The 29th Hall of Fame

[gbgoodies]

gbgoodies - I have those Greg Garrison The Best of the Dean Martin Variety Show DVDs as well - along with his movies, and some other collections of the variety show :

https://i.postimg.cc/FHYGpv7b/dean-martin.jpg


I love The Dean Martin Variety Show. I also have some of his movies, including a box set of his Matt Helm movies. I also have a few DVDs of The Dean Martin Celebrity Roasts, but not all of them.

[gbgoodies]

I want to see pictures:D I don't know about anyone else but I'm fascinated by the description of all your movies.


I'll post pictures of all of my DVDS if you're willing to catalog them for me. ;)

[SpelingError]

I own less than 100 DVDs, but that's because I generally only buy films which I think I'll likely revisit.

[gbgoodies]

I own less than 100 DVDs, but that's because I generally only buy films which I think I'll likely revisit.


I work at home, so my TV is almost always on. (I even sleep with the TV on.) My problem is usually that I can't decide what movie or TV show to put on because I have too many DVDs to choose from.

[SpelingError]

I work at home, so my TV is almost always on. (I even sleep with the TV on.) My problem is usually that I can't decide what movie or TV show to put on because I have too many DVDs to choose from.

Do you often rewatch movies? I don't do it as much as I use to, so I suppose that also plays a part in the amount of DVDs I own.

[gbgoodies]

Do you often rewatch movies? I don't do it as much as I use to, so I suppose that also plays a part in the amount of DVDs I own.


Yes, some movies I watch a lot. There are few movies that I've seen so many times that they all get the same reaction when Hubby comes home and he sees me watching them again. "Are you watching that movie again?!" :lol:

The running joke when he comes home and turns it off to watch something else is, "Now I'll never know how that movie ends. :(" :lol:

[PHOENIX74]

I own less than 100 DVDs, but that's because I generally only buy films which I think I'll likely revisit.

One of the reasons I like DVDs and Blu-Rays so much is the added content, short docs about the films in question, commentaries and occasional booklets you get with them. Combined with what you can access online, and in actual books, it becomes another good tool to do research on a movie you might decide to have a close look at. I really enjoy watching films for the first time, but I also enjoy selecting a film I've already seen to kind of take it apart and see how it ticks.

[Citizen Rules]

I hope you keep everything backed up.Yup double backed up on two 2tb external storage drives. Though I should re-back up as I've added more movies to my collection.

I've often wanted to share recent purchases on MoFo - upper picture the last fortnight (sitting on the table), lower picture last couple of months (ready for sorting into sections - and displayed so I have fast access to those I meant to watch before losing sight of - double stacked against my 'prime' shelf' - I have three prime shelves that are reserved for places of honor. But I've run out of room and need a fourth. - and there's one shelf aside from those dedicated to Criterions) You'll see a small stack of around 12 movies to the upper right in the second picture - they're either new movies that are going to be added to the best spot on my prime shelves (it includes Raiders, Jaws etc, movies I reviewed for past Halls), and now have to wait to be reintegrated.

For those who want to peruse - (the titles on the bottom pic didn't come out as clear as I'd like.)

https://i.postimg.cc/X7x8KJLD/recent.jpg
https://i.postimg.cc/CMcYWCxh/shelf1.jpg
:up: thanks for the pics! Bonus points for Dean Martin's show DVDS...but what I really want to see is a wide angle shot like if you stood in the doorway and got as wide as angle as possible, pretty please:),

I'll post pictures of all of my DVDS if you're willing to catalog them for me. ;) Oh no! I have my files organized by decades and by actors and actresses and by genre like sci fi, adventure, western, war, musical.

[MovieGal]

You're fine:) Any convo is good for an HoF thread.

Really?!? Let's talk about how great Mads is! Even in my nomination. LOL.

Just kidding 😂

[Allaby]

87787

I rewatched Tomboy on dvd today. Sensitively directed by the brilliant Céline Sciamma, Tomboy is a French coming of age drama about a 10 year old girl who passes herself off as a boy when her family moves to a new neighbourhood.

I love this film. The screenplay is really well written and tells the story in an interesting and effective way. The film touches upon potentially controversial or divisive subjects of gender and sexuality in a gentle, moving and intelligent way, without being preachy or manipulative. Zoé Héran's performance is fantastic in a very subtle and quiet way. She conveys a lot of emotion just with her face. This is one of my favourite child performances. The adorable Malonn Lévana is also wonderful as the little sister. All of the kids in this film feel real and believable.

There is a lot of heart and depth to this film. Tomboy is a beautiful and moving film that also manages to be compelling and entertaining at the same time. Céline Sciamma is my pick for the greatest female director working today. I've seen 4 of her films and I would recommend them all. Tomboy is, in my opinion, her best film. 4.5

[Wyldesyde19]

Really?!? Let's talk about how great Mads is! Even in my nomination. LOL.

Just kidding 😂

He’s amazing in The Hunt and Another Round

[MovieGal]

He’s amazing in The Hunt and Another Round

And those are the only two you have seen him in, I bet!

If you truly want to see his acting abilities, watch Valhalla Rising.

[Wyldesyde19]

And those are the only two you have seen him in, I bet!

If you truly want to see his acting abilities, watch Valhalla Rising.

I’ve seen him in Dr Strange, The Salvation, Casino Royale, Clash of the Titans, Rogue One and Chaos Walking.

I have Pusher trilogy lined up to watch next sometime.

[Citizen Rules]

Really?!? Let's talk about how great Mads is! Even in my nomination. LOL.

Just kidding 😂That gives me an idea for an HoF:D People would pick a movie with their favorite actor or actress. Maybe it's somebody they have a crush on, like Mads;), or somebody they think is cool or whatever reason they want.

[MovieGal]

That gives me an idea for an HoF:D People would pick a movie with their favorite actor or actress. Maybe it's somebody they have a crush on, like Mads;), or somebody they think is cool or whatever reason they want.

I get hooked on an actor then watch everything by them until I find someone else to admire.

Let's start with

Daniel Day-Lewis
Brad Pitt
Christian Bale
Mads Mikkelsen

I haven't seen everything but everything up to a certain point in their career.

[Allaby]

That gives me an idea for an HoF:D People would pick a movie with their favorite actor or actress. Maybe it's somebody they have a crush on, like Mads;), or somebody they think is cool or whatever reason they want.

That's a cool idea. I have a lot of favourite actors though, not just one.

[Citizen Rules]

I get hooked on an actor then watch everything by them until I find someone else to admire.

Let's start with

Daniel Day-Lewis
Brad Pitt
Christian Bale
Mads Mikkelsen

I haven't seen everything but everything up to a certain point in their career.I kinda do that with some actresses, I'll watch all of their films. So far I've seen everything I could find by
Gloria Grahame
Susan Hayward

[Citizen Rules]

That's a cool idea. I have a lot of favourite actors though, not just one.Me too, and my favorites change from time to time. Some of the actresses that I like aren't the greatest but they got something special so I watch their films:D

[MovieGal]

I’ve seen him in Dr Strange, The Salvation, Casino Royale, Clash of the Titans, Rogue One and Chaos Walking.

I have Pusher trilogy lined up to watch next sometime.

I have seen everything except, A Eternity's Gate, Mona's World, Moomis and the Comet Chase, Fantastic Beast The Secrets of Dumbledore and his Danish tv series.

Just haven't found time to watch them or search for them.

Some of his films -American ones - aren't that great in an artistic way but he's a great actor.

Did you know he's in a short film with the actor who plays his brother in The Salvation?

I nominated it for the Short Film HOF.

[SpelingError]

That gives me an idea for an HoF:D People would pick a movie with their favorite actor or actress. Maybe it's somebody they have a crush on, like Mads;), or somebody they think is cool or whatever reason they want.

I like that idea. Depending on when it goes up, I might be able to participate.

[Citizen Rules]

I like that idea. Depending on when it goes up, I might be able to participate.If I do it, I'd wait until the Infamy HoF and 29th HoF are well underway. I just started watching movies for the 29th myself.

[SpelingError]

If I do it, I'd wait until the Infamy HoF and 29th HoF are well underway. I just started watching movies for the 29th myself.

Yeah, I'm in two Halls right now, so I'd have to get through these first before I consider joining a third Hall.

[MovieGal]

To bad there isn't many Dogme 95 films. That would be a cool HOF.

[SpelingError]

To bad there isn't many Dogme 95 films. That would be a cool HOF.

I nominated The Celebration a few Halls back. It finished somewhere in the middle overall.

[MovieGal]

I nominated The Celebration a few Halls back. It finished somewhere in the middle overall.

I watched that, Julian Donkey-boy, The Idiots, Kira's Reason: A Love Story, and Open Hearts.

[Wyldesyde19]

To bad there isn't many Dogme 95 films. That would be a cool HOF.

Yeah, I think it’s about…35 films all together under that movement, iirc?
I’ve been meaning to watch more from it, being a fan of The Celebration, and the ones you’ve mentioned have long been on my watch list, as well.

[MovieGal]

Yeah, I think it’s about…35 films all together under that movement, iirc?
I’ve been meaning to watch more from it, being a fan of The Celebration, and the ones you’ve mentioned have long been on my watch list, as well.

You must have a huge watch list.

My letterboxd has one but I just watch whatever interest me at the time.

[MovieGal]

Wyldesyde19

I have a lot of websites that gives me ideas.

I think it was SE or Allaby gave me one recently. �� I have it in my messages here. Or maybe PHOENIX74.

[Wyldesyde19]

You must have a huge watch list.

My letterboxd has one but I just watch whatever interest me at the time.

My watch list spans decades and is pretty massive, yeah.

[MovieGal]

My watch list spans decades and is pretty massive, yeah.

Mine is pretty much the same including those websites. Just my letterboxd.

https://letterboxd.com/MovieGal/watchlist/

[PHOENIX74]

That gives me an idea for an HoF:D People would pick a movie with their favorite actor or actress. Maybe it's somebody they have a crush on, like Mads;), or somebody they think is cool or whatever reason they want.

I'm loving that idea as well. I don't think anyone here is really familiar with my major screen crush - but as time goes on you guys will be.

BTW Citizen, I'll make you a deal concerning a glimpse at the DVD stacks - because I think I misrepresented how neat and tidy they all are - I've got a self-imposed deadline coming up soon to straighten things out, do some serious sorting, and a bit of general rearranging. After that, I'll do a reveal and what things all look like. It feels like all of mofo coming over for a visit, and I want to be more presentable :D

[PHOENIX74]

To everyone reading this who hasn't joined - you now have 3 days to do so

To some of you who I've seen in the past few Halls : jiraffejustin Miss Vicky pahaK TheUsualSuspect BooBooKittyFock seanc - I'm tagging you in case you don't know a new Hall of Fame is in the closing stages of it's nomination window.

I'm pretty sure Takoma11, edarsenal and Thief know and have opted out.

[Miss Vicky]

Thanks for the heads up, but there's no way I'm watching Das Boot again.

[Siddon]

https://img.gestione.torinofilmfest.org/AA_Stroszek_2.jpg

Stroszek(1977)

Werner Herzog likes eccentrics and weirdo's his early films often are littered with people who aren't really actors but Herzog feels he can write the part for him. Bruno S is I assume a man on the spectrum that Herzog felt he could make two films with..this one also features his girlfriend as a hooker. This does feel like a vanity project for Eva Mattes she plays a sex worker who convinces Bruno to come to the US. Yes the actor has the same name as the character...

I don't know what we are supposed to think of Bruno...if Werner isn't treating his subject as some sort of dancing chicken. The movie has a lot of symbolism and cynicism towards the socialist state and the capitalist state. Basically everything is terrible...this is also a comedy if you like the most childish and dumb butt and fart jokes than I guess it's for you.

The third act has some amusing parts but it's such a long road to get their and if you don't connect with the characters I don't know what the point is. This one just wasn't for me, I've actually nominated a Herzog film in a hall before (Aguirre) but this just isn't my taste.

[Siddon]

https://www.sbs.com.au/guide/sites/sbs.com.au.guide/files/styles/full/public/das_boot_header.png?itok=YIzZ3be-

Das Boot (1981)

It's always important to contextualize when a film was made...Das Boot was made in 1981. This is a German epic that attempts to tell the story of a U-Boat during the later years of WWII. It misses the point of the novel which is an anti-war film which I believe the filmmaker did on purpose because he wanted to show the day to day life of shipmen. For it's time it was a revolutionary film...but just because a film is important doesn't mean it's good.

This is one of the more self-indulgent films ever made. When I say that it's because the filmmaker is more in love with what he can do rather than what he should do to make a watchable emotionally resonating film. Every character in this film is given just one personality trait they completely blend together. We get no drama from their interactions moreso because we know the film is 4 hours long all of those suspense scenes are pretty much hollow. You know the boat isn't going to get suck an hour in...you still have three more hours of the film to go.

The filmmaker doesn't explain why the third act has to happen and often times I felt like if you are going to make me spend all of these hours watching something like this...you can't just lean are jargon. It might be "accurate" but it's not cinematic and this is cinema. I also had no idea of how long they were on sea, how they got crabs, what happened to most of the characters at the end. To me this is something that Roger Ebert loved because it moved film making forward but today it's hateble because of the dated script.

[Citizen Rules]

I'm loving that idea as well. I don't think anyone here is really familiar with my major screen crush - but as time goes on you guys will be...Rachel Ward am I right?

[MovieGal]

That gives me an idea for an HoF:D People would pick a movie with their favorite actor or actress. Maybe it's somebody they have a crush on, like Mads;), or somebody they think is cool or whatever reason they want.

We all know who I adore male wise but does anyone know my favorite actress?

I have seen 11 of her films and probably watch more. She's in a guilty pleasure film of mine as well as a favorite historical and she's married to one of my favorite actors.

[ueno_station54]

https://cdn.onebauer.media/one/empire-tmdb/films/11549/images/eTxgy8eROB5Ly7ZXKLukQoF6tKl.jpg?format=jpg&quality=80&width=960&height=540&ratio=16-9&resize=aspectfill
Invasion of the Body Snatchers (Don Siegel, 1956)

What's there to say about this really? It's a low budget 50s B-movie with no real interest in being anything other than that. Like, it is what it is well enough and it passes the time but there's not really any artistry on display. I mean, I'm not upset a film that only exists to be background noise while teenagers make out at the drive-in isn't the most ambitious thing in the world but you could watch this with your eyes closed and get more or less the same experience. And its not like that experience is even bad, this is perfectly fine and passably entertaining the whole time but its definitely not going to be sticking around in my brain very long.
rating_3

[Citizen Rules]

We all know who I adore male wise but does anyone know my favorite actress?

I have seen 11 of her films and probably watch more. She's in a guilty pleasure film of mine as well as a favorite historical and she's married to one of my favorite actors.Hmmm, maybe Mrs Mads? I don't know if he's even married.

[Citizen Rules]

https://cdn.onebauer.media/one/empire-tmdb/films/11549/images/eTxgy8eROB5Ly7ZXKLukQoF6tKl.jpg?format=jpg&quality=80&width=960&height=540&ratio=16-9&resize=aspectfill
Invasion of the Body Snatchers (Don Siegel, 1956)

What's there to say about this really? It's a low budget 50s B-movie with no real interest in being anything other than that. Like, it is what it is well enough and it passes the time but there's not really any artistry on display. I mean, I'm not upset a film that only exists to be background noise while teenagers make out at the drive-in isn't the most ambitious thing in the world but you could watch this with your eyes closed and get more or less the same experience. And its not like that experience is even bad, this is perfectly fine and passably entertaining the whole time but its definitely not going to be sticking around in my brain very long.
rating_3
Interesting review, it even works if someone hasn't seen a film:D Like this:

http://obamapacman.com/wp-content/uploads/2010/09/5-Epic-Bollywood-Robot-Film-Enthiran.jpgEnthiran (Shankar 2010)

What's there to say about this really? It's a low budget 50s B Bollywood movie with no real interest in being anything other than that. Like, it is what it is well enough and it passes the time but there's not really any artistry on display. I mean, I'm not upset a film that only exists to be background noise while teenagers make out at the drive-in theater isn't the most ambitious thing in the world but you could watch this with your eyes closed and get more or less the same experience. And its not like that experience is even bad, this is perfectly fine and passably entertaining the whole time but its definitely not going to be sticking around in my brain very long.
rating_3


;)

[MovieGal]

Hmmm, maybe Mrs Mads? I don't know if he's even married.

He's married but she's not an actress.

I figured you would be one to know.

Another clue, they starred in a film together that was directed by my favorite Irish director but the film had terrible reviews. The other films by this director are hits, and one of them won a HOF.

[rauldc14]

A Moment of Innocence

https://www.slantmagazine.com/wp-content/uploads/2018/08/momentofinnocence.jpg

I had super high hopes on this one as I heard great things, but overall it's a film that I had a pretty difficult time connecting with. Again, it may have been a cultural barrier but I've seen a decent amount of Iranian films and have enjoyed a bunch. This one seemed to have pacing issues for me, strange for a film that isn't so long. I guess the story really didn't grab me either. I liked the concept of it though. I don't know I guess I was just left with the feeling of expecting more. Quite curious though to see why others love it.

2.5

[ueno_station54]

Interesting review, it even works if someone hasn't seen a film:D Like this:

http://obamapacman.com/wp-content/uploads/2010/09/5-Epic-Bollywood-Robot-Film-Enthiran.jpgEnthiran (Shankar 2010)

What's there to say about this really? It's a low budget 50s B Bollywood movie with no real interest in being anything other than that. Like, it is what it is well enough and it passes the time but there's not really any artistry on display. I mean, I'm not upset a film that only exists to be background noise while teenagers make out at the drive-in theater isn't the most ambitious thing in the world but you could watch this with your eyes closed and get more or less the same experience. And its not like that experience is even bad, this is perfectly fine and passably entertaining the whole time but its definitely not going to be sticking around in my brain very long.
rating_3


;)


damn, my picks don't usually get this high praise

[SpelingError]

A Moment of Innocence (1996) - 5

When I first heard about this film, it didn't interest me much. All I heard was that it was about Makhmalbaf and a cop he assaulted forgiving each other, but what it actually turned out to be was much more interesting and it left so big of an impression on me it shot up real high on my favorite's list.

In order to explain why I like it so much though, I first have to give some background on the film. When Mohsen Makhmalbaf was 17, he was involved in a militant group, attempted to steal a police officer's gun, and ended up stabbing him in the process. As a result, Makhmalbaf was sentenced to death. After serving five years in prison though, he was released in the wake of the Iranian revolution. The officer in the film is the same officer Makhmalbaf stabbed when he was a kid.

Knowing this gives the film's themes some extra resonance as it turns the film into a story about forgiveness. Of course, there's the noticeable extension to this theme which concerns the cop forgiving Makhmalbaf, but the other extension of this concerns the cop's conflict with a former love interest. Though the cop and Makhmalbaf (and his love interest) never share a scene together in the film, the conflict concerning them is instead portrayed through younger actors, who provide their interpretations to the events surrounding the three of them. The cop bonding with the actor who plays Makhmalbaf as opposed to Makhmalbaf himself is a great touch. The final shot of two simultaneous offerings of a gift shows that the three of them found peace with each other and were finally able to find forgiveness. It's a beautiful shot and tops the final shot of The 400 Blows as the best freeze frame ending I've ever seen.

Overall, this film is a masterpiece and my favorite Iranian film. It blew me away when I first watched it and this viewing was no different.

Next Up: Adam's Apples

[rauldc14]

Nice summary Spelling. Wish it worked for me as much.

By the way, my favorite Iranian film so far is About Elly

[SpelingError]

Nice summary Spelling. Wish it worked for me as much.

By the way, my favorite Iranian film so far is About Elly

Thanks!

About Elly is really good. My favorite Farhadi film though is A Separation.

[rauldc14]

Thanks!

About Elly is really good. My favorite Farhadi film though is A Separation.

Need to see it again. Have you seen any Pahani films?

[SpelingError]

Need to see it again. Have you seen any Pahani films?

Not yet. I've heard great things about a couple of his films though.

