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Everything I watched In November
(Thoughts posted in my Movie Log)
WALL•E (Andrew Stanton, 2008) (Rewatch)
The Secret of NIMH (Don Bluth, 1982) (Rewatch) +
The Last Unicorn (Jules Bass and Arthur Rankin, Jr, 1982) -
Night on the Galactic Railroad (Gisaburô Sugii and Arlen Tarlofsy, 1985) +
Treasure Planet (Ron Clements and John Musker, 2002) (Rewatch)
Madagascar: Escape 2 Africa (Eric Darnell and Tom McGrath, 2008) (Rewatch) +
Waltz With Bashir (Ari Folman, 2008) (Rewatch)
All Dogs Go to Heaven (Don Bluth, Gary Goldman and Don Kuenster, 1989) (Rewatch) +
Tokyo Godfathers (Satoshi Kon and Shôgo Furuya, 2003) (Rewatch) -
The Castle of Cagliostro (Hayao Miyazaki, 1979)
The Land Before Time The Land Before Time (Don Bluth, 1988) (Rewatch)
Mad Max: Fury Road (George Miller, 2015) (Rewatch)
Jin-Roh: The Wolf Brigade (Hiroyuki Okiura, 1999) +
Finding Dory (Andrew Stanton and Angus MacLane, 2016) (Rewatch) +
(Thoughts posted in my Movie Log)
WALL•E (Andrew Stanton, 2008) (Rewatch)
The Secret of NIMH (Don Bluth, 1982) (Rewatch) +
The Last Unicorn (Jules Bass and Arthur Rankin, Jr, 1982) -
Night on the Galactic Railroad (Gisaburô Sugii and Arlen Tarlofsy, 1985) +
Treasure Planet (Ron Clements and John Musker, 2002) (Rewatch)
Madagascar: Escape 2 Africa (Eric Darnell and Tom McGrath, 2008) (Rewatch) +
Waltz With Bashir (Ari Folman, 2008) (Rewatch)
All Dogs Go to Heaven (Don Bluth, Gary Goldman and Don Kuenster, 1989) (Rewatch) +
Tokyo Godfathers (Satoshi Kon and Shôgo Furuya, 2003) (Rewatch) -
The Castle of Cagliostro (Hayao Miyazaki, 1979)
The Land Before Time The Land Before Time (Don Bluth, 1988) (Rewatch)
Mad Max: Fury Road (George Miller, 2015) (Rewatch)
Jin-Roh: The Wolf Brigade (Hiroyuki Okiura, 1999) +
Finding Dory (Andrew Stanton and Angus MacLane, 2016) (Rewatch) +
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I don't do Christmas shopping; I'm above that. I have been spending a lot of time cleaning up dog crap and cat piss though.
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I don't do Christmas shopping; I'm above that. I have been spending a lot of time cleaning up dog crap and cat piss though.
Small wonder herself says I give rubbish presents
Last edited by Chypmunk; 12-01-16 at 01:14 PM.
Kindergarten Cop (Ivan Reitman, 1990) +
Ride to Hangman's Tree (Alan Rafkin, 1967)
Pete’s Dragon (David Lowery, 2016) +
Don’t Breathe (Fede Alvarez, 2016)
In Detroit, three robbers try to rob the home of blind war veteran Stephen Lang and two (Jane Levy & Dylan Minnette) of them are shocked by what they see.
Best Boy (Ira Wohl, 1979)
Body of Evidence (Uli Edel, 1993)
Sherman’s March (Ross McElwee, 1986)
Koyaanisqatsi (Godfrey Reggio, 1982)
ko.yaa.nis.katsi (from the Hopi language), n. 1. crazy life. 2. life in turmoil. 3. life disintegrating. 4. life out of balance. 5. a state of life that calls for another way of living.
White Turnips Make It Hard to Sleep (Rachel Lang, 2011)
Atlas (Roger Corman, 1961)
S.F.W. (Jefery Levy, 1995)
100 Years at the Movies (Chuck Workman, 1994)
Rapidly-edited highlights of American cinema from 1894 to 1994.
