of Hollywood A-listers, every one, according to Finchers fils and pere, a shit. Hearst of course is evil, as is Louis B. Mayer, but the recriminations don't end there: Irving Thalberg is presented as utterly craven; Mank's brother Joe comes off as an industry tool; John Houseman is a buffoon; Selznick, an empty suit; even Marion Davies, who is treated respectfully throughout most of the movie, is finally shown to be feckless and vain.  It would be one thing if the characters were entirely the invention of the filmmakers--then they would just be boring. But they bear the names of actual historical people, people who were complex, people who, when summoned back from the dead, should be given substance. Were any of these folks actually talented? Were they at least good at what they did? The film couldn't care less. The important thing was how they got along with Mank, who saved us all, drinking himself to death for our sins. The stench of sanctimony wafting its way to me from the screen really put me off my popcorn.

This is spot on, and even though I'm more forgiving, I can not argue any of these points. You were right to doubt this before its release.


Valley Girl - 3.5/10
The first hour of this movie is amazing. Awesome soundtrack too.

« : September 28, 2021, 11:43:06 AM T.H. »


Claudia, we need you to appear in LOST COMMAND. It's gonna revolutionize the war genre..
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« #19976 : September 28, 2021, 05:37:31 PM »

Sorry, Wrong Number (1948) - 7/10. The radio play is just 22 minutes long, a taut suspense exercise that plays out in real time with a dynamite finish. For the film adaptation the filmmakers decided to increase the content to 88 minutes, 4 times the length of the original. Of course, that meant adding lots of backstory, but the filmmakers still wanted to save what worked from the play. The original is virtually a monologue. A bedridden woman on the phone gets crossed wires and overhears two men planning a murder. Gradually she realizes she's the intended victim, but try as she might, she can't get anyone to come to her aid. The claustrophobia and growing sense of danger keeps increasing the tension. It works great on radio. But the film lets all that dissipate as we go to flashback after flashback (including in one case a flashback within a flashback!) and we meet a host of characters who are part of a rather complex plot. The audience is no longer focused on the woman and her plight. Instead, there's a puzzle that needs putting together. At the end the filmmakers finally get back to what worked in the original--the rising suspense, but it's a bit too little, too late. Czar Eddie says this is Anatole Litvak's best picture, but I think he likes it just because there's a double burn at the end. Stany and Red Burt are in this, and Burt wears some fabulous suits, but it really doesn't help. Litvak moves the camera a lot, though.



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« #19977 : September 29, 2021, 07:14:20 PM »

Riders of Justice (2020) - 6/10. Another Danish film. Another Mads Mikkelsen film. Lots of touchy feely nonsense, intercut with the old ultraviolence. Some Coens' influence, too. Missable.



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« #19978 : September 30, 2021, 08:48:17 AM »

This is spot on, and even though I'm more forgiving, I can not argue any of these points. You were right to doubt this before its release.


While I don't disagree fully with your own review, it's easy to spot how any single word DJ said was totally wrong.

Mank (2020) - 3/10. In order to beatify the life and work of St. Mankiewicz,

Except everything that isn't at the ranch (ie 75% of the movie) does a lot of work showing you how Makiewicz was an agent of evil and a pathetic loser. If you didn't get that part you didn't watch the movie, you've been watching the movie you totally made up the day you saw the first trailer. I thought only Stanton did this?

the makers of Mank decided to demonize just about everybody else.

You're seeing the movie with young Mank's eyes. Things are much more nuanced.

Not Welles: he's irrelevant, apparently he did almost nothing on the screenplay.

Not only it isn't what Fincher is saying in every interview, not only it isn't what is actually in the movie, it also happens to have nothing to do with the point of the movie. If the movie has anything to do with the authorship of Citizen Kane, it focuses on what, from Mank, is in Welle's film. It does nothing to say Welles did this or didn't do that. It does show us a pretty formidable and iconized Welles though.