[ueno_station54]

A Moment of Innocence (1996) - rating_5

The film also dips into fantasy once a doppelganger of the young actor who plays the cop is introduced. It's not stated where his character comes from, but I don't think that aspect needs to have a logical explanation for it to work when it makes emotional sense. It's later shown that the doppelganger represents Makhmalbaf and, since the issues the doppelganger causes to the production of the film impact the actor who plays the cop, this further echoes the conflict between Makhmalbaf and the cop through the younger generation.
lmao shit i'm going to have to watch this again i don't remember this at all.

[SpelingError]

lmao shit i'm going to have to watch this again i don't remember this at all.

Actually, after looking up the cast, I think I might be misremembering the film. I didn't rewatch it before writing this and went with a vague memory I had of the film.

[SpelingError]

Yeah, ignore what I said there lmao. I removed that part from my review.

[PHOENIX74]

Rachel Ward am I right?

My reply turned into a quiz question.

My crush was born 8 years earlier than Rachel Ward - and my crush is on the 70s and early 80s version, which was when she was the most active career-wise. Although her starring roles have petered out, she had a cameo in a recently-released movie which was a remake of the version she starred in. She's been in a Woody Allen film, and starred opposite actors like Steve Martin, Peter O'Toole, Richard Dreyfuss and Julianne Moore. She's married to a producer big-shot, and although she's too old for me now, that still makes me jealous. Her name is...

[cricket]

https://cdn.onebauer.media/one/empire-tmdb/films/11549/images/eTxgy8eROB5Ly7ZXKLukQoF6tKl.jpg?format=jpg&quality=80&width=960&height=540&ratio=16-9&resize=aspectfill
Invasion of the Body Snatchers (Don Siegel, 1956)

What's there to say about this really? It's a low budget 50s B-movie with no real interest in being anything other than that. Like, it is what it is well enough and it passes the time but there's not really any artistry on display. I mean, I'm not upset a film that only exists to be background noise while teenagers make out at the drive-in isn't the most ambitious thing in the world but you could watch this with your eyes closed and get more or less the same experience. And its not like that experience is even bad, this is perfectly fine and passably entertaining the whole time but its definitely not going to be sticking around in my brain very long.
rating_3

It's not a big budget movie, but it's budget was comparable to a lot of movies from it's era. I thought it was very well done and I wouldn't call it a B movie. What about it makes you call it low budget B movie?

[Allaby]

So today I rewatched Goldmember, uh, I mean Goldfinger. (I always get those two mixed up!) I had seen it at least a couple times before. I have the Bond blu ray box set and I have seen all of them. Goldfinger is my favourite of the Bond films. Well directed by Guy Hamilton, with style and pizzazz, this film has all the elements you expect in a classic Bond film. There are gadgets, beautiful women, memorable villains, and lots of action. Sean Connery does a great job as Bond, giving a cool, smooth performance. Goldfinger is a fun, fast paced film that satisfies the audience. It's entertaining and enjoyable. A good nomination. 4.5

[Citizen Rules]

He's married but she's not an actress.

I figured you would be one to know.

Another clue, they starred in a film together that was directed by my favorite Irish director but the film had terrible reviews. The other films by this director are hits, and one of them won a HOF.Gosh I'm so bad at clues. The thing is I can almost remember who you said it was once, but I just can't recall that name.

My reply turned into a quiz question.

My crush was born 8 years earlier than Rachel Ward - and my crush is on the 70s and early 80s version, which was when she was the most active career-wise. Although her starring roles have petered out, she had a cameo in a recently-released movie which was a remake of the version she starred in. She's been in a Woody Allen film, and starred opposite actors like Steve Martin, Peter O'Toole, Richard Dreyfuss and Julianne Moore. She's married to a producer big-shot, and although she's too old for me now, that still makes me jealous. Her name is...Oh, more clues! See the above answer to MG:D

[Citizen Rules]

87819
The Promise (1996)

I went into this blind. I didn't even know the general premise of the film. That was a good way to experience this film as I literately learned what was happening as it happened.

I loved the way this film was made, all the aspects of film making were perfect. First, the casting was genius as the teen boy with his partially broken front teeth and his low key, overweight dad seemed like real people. I would not have guessed they were actors, though they were both naturalistic at acting. I also liked the score as I never heard it. In this kind of film if a score is used I want it to be light and unobtrusive and it was. Same for the cinematography and editing it was natural, effective and never showy or self evident.

The linear story telling also felt real...as the people and the way the movie was made felt like I was there in person watching these events as they happened. I even liked the way the film ended as it was naturalistic and not at all like a typical Hollywood movie.

Oh, one more thing I liked that the film was never preachy about the plight of illegal immigrants, it just showed us these events as they happened. I appreciate the film not beating me in the head with some ethics lessons, I have my own ethics and I don't need films to teach me them...and The Promise never did and I respect that.

Good nom.

[MovieGal]

Gosh I'm so bad at clues. The thing is I can almost remember who you said it was once, but I just can't recall that name.

Oh, more clues! See the above answer to MG:D

Well, My Left Foot won a Hall of Fame, it was directed by Jim Sheridan who also directed Dream House which is 2.5 on letterboxd and 6% on RT, who stars Daniel Craig, my James Bond, also Rachel Weisz starred in it with him and they are married, . Rachel stars in The Mummy which is a film I know that will always entertain me and she's in Agora, a Historical film about Hypathia, a female Greek mathematician and philosopher which I watch about every 3 to 4 months.

So it is Rachel Weisz. I think she's an amazing actress but no, I don't have a girl crush on her.

[Citizen Rules]

I think the only film I've seen Rachel Weisz in was The Fountain. That was so long ago I can't remember it. I did just look at her filmography and she's been in some critically acclaimed movies.

[Allaby]

Rachel Weisz is a very good actor and beautiful too. I've seen at least 15 of her films.

[Rockatansky]

My reply turned into a quiz question.

My crush was born 8 years earlier than Rachel Ward - and my crush is on the 70s and early 80s version, which was when she was the most active career-wise. Although her starring roles have petered out, she had a cameo in a recently-released movie which was a remake of the version she starred in. She's been in a Woody Allen film, and starred opposite actors like Steve Martin, Peter O'Toole, Richard Dreyfuss and Julianne Moore. She's married to a producer big-shot, and although she's too old for me now, that still makes me jealous. Her name is...
I'm gonna go with Barbara Hershey.

[ueno_station54]

https://s3.amazonaws.com/criterion-production/images/4288-6f52c58ddab3a94c5171319d7b56b5b5/949_151_Current_medium.jpg
Vengeance Is Mine (Shohei Imamura, 1979)

I haven't seen a ton of Imamura but he's definitely a guy whose work I respect more than enjoy and this film kind of solidified that for me. His stuff is always extremely well made and great to look at (the colour palette in this film particularly) but for whatever reason I never love anything he does. Vengeance Is Mine is a real good film and there's a lot to like but its also just so heartless and bleak and films like that usually leave me feeling cold and this kind of did as well. Again, love the colour palette as it fits the tone perfectly, just very dark and washed out, and the camerawork is, as expected, excellent but its just not the type of film I go for and had I not taken a nap in the middle I wonder if I would have been feeling the runtime a bit. Add it to the pile of Imamura films that are by all metrics pretty great that just don't 100% hit for me. Last scene was cool though and it was slowly winning me over more and more as it went.
3.5

[ueno_station54]

It's not a big budget movie, but it's budget was comparable to a lot of movies from it's era. I thought it was very well done and I wouldn't call it a B movie. What about it makes you call it low budget B movie?
Visually its just not on par with most things I've seen from the decade, its a 70-minute creature-feature and when I look up "B movie" on wikipedia the film is mentioned. None of this is a bad thing though other than the visuals being lackluster, which was my only real complaint about the film.

[MovieGal]

I think the only film I've seen Rachel Weisz in was The Fountain. That was so long ago I can't remember it. I did just look at her filmography and she's been in some critically acclaimed movies.

Did you enjoy it for the most part? Darren Aronofsky is a hit or miss with most ppl. I enjoy his films.

[Citizen Rules]

Did you enjoy it for the most part? Darren Aronofsky is a hit or miss with most ppl. I enjoy his films.I think I was confused by The Fountain, but that was like 12-15 years ago so hard to remember it.

[MovieGal]

I think I was confused by The Fountain, but that was like 12-15 years ago so hard to remember it.

His films can be that way.

The thing about The Fountain is its sci fi time travel. Two ppl deeply in love finding each other over and over after reincarnation. I think it's a great film but would never nominate it. Again his movies are hit and miss for some.

[Wyldesyde19]

I saw The Fountain in the theatre with a few friends and general consensus among us was it needed to be rewatches to be fully understood, but was good regardless.

I haven’t rewatched it…..

[Wyldesyde19]

Side note on Invasions….if we’re going to argue about it’s “visuals being lack layer for it’s time”, What are we comparing it to? Other b movies released during that same period? That would be fair, given it’s budget.
But I would hope we aren’t comparing it with the mainstream films of its time, those that were deemed “artistic” and such. That’s an unfair comparison.

So if we stick to the similar films of its genre and budget restraints, what else compares to its visuals? Earth vs the spider? Nope. The Wasp Woman? No again. The countless Godzilla films? Egads, no!

So it’s hold quite well compared to its contemporaries, visually.

[ueno_station54]

Side note on Invasions….if we’re going to argue about it’s “visuals being lack layer for it’s time”, What are we comparing it to? Other b movies released during that same period? That would be fair, given it’s budget.
But I would hope we aren’t comparing it with the mainstream films of its time, those that were deemed “artistic” and such. That’s an unfair comparison.

So if we stick to the similar films of its genre and budget restraints, what else compares to its visuals? Earth vs the spider? Nope. The Wasp Woman? No again. The countless Godzilla films? Egads, no!

So it’s hold quite well compared to its contemporaries, visually.
i only compared it to mainstream films of the time when asked why i thought it was a b movie. my review cuts it slack for that reason.

[cricket]

Visually its just not on par with most things I've seen from the decade, its a 70-minute creature-feature and when I look up "B movie" on wikipedia the film is mentioned. None of this is a bad thing though other than the visuals being lackluster, which was my only real complaint about the film.

80 minutes, and I wouldn't call it a creature feature, although a lot of this is just a matter of opinion. The budget was 417K, as opposed to Stanley Kubrick's The Killing which cost 320K. Hitchcock's The Man Who Knew Too Much cost 3 times as much at 1.2 mil, but even if you look at movies today, most horror movies cost tens of millions less than what is considered big budget. That doesn't mean the horror movie is low budget. It's just that when I watch the movie, I never get the thought that it's cheap or cheesy, and one of the things that stood out to me the most was that the cinematography looked just like many other black and white movies of it's time and the performances were just as good.

[ueno_station54]

80 minutes, and I wouldn't call it a creature feature, although a lot of this is just a matter of opinion. The budget was 417K, as opposed to Stanley Kubrick's The Killing which cost 320K. Hitchcock's The Man Who Knew Too Much cost 3 times as much at 1.2 mil, but even if you look at movies today, most horror movies cost tens of millions less than what is considered big budget. That doesn't mean the horror movie is low budget. It's just that when I watch the movie, I never get the thought that it's cheap or cheesy, and one of the things that stood out to me the most was that the cinematography looked just like many other black and white movies of it's time and the performances were just as good.
disagree, no fun shots in that movie. not even a money thing really.

[cricket]

The Promise

https://images.amcnetworks.com/sundancetv.es/wp-content/uploads/2019/11/LA-PROMESA-Filmografia-de-los-hermanos-Dardenne.jpg

I paused this a few minutes into it because I thought I recognized the boy. Sure enough, he was the same actor I had seen in 2005's L'Enfant, which also had the same director. That was a good film as well.

This movie reminded me of the neorealist films of the 50's and 60's. I was affected just by watching the way that some people in the world have to live, and much of its power came just from that. Of course there's a strong yet simplistic narrative as well, to go along with some interesting relationships.

I love the look of the movie and the acting, it's all extremely authentic. At only 90 minutes it's an easy watch. Great nomination.

4

[cricket]

disagree, no fun shots in that movie. not even a money thing really.

I don't agree, but of course that doesn't mean you're wrong.:)

[MovieGal]

The Promise

https://images.amcnetworks.com/sundancetv.es/wp-content/uploads/2019/11/LA-PROMESA-Filmografia-de-los-hermanos-Dardenne.jpg

I paused this a few minutes into it because I thought I recognized the boy. Sure enough, he was the same actor I had seen in 2005's L'Enfant, which also had the same director. That was a good film as well.

This movie reminded me of the neorealist films of the 50's and 60's. I was affected just by watching the way that some people in the world have to live, and much of its power came just from that. Of course there's a strong yet simplistic narrative as well, to go along with some interesting relationships.

I love the look of the movie and the acting, it's all extremely authentic. At only 90 minutes it's an easy watch. Great nomination.

4

Jeremie' Renier?

Yes he's in The Child, which is a great film. I believe he's in quite a few Dardenne fulms.

[rauldc14]

Adams Apples is up next for me

[cricket]

Adams Apples is up next for me

Very curious to read your reaction

[SpelingError]

I'll probably get to Adam's Apples tomorrow.

[PHOENIX74]

I'm gonna go with Barbara Hershey.

https://i.postimg.cc/6pXdZC5F/jessica-harper-suspiria-793x446.jpg

Pretty good guess, and Barbara Hershey was born just one year earlier, but my super secret crush (it's not really super secret, but I enjoyed using the term just then) is Jessica Harper, who from 1974 to 1982 starred in many cult classics and great movies. After that her star waned, and she appeared in increasingly smaller roles in less quality films - most of which I've seen, because from 1993 onwards I became her biggest fan.

She appeared in the Brian DePalma film Phantom of the Paradise as Phoenix, which character Winslow Leach (the Phantom) screams into a distorting microphone over and over again at one stage - thus my username, and it's capitalization, is explained.

Citizen Rules

[Citizen Rules]

Jessica Harper:up:...I'm positive I just seen her in something in the last couple weeks but I didn't know her name until just now. She's cute!
She appeared in the Brian DePalma film Phantom of the Paradise as Phoenix Is that why your ID is PHOENIX74?

[Citizen Rules]

Ah, it was Stardust Memories that I seen her in..but like a couple months ago not weeks...damn fussy memory:)

[MovieGal]

PHOENIX74 have you watched?

87824

It's a superb film!

[PHOENIX74]

Jessica Harper:up:...I'm positive I just seen her in something in the last couple weeks but I didn't know her name until just now. She's cute!
Is that why your ID is PHOENIX74?

Yep - and capitalized because of a scene where the Phantom screams her name into a distorting microphone, so it originated with that specific scene. The film was released in 1974.


It's a superb film!

I haven't seen that - I've put it straight up the order in my watchlist.

[Little Ash]

Yep - and capitalized because of a scene where the Phantom screams her name into a distorting microphone, so it originated with that specific scene. The film was released in 1974..


That... was an oblique cut.
I've seen (and own) Suspiria and Phantom of the Paradise. Haven't seen nor own Shock Treatment. I feel like there should be one or two more prominent roles, but I'm drawing a blank. I've seen Minority Report, but I saw that so long ago, I wouldn't have known who she was at the time.


I haven't seen that - I've put it straight up the order in my watchlist.


I think Phoenix and Transit are both great movies. I have not seen Undine. I think the few people I've heard mention it, say it was a bit of a disappointment after its two predecessors.

[PHOENIX74]

That... was an oblique cut.
I've seen (and own) Suspiria and Phantom of the Paradise. Haven't seen nor own Shock Treatment. I feel like there should be one or two more prominent roles, but I'm drawing a blank. I've seen Minority Report, but I saw that so long ago, I wouldn't have known who she was at the time.

Stardust Memories, where she appears as Woody's girlfriend, I always enjoy. Pennies from Heaven I love, and has undergone something of a critical reevaluation over time - I think the Dennis Potter mini-series/teleplay was one of the greatest television pieces in history, and so my love for that spills over into the Steve Martin/Jessica Harper starring film.

[Siddon]

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQibg3P9rwqn7lO9Qki5570Ov6HxxmEJDzxzQ&usqp=CAU

Robot (2010)

Robot is the story of a robot that goes out of control and wacky incidents occur. The movie runs for three hours it has musical numbers, slapstick comedy, and middling special effects. I'm not sure if this was a film nominated in good faith it's basically unwatchable and annoying. Complete waste of time.

This is yet another nomination where you have to question if the person was serious in nominating this film or if they were just trolling. If you've ever watched a Nickelodeon kids show that's what you are getting. A lot of we can do with effect to get a cheap gag so we're going to pad out the runtime. I'm going to be very suspicious who says they enjoyed this.

[Okay]

Jeremie' Renier?

Yes he's in The Child, which is a great film. I believe he's in quite a few Dardenne fulms.

Yeah, they overall re-use a lot of their actors.

[Okay]

At last, I'm going to be starting off not only this HoF, but watching movies in general. I haven't seen a single movie in almost 2 months, partly because of a hectic and stressful semester that is finally over, but also because I kind of lost that interest and crave that I used to have for film. But now we're back baby! The Year My Voice Broke and A Moment of Innocence are first on my list.

[Torgo]

A Moment of Innocence

https://i.imgur.com/8xnDtHb.jpg
This Cop and a Half remake is awesome!

This innovative yet not always easy to watch docudrama deserves credit for managing to combine concepts found in two other movies that were also innovative for their times that, on paper, you think would be difficult if not impossible to put together. Those movies are Rashomon, which asks if multiple perspectives can reveal what really happened during a tragic event, i.e., the police officer stabbing that sent director Mohsen Makhmalbaf to jail and that made him lose touch with his betrothed. The other one is Synecdoche, New York for how the then present-day director and police officer's staging of the crime asks that movie's question of whether doing so can make life more easily understood. While neither man receives definitive answers to these questions, it is interesting to watch them learn about themselves in their pursuit. To me, the movie is at its best in the moments when Mohsen and Mirhadi coach the actors who play their younger and more idealistic selves. Besides the way the scenes made me wish I could do the same with my teenage self and wonder what I would say, their dynamics recall and are as amusing as the one between Gustave and Zero in The Grand Budapest Hotel. As is typical of movies that combine documentary and drama like this one, one of their appeals is how naturalistic the performances are - so much so that they make you wonder if they're acting at all - and this one is no exception. The moments in which the young stand-in for the director questions if there's a better way to "save mankind" than reenacting the knife attack and his hesitancy to do so are so natural, it hurts. As for the conclusion, it's easy to understand why the original title translates to Bread and Flower. For the way it proves that truth is in the eye of the beholder with a single image, I can't imagine a better way the movie could have ended.

While I've described the movie as innovative and interesting, "enjoyable" is not a word I would always use. For one, it's not the most visually appealing movie I've ever seen. Besides the final shot, which lingers in my mind more for how meaningful it is than for its aesthetics, it is, again, hard to look at more often than not. Editing and pacing are not the best for how many scenes, such as the one where one of the auditioning actors walks down the snowy path, last past their sell-by dates. They make this 74-minute movie seem like a two hour one at times, which is about how long it took me to finish the movie since I nodded off a couple times. Again, I admire the movie's ambition, appreciate how it made me think about youthful idealism and the nature of truth and I believe it's a good Hall of Fame nomination, especially since I haven't seen that many Iranian movies. I just wish I got as much satisfaction from watching it as I get from picking it apart.

3

[Allaby]

I rewatched Invasion of the Body Snatchers (1956) today. Directed by Don Siegel, this classic sci-fi thriller is about a doctor in a small town who discovers people are being replaced with emotionless alien duplicates. I think this is a well written and entertaining film. The performances are enjoyable and the actors do a fine job with the story. The score is effective and helps enhance the atmosphere. I found the film to be suspenseful and eerie and it did a good job building tension. I think this film is better than the 1978 and 2007 versions. Don Siegel was a good director and he seems to be underrated by audiences today. Out of the films I have seen by him, I think Invasion of the Body Snatchers is his best. A worthy nomination. 4

[cricket]

I rewatched Invasion of the Body Snatchers (1956) today. Directed by Don Siegel, this classic sci-fi thriller is about a doctor in a small town who discovers people are being replaced with emotionless alien duplicates. I think this is a well written and entertaining film. The performances are enjoyable and the actors do a fine job with the story. The score is effective and helps enhance the atmosphere. I found the film to be suspenseful and eerie and it did a good job building tension. I think this film is better than the 1978 and 2007 versions. Don Siegel was a good director and he seems to be underrated by audiences today. Out of the films I have seen by him, I think Invasion of the Body Snatchers is his best. A worthy nomination. 4

One of my favorite directors, though mostly for his 70's output.