Kid Colter (David O’Malley, 1984)
Good Advice (Steve Rash, 2001)
The Vengeance of She (Cliff Owen, 1968)
The Banishment (Andrey Zvyagintsev, 2007) -
A funeral in an unidentified remote location results from a misunderstanding between a married couple undergoing their own personal cold war.
In Too Deep (Michael Rymer, 1999) -
Carnival of Souls (Adam Grossman, 1998)
Baden Baden (Rachel Lang, 2016)
To Be Takei (Jennifer M. Kroot, 2014) -
Mr. Sulu (George Takei) on “Star Trek” has been a civil and gay rights leader for years, as well as having his acting career going on strong and being in a committed relationship since 1987 with Bruce Altman, whom he married in 2008.
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page
It's what you learn after you know it all that counts. - John Wooden
My IMDb page
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Thanks for sharing 100 Years At The Movies mark. Alot of fun. Everyone should check that out. Only 10 minutes long.
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Favorite Movies
Lola Montès [The Sins of Lola Montes] (1955) -
The ultimate exercise in style. Dutch angles, long takes, tableux vivants, starking colours, circus madness... The story of Lola is somewhat only an addition to this blaze of cinematographic bliss. Not enough Anton Walbrook!
In the Mouth of Madness (1994) -
One could accuse, deservingly so, Carpenter of misunderstanding Lovecraft, or of showing too much, while leaving too little to imagination , but who cares when the final product is as entertaining as this.
Одинокий голос человека [The Lonely Human Voice] (1987) -
A very good debut film by Sokurov. You can see he's fascinated with Tarkovsky, but can't quite reach his master's level. Not yet, anyway. No wonder the movie was banned in Soviet Union, given its portrayal of these two people's lives.
Film socialisme (2010) -
Notre musique [Our Music] (2004) -
The Old Place (1999) -
I'm really surprised no filmmaker makes films like Godard. And I'm not even talking about his new films, but if you take some of his 60's hits, you can tell that almost nobody has studied them in depth and drew some actual moviemaking formulae from them (no filmmakers, that is). A blatant 'let's draw a rectangle with my finger' of Tarantino is not quite enough. In other words, even Godard's body of work of the 60's still hasn't been influential enough. And he was just starting in the 60's... Now he's perhaps 100 years ahead of others, or maybe his intended movie revolution is yet another failed one, right after the socialist revolution he and so many left bank French filmmakers of the 60's and on dreamt about.
Midnight Cowboy (1969) -
Holy moly, Voight's character is such a dork, but the movie is more than exquisite and it's so enjoyable to watch, even if sad scenes are shown. And that drug party scene. WOW.
Manoel dans l'île des merveilles [Manoel's Destinies] (1984) -
Perhaps this is the Raul Ruiz film (either this or City of Pirates, anyway), or maybe yet another one of his masterpieces. It's quite weird as it's basically an adult film, but with children's movie elements. It's superbly complex and incredibly poetic in its surrealist approach. This has one of the most beautiful scenes I've seen lately, with the boy becoming volatile, or simply a human balloon. Other boys play with him as if he was a balloon, anyway, but he's happy. Beautiful scene.