The movie isn't really about Citizen Kane, or the writing of it, anyway, rather, it's about a man who supported Upton Sinclair for governor of California in 1934. It's also the story of a wonderful drunk with a heart of gold, who, in life, was completely ineffectual in every regard, but was able to bear witness to the perfidy about him.

So you get that part, but still write the previous sentences?

That perfidy is performed, in flashback, by a cast of Hollywood A-listers, every one, according to Finchers fils and pere, a shit. Hearst of course is evil, as is Louis B. Mayer, but the recriminations don't end there: Irving Thalberg is presented as utterly craven; Mank's brother Joe comes off as an industry tool; John Houseman is a buffoon; Selznick, an empty suit; even Marion Davies, who is treated respectfully throughout most of the movie, is finally shown to be feckless and vain.

You're STILL seeing the movie with young Mank's eyes. Things are much more nuanced. That movie spends 2 hours telling you things aren't black and white and you're still seing things in black and white?

It would be one thing if the characters were entirely the invention of the filmmakers-

Maybe so. Maybe not (see my last point). But I don't think it's a very interesting question anyway: in the end it's more of a marketing debate than something that has to do with the actual movie.

-then they would just be boring.

To you, but I think the actual topic of the movie is pretty fascinating. Not saying they couldn't have improved it or dug deeper, though. But the topic is facinating and quite important.

But they bear the names of actual historical people, people who were complex, people who, when summoned back from the dead, should be given substance.

And many of them are actually complex in the movie and have substance. Have you noticed that this movie is mostly composed of scenes with people arguing and that apart from a few drunk monologues by Mank in front of a big audience, almost all of these people WIN these arguments against Mank when they're one to one? As if they were all more intelligent (or at least: less blind) than he is. Weiiiird!

Were any of these folks actually talented? Were they at least good at what they did? The film couldn't care less.

I'm always up for seeing talented people on screen and the movie could have been improved with actually showing us people working. I'd have liked that, especially since nobody comes close to Fincher to show us people who are good at what they do being good at what they do.
That being said, the following is, once again, wrong:

The important thing was how they got along with Mank, who saved us all,

Nope. The important thing is: how they fit in the economical/artistic/political system (should we call it Capitalism, just so summon Drink? Let's not do it!) and how they feel about it. That's the point of the movie. Which is supposed to make you think of your own place in that system.

drinking himself to death for our sins.

HIS sins. He's the bad guy of the movie.

The stench of sanctimony wafting its way to me from the screen really put me off my popcorn.

Have you noticed that Mank and Hearst are the same person? Hence Citizen Kane, a movie about Herman J. Mankiewicz.

I totally get that people give a bad rating to Mank: that movie does very little to be liked and is very flawed. Maybe it does even deserve a terrible score. But I'd like it better if these people could rank Mank, the David and his dad's movie that was shown to them, and not some imaginary movie that nobody every did.

« : September 30, 2021, 08:59:39 AM noodles_leone »

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« #19979 : September 30, 2021, 12:54:08 PM »



On another note, I recently had Netflix N Chill night with Miss Baltimore, so I showed her FAFDM - and she loved it! Then  I decided to mix things up with a melodrama; halfway through she says, "Let's watch another Western!" So I showed her GBU. As I expected, the first part moved a bit slow for someone not used to the Leone pace, but as it picked up, she really enjoyed it, now she is a Leone fan!!!!! Plus she has Double D?s. This babe might be a keeper >:D

We just watched FOD -- during the part where Eastwood punched out Marisol and brought her to the Baxters, Miss Baltimore gasps, "OMG, this is so dramatic!" which I found hilarious because dramatic plots are the last thing Leone is about. Anyway, she loves FOD most in the trilogy (she keeps mentioning how GBU didn't have much story ... as if FOD really has more ;D) ... anyway, she is hooked. Now I can't get her to watch a non-Leone movie ... we'll see if she likes the c'era una volta trilogy ...


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