[SpelingError]

One of my favorite directors, though mostly for his 70's output.

From his 70's films, I've seen Dirty Harry and Escape From Alcatraz, both of which are really good.

[cricket]

From his 70's films, I've seen Dirty Harry and Escape From Alcatraz, both of which are really good.

The Beguiled, The Shootist, and Charley Varrick are all great and he has other good stuff too.

[SpelingError]

The Beguiled, The Shootist, and Charley Varrick are all great and he has other good stuff too.

I'll have to check them out.

[Citizen Rules]

I just looked at Don Siegel's filmography he sure made a lot of well known films. He did 2 with Audie Murphy, several with Clint Eastwood, several with John Wayne and a pair of movies with Elvis...I wouldn't mind watching all of his films as I like the subject matters he chose.

[Siddon]

https://cdn.onebauer.media/one/empire-tmdb/films/19958/images/kCYSYFFv8ysBfxxb9jqDnc88VR4.jpg?format=jpg&quality=80&width=960&height=540&ratio=16-9&resize=aspectfill


The Year My Voice Broke (1987)

Its a fine line when it comes to coming of age films, especially ones about characters sexuality. In the Year My Voice Broke we get a nostalgic look into 1960's Australia. This is the story of three characters a fairly typical love triangle that delves into headier subject matter as the film progresses. It reminded me of Sirk type films where the story is often time beneath the real story. This film doesn't really have that element to it...most things are explained but I still enjoyed it.

Nostalgia is an easier emotion for me to get behind than other common tropes in these halls. It's a lot more interesting to me to see older films that come from the period piece style. This has an added layer because the female character is very much a product of a very different time. If this were an American film I would say the story is slight and rote. However the different setting offers something new that elevates the subject matter.

It's a somewhat lopsided film where the first act is near perfection but then they don't really have a great story to follow up with the characters and the romance. But still compared to the last three films I watched this one didn't tick me off, I actually enjoyed this one.

[Siddon]

I just looked at Don Siegel's filmography he sure made a lot of well known films. He did 2 with Audie Murphy, several with Clint Eastwood, several with John Wayne and a pair of movies with Elvis...I wouldn't mind watching all of his films as I like the subject matters he chose.


Yeah real shame he's such a cheap B film maker because his style is just so crappy. :rolleyes:


https://josmarlopes.files.wordpress.com/2017/06/invasion-of-the-body-snatchers-1956-00-07-40.jpg


http://www.ibs.re.kr/dext5data/2016/09/20160928_144515306_24694.jpg


https://sites.pitt.edu/~goscilo/Sci-Fi/FilmStills/bssiegel2.jpg

[ueno_station54]

lmao now i'm getting dragged for positive reviews?? I didn't think "wish it had a little more going on visually" was a criticism that would get anyone upset tbh.

[PHOENIX74]

Nobody has stepped over any line as of yet, or done anything wrong, but I'm hoping for both Siddon and ueno_station54 not to agitate each other to the point where things get nasty. Perhaps no more indirect, or direct barbs at each other might be a good idea to take things down from DEFCON 4 back down to nice and comfortable DEFCON 5.

[Allaby]

I'm hoping everyone in the hall can hug it out and we can all be BFFs.

[cricket]

Vengeance is Mine

https://m.media-amazon.com/images/M/MV5BZDc4YWQzZjAtY2ZhYS00ZDE1LThkZTgtY2NjNWI3OGU0ZjhlXkEyXkFqcGdeQXVyMzA1MDQ4Mzk@._V1_.jpg

This is on Ebert's great movies list and it won the award for best picture at the Japanese Academy Awards. It is set in the 60's as it is based on the true story of a killer, con artist, and sexual deviant. There is some disturbing violence early in the film but from there it is mostly psychological.

Ken Ogata is brilliant in the lead passing as charming and intelligent, yet psychopathic. All of the performances are very good and the movie looks great. It is very cinematic. The relationships in the movie are very interesting, and I thought especially between the father and the lead's wife. There's a lot that's ugly but it's all very realistic and well done. It was my 2nd watch and I put it on very late which may have helped me start to feel it's runtime. That's the only negative because otherwise it is a top level look at evil.

4.5

[Citizen Rules]

https://cdn.onebauer.media/one/empire-tmdb/films/11549/images/eTxgy8eROB5Ly7ZXKLukQoF6tKl.jpg?format=jpg&quality=80&width=960&height=540&ratio=16-9&resize=aspectfill
Invasion of the Body Snatchers (Don Siegel, 1956)

What's there to say about this really? It's a low budget 50s B-movie with no real interest in being anything other than that. Like, it is what it is well enough and it passes the time but there's not really any artistry on display. I mean, I'm not upset a film that only exists to be background noise while teenagers make out at the drive-in isn't the most ambitious thing in the world but you could watch this with your eyes closed and get more or less the same experience. And its not like that experience is even bad, this is perfectly fine and passably entertaining the whole time but its definitely not going to be sticking around in my brain very long.
rating_3

lmao now i'm getting dragged for positive reviews?? I didn't think "wish it had a little more going on visually" was a criticism that would get anyone upset tbh.In the 27th link (https://www.movieforums.com/community/showthread.php?anchor=1&p=2270612#post2270612)when Raul complained about your noms, I defended you. I've also defended you in PMs telling people how nice you were to talk to...

But your above two post and a number of other post you've made, shows you're being deliberately inflammatory, more of a spoiler, than a serious member of an HoF...

1st you write a non-descriptive review of Invasion of the Body Snatcher's that reads as a smart-ass swipe at Siddon, then you play all innocent when people point out the film's merits. We'd have to be blind to think your review was meant to be a 'positive review' as you claim. I think we have another guap situation here.

[ueno_station54]

In the 27th link (https://www.movieforums.com/community/showthread.php?anchor=1&p=2270612#post2270612)when Raul complained about your noms, I defended you. I've also defended you in PMs telling people how nice you were to talk to...

But your above two post and a number of other post you've made, shows you're being deliberately inflammatory, more of a spoiler, than a serious member of an HoF...

1st you write a non-descriptive review of Invasion of the Body Snatcher's that reads as a smart-ass swipe at Siddon, then you play all innocent when people point out the film's merits. We'd have to be blind to think your review was meant to be a 'positive review' as you claim. I think we have another guap situation here.
okay fair. i don't have time at the moment but i'll rewrite the review if it will help settle the waters.

[Citizen Rules]

okay fair. i don't have time at the moment but i'll rewrite the review if it will help settle the waters.Don't bother, it looks hypocritical to do that after the fact. You already did that same behavior when Siddon pointed out that your dismissal of Josie and the Pussycats as trans-phobic, was way out of line...then you claimed to rewatch it and had a change of view. I think Siddon was right when he said you hadn't originally bothered to watch Josie and the Pussycats in the first place and only watched it after he complained.

[ueno_station54]

Don't bother, it looks hypocritical to do that after the fact. You already did that same behavior when Siddon pointed out that your dismissal of Josie and the Pussycats as trans-phobic, was way out of line...then you claimed to rewatch it and had a change of view. I think Siddon was right when he said you hadn't originally bothered to watch Josie and the Pussycats in the first place and only watched it after he complained.
yeah, crazy how rewatching a film you thought was personally offensive that turns out it wasn't would change your perspective somewhat. i wasn't facetious in the Body Snatchers review but i certainly could have worded it nicer, you're right and a rewrite was just going to be that. i'll apologize to whoever feels they were slighted by that review or whatever else everyone thinks is in order. sorry y'all

[rauldc14]

Adams Apples

https://www.outsiderpictures.us/wp-content/uploads/2017/05/Adams-Apple-pic-1024x550.jpg

The biggest positive here is the casting and the acting. Without a guy like Mads Mikkleson this really can't be pulled off in my opinion. And I really enjoyed Ulrich Thomsen's performance too. Mikkleson and Thomsen really played well off of one another.

There were a lot of really funny scenes. Dark funny but funny. Like the scene with the cat and the scene where he talks about the M&M tragedy. Stuff like that I really enjoyed.

Sometimes I felt the pacing was off and sometimes I didn't care for where the story was going. And I found the background music to be somewhat ineffective at times.

Overall it was decent. I don't think I'd rush to see again but the performances made it an adequate watch.

3

[Okay]

The Year My Voice Broke (1987) directed by John Duigan

https://www.movieforums.com/community/attachment.php?attachmentid=87847

This felt like a mixture of Peppermint Soda and Badlands with the way it told its coming of age story. The stereotypes and clichés that usually come with this genre of movies are thankfully absent this time around, or maybe I shouldn't expect the quirky and overly sarcastic dialogue shtick from this era of time as that only becomes a thing during the 21st century. Either way, let's go back to this kind of grittiness and honesty when we talk about our teenage years in cinema.

Freya is not your typical girl, and what I mean by that is she's not the type of girl that a coming of age movie typically focuses on. This is beautifully summed up in a singular shot where she attempts to spit snot on some girl. Her relationship with the two boys and the love triangle that brings them all together isn't your typical one either. Her friendship with Danny is filled with loyalty and innocent pure love, while her connection towards Trev is all about lust, danger, and living life to the fullest. The three of them together get along A-Okay, so that should tell you about the chill nature of the film's breeze.

There are also a few subplots ongoing in the background, such as the mystery of Sarah, as well as Danny's "telepathy", and they do their job at giving the story more different flavors, but more importantly, they accumulate to a satisfying tie-in with the main plot and conflict. By the end, there were some unanswered questions, for example why Nils adopted Freya in the first place, and the movie lets you have your own theories about that and about other stuff as well, which is a good thing, it keeps the setting of this small town under a mysterious light.

Overall, a good start to the HoF.

[Siddon]

http://thecinemaarchives.com/wp-content/uploads/2019/04/vengeance-is-mine-fan-in-front-left.jpg


Vengeance is Mine (1979)

One of the things that's unfortunate with Halls like this is when you come across a filmmaker like Shohei Imamura. I've seen now about 10 of his films and I have the same problem every time. Every film I've seen of his starts off well and then just meanders for an hour and I get lost in the plot. I can understand why a filmmaker would do this but the experience for someone to read the subtitles, track the characters, and follow the plot...it's just too much.

The film is a little bit of a biopic but it jumps around in time and goes in other directions with Iwoe's father and wife. So you are left wondering just who's story this is. The murder scenes aren't really suspenseful, they are almost comical at points it's a tonal shift that doesn't really work for me. Mostly I think this is due to Imamura technical deficiency's as a film maker. 90% of this movie you have flat camera shots with minimum editing. While Imamura has creativity with the original shot the lack of cuts causes scenes to drag on.

Visually it's a fine film with Ken Ogata working as a very compelling lead but the lack of good pacing and the flipping between genre's without actually committing to anyone of them let's me down.

[cricket]

Tomboy

https://www.kinderfilmwelt.de/fileadmin/_processed_/4/e/csm_tomboy_01_347a3b369f.jpg

Boys Don't Cry is one of my favorite movies. I was hoping Tomboy wasn't heading into the same direction, although it probably needed to in order for it to become another favorite. That might not sound like it makes sense, but one of the best things a movie can do is hurt me. This is a younger and lighter version of Boys Don't Cry, and it at least still made me care. A big difference between the two movies is that this character is surrounded by decent people, including a very loving family. The child acting is very good and the story done well. There were some uncomfortable scenes early on that I could have done without, but I never felt it was exploitive. This movie did not blow me away, but it was a great nomination.

3.5+

[Wyldesyde19]

I’ll get to Stroszek and Das Boooooooooooooooooooot(!) in the coming week.

First, I spied House of Gucci just became available to stream on Amazon Prime and this takes precedent for the night.


Don’t judge me……

[cricket]

I’ll get to Stroszek and Das Boooooooooooooooooooot(!) in the coming week.

First, I spied House of Gucci just became available to stream on Amazon Prime and this takes precedent for the night.


Don’t judge me……

I was just looking at a Netflix movie to watch tonight, if my wife has time.

[Siddon]

I’ll get to Stroszek and Das Boooooooooooooooooooot(!) in the coming week.

First, I spied House of Gucci just became available to stream on Amazon Prime and this takes precedent for the night.


Don’t judge me……


Ridley Scott was my director for the challenge for this year. I almost nominated Kingdom of Heaven because I guess people just kinda passed on it. House of Gucci is a polarizing film but it's one I enjoyed.

[rauldc14]

Gonna try to get to The Promise tonight. No promises.

[Wyldesyde19]

I was just looking at a Netflix movie to watch tonight, if my wife has time.

I’d say this is worth a viewing. I’ve heard nothing but good things about it

[cricket]

I’d say this is worth a viewing. I’ve heard nothing but good things about it

Too long for a work night though, but I bet my wife wants to see it.

[MovieGal]

I'm hoping everyone in the hall can hug it out and we can all be BFFs.

Pppfff you are wishing a lot!

[MovieGal]

Ridley Scott was my director for the challenge for this year. I almost nominated Kingdom of Heaven because I guess people just kinda passed on it. House of Gucci is a polarizing film but it's one I enjoyed.

Should have nominated Kingdom of Heaven, it's in my top 5 English speaking films.

Two in there are Ridley Scott's. 2 are films based off classic novels and #1 holds 2 films that are a bit extreme. My top 5 are actually 6 but I cant pick which is better, A Clockwork Orange or the original The Wicker Man.

[Wyldesyde19]

Ridley Scott was my director for the challenge for this year. I almost nominated Kingdom of Heaven because I guess people just kinda passed on it. House of Gucci is a polarizing film but it's one I enjoyed.

I think I have about 10 films to watch to finish out his filmography, most of which are his 90’s output and a few films from the last decade (the counselor, All the Money in the World, Exodus and house of Gucci). He’d make a good director for the challenge, that’s for sure

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.dvdbeaver.com%2Ffilm3%2Fblu-ray_reviews54%2Fdas_boot_blu-ray_%2Flarge%2Flarge_das_boot_blu-ray_2.jpg&f=1&nofb=1
Das Boot (1981)

I went for it and watched the 4 hour 41 minute mini series, it was worth it. The time seemed to fly by but I would recommend the 3 hour 30 minute Director's Cut for this HoF.

I read on IMDB's trivia page that the interior of the sub was a recreation based on the actual blue prints of a WWII German U boat. It looked real and very claustrophobic. It was cramped inside and hard to believe 50 men could live like that for long periods of time. The sub was in many ways the leading character, with the actors being secondary. That's perhaps as it should be as the men are interchangeable with other fresh faced recruits but the U boat and it's mechanical health determines if these men live or die and by 1941 many of the U boats had been sunk.

I liked that this wasn't uber action packed, expect for some very tense moments when the sub was under attack from depth charges, which looked frightening as all hell. At the start of the film it has a screen crawl that says of the 40,000 German sub mariners, 30,000 never returned alive, wow. The wastage of war...and that wastage of human lives is what this film is about...as the crew of the sub could attest too.

[PHOENIX74]

https://i.postimg.cc/Ghdw2pyK/goldfinger2.jpg

Goldfinger - (1964)

Directed by Guy Hamilton

Written by Richard Maibaum & Paul Dehn

Starring Sean Connery, Honor Blackman, Gert Fröbe
Shirley Eaton & Tania Mallet

If you take yourself back, and put yourself in the shoes of an average cinema enthusiast in the mid 1960s, you can easily feel the magnetic pull Goldfinger had, not just to people already interested in James Bond fiction, but to a wide range of individuals. The film is colourful, good looking and it sounds great - but most of all it moves with a relentless pace, never dawdling and always providing excitement. The actual and story locations provided a sweep of cinematic sightseeing, from Latin America to Miami, Switzerland and Kentucky. Our hero loses two companions, and as such the film subverted some expectations the way Psycho did in a more major fashion 4 years prior. The film introduced amazingly novel concepts, with an armed luxury car that had incredibly imaginative features, and an inspired plan from it's memorable villain. When you take into account the spectacular title song, Sean Connery, and the amazing production design - you begin to realise how exciting this was for film fans of the day. So much so, that it can rekindle a fondness for the movie in this film fan of the present.

After a deadly assignment in Latin America, MI6 agent James Bond is recuperating in Miami when Felix Leiter (Cec Linder), Bond's CIA colleague, informs him of the presence of Auric Goldfinger (Gert Fröbe) who Bond crosses paths with, resulting in the death of Jill Masterson (Shirley Eaton) who has betrayed him. Back home, he's sent on assignment from M (Bernard Lee) to check out Goldfinger's smuggling method, and purposes. In Switzerland, an assassination attempt on Goldfinger by Jill's sister, Tilly (Tania Mallet) attracts Bond's attention, but before he can really join forces with her she's killed also, and Bond is captured by his foe - who is smuggling gold by molding car parts from the precious metal, which is re-smelted when over the border. Bond also discovers a rather large plan Goldfinger has in the works - "Operation Grand Slam" - irradiating the gold in Fort Knox to make it unusable, thus increasing the value of the gold he owns ten-fold. The Chinese are also interested in this plan, as it would destabilize the United States and other Western countries. His one hope is getting Goldfinger's ally Pussy Galore (Honor Blackman) to switch teams (so to speak*) and betray this gold obsessed villain.

Yes, this was the film that produced what would be a replicated formula, for this was the one that pushed James Bond films over the top in terms of popularity, box office success and merchandizing. It had a truly great henchman working for the villain - Oddjob, who is so wonderfully played by Hawaiian wrestler and weight lifter Harold Sakata. Sakata has Oddjob implacably smile so often when James Bond finally tangles with him at the end of the film - and he seems invulnerable. The filmmakers have him crush a golf ball with his bare hand, and had him demonstrate his razor-edged hat earlier in the film. He might seem stereotypical these days (every supervillain has an invincible henchman now), but at the time this unusual kind of henchman was novel. It provides excitement, for there really doesn't appear that there's any way James Bond can defeat the mountainous man, so instead of brute force, he has to rely on his sharp wits and ingenuity to find a way to victory. The fight they have remains exciting to this day.

The first thing that really strikes me as an awesome achievement is the title song by John Barry, and originally sung by Anthony Newley (https://m.youtube.com/watch?v=1pyJd_rFrlo) (who wrote the lyrics) but thankfully sung by Shirley Bassey in the film. The entire score from Barry is perfect - ever so powerful, with so much brass behind it, and sexually charged. I love the sound of Goldfinger, and the sound effects ended up winning the film an Oscar - Norman Wanstall, who provided them had already worked on the two previous Bond films and would go on to work on the next two and later, Never Say Never Again. It's a film that's as fun to listen to as much as watch - and this was an aspect of the film that was paid careful attention to. Growing up, I had a special affection for most Bond songs (even some of which I'd probably be embarrassed to admit to today.) Goldfinger would rank at the very top of where I'd put every Bond film sound-wise. John Barry would be with the series up to and including The Living Daylights.

Ted Moore was director of photography, and here was another man who had been aboard during the previous two films. I find that in the Bond films of the early era, functionality was much more important than art - and as such we don't really get a chance to produce something beautiful until we get to the stunning locales (which got greater and greater as the series went on.) Here it's in Switzerland that we get some of our most impressive shots - and otherwise it was really the production design that hit the ball out of the park. Production Designer Ken Adam, who had worked on Dr. No, built some magnificent sets - such as the lair that Goldfinger transforms into a briefing room complete with model of Fort Knox, and of course the interior of Fort Knox itself, which had to be designed with great use of imagination - as few people have ever seen it. Ted Moore would work on Thunderball, Diamonds Are Forever and the first two Roger Moore Bond films. Ken Adam would work on many Bond films in the future, win 2 Oscars for non-Bond related films, and be nominated for an Oscar for his work on The Spy Who Loved Me.