Mistérios de Lisboa [Mysteries of Lisbon] (2010) -
Both Manoel's Destinies and Mysteries of Lisbon were either based on a book, or highly inspired by a book, be it by Jorge Luis Borges, or Camilo Castelo Branco, but only the latter completely dissociates from Ruiz's trademark poetic surrealism and offers a more realistic approach to the story, becoming, thus, much more literal. This distinct feeling I got from Mysteries of Lisbon is very similar to the feeling I get from long novels, with many subplots, often contained one within the other, almost to the point of becoming a story within a story. What may be confounding, or mysterious (as the title suggest), if you will, at the beginning, quickly becomes understandable, although I have to confess that the easiness with which Ruiz jumps from one story to another, from one period to another, is so fluent, it may take some time until you realize you indeed are watching yet another story within a story, whose significance you will learn later. The tremendous (but maybe not much so for fans of Lav Diaz) length of the film helps to create the story (and stories within a story) and make characters quite complex, reflecting on their present, as well as their past to underline their motivations. Just like in Manoel's Destinies, the main protagonist is a little boy. Joao doesn't know neither his mother nor father and is pestered by other children for his lack of surnames. As much as Joao seems to be the hero of the film at the beginning, after an hour or so, when the viewer finally learns about the tragic life of his mother, it is the boy's teacher, Father Denis that all of a sudden becomes the protagonist and the common link between many characters. But it is Joao who connects movie's beginning and ending with his cardboard little theatre (just like Alexander in Fanny & Alexander, Joao's only way to change reality is to change reality's reflection in this theatre). Vainly, have I waited for this fabulous world on the edge of fantasy and reality Ruiz is known for, as this film, as I mentioned before, is strongly rooted in stark realism (with only a couple of phantasmagoric images) and even though it is by no means a critique in itself, any viewer accustomed to director's surrealist approach will be at least surprised. Therefore this film's devoid of visual brilliance of his 80's films and is forced therefore to create its own visual world. And so saturated hues of distant lands and seas give place to widespread, nicely-decorated, but somehow empty chambers and the fairy tales are replaced with suffering. I'm surprised this film wasn't directed by Manoel de Oliveira. As much as Mysteries of Lisbon differs stylistically from Ruiz's earlier films, some of the reocurring themes are the same. Just like in Manoel's Destinies, the protagonist eventually finds out that he has no control over his life and no matter what he does, he can't change fate. For the protagonist of Mysteries of Lisbon there's only one way to decide on his future and at last free himself from fate, but it's yet another dream of his (or isn't it?). Not without significance is the last scene of the film, the retrospection of Joao's sickness as a child, portrayed by fuzzy, stirring visuals, the moment when he still didn't know who his mother is, but with her tangible presence next to his bed. This one moment decided about his future life (just like the decision to enter the secret garden changed the life of Manoel in Manoel's Destinies).
The ultimate exercise in style. Dutch angles, long takes, tableux vivants, starking colours, circus madness... The story of Lola is somewhat only an addition to this blaze of cinematographic bliss. Not enough Anton Walbrook!
In the Mouth of Madness (1994) -
One could accuse, deservingly so, Carpenter of misunderstanding Lovecraft, or of showing too much, while leaving too little to imagination , but who cares when the final product is as entertaining as this.
Одинокий голос человека [The Lonely Human Voice] (1987) -
A very good debut film by Sokurov. You can see he's fascinated with Tarkovsky, but can't quite reach his master's level. Not yet, anyway. No wonder the movie was banned in Soviet Union, given its portrayal of these two people's lives.
Film socialisme (2010) -
Notre musique [Our Music] (2004) -
The Old Place (1999) -
I'm really surprised no filmmaker makes films like Godard. And I'm not even talking about his new films, but if you take some of his 60's hits, you can tell that almost nobody has studied them in depth and drew some actual moviemaking formulae from them (no filmmakers, that is). A blatant 'let's draw a rectangle with my finger' of Tarantino is not quite enough. In other words, even Godard's body of work of the 60's still hasn't been influential enough. And he was just starting in the 60's... Now he's perhaps 100 years ahead of others, or maybe his intended movie revolution is yet another failed one, right after the socialist revolution he and so many left bank French filmmakers of the 60's and on dreamt about.
Midnight Cowboy (1969) -
Holy moly, Voight's character is such a dork, but the movie is more than exquisite and it's so enjoyable to watch, even if sad scenes are shown. And that drug party scene. WOW.
Manoel dans l'île des merveilles [Manoel's Destinies] (1984) -
Perhaps this is the Raul Ruiz film (either this or City of Pirates, anyway), or maybe yet another one of his masterpieces. It's quite weird as it's basically an adult film, but with children's movie elements. It's superbly complex and incredibly poetic in its surrealist approach. This has one of the most beautiful scenes I've seen lately, with the boy becoming volatile, or simply a human balloon. Other boys play with him as if he was a balloon, anyway, but he's happy. Beautiful scene.