Gert Fröbe was the perfect choice to play Goldfinger - he most definitely looks the part, and has that unpleasant sense of violence in his presence. Theodore Bikel was tested (https://m.youtube.com/watch?v=Qhl6K8hiCi4) for the role, and would have proven to have been an interesting alternative, but Tito Vandis (https://m.youtube.com/watch?v=CHhd9UQhPfU) would probably have been a big mistake. I'm afraid to say that the female actors seem to have been picked mostly for their looks, although Honor Blackman is obviously talented and brought her Judo skills to her role as Pussy Galore. Overall, these seem like fun parts to play, with little to really stretch anyone acting-wise. Fröbe couldn't even speak English, which is particularly interesting, but the dubbing work is perfect and if I didn't already know it I never would have guessed. Lois Maxwell (who lived just down the road from me when she retired from acting) and Desmond Llewelyn had remarkable longevity in their roles as Miss Moneypenny and Q respectively. Again, they weren't pushing barriers in their performances, but were fine.

Richard Maibaum wrote a very taut screenplay for Goldfinger (sharing credit with Paul Dehn) and helped shape the successful direction it went in - always moving, fast paced and although less complex when it came to spycraft and worldview (Goldfinger's conspiracy with China via Chinese agents almost goes unnoticed to the casual viewer) it widened the film's audience and brought a tight focus to the story. It helped keep everything exciting and straightforward. Maibaum was involved in writing the screenplay for every Bond film up to You Only Live Twice, and except for Live and Let Die and Moonraker had a hand in every Bond screenplay up to and including Licence to Kill in 1989. Remarkable longevity in the series, which only ended due to him passing away in 1991, long before the series restarted with Pierce Brosnan in the lead role. We also have to credit Ian Fleming, of course, although his stories were followed to a lesser extent as the series went forward.

Goldfinger marked Guy Hamilton's entry into the series as far as being director went - an unusual role with so many competing interests from producers (Harry Saltzman and Albert R. Broccoli) to screenwriters, the public, main star and history. Hamilton's career is forever wedded to James Bond, even though he'd already directed a fair few films, and would helm the likes of The Battle of Britain while other directors were taking a shot at the role. He'd end up directing 4 James Bond films in total, but had the greatest satisfaction knowing he'd directed this one. He'd previously turned down an offer to direct Dr. No. Peter Hunt would edit the first 5 Bond films (and was second unit director as well on You Only Live Twice) - after that he'd actually graduate to the director's chair, helming On Her Majesty's Secret Service before leaving the series. I think he did an excellent job in all roles, especially on Goldfinger. Robert Brownjohn famously put together Goldfinger's remarkable main titles, and this expanded into the film's marketing campaign overall - absolutely brilliant. He'd also been in charge of constructing the title sequence for From Russia With Love. The focus on sexuality would continue throughout the entire series. Special effects supervisor John Stears would eventually win an Oscar for working on Star Wars, and was nominated for one for his work on Thunderball

It's a great team, and by this third film in the series they'd had a lot of experience together, finding out what worked and what didn't - always improving. This honing of skills seemed to have reached a peak with Goldfinger (for me the next film, Thunderball, couldn't match this film's excitement and fast pace.) These days we expect so much from a Bond film, but at the same time we often happen upon one which is full of effects, locations and thunderous sound but come away with a sense we were bored the whole time - that the characters themselves were completely lost in all of that sound and fury. Goldfinger has the advantage of not being too overbearing, but instead investing a lot in it's variations, and has a perfect balance of excitement, visual stimulation, great sound, interesting characters and an overall satisfying story. You can add spectacular sights and explosive action to the hilt, but without the characters and story the audience will walk away unimpressed. There are many interesting little touches, with colours approximating gold showing up in many unexpected places (in Theodore Bikel's audition, his hair seemed to be radiating the colour.) It's a perfect blend of overall ingrediants.

When I became interested in James Bond films, Timothy Dalton was just about to start a new era, and it seemed like Roger Moore had always been Bond - the films of Sean Connery seemed quaint compared to what we got with each installment. Appreciating Goldfinger as a film enthusiast, it's very interesting to note what all of the assembled talent did to help create the film that would capture the World's attention. Sean Connery radiates a seemingly effortless confidence and cool detachment, while at the same time being someone with natural sex appeal. Honor Blackman was never one of my favourite Bond girls, and I always thought the name Pussy Galore atrocious. But there's also that strange irony for such a misogynistic series - many of these female characters were strong and capable, and Galore's flight skills and Judo technique, not to mention partnership with Goldfinger, gives the role complexity and interest. It's a shame that Shirley Eaton and Tania Mallet die so soon after being introduced - but they were memorable all the same.

The excitement I had for Bond films when I was really young can never be replicated, but after examining Goldfinger I have a newfound interest and respect for them - especially these early ones. What they lack in meaning they make up for in the sheer craft and ingenuity. Goldfinger still looks great after all these years (they had to have lost something during the VHS era - but after undergoing digital restoration, with DTS 5.1 audio incorporated, they are gorgeous and have a new lease of life) and I hope future film fanatics will enjoy going back in time for many years to come, to admire the evolution of what has become one of the all-time great series of films. Before I forget, I can't end the review without quickly mentioning that old lady with a huge machine gun who blasts away at our suave secret agent - another great moment in a great film, and although some Bond films would late overdo the comedic aspect, the blend in Goldfinger is again spot on. The only thing that ages it is James Bond's complaint about The Beatles, which turns the character into a bit of a dag (Australian term, meaning a person who is unfashionable and socially awkward) - but otherwise, he's sex on two legs. The misogyny is a little over the top (okay, more than a little) but the World as a whole seems to have accepted this aspect of Bond - and the series does have many strong female characters. Over half a century on, Goldfinger still stands out as a cinematic jewel, sparkling in it's own unique fashion and brilliance.

4.5

* Pussy Galore was gay in the novel, but in the film they could only vaguely hint that she was.

[rauldc14]

The Promise

https://assets.mubicdn.net/images/film/30/image-w1280.jpg?1640620727

I quite enjoyed this one. The story was very well told and never made me lose my attention. I thought the film looked really good too. The main lead performance was a very solid one I thought. The movie felt very genuine, showing us how the events were really tugging at the heartstrings of the main character. It was very well directed and I should probably week out more of their movies. Previously I only saw Rosetta. Overall a real good nomination I thought.

3.5+

[PHOENIX74]

Okay, it's about time I set the deadline on this baby, which will be : September 4th

35 reviews so far, out of 144 - pretty good going

[Allaby]

I'm going to make an early prediction that Goldfinger will win.

[Citizen Rules]

I'm going to make an early prediction that Goldfinger will win.Goldfinger is a strong contender. I see The Promise as being a dark horse front runner.

[Allaby]

So I watched Stroszek (1977) for the first time today. Honestly, this was a little underwhelming. I couldn't really connect with the film. I thought the screenplay was decent and the performances were fine, but the film failed to engage me. I didn't find the story very interesting and it felt a lot longer than it was. At one point, I checked to see how much time was left, thinking it was close to the end and there were still 41 minutes left. The film is described as a comedy and the poster claims it is terrifically, spontaneously funny, but I did not find it funny or humorous at all. There were a couple good moments, but overall I expected more. I've seen five Werner Herzog films now and I find him an interesting director. I respect and appreciate him as a director, but for me this is the weakest of his films that I have seen. That being said, I didn't hate the film and I wouldn't even consider it a bad film, just one that didn't do much for me. My ratings/rankings of the five Herzog films I have seen:

Aguirre, the Wrath of God (1972) 4.5
Fitzcarraldo (1982) 4.5
Nosferatu the Vampyre (1979) 4.5
Woyzeck (1979) 4
Stroszek (1977) 3

[Citizen Rules]

I've only seen 1 of Herzog's films so far, I'm glad another was nominated.
Aguirre, the Wrath of God (1972) was Siddon's nom in the 15th HoF.
I rated it rating_4

[Torgo]

My money's on Das Boot. Goldfinger will likely be in the top 3, though.

[Allaby]

I have been meaning to watch Das Boot for quite a while now. I bought a digital copy on itunes a while ago and haven't watched it yet. I might watch it tomorrow.

[rauldc14]

Invasion of the Body Snatchers has a shot too. That may be the next one I watch after rewatching Goldfinger

[Citizen Rules]

I have been meaning to watch Das Boot for quite a while now. I bought a digital copy on itunes a while ago and haven't watched it yet. I might watch it tomorrow.Just curious which version it was? I'd like to see the theatrical version as it's been decades since I last watched that.

Invasion of the Body Snatchers has a shot too. Yup. I have high regards for the original Body Snatchers.

[rauldc14]

Anyways I'm 4 movies in and it's great to be back! Hopefully back in the saddle with these for awhile.

[Allaby]

Just curious which version it was? I'd like to see the theatrical version as it's been decades since I last watched that.

Yup. I have high regards for the original Body Snatchers.

It's the 3 hour and 28 minutes director's cut version.

[Citizen Rules]

It's the 3 hour and 28 minutes director's cut version.Cool, I hope you enjoy. BTW I was thinking of you the other day when I seen there was a deluxe Blu-Ray set of Das Boot which has the different versions and a bunch of bonus material too. Could be worth buying?🙂

[MovieGal]

Do we have to watch the director's cut? These long films are to much lol

[Citizen Rules]

Do we have to watch the director's cut? These long films are to much lolNope you don't have to watch the directors cut... I said out of kindness to everyone that they could choose which version they want to see. The theatrical cut is the shortest.

[MovieGal]

Nope you don't have to watch the directors cut... I said out of kindness to everyone that they could choose which version they want to see. The theatrical cut is the shortest.

I will watch whatever I can find. If I need help, I know who to ask.

[Citizen Rules]

I will watch whatever I can find. If I need help, I know who to ask.Yup, I have links:p

[Allaby]

Cool, I hope you enjoy. BTW I was thinking of you the other day when I seen there was a deluxe Blu-Ray set of Das Boot which has the different versions and a bunch of bonus material too. Could be worth buying?🙂

That sounds cool. I might check that out if I end up liking the movie. I love special editions of movies with different cuts and bonus features.

[Allaby]

Do we have to watch the director's cut? These long films are to much lol

Do what I do and just watch the first two minutes and the last two minutes of each movie. Nothing important happens in between. 🙂

[Citizen Rules]

Do what I do and just watch the first two minutes and the last two minutes of each movie. Nothing important happens in between. 🙂Ha OMG, I repped your post because I knew you were joking🙂...You're a movie watching machine! You watch more than I do and I though I watched a lot of movies.

[rauldc14]

Goldfinger

https://static1.srcdn.com/wordpress/wp-content/uploads/2020/09/Sean-Connery-as-007-in-Goldfinger.jpg?q=50&fit=crop&w=737&h=368&dpr=1.5

Dr. No and From Russia With Love were two very good Bond films, but it was this one that set the standard for what a great James Bond should look like. The story is one of the better for any Bond film to come out and it has perhaps some of the greatest Bond villains too, with Goldfinger and Odd-job. Pussy Galore is one of the greatest Bond girls. It provides some of the better chuckles of any Bond film. It's also one of the most thrilling films, not only in the Bond franchise but in film overall. I guess what I'm saying is it's one of the greatest classic action and thriller movies of all time. I have to place it as my favorite Bond and of course one of my favorites overall.

4.5+

[MovieGal]

Do what I do and just watch the first two minutes and the last two minutes of each movie. Nothing important happens in between. 🙂

Hmmmm no

[Wyldesyde19]

Ha OMG, I repped your post because I knew you were joking🙂...You're a movie watching machine! You watch more than I do and I though I watched a lot of movies.
Seriously…I watched close to 400 movies last year and even that pales in comparison to Allaby.

I wonder, Allaby, what your total is at the halfway mark this year?

For comparison, I’m at 188 movies, excluding rewatches.

[Citizen Rules]

Seriously…I watched close to 400 movies last year and even that pales in comparison to Allaby.

I wonder, Allaby, what your total is at the halfway mark this year?

For comparison, I’m at 188 movies, excluding rewatches.400, damn that's alot! I don't log my movie watches but I do watch a movie almost every night, sometimes I catch 2. So I'm guessing around 360 a year for me.

[SpelingError]

Adam's Apples (2005) - 3.5

I imagine this film will be hit or miss amongst us, but I enjoyed it quite a bit. It's a funny, odd film which mixes a handful of characters with diverse backgrounds together, including a priest who has some farfetched religious beliefs, a neo-nazi inmate on probation, a terrorist trying to save up enough money to leave the country, and a former alcoholic. The film takes some risks in terms of offending the audience, but even though the characters are far out there, it simultaneously has enough restraint so that it doesn't go too far and, as a result, it makes for a surprisingly enjoyable experience. The solid twin performances from Mikkelsen and Thomsen enhance the material as well. Also, bonus points for having some unexpected outcomes to a few character arcs since comedies tend to struggle with this. For the most part, the religious themes were pretty good as well. As the film goes on, it seems less likely that the misfortunes the church's apple tree goes through are just coincidences but actually brought about by a deity. Given that, my interpretation is that the film is a modern day rendition of the Book of Job. I do think it loses its way a bit as it moves to its ending though since the priest's restored faith doesn't feel entirely earned. Unlike in the Book of Job which has a more complete character arc, this film's arc is more akin to the characters finally outsmarting God and then turning back to him, which doesn't make as much sense. Still though, it's a really good film and I enjoyed my time with it.

Next Up: Anomalisa

[MovieGal]

Adam's Apples (2005) - 3.5

I imagine this film will be hit or miss amongst us, but I enjoyed it quite a bit. It's a funny, odd film which mixes a handful of characters with diverse backgrounds together, including a priest who has some farfetched religious beliefs, a neo-nazi inmate on probation, a terrorist trying to save up enough money to leave the country, and a former alcoholic. The film takes some risks in terms of offending the audience, but even though the characters are far out there, it simultaneously has enough restraint so that it doesn't go too far and, as a result, it makes for a surprisingly enjoyable experience. The solid twin performances from Mikkelsen and Thomsen enhance the material as well. Also, bonus points for having some unexpected outcomes to a few character arcs since comedies tend to struggle with this. For the most part, the religious themes were pretty good as well. As the film goes on, it seems less likely that the misfortunes the church's apple tree goes through are just coincidences but actually brought about by a deity. Given that, my interpretation is that the film is a modern day rendition of the Book of Job. I do think it loses its way a bit as it moves to its ending though since the priest's restored faith doesn't feel entirely earned. Unlike in the Book of Job which has a more complete character arc, this film's arc is more akin to the characters finally outsmarting God and then turning back to him, which doesn't make as much sense. Still though, it's a really good film and I enjoyed my time with it.

Next Up: Anomalisa

First viewing? Watch it again sometime.

[SpelingError]

First viewing? Watch it again sometime.

Yeah, first viewing. I might eventually rewatch it.

[Allaby]

Seriously…I watched close to 400 movies last year and even that pales in comparison to Allaby.

I wonder, Allaby, what your total is at the halfway mark this year?

For comparison, I’m at 188 movies, excluding rewatches.

I’m at 442 films watched so far this year. Last year I watched 763 films.

[Citizen Rules]

I’m at 442 films watched so far this year. Last year I watched 763 films.You win:p

[Allaby]

You win:p

Hooray! What is my prize?

[rauldc14]

About 200 a year lately. I'm fine with that.

[Citizen Rules]

Hooray! What is my prize?A big pile of juicy BluRays!

[SpelingError]

So far, I'm at 213 movies (not including rewatches). I plan to watch at least 400 this year.

[MovieGal]

I haven't logged anything on letterboxd this year. I have no clue. I could go back and log them I guess.

[Allaby]

A big pile of juicy BluRays!

Sounds great! :yup:

[Wyldesyde19]

Hooray! What is my prize?
A $500 gift card to Criterion. Enjoy!

[PHOENIX74]

I’m at 442 films watched so far this year. Last year I watched 763 films.

I'm at 328 films for the year, but that includes a couple of dozen short films. I have to watch over a hundred more than you to catch up.

[ueno_station54]

https://images.firstpost.com/wp-content/uploads/2018/11/Enthiran-Rajini-1200.jpg
Enthiran (Shankar, 2010)

I've been on a big masala film kick lately so revisiting the first one I had ever seen was a delight. At the time of its production this was the most expensive Tamil-language film ever made and more money seemingly always means more crazy shit when it comes to Bollywood/Tollywood films and we love that. Obviously the standout moments are the action set pieces, which pretty much every action scene from this film went viral to some extent, and holy shit they go stupid hard. Like parts of this just had me screaming and hyperventilating still, just like the first time I saw it. The train fight is so wild, just all these stuntmen taking some of the scariest bumps I've seen in a minute in such a confined space. The choreography is so nutty here and throwing in wrestling moves always hits for me. Then there's the highway chase scene which (even though I'd seen it before) broke my damn brain. Just an escalating series of the most insane ideas. A bike cop gets thrown through a whole ass bus the long way! and the stuff after that is simply beyond description (and the "2.0" track we get for the first time here has been periodically stuck in my head for like a decade now). Shit is just 10/10 chains off the chain sicko mode shit. The final big set piece is a CGI nightmare of course but I love the "f*ck it we can literally do anything" vibe it has, that the whole movie has really. Its probably the least hype of the action scenes unfortunately, at least in terms of energy, but its still has crazy big ideas and the "I can't believe what I'm seeing" factor going for it.

Now, a 3-hour movie must be more than just three action scenes and don't worry shits still pretty wild even when its not going full-tilt. A lot of the early film is cute comedy stuff that's quite charming imo. The robot Chitti's fish-out-of-water antics, the bumbling assistants and despite playing it straight, the rival engineer/first-half bad guy is hilarious to me. Outside of some cultural barrier stuff and watching this with subtitles that aren't exactly localized at points, the comedy almost always hits for me to some degree and its kind of going a mile a minute with it. I mean, this movie has a scene where the robot confronts a bunch of mosquitoes? verbally? and its great??? This movie is really like the producers went "here's the most money ever put into a film in this language, k have fun bye". Nothing is ever reigned in and you never really know what's going to happen next. For a film of its length its packed to the gills with just, stuff. Fast-paced, always moving and I never for a second felt the runtime. You couldn't possibly talk about everything in this film and since I've already spent way too much time on this I won't lol. Just too many ideas and genres happening to ever give someone the full scope in a review (well, maybe Phoenix can idk) so I'll just quickly add that Rajinikanth is such a beast in this, especially once he becomes 2.0, I simply must see everything this dude has been in, the musical numbers (oh yeah, there's musical numbers btw) are fun but extremely the year 2010 and that its actually pretty impressive how seamlessly the genres blend and change with the story.

This is big, gaudy, spectacle filmmaking that just f*cking goes for it and (with the exception of Speed Racer) American blockbusters could never. Watch it with friends if you get the chance, its a great, high-energy party movie.
rating_4

[PHOENIX74]

https://i.postimg.cc/907vQpp1/invasion-otbs.jpg

Invasion of the Body Snatchers - (1956)

Directed by Don Siegel

Written by Daniel Mainwaring
Based on a serialized novel by Jack Finney

Starring Keven McCarthy, Dana Wynter, King Donovan
& Larry Gates

There's a lot to say about what Invasion of the Body Snatchers is really all about, but even if you take it at face value it's a lot of fun, and considering it's low budget it's quite well made. It's based on a serialized novel written by Jack Finney, and has been remade a few times, usually with endings at variance with what the novel, this first adaptation and other adaptations have gone with. Does the ending matter? Somewhat, yeah, and unfortunately with this first film version, studio heads forced screenwriter Daniel Mainwaring, and director Don Siegel to film bookends which change the feel of the whole film - but what I find is that if you know how it was originally meant to end, you can still get the chill you would have got if you just imagine it. For it was meant to be chilling, and for the most part it succeeds in being unsettling.

The film starts with a frenzied Dr. Miles Bennell (Kevin McCarthy) trying to explain that despite seeming crazy, he's in fact bringing them information that's important. He goes back and describes what has happened to him. On arriving back home from holiday, he was informed by Becky Driscoll (Dana Wynter) that he has a backlog of patients waiting to see him. It seems that people have been complaining about loved ones who seem suddenly very different - emotionless and changed despite looking the same and having the same memories. Suddenly, most of these people are no longer complaining, but Bennell is alarmed when Jack Belicec (King Donovan) suddenly finds a formless human body in his house, and when he rushes to Becky's place he finds a similar one in her cellar. When they all figure out that people are being replaced by alien beings born from pods, Bennell and Becky flee, but are soon being chased by all of the people in their town who have been converted. Miles Bennell must try and warn the rest of the nation soon, lest the entire world be in danger...

There's always a lot of noise proclaiming this film to be about either Communism, or else McCarthyism - in relation to blind, thoughtless conformity which the pod people seem to represent, and the political climate in the United States at the time. My own personal favourite meaning is the simple focus on people in our society that lack certain attributes - imagination, love, emotion etc. It's no coincidence that the term "pod people" has been widely adopted in the years since this story became famous. It so aptly describes a real proportion of the populace who seem to go about their lives as if they're the alien interlopers in this story. When McCarthy's Bennell kisses Becky, and realises by her lack of response that she's been replaced, she's representing one of the people director Don Siegel described as having, "no feeling about cultural things, no feeling of pain, of sorrow." He denied there was a distinct political allegory to the film, but most still attach 'McCarthyism' as one, and they have as fair a point as any looking at the film and story for meaning.

I must mention that the film is exceedingly well shot, and cinematographer Ellsworth Fredericks goes absolutely beyond what is necessarily called for with low budget science fiction with some very striking shots - and when not impressing, the work is all the same expert and notably excellent. Fredericks was just on the verge of being nominated for an Oscar for his work on Sayonara. The score however, I found far too overbearing and dramatic - and I realise that "dramatic" absolutely reflects what happens in this film, but it doesn't need to be pounded into us like that right from the opening credits. Carmen Dragon, who won an Oscar for the score of Cover Girl in 1945, produced this vein of musical hysteria which absolutely fits, but at the same time turns me off when it's over-applied. Films from this era always did have a habit of having their scores overstate, and excessively underline what the film is about, or what's going on in a specific scene - and I much prefer subtlety.

Oscar-winning production designer Ted Haworth came up with the pods, and managed to duplicate many of the cast members with plaster-casts of their real bodies. He was teamed up again with director of photography Ellsworth Fredericks on Sayonara, where he won his Oscar, but his work here is good - and he was nominated many more times in his career. Daniel Mainwaring's adapted screenplay was probably one of his best, and the one he is most famous for. Actor McCarthy complained that the dialogue in it was too simplistic and too dissimilar to what people say in real life, but as far as I'm concerned it worked fine, and the story flows with the steady but speedy rate that it needs to prevent us from becoming impatient with what is going on. It's somewhat surprising that Bennell doesn't make more of the body found at Jack's place, but at the same time, the people in this don't take too long before they realising something dangerous is occurring. All of the actors are serviceable.

Growing up, I've always been familiar with the 1978 adaptation of this story, and until now had never seen the very first adaptation. It's very much a rung above nearly all of the science fiction you find from the 1950s - most of which really can't find the right level of balancing fantasy against reality. In this it's extraterrestrial seed pods which float through space, which is something I've often pondered - seeing as some seeds can survive the harshest of conditions and spring into life after eons of time. In the novel, which ends on a different note to the movie, the aliens give up on their colonization after meeting human resistance, and decide on their own initiative to leave - even though they would have had the ability to defeat us. It's our resistance that surprises them. The '78 version ends very bleakly. I'm not sure about other versions, but the main thing we take away from the film is a suffocating sense of paranoia once the invasion is underway, and it's that paranoia that made many think of McCarthyism when trying to understand what the film was about. During the 1950s, the U.S. had been beset by paranoia, and the feeling was very familiar.

So, this is a film with a very independent spirit, with what were at the time lesser-known actors - Don Siegel we most readily remember for the films he directed which starred Clint Eastwood, such as Dirty Harry, Escape From Alcatraz and Coogan's Bluff. It's a classic, and these days I like to sit back and really try to pretend I'm experiencing the movie in the frame of mind audiences back then would have been, without all of the remakes and subsequent science fiction that breeds too much familiarity. Coming in without all of that, this would have been a real scary thrill ride - being chased like Kevin McCarthy is in this film absolutely reminds me of nightmares I've had, and most people would agree it's a terrible prospect. Alone, outnumbered, and not sure that the next person you come across that seems friendly is indeed on your side after all. These classics of their respective genres should be seen from the perspective of their time - but otherwise, Invasion of the Body Snatchers still packs a punch and is entertaining, and artful. A science fiction film with a lot of hidden subtext, and one that lives on through generations.

4

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2F02%2Fd1%2Ffb%2F02d1fbfef11b1ac988f2747a463d6aab.png&f=1&nofb=1
The Year My Voice Broke (1987)

This was a fascinating watch as there was other side aspects to the story besides the main one. The main story of course is boy loves girl but girl only loves him as a best friend. That alone works well but what I really appreciated was the fleshing out of the 'other' stories:

One of those sub stories was Danny's telepathy & the belief that strong emotions could hang over a place. I liked that these aspects of places and things having a connection to human events, seems to be inspired by Aboriginal spiritual beliefs. It was a wise choice that these aspects were dealt with in a secondary way as that allows them to add a layer to the story without having to resolve them. That non-resolving of sub stories is a hallmark of the movie. We also see that with the mystery of the old abandoned house where someone once died and with the origins of the adopted girl, Freya. Towards the end of the film we do learn more and we learn enough to allow those events in the past to say something about the film's present...and yet the writer/director John Duigan wisely never wraps up each thread, allowing us the viewer to have a sense of wonderment.

Loved the setting, the themes, the casting choices, the buildings too which are also a character in the movie. Shot nicely...this is my type of film as it's not overboard, but intelligently restrained and respectful of the viewer's inner vision of what they are seeing. I don't need a director telling me what exactly I should feel and think.

Solid nom.

[Okay]

A Moment of Innocence (1996) directed by Mohsen Makhmalbaf

https://www.movieforums.com/community/attachment.php?attachmentid=87886


Why don't I remember this being as good as it actually is, especially considering how it was able to accomplish something I don't think I've ever encountered before in fiction films. To call A Moment of Innocence "realistic" would be somewhat of a disservice. I've described many movies as that before, but in this case something feels a little different. It feels as though the film was able to tap into a different realm, a docu-realm, beyond the threshold of cinematic realism. The "characters" suddenly become just some regular people, and the "dialogue" becomes just what these simple people utter. Nothing feels artificial about their conversations, mannerisms, characteristics, or about the overall setting. It's as though the film is a newborn: full of innocence and purity, and yet it still manages to deliver an entertaining experience of meta-cinema. Sounds like an impossible and contradictory task, but it worked.

Let's elaborate a little more on what makes this film so good. First of all, the people in here are freaking hilarious. The cop specifically is a fantastic person to follow around. The scene where he chooses the most handsome guy in the lineup to play the younger version of him is a perfect summation of what he's all like. He keeps saying how much their eyes resemble each other, even though in all actuality they couldn't be more further apart. His interactions with the actor that ends up playing the younger version of him are all kinds of fun. He keeps trying to teach the kid how to act more like him, when in all reality he's trying to teach him how to act like how he wants to be perceived, and of course he does, the majority of people's perceptions of themselves are way off of people's true perceptions of them. He ends up looking somewhat like a hypocrite and a goof as he's preaching about staying alert at all times and never getting distracted during the job, meanwhile, back then, he got so distracted he fell in love with the girl in question. But it's these characteristics and flaws that render him so human and genuine, and that's what aids at manufacturing this overall sense of purity and docu-realism. The man just wants to be the good guy and hero for once, that's what makes him so wholesome.

I have yet to even mention the funniest scene of them all. It's when Makhmalbaf pays a visit to his cousin, and her daughter goes on this incomprehensible crying raging X-box gamer-like rant after she wasn't permitted by her mother to participate in the movie production. You just have to see it for yourself. But yeah, there's a lot of comedy going on, and it's not the kind where the script is actively trying to make you laugh, rather, it all comes from the people and their personalities. There's for example the actor who's playing young Makhmalbaf, as he's constantly going on about wanting to save the world, and then as an example of actions he would take, he says he would plant flowers all over Africa. Hilarious. A final one before I move on: there's a scene earlier on of the policeman walking away from the production after being refused to choose his own actor, meanwhile, the director and cameraman are looking on to him from the back, watching him drift farther and farther away, as they're discussing whether to chase after him or not. Makhmalbaf goes "Don't worry, he'll come back before he reaches that bent tree", and of course the guy passes it and keeps walking which prompts the director to nudge his cameraman to run after him. This was funny to me because it was such a stereotypical artiste-thing to say, and I could totally see Makhmalbaf saying something like that and not thinking twice about it.

You really learn so much about the Iranian community and culture through Makhmalbaf's movies. There are many choices he doesn't necessarily need to include, but chooses to add them in as they give more context to the society these people are apart of. For example, when the cop exclaims at the kid to knock twice on the left side of the door as that informs the owners that they're two men. It's the little things that one finds weirdly satisfying and informative. There's also this other weirdly interesting scene where Makhmalbaf is shooting a beggarwoman, and after giving her some money she says to him "Merci", which he snaps at and asks her to respond in Persian instead. In my mind, the beggar saw the camera and probably associated it with western culture so she naturally responded with merci, but Makhmalbaf is aiming to show with his camera the Iranian community with absolute authenticity, even if it means manipulating a situation. Whether that part was scripted or real, intentional or not, I found it to be quite the interesting oxymoron that compliments the meta aspects of the movie.

Speaking of which, there's still this whole other side to the film we have yet to talk about. The mere plot itself is meta as hell, and how it's executed is full of fun trickery you could almost sense Makhmalbaf's smirk behind some of the details he puts forward. For example, the first time we see the young girl, she asks the kid "cop" what time it is, and immediately of course we feel it's tongue in cheek and we think it's just the director trying to pull our nose, but then we get more context in the following scene which showcases the lead up from the others perspective, and it all circles back into making sense. This kind of play happens numerous times throughout, and it gives a sense of manipulating time and history, to the point where one feel like there's almost some sort of parallel universe situation going on here, or at least the younger actors are some sort of reincarnations of their older representatives. There's this part where Makhmalbaf's cousin's daughter, in the same hilarious scene I mentioned earlier, goes up to the young director, and suddenly starts talking to him as though she's playing the role of the young woman. There's definitely something weird going on with that part, and I'm still trying to figure it out. The blurring of the lines is even more apparent between the actor "Makhmalbaf" and the director Makhmalbaf. Their characteristics and stories start to merge together, at points you don't know if this is all part of the script, or if it's a way to contextualize even further how the original situation transpired. Mind you, all of this is happening while the movie remains super well structured without becoming messy at no point. I know, it's amazing.

https://www.movieforums.com/community/attachment.php?attachmentid=87887


In the same sense that maybe the young director's traits are possibly the same as Makhmalbaf's 17 years ago, it feels like the showcased relationship between the former and his cousin could be similarly mirroring with exactitude the originals relationship. Or you could just take in their cuteness together and call it a day. Later on, we witness the young director crying his heart out, incapable of actually going through with the act. He doesn't want to stab the young policeman because he's all about "saving mankind". This got me thinking, we know that in the original timeline the young woman attempted to distract the policeman on multiple occasions, which means that Makhmalbaf must've gone through a similar obstacle back then before he finally committed the crime. I was also reminded of Aang from Avatar the Last Airbender and how in the last book he was so conflicted between killing the fire lord and finding a different method to defeat him while staying true to his beliefs.

The best and most genius part that's also the perfect cherry on top has to be the film's last scene, more specifically its last shot. After the policeman finds out the truth about the details of what truly happened that day, he summons some real fool me once shame on you fool me twice shame on me energy, and commands his actor to shoot the girl on sight next time around. However, in their ultimate encounter, at the last second, both he and the young director stay true to themselves and choose forgiveness instead. One hands the flower while the other delivers the bread. It's a truly wholesome message the film conveys. It shows how satisfying it can feel choosing forgiveness instead of violence. It makes me think that this entire movie was Makhmalbaf's apology letter to the cop. Instead of showing us their much craved interaction together, Makhmalbaf conveys his feelings through his art, and gives the man his flowers and bread as a gift of moving on. That bread looked tasty too.

https://www.movieforums.com/community/attachment.php?attachmentid=87888

[Okay]

I'm going to make an early prediction that Goldfinger will win.
I'd be shocked if Anomalisa doesn't sweep this tbh.

[Okay]

Do we have to watch the director's cut? These long films are to much lol
If a film has multiple cuts, wouldn't you wanna give priority to what people consider to be the best version? I mean I haven't seen Das Boot either, but I wouldn't want to waste my time watching a worse cut of a movie instead of an available better one just because of a length problem. Not trying to convince you or anything haha but you could always spread it out over a couple of days if it's truly an issue.

[Okay]

I’m at 442 films watched so far this year. Last year I watched 763 films.
https://c.tenor.com/wM5iyhGklb0AAAAC/jesus-take-the-wheel.gif

[SpelingError]

I haven't seen the 2.5 hour version of Das Boot, but the 3.5 hour version is actually pretty easy to get through. Really, if you got through The Travelling Players, you can get through that film as well.

[Citizen Rules]

I haven't seen the 2.5 hour version of Das Boot, but the 3.5 hour version is actually pretty easy to get through. Really, if you got through The Travelling Players, you can get through that film as well.I can't really say which version of Das Boot is better? I watched the mini series which is almost 5 hours, but like any mini series I didn't watch it all in one night. The thing about Das Boot is the movie is mostly about spending time in that cramped sub 'à la atmosphere', so it works well to watch it on multiple nights.

Oh...I was curious about the English dub of the Director's Cut so I did check it out briefly, but it just didn't sound right so I do recommend watching it in German regardless of the version.

[SpelingError]

I can't really say which version of Das Boot is better? I watched the mini series which is almost 5 hours, but like any mini series I didn't watch it all in one night. The thing about Das Boot is the movie is mostly about spending time in that cramped sub 'à la atmosphere', so it works well to watch it on multiple nights.

Oh...I was curious about the English dub of the Director's Cut so I did check it out briefly, but it just didn't sound right so I do recommend watching it in German regardless of the version.

I haven't seen the mini series yet, but I might get to it eventually.

[MovieGal]

If a film has multiple cuts, wouldn't you wanna give priority to what people consider to be the best version? I mean I haven't seen Das Boot either, but I wouldn't want to waste my time watching a worse cut of a movie instead of an available better one just because of a length problem. Not trying to convince you or anything haha but you could always spread it out over a couple of days if it's truly an issue.

I trust Citizen so I'm sure this is a decent film. I will watch what I can find. I don't mind war movies. I actually enjoy WW2 films, drama or otherwise.

[rauldc14]

Just as FYI I will be out of commission as far as watching movies for this Hall for about 2 weeks. I'll play catch up then.

[Okay]

The pay off of the policeman finding out that the girl he had loved for 20 years was actually using him and was part of the attack that led to the stabbing...that never really paid off in a satisfying way.
The pay off was that iconic last shot of the film. If the policeman didn't find out the truth, he would've never urged his actor to use the gun and shoot, and the last scene wouldn't have half of its original emotional impact.


What I wanted and didn't get was a first meeting of the policeman and the director who had once stabbed him. That's why their story should've focused on the two men working out the pain that the attack had caused both of them over the last 20 years.



The movie obviously knows that that's what you want, that's why it didn't give it to you. If it did, it would be just another regular movie stripped of its meta elements. I feel like the film itself is the meeting between the two, and through it do they work out their past.

[Okay]

The cop bonding with the actor who plays Makhmalbaf as opposed to Makhmalbaf himself is a great touch.
Wait, did I miss something? Because I don't remember the two you mention ever interacting with each other. I thought it was always Makhmalbaf with his actor, and the policeman with his actor.

[Citizen Rules]

I trust Citizen so I'm sure this is a decent film. I will watch what I can find. I don't mind war movies. I actually enjoy WW2 films, drama or otherwise.If you haven't seen it you might like it. I read that the interior of the sub is an exact recreation of the WW2 German U Boat....OMG they were cramped. Das Boot was nominated for 6 Academy Awards including:

Best Director
Wolfgang Petersen
Best Writing, Screenplay Based on Material from Another Medium
Wolfgang Petersen
Best Cinematography
Jost Vacano

[Okay]

What's most striking about the film is that parts of it are terrible. The dialogue is just very weird and all the actors are bad,
Could you elaborate?

The story is not important at all and it makes no sense but it's all the little touches and the background and how it's shot that's remarkable.
See above. Also, if the film's main goal was to wonder us with its beautiful cinematography, dunno if it really succeeded in that...but then again, I personally highly doubt that that was the film's interest.

I also laughed a few times (of course they then explained the jokes...a common problem with this type of film).
Don't remember them ever explaining a joke, nor actively trying to make one either. Didn't know one of docu-dramas main problems was explaining jokes right after making them? News to me.

It's a brief film and even though it's 75 minutes you do feel the run time at points because this is a gimmick film.
This word is so overused at this point, it seems it gets slapped on to any film that's slightly different. Oh well.

[Citizen Rules]

I haven't seen the mini series yet, but I might get to it eventually.There's also a new mini series based on the original novel for Das Boot. I haven't seen it as it's not finished shooting yet and I'd want to binge watch the entire thing...anybody see this? Das Boot (TV Series 2018- )
(https://www.imdb.com/title/tt5830254/)

[rauldc14]

I'm really looking forward to rewatching Das Boot by the way. I remember very little of it, which is no surprise. It will feel like a fresh watch.

[Okay]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2F02%2Fd1%2Ffb%2F02d1fbfef11b1ac988f2747a463d6aab.png&f=1&nofb=1
The Year My Voice Broke (1987)

Solid nom.



I had similar thoughts overall. Only thing that I think I didn't mention in my review and that holds this film back for me a bit was that it could've done better to be more engaging, maybe through some slight changes to the story or the pacing, because I really felt that runtime at points. There's also Danny's father who clearly, thanks to no help from the actor (it's as though he was specifically directed to act as though he's lying), had something to do with Freya's mother. That didn't develop into anything, and I only mention it because it was given so much screen-time as if there was gonna be some sort of payoff.

[Okay]

Anyways, I'll probably be watching Body Snatchers tomorrow night. Got a 4K copy. Hype-town.

[Citizen Rules]

I had similar thoughts overall. Only thing that I think I didn't mention in my review and that holds this film back for me a bit was that it could've done better to be more engaging, maybe through some slight changes to the story or the pacing, because I really felt that runtime at points. I loved the more slow and even pace of the film. So many movies just push each scene into the viewer's face and don't give enough 'quiet time' after the scene ends to let us reflect on what we just seen, before going on to the next big thing. I like it that the 'big things in the story' weren't played up to be real big.

There's also Danny's father who clearly, thanks to no help from the actor (it's as though he was specifically directed to act as though he's lying), had something to do with Freya's mother.Yeah, I'll say the actor who played Danny's father wasn't good when he was possibly denying he had been with Sara. Other than that acting scene I thought he was fine.

That didn't develop into anything, and I only mention it because it was given so much screen-time as if there was gonna be some sort of payoff.I'm so glad it was left open without telling the audience one way or another.

[Okay]

I loved the more slow and even pace of the film. So many movies just push each scene into the viewer's face and don't give enough 'quiet time' after the scene ends to let us reflect on what we just seen, before going on to the next big thing. I like it that the 'big things in the story' weren't played up to be real big.
Don't get me wrong, I love me some slow cinema. I just have to be invested enough.

I'm so glad it was left open without telling the audience one way or another.
But it wasn't left open. Unless you're talking about what exactly he did with her. To me, what I liked more that wasn't explained was why Nils adopted Freya in the first place. I have a feeling, based on his interactions with the police, locals, and Freya herself, he was directly involved in Sarah's death, and to sweep this issue under the rug, the police gave him an out if he'd take Freya in.

[SpelingError]

Wait, did I miss something? Because I don't remember the two you mention ever interacting with each other. I thought it was always Makhmalbaf with his actor, and the policeman with his actor.

As I said up above, I didn't rewatch the movie before writing my review, so sorry if I don't remember some of the specifics.

[Citizen Rules]

Don't get me wrong, I love me some slow cinema. I just have to be invested enough.

But it wasn't left open. Unless you're talking about what exactly he did with her. To me, what I liked more that wasn't explained was why Nils adopted Freya in the first place. I have a feeling, based on his interactions with the police, locals, and Freya herself, he was directly involved in Sarah's death, and to sweep this issue under the rug, the police gave him an out if he'd take Freya in.I didn't want that explained that's what I liked about the film.