Mistérios de Lisboa [Mysteries of Lisbon] (2010) -
Both Manoel's Destinies and Mysteries of Lisbon were either based on a book, or highly inspired by a book, be it by Jorge Luis Borges, or Camilo Castelo Branco, but only the latter completely dissociates from Ruiz's trademark poetic surrealism and offers a more realistic approach to the story, becoming, thus, much more literal. This distinct feeling I got from Mysteries of Lisbon is very similar to the feeling I get from long novels, with many subplots, often contained one within the other, almost to the point of becoming a story within a story. What may be confounding, or mysterious (as the title suggest), if you will, at the beginning, quickly becomes understandable, although I have to confess that the easiness with which Ruiz jumps from one story to another, from one period to another, is so fluent, it may take some time until you realize you indeed are watching yet another story within a story, whose significance you will learn later. The tremendous (but maybe not much so for fans of Lav Diaz) length of the film helps to create the story (and stories within a story) and make characters quite complex, reflecting on their present, as well as their past to underline their motivations. Just like in Manoel's Destinies, the main protagonist is a little boy. Joao doesn't know neither his mother nor father and is pestered by other children for his lack of surnames. As much as Joao seems to be the hero of the film at the beginning, after an hour or so, when the viewer finally learns about the tragic life of his mother, it is the boy's teacher, Father Denis that all of a sudden becomes the protagonist and the common link between many characters. But it is Joao who connects movie's beginning and ending with his cardboard little theatre (just like Alexander in Fanny & Alexander, Joao's only way to change reality is to change reality's reflection in this theatre). Vainly, have I waited for this fabulous world on the edge of fantasy and reality Ruiz is known for, as this film, as I mentioned before, is strongly rooted in stark realism (with only a couple of phantasmagoric images) and even though it is by no means a critique in itself, any viewer accustomed to director's surrealist approach will be at least surprised. Therefore this film's devoid of visual brilliance of his 80's films and is forced therefore to create its own visual world. And so saturated hues of distant lands and seas give place to widespread, nicely-decorated, but somehow empty chambers and the fairy tales are replaced with suffering. I'm surprised this film wasn't directed by Manoel de Oliveira. As much as Mysteries of Lisbon differs stylistically from Ruiz's earlier films, some of the reocurring themes are the same. Just like in Manoel's Destinies, the protagonist eventually finds out that he has no control over his life and no matter what he does, he can't change fate. For the protagonist of Mysteries of Lisbon there's only one way to decide on his future and at last free himself from fate, but it's yet another dream of his (or isn't it?). Not without significance is the last scene of the film, the retrospection of Joao's sickness as a child, portrayed by fuzzy, stirring visuals, the moment when he still didn't know who his mother is, but with her tangible presence next to his bed. This one moment decided about his future life (just like the decision to enter the secret garden changed the life of Manoel in Manoel's Destinies).
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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
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User Lists
Arrival (Denis Villeneuve, 2016) -
Jonggak The Bell Tower (Yang Ju-nam, 1958) - +
The Omega-Man (Boris Sagal, 1971) - +
Jonggak The Bell Tower (Yang Ju-nam, 1958) - +
The Omega-Man (Boris Sagal, 1971) - +
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"Gentlemen, you can't fight in here. This is the war room."
"Gentlemen, you can't fight in here. This is the war room."
Das Boot Director's Cut (Wolfgang Petersen, 1981) - +
Layer Cake (Matthew Vaughn, 2004) - +
Alice in Wonderland (Clyde Geronimi/Wilfred Jackson/Hamilton Luske, 1951) - +
Layer Cake (Matthew Vaughn, 2004) - +
Alice in Wonderland (Clyde Geronimi/Wilfred Jackson/Hamilton Luske, 1951) - +
How Green Was My Valley (1941) The best movie I've seen in at least a year.
Seeing that rating made my morning. How Green Was My Valley might be the greatest film ever made.
The Case of the Howling Dog (Alan Crosland, 1934)
The Lookout (Scott Frank, 2007) -
Lambchops (Murray Roth, 1929)
The Eyes of My Mother (Nicolas Pesce, 2016)
Visually impressive, sick and twisted nightmare of unexplained relationships.