[Allaby]

I watched the director's cut of Das Boot (1981) for the first time. I hadn't seen any of the cuts of the film previously and was meaning to eventually get around to it.

This is a very well made film and definitely a must see. Wolfgang Petersen did an excellent job directing the film and it is a technical achievement. There are some fantastic shots in the film and the use of sound is very effective too. Das Boot creates an atmosphere and there are some tense and suspenseful moments. I thought the actors all did a very good job and I believed their performances. No one actor stood out to me over anyone else.

I do feel that the film was too long though. I don't think the length was justified and it could have worked just as well or better if it wasn't so long. I've seen 8 films directed by Wolfgang Petersen and this is his best. In the Line of Fire, Air force One, and Outbreak were all good too. I think Petersen's weakest film by far was the dreadful Poseidon (2006). Das Boot is Petersen firing on all cylinders at his peak. I'm glad I finally watched this. Great nomination. 4.5

[PHOENIX74]

Because I've seen the director's cut of Das Boot I'm going to give the 293min full German mini-series version a go when I get to it. Spread over two or three nights. The German full-length release I have says 282min, but why quibble over 11 minutes when something goes for that length of time. I think I'll have pretty much seen all of Das Boot by then.

[Siddon]

Could you elaborate?

You want specifics from a film I watched a week ago without a file...that's not going to happen. This was about 20 films ago for me...times in the film I had no idea what they were talking about.


See above. Also, if the film's main goal was to wonder us with its beautiful cinematography, dunno if it really succeeded in that...but then again, I personally highly doubt that that was the film's interest.

I think the production design was beautiful...it was the settings less the artistry in which the film was shot that stood out to me.

Don't remember them ever explaining a joke, nor actively trying to make one either. Didn't know one of docu-dramas main problems was explaining jokes right after making them? News to me.



Once again the film is only streamable so I can't timestamp the points. Two of the characters are walking,,,the female goes in one direction the man goes in the other the scene hangs on for a bit. He turns around...now what should have happened is he should have grabbed her or signaled her to come back or something on that line. What he did was explain the action we just saw...humor is best when it's not explained. When they are doing the casting and the policeman wants the good looking guy to play himself...that's funny. They don't need to explain the joke but they then explain the joke. Humor is best when it's show not tell.


This word is so overused at this point, it seems it gets slapped on to any film that's slightly different. Oh well.

This is actually the third HOF in a row where we've had the foreign film within a film thing with non-actors. This might be the best of the three but it's still a common shortcut and way to make a film without legitimate trained actors.

[Okay]

Anyways, I'll probably be watching Body Snatchers tomorrow night. Got a 4K copy. Hype-town.
Just found out that I actually got the 1978 version instead. Didn't realize it until Philip Kaufman's name popped up. Oh well, I guess I'll be having a double feature night once I end up getting and watching the 1956 film. This actually works out better for me.

[Okay]

You want specifics from a film I watched a week ago without a file...that's not going to happen. This was about 20 films ago for me...times in the film I had no idea what they were talking about.
Fair enough I guess. But It's still pretty annoying for you to throw around words like "terrible acting, dialogue, story's not important and makes no sense..." without giving examples or getting into any kinds of detail, especially when the consensus feels the opposite.

Two of the characters are walking,,,the female goes in one direction the man goes in the other the scene hangs on for a bit. He turns around...now what should have happened is he should have grabbed her or signaled her to come back or something on that line. What he did was explain the action we just saw...humor is best when it's not explained.
What are you talking about. He explained to her why he made such a sudden change of direction, as any normal person should, because his action would've seemed so bizarre from her perspective. You wanted the girl to keep walking along with him without asking him about what he just did? Grab her? The whole point was to quickly separate so they wouldn't be seen by the approaching neighbor. And how do you want him to signal her about his own neighbor who she probably doesn't recognize...bruh this is so petty.

When they are doing the casting and the policeman wants the good looking guy to play himself...that's funny. They don't need to explain the joke but they then explain the joke.
How did they explain the joke? You know what...never mind.

Humor is best when it's show not tell.
I don't know why you keep repeating this as if I'm some sort of dumbass or as if it's somehow reinforces your points. Like duh, we all know that bro.

[Siddon]

https://harvardfilmarchive.org/public/upload/events/medium/5e9628b3eb851.jpg?1586899124


La Promesse(1996)

La Promesse tells the story of two families in a neorealist style in 1990's Belgium. An African family who is being taken advantage of by a father/son team. The film blends sexual, familial and racial elements to a fairly predictable story. But with a film like this the plot is less the point than the messages that it's trying to convey.

The advantage of an updated neo-realism style story is it lets you go in different directions. You can play around with themes that you couldn't in the 50's. The relationship with the father and son does get creepy at points and that's sort of a selling point of the film. The father never takes the extra step into becoming a major villain...while he does bad things (and he might have done worst things) he's still grounded. Igor doesn't really need to have a personality in a story like this. He's basically a blank protagonist a cypher if you will so we the audience can see ourselves in him. Even though he's not as bad as his father but he's also young and could end up there.

Visually it's well shot I think this period of time in the 90's when they still used film and everything wasn't digital helped give the film a move distinct look. You also had a little more artistry in it than other films that would cover this same subject matter on it's budget. So at the end of the day this was a good nom.

[Siddon]

Fair enough I guess. But It's still pretty annoying for you to throw around words like "terrible acting, dialogue, story's not important and makes no sense..." without giving examples or getting into any kinds of detail, especially when the consensus feels the opposite.

I don't know if there is a consensus I think liked it more than Raul, Citizen Rules, and Torgo did. But for me it felt like a student film, an art project not necessary a fully realized and polished film. When people select obscure esoteric films you can kinda see why they didn't break out.


I don't know why you keep repeating this as if I'm some sort of dumbass or as if it's somehow reinforces your points. Like duh, we all know that bro.

Do you feel like that was necessary? You are asking me to delve into the minutia of a postmodern Iranian film I watched like 10 days ago. Part of why I binge these Halls is because a lot of these films kinda blend together quality wise. You started your post telling me I didn't go into details...then I go into details and you complain that I think you are stupid? I don't think that really tracks.

[Torgo]

Robot

https://i.imgur.com/DI69Fk9.jpg
<Hans Moleman voice> "Didn't that movie used to have a robot in it?"

What we have here is a classic story of boy meets girl, boy makes robot, robot meets girl, girl turns down robot, robot makes a bunch of other robots transform into a sphere, drill, snake, and larger robot. Oh, and all of them perform song and dance numbers in between. I was never not entertained while watching this, but the action is really where it's at. The scene where Chitti runs down the train tracks is more exciting than any action scene in a Marvel movie, and despite some shoddy CGI here and there, the aforementioned shapeshifting finale has to be seen to be believed. Don't get me wrong: the songs are also a blast, and it wasn't a surprise to discover that Slumdog Millionaire's A.R. Rahman penned them. The one with the Cylon backup dancers is easily the MVP, although it filled me with regret for not choosing a different career path. The movie's silly sense of humor is also much appreciated, especially during the mosquito scene, which may be the funniest scene I’ve watched in which you hear a creature’s thoughts since Being John Malkovich. Action and romance are the name of the game here, but I appreciate that it ends with a thought-provoking line about the dangers of AI becoming more and more sophisticated that resonates now as much as it likely would if I saw this in 2010.

Despite my description of the story and how charming and easy on the eyes Aishwarya Rai is, this is mostly boilerplate stuff. When it's not cribbing from Short Circuit - thankfully, there are actual Indian people this time - it borrows from the Terminator movies. Also, I want to see singing, dancing, Matrix physics and a “guy gets girl/loses girl/gets girl back” story when I watch an Indian movie, but despite what it made me think about AI, the movie ultimately does not provide much more than this. What I've praised about what it does with these tropes still rings true and I'll never say no to a movie that's the equivalent of a burger and fries or a ride on a favorite roller coaster I've been on dozens of times before. I just hope I'll have the opportunity to use the insult "matrix head" at least once in my lifetime.

3

[Okay]

I don't know if there is a consensus I think liked it more than Raul, Citizen Rules, and Torgo did. But for me it felt like a student film, an art project not necessary a fully realized and polished film. When people select obscure esoteric films you can kinda see why they didn't break out.
I meant the general consensus, not specifically in this HoF.

Do you feel like that was necessary? You are asking me to delve into the minutia of a postmodern Iranian film I watched like 10 days ago. Part of why I binge these Halls is because a lot of these films kinda blend together quality wise. You started your post telling me I didn't go into details...then I go into details and you complain that I think you are stupid? I don't think that really tracks.
Well, it seems like you were already delving into the minutia of the film to have critiques such as "they were explaining their jokes", and then when you give examples of that they're pretty petty and simply just not what the movie was going for. You only went into "detail" with your first example, but in your second one you left it off as "oh, they explained the joke". It's fine though, you say it's been 10 days and 20 films, I say that's fair enough, that should be the end of that.

Also, I don't think you were calling me stupid, but it does come off a lil condescending when you keep repeating and hammering that statement, especially when you've already made it clear on your original review post.

[Siddon]

when you give examples of that they're pretty petty and simply just not what the movie was going for.

One of the problems with these halls is that people nominate the same type movies over and over again. This is as I said once again the third film in the hall in a row that did the movie in the movie thing. The filmmaker always an intent the fundamental problem with that film was that it missed the tone. A lot of these movies that people nominate the scenes feel incredibly padded so they can make a feature length runtime when they don't have a feature length plot. Having a point is one thing how you deliver that point is an entirely different thing.

Also I can only talk about what is on the screen...you might feel that it's petty to bring up the humor in the film...to me that was the thing that stood out the most. That and the production design...walking the streets of Iran seeing the homes, the cars, and the people. Those were the things that connected with me enough to talk about...the plot, performances, themes and execution, was just okay to me.

Your profile says that you are 21 years old so you've been watching and appreciating foreign films for how many years...5 maybe 10? I've been watching these films for your entire life time my perspective and point of view is going to be very different.

[Citizen Rules]

I have a question about A Moment of Innocence, I know Okay and Speling Error both really liked the film...Do either of you see a personal truth in the film that speaks to you on a deeply personally level? I'm just curious if either of you feel your lives took a path similar to the policeman?

[Okay]

Also I can only talk about what is on the screen...you might feel that it's petty to bring up the humor in the film...to me that was the thing that stood out the most. That and the production design...walking the streets of Iran seeing the homes, the cars, and the people. Those were the things that connected with me enough to talk about...the plot, performances, themes and execution, was just okay to me.
I don't think it's petty to bring up or criticize the humor of the film, I talked about it myself on my own post at great length. What I thought to be petty was your specific reasoning for how the jokes in the examples you gave were explained and ruined. I don't have a problem with someone liking/disliking parts of a movie or its entirety for whatever reason. I initially was just looking for a conversation because some of your viewpoints on the film were exceedingly different to mines.

[Okay]

I have a question about A Moment of Innocence, I know Okay and Speling Error both really liked the film...Do either of you see a personal truth in the film that speaks to you on a deeply personally level? I'm just curious if either of you feel your lives took a path similar to the policeman?
Nope, it's not one of those films for me.

[Citizen Rules]

Nope, it's not one of those films for me.Thanks.

[SpelingError]

I have a question about A Moment of Innocence, I know Okay and Speling Error both really liked the film...Do either of you see a personal truth in the film that speaks to you on a deeply personally level? I'm just curious if either of you feel your lives took a path similar to the policeman?

Not particularly. I mostly just really enjoyed the film and found its story compelling. Topped with the meta angle and some other elements like the final shot, it left a huge impact on me.

[Citizen Rules]

Not particularly. I mostly just really enjoyed the film and found its story compelling. Topped with the meta angle and some other elements like the final shot, it left a huge impact on me.Thanks.

I though maybe one, or both of you, had once encountered a girl that you liked but never pursued it and had that as a connection to the film (like the policeman's backstory).

[SpelingError]

Thanks.

I though maybe one, or both of you, had once encountered a girl that you liked but never pursued it and had that as a connection to the film (like the policeman's backstory).

I've definitely had some instances where that happened, but I wouldn't say that has a bearing on my reaction to the film.

[Siddon]

https://theiapolis.com/d4/hJ4/i1H1S/k4/l1HA3/wZK/zoe-heran-as-laure-michael-in-tomboy-2011.jpg

Tomboy (2011)

Well it wouldn't be a Hall of Fame without underage nudity and this installment is featured Tomboy. I'll give credit where it's due the film handles the subject matter with a lot more sensitivity than other films that have been selected in the past.

Basically the story of Tomboy is a young moves to a new city and she starts to pass for a boy so she can be included and not isolated. While playing with the boys she begins an early relationship of sorts with a young female in the group. It's a little odd because while it's a short film it felt like half the runtime was watching the children play.

The biggest problem I had with the film is similar to many of these coming of age films the lead didn't really have much of a personality. The filmmaker was clearly going for something touching but I don't think she ever really achieved it. It's the sort of thing that grounds the film and keeps it from being a Classic. I don't know if after watching this film I have a grasp as to who Mikael is.

It is however a good film, it has a sense earnest that is touching. It's also tackling some very weighty aspects of gender, sexuality, and family. There's a moment near the end when everything kind of falls apart and you see a character deal with it...not in the moment but the next day. It's one of those things that feels painfully real and it's not something a lot of films do. This was a good powerful small film.

[PHOENIX74]

https://i.postimg.cc/W4ySXLwW/yearvoice-broke.jpg

The Year My Voice Broke - (1987)

Directed by John Duigan

Written by John Duigan

Starring Noah Taylor, Loene Carmen, Ben Mendelsohn
& Graeme Blundell

Like a society in miniature, the small country town in The Year My Voice Broke has a shared history, with all it's inhabitants seeming to know each other, and their sometimes dubious pasts. On it's outskirts are the wide open spaces so common to many of these towns - and the colours of the film dominate - blue, gold and brown (note how the blues in the clothes and brownish gold of the skin match in the film's poster.) The feel, visual quality, sound and story all resonate with me, and as such this has become a very multi-faceted film that I'm strongly attracted to. The story is set in 1962, a little before my time, but there's a lot that is still recognizable to me, and a genuine feel for how the world appears to young Danny (Noah Taylor), who is passing through what is a seminal moment in his life - in love with his lifelong friend Freya Olson (Loene Carmen) while the music and movies of a new generation leave their influence. It's a very poetic film, with many beautiful moments that don't take anything away from the down-to-earth reality of it's characters, and life as it appeared at that moment. It's a moving film, with an astute sense of emotional complexity.

While working on a farm in the surrounding countryside Danny and Freya come into contact with Trevor Leishman (Ben Mendelsohn) whose masculinity immediately attracts Freya, much to Danny's dismay. He sticks close to the pair in an attempt to compete for Freya's love, but her physical attraction to Trevor is enough to win her over in spite of caring deeply for Danny, who is a year younger than she is. In the midst of this love triangle, the history of an abandoned house on the outskirts of the town becomes significant once Danny finds out who once lived there, who Freya's real mother was, and what she was like. In the meantime, Freya becomes pregnant and Trevor goes on the run after a robbery he commits, injuring a bystander. He may have wanted Freya to run away with him, but once he learns of her condition he decides that her safety is paramount - and events will eventually conspire to separate the three, leaving what they went through an enduring memory to Danny. One of those bittersweet remembrances of his youth.

This was one of those films that far exceeded my expectations going in, despite it winning 5 AFI Awards (the Australian equivalent of the Oscars) in 1987, including Best Film, Best Director, Best Actor for Ben Mendelsohn, Best Screenplay and the Members Prize. It has a visual quality that doesn't take anything away from it's story - occasionally rewarding people watching closely with very nice shots, such as one where a passing train reflects direct sunlight through it's windows as it passes by, and many expansive shots of the wide open countryside. It provides a lot of interest for being the start of two great actors' careers - both Noah Taylor and Mendelsohn would go on to be players on the International stage, and I certainly remember them being lauded in the late 80s. It has a soundtrack which accommodates quite a few classic 60s songs, but at the same time doesn't intrude with them, relying on a much more lilting, gentle number - 'The Lark Ascending' - which was first composed in 1921 by British nationalist composer Ralph Vaughan Williams, with other contributions from Christine Woodruff.

All of the characters feel very real. Mendelsohn's unusual laugh was a creation that was simply a derivation of his real laughter, which writer/director John Duigan asked him to greatly exaggerate. Noah Taylor and Loene Carmen began a close friendship which endures to this day. Playing Freya's adoptive stepfather, Nils, was an actor very well known in Australia, Graeme Blundell. An interesting dynamic is set up when it becomes apparent that Danny's father (Malcolm Robertson) at one time slept with Freya's birth mother around the time she got pregnant, which sets up a question that has no answer - could Freya be Danny's half-sister? Was Nils compelled to adopt Freya because he thought he was Freya's real father? At one stage he utters a very untoward comment regarding remembering Freya's mother's face - "You never look at the mantlepiece when you're stoking the fire." Her birth mother is described as the "town bike" (ie - everybody gets a ride) which establishes how she was looked upon, and how Freya is looked upon when she falls pregnant. Small town cruelty at it's worst.

I credit John Duigan with not only the perfect and relatable screenplay, and inspired direction, but also the visuals that cinematographer Geoff Burton captured, with even the day-for-night scenes giving the film's atmosphere an ethereal quality. I love what I see in this film. The production seems to have been charmed, for the day after filming wrapped the rains came, transforming the landscape from brown and gold to green in what would have been a disaster. At various stages natural lightning occurred at perfect times and was caught on film at the right moments, and an invading swarm of moths were captured when Duigan saw them and rushed his camera crew out from where they'd retired for the night. Many of the songs you hear on the soundtrack went up in price ten-fold shortly after the film was released, which meant that if it had of been made any later these songs would have been out of the film's reach budget-wise. I'm grateful, because the end product was worth all of this fortune.

There are many scenes and ideas I particularly like, such as the idea of events soaking into the surrounding environment and leaving an invisible, indelible and permanent mark, voiced through Bruce Spence's Jonah. I like the way Trevor sticks up for Danny at school despite them being rivals for the same girl, and I think the scene where Trevor takes friendly frolicking way too far when he hold's Freya's head down under water, scaring nearly everybody - and the strange way Freya kind of accepts what he did, despite obviously causing her a lot of angst and perhaps even pain - is really striking. I love the way the characters are drawn towards the derelict house (another fortunate boon for the filmmakers - they found the perfect derelict house near the town of Braidwood, in New South Wales where they were filming, and dragged old farm equipment over to create the silhouettes you see) perhaps because of the history of the place, which they are mostly unconscious of. I love the soundscape Duigan and the sound crew created, mixing suggestive and haunting sounds with nature at night during the time they spend there.

When presented as a whole, all these aspects of The Year My Voice Broke come together into a really excellent, fully fleshed-out, and immersive remembrance - and added to that is the personal way I look back to my youth - some of which was spent in an Australian country town. At times, and especially near the end, there are some shots which combine great acting and visual acuity in the expressions our characters have, and really highlights the intimate quality this film expresses itself with. Freya often hides herself away in the rocks of her 'special place', as if the landscape itself is embracing her, and there does seem to be a kind of magnetic pull these places have - while at the same time the townspeople as a group feel repulsive. There's a definite disconnect between the three young characters in this film and their families, so the camaraderie they feel together is especially strong - and this helps Danny and Freya be stoic in the face of overwhelming sadness, creating for Danny a memory that he treasures, and a formative one, despite any sorrow all of this inevitably came with. The great physical distances between towns, and the great distance the years put between us and our most vivid experiences, will heal us, but still leave one of those invisible, indelible, yet permanent marks.

4.5

[Okay]

While working on a farm in the surrounding countryside Danny and Freya come into contact with Trevor Leishman (Ben Mendelsohn) whose masculinity immediately attracts Freya, much to Danny's dismay. He sticks close to the pair in an attempt to compete for Freya's love, but her physical attraction to Trevor is enough to win her over in spite of caring deeply for Danny, who is a year younger than she is.

He may have wanted Freya to run away with him, but once he learns of her condition he decides that her safety is paramount - and events will eventually conspire to separate the three, leaving what they went through an enduring memory to Danny. One of those bittersweet remembrances of his youth.

An interesting dynamic is set up when it becomes apparent that Danny's father (Malcolm Robertson) at one time slept with Freya's birth mother around the time she got pregnant, which sets up a question that has no answer - could Freya be Danny's half-sister? Was Nils compelled to adopt Freya because he thought he was Freya's real father?

I credit John Duigan with not only the perfect and relatable screenplay, and inspired direction, but also the visuals that cinematographer Geoff Burton captured, with even the day-for-night scenes giving the film's atmosphere an ethereal quality. I love what I see in this film. The production seems to have been charmed, for the day after filming wrapped the rains came, transforming the landscape from brown and gold to green in what would have been a disaster.

I like the way Trevor sticks up for Danny at school despite them being rivals for the same girl, and I think the scene where Trevor takes friendly frolicking way too far when he hold's Freya's head down under water, scaring nearly everybody - and the strange way Freya kind of accepts what he did, despite obviously causing her a lot of angst and perhaps even pain - is really striking. I love the way the characters are drawn towards the derelict house (another fortunate boon for the filmmakers - they found the perfect derelict house near the town of Braidwood, in New South Wales where they were filming, and dragged old farm equipment over to create the silhouettes you see) perhaps because of the history of the place, which they are mostly unconscious of.

Freya often hides herself away in the rocks of her 'special place', as if the landscape itself is embracing her, and there does seem to be a kind of magnetic pull these places have - while at the same time the townspeople as a group feel repulsive.

That was a great read, and an informative one as well! Thanks for your efforts.

I quoted my favorite parts btw.

[Siddon]

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcR4AXPJfIveYPWi8QLQgzncNG10FlcAXmq_Sg&usqp=CAU

Adams Apple (2005)

This was an interesting watch, it was nice to get a break from the coming of age films I'd been watching. Adams Apple tells the story of a Nazi who is sent to a parish for community service he's with I believe and rapist, murderer, and a former SS officer. I guess Denmark's not big on keeping criminals locked up for long periods of time.

This was sort of a mixed bag of a film for me. Mads Mikkelsen is very good in this as a Priest with some very strange ideas. I think it was supposed to be humorous...the jokes didn't really land with me. At times it felt like it was dark humor but silly dark humor. The film also had some serious budget issues, 95% of the film takes place in just two locations, a Church and a Doctors office. To the credit of the cinematographer they try and vary up the shots and move the plot into different rooms and places outside but it's kinda boring. The worst thing of the film is the score which made the film feel like it was a made for TV film.

My biggest issue with the film is I didn't know where it was going or what it was going for. Was this supposed to be some sort of Apocryphal tale or was this a silly dark comedy. It kinda goes in both directions at time not fully committing to either. I also think the filmmaker made an error in telling the story from Nazi's point of view rather from the Priests. Mad's is very good in this and a compelling figure almost nobody else in the film has any charisma.

[MovieGal]

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcR4AXPJfIveYPWi8QLQgzncNG10FlcAXmq_Sg&usqp=CAU

Adams Apple (2005)

This was an interesting watch, it was nice to get a break from the coming of age films I'd been watching. Adams Apple tells the story of a Nazi who is sent to a parish for community service he's with I believe and rapist, murderer, and a former SS officer. I guess Denmark's not big on keeping criminals locked up for long periods of time.

This was sort of a mixed bag of a film for me. Mads Mikkelsen is very good in this as a Priest with some very strange ideas. I think it was supposed to be humorous...the jokes didn't really land with me. At times it felt like it was dark humor but silly dark humor. The film also had some serious budget issues, 95% of the film takes place in just two locations, a Church and a Doctors office. To the credit of the cinematographer they try and vary up the shots and move the plot into different rooms and places outside but it's kinda boring. The worst thing of the film is the score which made the film feel like it was a made for TV film.

My biggest issue with the film is I didn't know where it was going or what it was going for. Was this supposed to be some sort of Apocryphal tale or was this a silly dark comedy. It kinda goes in both directions at time not fully committing to either. I also think the filmmaker made an error in telling the story from Nazi's point of view rather from the Priests. Mad's is very good in this and a compelling figure almost nobody else in the film has any charisma.

He wasn't a Nazi but a neoNazi. Americans refer to them as the slang Skinheads. They consider themselves of the Aryan race.

https://en.wikipedia.org/wiki/Neo-Nazism?wprov=sfla1

[Siddon]

He wasn't a Nazi but a neoNazi. Americans refer to them as the slang Skinheads. They consider themselves of the Aryan race.




Feels like semantics to me the guy had the Hitler picture as a plot point.

[cricket]

Goldfinger

https://m.media-amazon.com/images/M/MV5BZDE1YjhkNWUtMTJkOC00MjNjLThmZDgtYjZiOGZiYzk3MTQwXkEyXkFqcGdeQXVyMzkyOTg1MzE@._V1_.jpg

4-

I had seen this a couple of times before but it's been many years. I've seen all of the Connery and Moore Bond films, and some of the others. It's a series I look at fondly but yet I don't really consider myself a fan. The movies I enjoyed the most were the late 70's and early 80's Moore films, but I was a kid then. I now suspect that those are lesser Bond films and that my opinions would be different now. One constant would seem to be that I never enjoyed one of the movies as much as I thought I would. It's as if I like the idea more than the product itself. Same thing with the Bourne and Mission Impossible movies. Therefore I have always thought of myself as not the biggest fan of spy films. It's why I haven't seen the entirety of any of these series.

Time and totality has caused me to mix up Bond films, the same way I have mixed up the Halloween series and others. While watching Goldfinger last night I kept waiting for Richard Kiel to show up but of course it never happened. I clearly remembered some parts of the film but most of the time I had no idea what was coming next. I knew this would be the case and so I was glad that it was nominated, not always the case with films I've seen before.

While I would hesitate to say I loved this film, I feel that I can say it was my best viewing yet of a Bond film, and I am now interested in seeing more. One thing that hasn't changed is that I love the parts more than the whole. There are a lot of positives; from Connery, to the opening credits and song, to the gadgets, the woman, and more. Oh yea, the locales are a huge bonus for me. Pussy Galore is the best name in the history of existence and the greatest two words that could ever be put together.

I don't know if anyone else remembers, and I didn't until the scene happened, but there was a discussion on MoFo a few years ago about the barn scene. After some googling I quickly confirmed that it is indeed a thing out there that some people don't like Bond because they believe he raped Pussy Galore. I don't want to get into it too much so I'll just say a couple of things. "No means no" is a good mantra for young men to go by, and women I suppose. However, as a person ages and goes through different experiences, you come to understand that depending on the person and the situation, no doesn't always mean no. It just doesn't. Most of the audience will understand this, and you can be sure that James Bond understood this. Besides all that, at this point in the movie Pussy Galore is knowingly and willfully participating in a plot that will kill thousands of people, including James Bond. She was at that point a villain, not a victim. If the movie were like many others, Bond could have simply killed her and escaped, and nobody would have an issue. Instead people are left confused at the ending scene when Pussy is lovingly with her supposed rapist under the parachute. These are fictional characters and movies that are meant to be enjoyed. Adults should know the difference.

[cricket]

Feels like semantics to me the guy had the Hitler picture as a plot point.

When he asked if that was his father I almost pissed myself laughing.

[MovieGal]

When he asked if that was his father I almost pissed myself laughing.

Lol

Oh, oh he's a good looking man.

Yeah it's one of my favorite parts. I find it funny as well.

[cricket]

Lol

Oh, oh he's a good looking man.

Yeah it's one of my favorite parts. I find it funny as well.

My wife kept asking me what the hell I was watching because I kept laughing so hard

[Allaby]

I watched Adam's Apples (2005) today for the first time. Directed by Anders Thomas Jensen, the film stars Mads Mikkelsen and Ulrich Thomsen. It's a dark comedy about a neo-nazi sentenced to community service at a church and his interactions with the church's unusual priest.

There are some interesting ideas here, but for me it only partly worked. Some of it didn't really land the way I think it was supposed to, but there were some good moments. Mads Mikkelsen is the highlight of the film. He does a great job and brings a lot of depth and layers to the character. With a lesser actor, it might not have worked at all. The other actors were fine, but didn't really stand out to me.

I didn't find the film very funny though. At times, it felt longer than what it actually was and seemed like it was dragging. There were enough strong moments though to keep it going. Cinematography and score were pretty good. I had mixed feelings about the screenplay. Some stuff I liked and other parts didn't work as well as they should have. Still, I'm glad I finally got around to seeing this. 3.5

[MovieGal]

My wife kept asking me what the hell I was watching because I kept laughing so hard

Yeah it's a funny film. Not sure why some don't get the humour. It's about how positive Mads character was in times that everything was going wrong.

How his son liked to go out and play in the sun. Then again, when you finally see his son. Lol

[cricket]

Yeah it's a funny film. Not sure why some don't get the humour. It's about how positive Mads character was in times that everything was going wrong.

How his son liked to go out and play in the sun. Then again, when you finally see his son. Lol

It's part of the reason why we don't get many comedies nominated, different senses of humor. It probably would've made my comedy ballot if I didn't lean heavily on nostalgia.

[MovieGal]

It's part of the reason why we don't get many comedies nominated, different senses of humor. It probably would've made my comedy ballot if I didn't lean heavily on nostalgia.

Also, we enjoy the darker side of cinema.

[SpelingError]

I'll have my Anomalisa review done by tomorrow.

[Siddon]

It's part of the reason why we don't get many comedies nominated, different senses of humor. It probably would've made my comedy ballot if I didn't lean heavily on nostalgia.


The big thing is people have a very narrow scope of what they're nominating. One of the things I try and bring to these halls is a sense of variety.


15 - Aguirre, The Wrath of God (1972)
16 - Mr. Freedom (1969)
17 - The Innocents (1961)
18 - The Little Stranger (2018)
19 - Gaslight (1944)
20 - Ghostbusters (1984)
21 - Being There(1979)
22 - State of Siege (1972)
23 - Le Samouraï (1967)
24 - Barry Lyndon (1975)
25 - The Long Goodbye (1973)
26 - And Then There Were None (2015)
27 - My Dog Skip (2000)
28 - My Favorite Year (1982)
29 - Invasion of the Body Snatchers (1956)


The typical nom is either an esoteric film from a foreign country that's hard to find. Or a bug popular legendary film that everyone knows is great. Or some sort of taboo shocking film. Or an early work of a popular director. My picks are never predictable

[Citizen Rules]

Any nom that's romantic especially if it's old Hollywood immediately gets hated by 1/3 of the group. Comedies don't fare well and musicals really don't do well.

This is what I've nominated in the General HoFs
29th Das Boot (1981)
28th Miracle Mile (1988)
27th Raiders of the Lost Ark (1981)
26th Sweet Smell of Success (1957)
25th Bicycle Thieves (1948)
24th La Dolce Vita (1960)
23rd Schindler's List (1993)
22nd Mildred Pierce (1945)
21st The Breakfast Club (1985)
20th The Music Man (1962)
19th Tombstone (1993)
18th Abandon Ship (1957)
17th The Dressmaker (2015)
16th Waterloo Bridge (1931)
15th American Graffiti (1973)
14th Passengers (2016)
13th Nightmare Alley (1947)
12th Never Let Me Go (2010)
11th The Flowers of War (2011)
10th East of Eden (1955)
9th Leave Her to Heaven (1945)
8th Lady Killer (1933)

[PHOENIX74]

I'm guessing my Australian nominations qualify as esoteric films from a foreign country that are hard to find.

[Citizen Rules]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2F68%2Ffa%2F2c%2F68fa2cdd7a1e781ab644808b6ad1f8aa.gif&f=1&nofb=1
Goldfinger (1964)

Raul's the man...this rocked! We don't get many classic noms like Goldfinger in the main HoF these days, not like we use to. This was a blast to watch!

The opening title sequence along with the Goldfinger song has to be the single greatest title art ever put on film. I mean it doesn't get any swanker than that. The film itself is visually so big with so many exotic shooting locations from the high Alps road to the scrap yard where that brand new Lincoln Continual is crushed, ouch! The interiors sets too are fabulous. Loved the Danish Modern look of Goldfinger's Alps hideaway...what a huge room with lots of negative space that made Goldfinger look all the more ominous. Loved that map table that was functionally automated and that laser, damn that was really a nice prop piece especially for 1964.

To me Sean Connery is the quintessential Bond and the only Bond films I care about are the early ones. I liked that this didn't go on and on with action scenes and trick gadgets like later Bond films do. I also liked that Connery's Bond isn't always the sharpest mind in the room and makes mistakes.

Enjoyed this one!

[PHOENIX74]

I liked that this didn't go on and on with action scenes and trick gadgets like later Bond films do.


That's a good point, not only for Bond films but all action films today - the action goes on and on and on, and more definitely doesn't mean better. I actually find myself getting bored during the so-called "action" - there should be more balance. But I absolutely loved Bond's fight with Oddjob in Goldfinger. I loved the fact he was so physically outmatched, and had to use his brains instead.

[SpelingError]

I haven't been in as many Halls as most of you have, but here are my nominations:

24th: Vampyr
25th: American Movie
26th: The Celebration
27th: Midnight Cowboy
28th: The Travelling Players
29th: A Moment of Innocence

Russian II: The Cranes Are Flying
Twilight Zone: A Stop At Willoughby and The Midnight Sun
Movies About SpelingError: Mall Cop :D
Infamy: God's Not Dead

[Allaby]

This is what I nominated in the General Halls:

25th: Sundays and Cybele
26th: The Wizard of Oz
27th: Safety Last
28th Cuties
29th: Tomboy

[Torgo]

I haven't done many, but here goes:

24th: Hard Times
25th: Chimes at Midnight
27th: The Secret of Roan Inish

The Twilight Zone: A Nice Place to Visit and The Monsters are Due on Maple Street
5th Short: Shell All

I may pick a classic in a future Hall of Fame and I'm happy to re-watch the ones that other people choose, but I think it's more fun to choose something the majority haven't seen. It adds more uncertainty and it's always nice to see someone be pleasantly surprised. The exception is the Twilight Zone one since I was pretty unfamiliar with the series going in.

[cricket]

I forget what I've nominated but I've probably been in about 40 total HoFs and I've won one, and that HoF had like 6 people lol.

[cricket]

I think I've finished second once:p

[Citizen Rules]

I forget what I've nominated but I've probably been in about 40 total HoFs and I've won one, and that HoF had like 6 people lol. This is a complete list of all the Main HoFs you've been in.

27th Magical Girl (2014)
25th Les Misérables (Richard Boleslawski 1935)
24th The Secret in Their Eyes (Campanella 2009)
23rd Christiane F. (Uli Edel, 1981)
20th Elmer Gantry (Richard Brooks 1960)
17th Pixote (Hector Babenco 1981)
16th They Shoot Horses Don't They (Sydney Pollack 1969)
15th Out of the Blue (Dennis Hopper 1980)
14th Mommy (Xavier Dolan 2014)
13th The Marriage of Maria Braun (Fassbinder 1979)
12th Joe (John Avildsen 1970)
11th Samurai Rebellion (Masaki Kobayashi 1967)
10th Cul-De-Sac (Roman Polanski 1966)
9th Mikey and Nicky (Elaine May 1975)
8th Coming Home (Hal Ashby 1978 )
7th Killer Joe (William Friedkin 2011)
6th Before The Devil Knows Your Dead (Lumet 2007)
5th Boy's Don't Cry (1999 Kimberly Peirce)

[cricket]

This is a complete list of all the Main HoFs you've been in.

27th Magical Girl (2014)
25th Les Misérables (Richard Boleslawski 1935)
24th The Secret in Their Eyes (Campanella 2009)
23rd Christiane F. (Uli Edel, 1981)
20th Elmer Gantry (Richard Brooks 1960)
17th Pixote (Hector Babenco 1981)
16th They Shoot Horses Don't They (Sydney Pollack 1969)
15th Out of the Blue (Dennis Hopper 1980)
14th Mommy (Xavier Dolan 2014)
13th The Marriage of Maria Braun (Fassbinder 1979)
12th Joe (John Avildsen 1970)
11th Samurai Rebellion (Masaki Kobayashi 1967)
10th Cul-De-Sac (Roman Polanski 1966)
9th Mikey and Nicky (Elaine May 1975)
8th Coming Home (Hal Ashby 1978 )
7th Killer Joe (William Friedkin 2011)
6th Before The Devil Knows Your Dead (Lumet 2007)
5th Boy's Don't Cry (1999 Kimberly Peirce)

That's less than I thought. I think Samurai Rebellion did the best.

[MovieGal]

When I pick a film for a HOF, I think of ones I qualify as worthy. Beautiful art house style, except for this one. I just went with one that I felt stood out with Mads filmography. As most know, I tend to gravitate to darker styles but still visually beautiful. I don't want to go mainstream on my choices.

I have so many films in my head I could nominate. It's hard to pick one because each of them mean something to me, my love of some topic or actor.

[MovieGal]

Siddon

Next HOF, I will nominate a film, that is heart warming, family friendly and beautiful visually and story wise and I guarantee you will dislike it for some odd reason.

[Citizen Rules]

That's less than I thought. I think Samurai Rebellion did the best.It only includes the main HoFs, not the specialty Hofs...

[Siddon]

@Siddon (http://www.movieforums.com/community/member.php?u=95448)

Next HOF, I will nominate a film, that is heart warming, family friendly and beautiful visually and story wise and I guarantee you will dislike it for some odd reason.

I don't think I disliked your last two picks for "odd" reasons...I actually didn't "dislike" Adams Apple I just thought it was cheap and tonally confusing. Also because I couldn't download it I had to use a link and the last twenty minutes went on forever because of buffering issues. Which is why people should pick films that others can see.

I've actually nominated a Mads Mikkelsen Danish Film before

https://www.movieforums.com/community/showthread.php?t=60476

It came in last place

[MovieGal]

I don't think I disliked your last two picks for "odd" reasons...I actually didn't "dislike" Adams Apple I just thought it was cheap and tonally confusing. Also because I couldn't download it I had to use a link and the last twenty minutes went on forever because of buffering issues. Which is why people should pick films that others can see.

I've actually nominated a Mads Mikkelsen Danish Film before

https://www.movieforums.com/community/showthread.php?t=60476

It came in last place

The Salvation, yes because the only solid thing about it was Mads and Mikael Persbrandt's acting. Not sure if you knew, the director was Danish as well.

[SpelingError]

Also because I couldn't download it I had to use a link and the last twenty minutes went on forever because of buffering issues. Which is why people should pick films that others can see.

I had a couple download links for the film, btw. It's a bit harder to track down than the average film I watch, but it's still possible to do so.

[Siddon]

The Salvation, yes because the only solid thing about it was Mads and Mikael Persbrandt's acting. Not sure if you knew, the director was Danish as well.


I've actually nominated a Mads Mikkelsen Danish Film before
The Salvation was my pick for this Hall of Fame, I didn't think it would do well but I felt like it deserved a look for the top 100 Westerns and to add a modern Western into this Hall. The film uses duality to illustrate the different effects of PTSD both lead characters are survivors of a war. Mad's of the Second Schleswig War (https://en.wikipedia.org/wiki/Second_Schleswig_War) a battle between Germany and Denmark, and Delarue of the US/Indian war. Both men have been twisted by war where one looks towards building a family while the other focused on putting together a gang and building a town.

Both are drawn into conflict with each other because of the deaths of their families. Salvation starts off with a wonderfully claustrophobic and brutal Stagecoach scene and pair of escape scenes on a train and in the desert and finally a man against the gang in the town. The director does a great job of checking every western box with his film.

The script also has some great dark character scenes, one of my favorite scenes is a jail sequence between the leads brother and the Sheriff where the brother just emasculates the Sheriff. And a nice little trivia fact almost every actor in this film actually comes from a different country. The filmmakers did a great job of picking different actors from different nations to play the different roles. The french woman is scarred and silent, the British guy is the mayor and a little corrupt and the heroes are from Denmark and Sweden and the Heavy's are the only American's cast. This is a great twist on the typical European Western formula.


I disagree about Salvation having one good thing...it had quality production values, a clear tone, and an interesting plot.

[MovieGal]

I disagree about Salvation having one good thing...it had quality production values, a clear tone, and an interesting plot.

Eva Green and Jeffrey Dean Morgan are not on the same level as Mads as far as acting., imo.