Noah’s Ark (Michael Curtiz, 1928)
The Squall (Alexander Korda, 1929) +
The Truth About Youth (William A. Seiter, 1930) +
Hollywood Remembers: Myrna Loy - So Nice to Come Home To (Richard Schickel, 1991) -
Myrna Loy rose from my mom’s babysitter (true!) to the most-popular actress of the 1930s, aided by The Thin Man series co-starring William Powell and Asta.
Hitler's Madman (Douglas Sirk, 1943)
Ninja III: The Domination (Sam Firstenberg, 1984) Camp Rating:
(Reminds me of Troll 2 for some idiotic reason.)
A Scandal in Paris (Douglas Sirk, 1946)
The ‘Burbs (Joe Dante, 1989) +
Vacationing-but-stressed-out Tom Hanks and his neighbor Rick Ducommun decide to check out the dilapidated house next door where the new neighbors are weird and possibly dangerous.
La Chinoise (Jean-Luc Godard, 1967)
The Final Comedown aka Blast! (Oscar Williams, 1972)
The Take (Robert Hartford-Davis, 1974) -
Fresh (Boaz Yakin, 1994)
12-year-old Fresh (Sean Nelson) occasionally meets with his father (Samuel L. Jackson) to learn strategy from chess which he uses to try to extricate himself from his world of violence and drug dealing.
Fine Feathers (Jules White, 1933) -
The Great Divide (Reginald Barber, 1929)
On a Clear Day You Can See Forever (Vincente Minnelli, 1970) +
Another Part of the Forest (Michael Gordon, 1948)
The Alabama Hubbard Family from The Little Foxes is shown two decades earlier in 1880. The three selfish siblings – scheming Edmond O’Brien, spineless Dan Duryea and alluring Ann Blyth [played by Bette Davis in Foxes] – all seem to take after their hateful, money-loving father (Fredric March) while their mother (Florence Eldridge, Fredric March’s real-life wife) seems like an outsider because she has human warmth.
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Glad you like The 'Burbs, Mark. One of my favourite comedies, it's completely ridiculous but fun and hilarious too. Surely that wasn't the first time you watched it?
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Favorite Movies
No. I saw it at the theatre when it came out, and this was about my 6th or 7th viewing. It was close to a 3.5 for me, but it was just a little sluggish right before the actual finale.
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Cleaner (Renny Harlin, 2008)
Setup (Mike Gunther, 2011)
Always Shine (Sophia Takal, 2016)
Project A (Jackie Chan, 1983) +
Hong Kong policeman Jackie Chan has to find his way off a clock tower.
Hero Wanted (Brian Smrz, 2008)
Freakonomics (6 Directors, 2010)
Number One with a Bullet (Jack Smight, 1987)
The King of Kings (Cecil B. DeMille, 1927) +
Mary Magdalene (Jacqueline Logan) holds court over many men who desire her favors before she meets Jesus (H.B. Warner).
Don't Answer the Phone! (Robert Hammer, 1980)
Show Girl in Hollywood (Mervyn LeRoy, 1930)
Project A 2 (Jackie Chan, 1987) +
The Accountant (Gavin O’Connor, 2016)
Small-town accountant Ben Affleck is as good with a gun as he is with numbers.
Moby Dick (Lloyd Bacon, 1930)
Tenderness of the Wolves (Ulli Lommel, 1973)
Born Romantic (David Kane, 2001) +
Blue Jay (Alex Lehmann, 2016) +
High school sweethearts Sarah Paulson & Mark Duplass accidentally meet after 20 years in their hometown and relive some of their past intensely.
Vitaphone Shorts
Private Lessons (Roy Mack, 1934)
20,000 Cheers for the Chain Gang (Roy Mack, 1933) +
Jimmie Lunceford and His Dance Orchestra (Joseph Henabery, 1936)
Hi De Ho (Roy Mack, 1937)
Gus Arnheim and His Cocoanut Grove Orchestra (No Director Listed, 1928)
The Band Beautiful (No Director Listed, 1928)
Harry Reser and His Eskimos (Roy Mack, 1936) +
Mills Blue Rhythm Band (Roy Mack, 1934) ]
Home Run on the Keys (Roy Mack, 1937)
Believe It or Not (Second Series) #1 (No Director Listed, 1931)
Trouble in Toyland (Joseph Henabery, 1935) -
An All-Colored Vaudeville Show (Roy Mack, 1935)
Buzzin' Around (Alf Goulding, 1933)
Rambling 'Round Radio Row #4 (No Director Listed, 1932)
Smash Your Baggage (Roy Mack, 1932)
Rambling 'Round Radio Row #10 (No Director Listed, 1934) +
The Voice That Thrilled the World (Jean Negulesco, 1943)
Sharps and Flats (No Director Listed, 1928)
King for a Day (Roy Mack, 1934) +
Chaz Chase: 'The Unique Comedian' (Murray Roth, 1928)
I Thank You (No Director Listed, 1928)
Art Trouble (Art Staub, 1934)
The Happy Hottentots (Bryan Foy, 1930)
Harry Wayman and His 'Debutantes' (No Director Listed, 1928)
Going Places (Murray Roth, 1930)
Paree, Paree (Roy Mack, 1934)
Soft Drinks and Sweet Music (Roy Mack, 1934) -
The Winnah! (Roy Mack, 1934)
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During the first half I thought I was going to really like this quite a bit. Not surprisingly once the horror elements kick in it went down hill quickly. The second half was an absolute bore for me despite that being when the action kicks in. Not a bad movie, Boyle definitely has some visual flare. Just not really for me. This is one of the only sci-fi films I felt like I just had to get to before submitting my list, it won't make it. Any recommendations that are not pre 90's B flicks welcome.
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Favorite Movies
Mutiny on the Bounty (Lewis Milestone/Carol Reed, 1962) -
Life of Brian (Terry Jones, 1979) - +
The Sugarland Express (Steven Spielberg, 1974) - +
Life of Brian (Terry Jones, 1979) - +
The Sugarland Express (Steven Spielberg, 1974) - +
Shivers (David Cronenberg, 1977)
Rebound (Edward H. Griffith, 1931)
Return of the Living Dead II (Ken Wiederhorn, 1988)
For the Love of Spock (Adam Nimoy, 2016) +
During the summers while “Star Trek” was filming, Leonard Nimoy’s son Adam accompanied his father every day to the make-up man and the set.
Equilibrium (Kurt Wimmer, 2002)
The Glass Menagerie (Michael Elliott, 1966)
Courage Mountain (Christopher Leitch, 1990) +
13TH (Ava DuVernay, 2016) -
The 13th Amendment to the Constitution, outlawing slavery, actually has a clause which has been used to systematically enslave people of color through Jim Crow laws, violation of Civil Rights laws, the War on Drugs, Three Strikes laws, mandatory minimum sentences, enormous amounts of money being made in the “prison industry” and many other reasons. Here Angela Davis relates her own run-in with FBI director J. Edgar Hoover, California Governor Ronald Reagan and President Richard Nixon.
The Italian (Andrey Kravchuk, 2005)
Melancholia (Lav Diaz, 2008) 448m
Look for the Silver Lining (David Butler, 1949)
O.J.: Made in America (Ezra Edelman, 2016) + 467m
In-depth saga of race relations in America as depicted through the life of football star/entertainment personality O.J. Simpson, his initially-happy marriage to Nicole Brown, the ”Trial of the Century” for murdering her and friend Ron Goldman, and the even-crazier-yet-perhaps-poetic aftermath of his multiple trials.
Give a Girl a Break (Stanley Donen, 1953)
Cymbeline (Michael Almereyda, 2015)
Devil (John Erick Dowdle, 2010)
The Lost Weekend (Billy Wilder, 1945)
Dipsomaniac Ray Milland writes a book about something he knows well.
Putin's Kiss (Lise Birk Pedersen, 2012)
The List (Brandon Sonnier, 2007)
Détective (Jean-Luc Godard, 1985)
Batman: Return of the Caped Crusaders (Rick Morales, 2016) +
Batman (Voice of Adam West) and Robin (Voice of Burt Ward) Biff!Bam!Pow! Joker, Riddler and Penguin, but Catwoman (Voice of Julie Newmar) is off getting sexed up.
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