[Wyldesyde19]

I’ll be starting up Das Boot tonight. Probably won’t finish it right away, as I’m likely to divide it into two viewings.

[Citizen Rules]

I’ll be starting up Das Boot tonight. Probably won’t finish it right away, as I’m likely to divide it into two viewings.
Make sure and watch it in the bathtub:D

[MovieGal]

Also because I couldn't download it I had to use a link and the last twenty minutes went on forever because of buffering issues. Which is why people should pick films that others can see.



You are worried about the government or FBI coming after you about the content of some of the films. You need to worry about them coming after you for downloading more than the content.

If you are in the US, that's a big no-no.

[SpelingError]

Anomalisa (2015) - 4

I found this to be a solid film which was enhanced by one great element. For one, I enjoyed it for its representation of alienation and social awkwardness. The conversations Michael and Lisa have with each other feel awkward, but they're also a realistic representation of how people like them actually behave. While I don't think the movie quite gets going until Michael meets Bella, once we get to that scene, the film becomes consistently engaging throughout the remainder of its runtime. While I like this dynamic quite a bit, the unconventional casting choices were what clicked with me most of all. Aside from David Thewlis and Jennifer Jason Leigh, everyone else in the film (both the men and women) are voiced by Tom Noonan. It's obvious that they all sound like the same person and Noonan doesn't appear to attempt to hide that, but this is the point of the film. Part of why Michael feels alienation from everyone is that they all seem the same to him (represented through their voices all sounding alike). Lisa interests Michael though since she's different from everyone else. This is a brilliant concept and the kind that works best in animation as opposed to live action. I don't think that aspect is quite enough for the film to be great, but it's definitely enough to elevate the material to a higher degree. Overall, I'm glad I finally got to this. Charlie Kaufman has written and directed a bunch of interesting films over his career so far and this one is no exception.

Next Up: Das Boot

[cricket]

Anomalisa

https://i.gifer.com/H8Ga.gif

I am very up and down with the work of Charlie Kaufman. Clearly there's a lot of talent and innovation there, but there's also a lot of awkward and shy characters. I do care about these characters, but in order for these films to reach their highest potential with me, I feel like I need to relate to them. Fortunately I don't. I was absolutely loving this 20 minutes in, and not to be shallow but I was hoping it was going to be more comedy focused the rest of the way. It stayed humorous and was good overall, but I ended up feeling somewhat embarrassed for the characters. The animation was great and necessary, and David Thewlis a brilliant choice to voice the main character. Tom Noonan voicing all of the characters except for two didn't work for me. I understand why that choice was made, but women talking with his voice was distracting and strange to me. Even though I didn't get everything out of it that I wanted to, this was a very fine film. Quite different and a great nomination.

3.5-

[Okay]

Adams Æbler (2005) directed by Anders Thomas Jensen

https://www.movieforums.com/community/attachment.php?attachmentid=87928

I went into the film expecting not to like it as much as everybody else did, but hoping for an enjoyable time nonetheless. I was already planning on never checking out any of this guy's movies ever again, and Adam's Apples just reinforced that even further. At least it wasn't as bad as Flickering Lights.

Once again, Jensen's movie was looking really cheap, and that is due to an overabundance of reasons. The lighting for one wasn't the best, sometimes even so obviously artificial it became distracting. The same music track was constantly being played in the background which would test the strength of anybody's patience. The cinematography was subpar, the acting was unremarkable, the small cast and few locations didn't do any favors either. The only thing that stops this for me from being a straight-to-DVD flick would be the money behind the special effects, I was impressed.

Mind you, the "comedy" was a joke, and that was supposed to be the film's strong suit. I may have audibly chuckled once, MAYBE twice (I only remember laughing during the scene where Mads got brought to the hospital after being shot, and the doctor laughingly exclaiming that "he's definitely not coming back from that one"). The humor is juvenile and is overall just trying way too hard to be quirky and dark at the same time. For example, there was this scene where a woman comes in for the priest's advice, and in the middle of her breakdown Mads and the neo-nazi start off out of nowhere with this stupid argument over some cookies. It was cringe because it was such an obvious attempt at the ol' "look how weird and quirky we are" joke, drawing way too much attention to itself that I immediately saw right through it.

The difference between that scene and another similar one, where Mads gets up after being severely beaten by the neo-nazi and nonchalantly goes about the rest of his day, was that the latter's humor is more successful because such traits from Mads' character are already established and to be expected at that point. Meanwhile, the former was too much of a blatant and jarring attempt to be funny that had nothing to do with the present characters themselves as they could've easily been swapped with anybody else without the scene feeling any different. If there was any single character in this movie that could've been genuinely funny on their own, it would've been the doctor. And that's the other half of the problem, rarely does the "comedy" actually come from the characters personalities, but rather it's always some ham-fisted attempt at being edgy and cool.

Adam is the main guy we follow and see the events through, and yet he's so damn bland and lackluster. I get that he's supposed to be a shell for the audience, but you would think that with him being fresh out of prison, and a damn neo-nazi, he would bring something to the table. It also didn't help that his performance was just as dull. Remember that chick I mentioned earlier, Sarah, well she comes back later on and sticks around with the crew for literally no reason. It straight seemed like the director wanted to add more characters to the mix so he can spice it up more I guess, but instead he just shined a bigger spotlight on the overall cheapness of the movie.

The saving grace has to be the allegorical aspects to the film. Even though most of the symbolism was on the nose, i.e. the Bible falling open a billion times to the Book of Job or everything that has to do with the apple tree for that matter, it was still the department that delivered most of the positives during this mess of an experience. It made me wish the main characters were developed more properly, specifically Mads' and his backstory since he was the target of many of the metaphors. However, the lack of coordination and coherence between all of these added garnishments ultimately muddled the final message. I honestly wouldn't be surprised if the director didn't fully understand what he was saying with his film. I'm also not sure how to feel about the negative portrayal of the priest's delusions, and especially how they got fixed up in the end. Trauma is a serious subject, and it's not fair for the movie to have it be the excuse to pull your heart strings in one minute, and then the next minute it's the source of another cheap gag. The director is simply not talented enough to successfully pull such a thing.

The only thing that's left to talk about is how in the hell did that skinhead survive being shot in what seemed to be his heart at first, and then his spine?! He not only got up and walked away afterwards, but he also came back the next day looking for another fight. Jeez.

[Okay]

Yeah it's a funny film. Not sure why some don't get the humour. It's about how positive Mads character was in times that everything was going wrong.I wouldn't describe him as positive, more delusional for sure. I mean it's not like he was consciously being positive in the face of hardship, it seemed like he was incapable of reacting in any other way considering his mental state.

[Okay]

I may pick a classic in a future Hall of Fame and I'm happy to re-watch the ones that other people choose, but I think it's more fun to choose something the majority haven't seen. It adds more uncertainty and it's always nice to see someone be pleasantly surprised. The exception is the Twilight Zone one since I was pretty unfamiliar with the series going in.
This. Looking at the wall of winners of the past HoFs can be a bit disappointing personally, as it's majority classics or the more popular critically acclaimed films. I strictly only join these from time to time for the sake of the suspense before the nominations reveal, and the hope for some hidden gems.

[Okay]

Welp, since everybody's doing it I'll join too.

Virgins HoF (who remembers this haha, it's not even mentioned in the archives thread) - The Return by Andrey Zvyagintsev
Foreign Language HoF - Benny's Vidéo by Michael Haneke
16th HoF - Three Monkeys by Nuri Bilge Ceylan
Sci-Fi II HoF - Coherence by James Ward Byrkit
Personal Rec IV HoF - this doesn't count, but it's probably my fav hof.
And now the 29th HoF - La Promesse by the Dardennes

I guess all of my noms would fall under the umbrella of "esoteric" foreign films if we have to, at least I'm proud I've yet to nominate 2 movies from the same country, but really my criterion is always nominating something I know most of the participants haven't seen and I want to see more discussions on period.

[Citizen Rules]

Welp, since everybody's doing it I'll join too.

Virgins HoF (who remembers this haha, it's not even mentioned in the archives thread) - The Return by Andrey Zvyagintsev I sure remember it! It was one of my best HoF ideas and I was the host:p I always considered you and Siddon to be my protégés as I found both of you in the Rate the Last Movie You Saw and invited you to join as HoF virgins:) I must have PMed a could dozen people trying to get them to join. No one knows how much effort I've put into promoting these Hofs, hint it's alot!

Oh, the reason the Virgin HoF is not mentioned in the archives thread is by design. Seeing how only three people ended up finishing, that didn't seem like enough to officially call it an HoF. But it was still very worth while.

[MovieGal]

I did only the 80s teen hof hosting with CR . I don't know how to do the technical parts.

The film I would want to nominate would be bashed in a new 80s teen hof on so many levels.

[ueno_station54]

https://iv1.lisimg.com/image/13245768/620full-the-year-my-voice-broke-%281987%29-screenshot.jpg
The Year My Voice Broke (John Duigan, 1987)

Not typically my bag but there's a lot to like here. Lots of good natural lighting especially the moonlit and golden hour-type scenes and the colour looks great too. The camerawork isn't anything crazy but its doing enough to keep my attention and there's a few pretty standout shots throughout. The casting is also great, everyone suits their character like a glove imo. I was really into the supernatural flavouring and like that the leads kind of have this intangible connection but I personally would have liked that element to be a bit more concrete, would have liked some kind of profound moment in that regard but I totally get why they didn't go that way. It kind of hits some cliche ideas towards the end but I don't think its a bad thing necessarily. I think the biggest issue I have is that the main dude doesn't really grow and he's fairly unlikable throughout. Like, the worst shit is happening to Freya and it always feels like he's trying to make it an opportunity for himself and by the end I don't think he's gotten out of nice guy incel territory though I think the film wants me to think he has. Quite enjoyable overall and with a few little tweaks (specifically to my tastes and no one elses) and this could have been something really special I think.
3.5

[Okay]

I sure remember it! It was one of my best HoF ideas and I was the host:p I always considered you and Siddon to be my protégés as I found both of you in the Rate the Last Movie You Saw and invited you to join as HoF virgins:) I must have PMed a could dozen people trying to get them to join. No one knows how much effort I've put into promoting these Hofs, hint it's alot!

Oh, the reason the Virgin HoF is not mentioned in the archives thread is by design. Seeing how only three people ended up finishing, that didn't seem like enough to officially call it an HoF. But it was still very worth while.
It definitely had its own unique vibe, way different from all the other HoFs I've participated in. I do remember it with fondness so I would love to see a second attempt at it, at least to bring some new blood to these things. Although, I do recognize how tough it could be to successfully pull off haha, but it would be worth it.

[PHOENIX74]

https://i.postimg.cc/Hkm70n3t/das-boot.jpg

Das Boot - (1981)

Directed by Wolfgang Petersen

Written by Wolfgang Petersen
Based on a novel by Lothar G. Buchheim

Starring Jürgen Prochnow, Herbert Grönemeyer, Martin Semmelrogge
Erwin Leder & Klaus Wennemann


War is hell, and there are quite a few places you wouldn't have wanted to be in during the Second World War - one of my greatest fears would have been having to serve in a tank, which had the habit of erupting into flames without providing an easy escape route. But perhaps the worst of all places to be was the U-boat - with the crushing pressure of the ocean threatening to implode your environment, scaring your wits out of you, but still being preferable than it filling with water as you ponder your last few moments alive. As the war turned against Germany, you were most probably going to die at some stage in those narrow confines - the North Atlantic had become killing fields, first for merchant shipman and then for German sailors, and no film will ever give you as accurate a gauge on what it was like than Das Boot, an absolute classic account based on Lothar-Günther Buchheim's time as a war correspondent onboard one of those vessels. It has become a timeless, well-known and enduring war film, and a must-see for any film fan.

The film takes place late in 1941, when the Battle of the Atlantic was turning in the Allies favour. After enduring an unacceptable rate of loss in shipping, the Allies had learned how to detect and destroy U-Boats through code-breaking, sonar (ASDIC) and radar for surfaced submarines. At the same time, convoys were being escorted by more British warships with better arms. Everything that had been happening was now completely turned around, and the submarines who once preyed on ships were themselves being hunted, and spending more time evading and hiding from the enemy than hunting and destroying them. Into this situation, war correspondent Lt. Werner (Herbert Grönemeyer) is given an assignment on U-96, captained by Capt.-Lt. Henrich Lehmann-Willenbrock (Jürgen Prochnow) - 30-years-old, and thus nicknamed "Der Alte" (The Old Man). During their time on the Atlantic, and attempting to break through to the Mediterranean, they'll undergo stresses that seem beyond the human limits of endurance.

Das Boot has expanded a little over the years, especially for me. The film was re-cut and had it's audio completely revamped in 1997, and was released as a 'Director's Cut', increasing it's running time from 150 minutes to over 200 minutes, and just now I've watched the German television version which runs close to 300 minutes. I'd say that the version that the film will be remembered for will be the Director's Cut, which was vastly improved upon from the original theatrical version. It was fun seeing all of the various parts I'd never seen before, but none of what has been added as far as the 5 hour television version is concerned has any large bearing on the film as a whole, and just pads everything out. Interesting to me though, was Otto Sander's Thomsen displaying a little PTSD in La Rochelle, the submariners letting their frustrations out on the religious sailor onboard - plus the 2nd Watch Officer (Martin Semmelrogge) using a punch bowl, fruit pip and orange to give some German non-submarine men an example of what being hunted is like.

The sound, for which the film was nominated for two of it's total of 6 Oscar nominations, is probably the first feature I always think about praising. This was even further improved upon for the Director's Cut release, and includes the groaning of the ship, the rush of water, the exploding bolts that fire like pistol shots when the ship is being crushed and other effects. It puts you right down into that submarine with the poor sailors, and gives you an uncomfortable feeling during tense moments. For Sound Effects editing the film was beat by E.T. The Extraterrestrial, and was beaten again by the same film for Sound - but I can't really judge this aspect any more because I'm listening to a much enhanced version whenever I watch the film. Perhaps the Das Boot of today would beat out E.T. - I'd like to think so, because it's rare that I sit and watch a film and actually think to myself that the sound of it is actually amazing. I can't imagine a more realistic sensory experience (but then again, put in a submarine about to implode I might be thinking "this sounds and feels a lot different to Das Boot.") Mike Le Mare, the pre-eminent one amongst the people nominated, would later work on The Terminator and other prominent films. I should also mention the rousing score from German composer Klaus Doldinger.

Next would come the cinematography, by Jost Vacano (who would later be DoP on Robocop and Starship Troopers) - a miracle within itself which garnered an Oscar nomination (where the deserved Oscar went to Gandhi) - filming Das Boot not only involved the design of a whole different kind of hand-held steady-cam to be used rushing from compartment to compartment in the film's set, but had to work and produce shots from those tight confines, which I can't even imagine attempting. U96 was recreated, as writer/director Wolfgang Petersen was fond of pointing out, "down to the last screw", and was exactly the same as the real thing. Actors had to train for weeks at running and diving through the submarine interior before they were ready for filming - which makes the cinematography in the film amazing, and so tricky to pull off. I'm guessing it didn't win an Oscar because it's not as beautiful when viewed as an end-product. The interior of a submarine is an ugly place, full of machinery, pipes, bunks, lockers, screws, knobs and hatches - and our only relief is when the sub surfaces and we start to feel ill following the rolling roiling sea. Other than that, there's a brief prologue in La Rochelle, which I always enjoy - and the sub's homecoming.

Rounding out the nominations this film received was one for editing (Hannes Nikel), it's adaptation and it's direction from Wolfgang Peterson. Certainly unusual for a foreign film, but this film kind of crossed that barrier, and became a household name everywhere since it's release. It manages to completely de-politicize the sailors in it, and actually create a mostly anti-Nazi crew, led by Der Alte, who rages against the powers that be for the way young lives are being wasted. I always shudder when we get to a scene where a fly walks across the face of Admiral Doenitz in a photograph on the wall - a picture really is worth a thousand words. Originally, this film was going to be a production led by an American director, with either Robert Redford or Paul Newman in the lead role, which sounds a lot less desirable than the film we ended up getting - nothing against those two actors, but having Germans in it gives it a very much-needed authenticity. All of the performances hit their mark, and were pressured out of them by Peterson, and the film was shot in sequence, which means the beards and the white, ragged, worn out and tired faces were real. By the end of filming all of these people had first-hand experience of what working in those tight confines for months was like.

Das Boot is described as a kind of 'psychological film' - the tagline notably said "A journey to the edge of the mind." It creates the kind of contemplation about death that must eat away at the minds of all those who are at the front lines in a war, and that becomes much more direct when the adrenaline and fear are pumping. It also manages to get us to feel the long stretched-out period of tedium and waiting that plays on the mental state of our characters, and this is also a part of war-time experience. There are brief moments of absolute terror, surrounded by mind-numbing boredom and listlessness. This movie is fantastic in it's realism, cramping us in this boat with no extra space, with steam, fire and darkness surrounding us, while we know at times that we're running out of oxygen and need to make urgent repairs to have any hope of surviving. The set the actors were working on could be tilted 45 degrees and shaken, and the conning tower was buffeted by tons of water. None of us know how we'd cope in the situations these people find themselves in - but to varying degrees it would probably be "not well".

The effects were old-school, but great. Karl Baumgartner, affectionately known as "Boom Boom" by actors and crew, had plenty of experience. A full-sized mock-up of the submarine could actually be powered through water (this was at one stage borrowed and damaged by Steven Spielberg while he was in the process of shooting Raiders of the Lost Ark) and for long shots an 11 meter replica was driven by one person laying inside of it (conforming to the ratio 6:1 - any smaller than that and the relative size of splashes, waves and water drops make it look unrealistic.) The rest of the production was all taken care of in studios. At certain times this realism doesn't quite fool our eyes - and the fact that models are being used in some scenes is apparent, but when sized up as a whole I can't find much to really complain about, and would actually be pretty upset if Peterson was to take to his film with computer graphics and alter even one frame of it. I'm completely against people changing films in this manner.

When Das Boot opened in Germany, it did so to much controversy and anger - this was the first post-war film in Germany which treated any of the fighting Germans as ordinary human beings, capable of any kind of goodness. Ironically, the film didn't really start to become recognized as great until it opened in the U.S. - where Peterson and the Germans were most fearing a backlash. I find that over the years this good reputation has only increased, and the film itself has become iconic. It would be an absolute certainty to fit somewhere inside my top 10 war films of all time, if not at the very top spot. It does everything a film of that nature should do, for these people and what they do isn't at all glamourized (you can nearly smell the putrid air) and they spend all of their time in some kind of discomfort - either bored or scared to the point of going mad. They end up facing up to the fact of what they've done when they sink a tanker and slink away from the survivors begging for help - unable to give help even if they wanted to. The absurdity of it all is highlighted over and over again, but hits an absolute height in the final scene.

The only other really interesting fact about the people involved in the production is the fact that Herbert Grönemeyer (who played the war correspondent) became a big rock star in his home country - which seems hard to believe (he really doesn't look the type.) Wolfgang Peterson's subsequent career is very well known. For me, my appreciation of Das Boot came in the early 2000s when I watched the Director's Cut, and there has never been a time since where - seeing all of or a portion of the film - I haven't admired it's technical and narrative brilliance. To actually film this inside that confined space, without opening the sub up for easier camera access, was an inspired choice from Peterson and Jost Vacano, and it translates as a really confined feeling that the audience gets. It was a super difficult thing to do, but worth it, and I'm guessing most other directors, cinematographers and filmmakers would have done this the easy way. Vacano had to learn how to run through a real sub interior, dive over hatches and avoid all the obstructions while holding his camera and shooting a major feature film. Incredible.

At the end of the day, this film was never about the Second World War itself, but about war in general, and about the way people respond to the situations that war throws at them. It's about the psychological impact, transferred to us as spectators. It's about a lot of positive aspects regarding humanity, in the worst of all possible situations - who work for each other and fight to live, longing to be with loved ones again and never wanting to let that go. It's also about the absurdity of sending young men away to face near certain death in the middle of the Atlantic ocean, and the absurdity to sent them out there to kill. It's about the relationship between man and machine - and the relationship between the men who use the machine, and those who make it. It's about human endurance, and the psychological limits of men. It's about leaders, and those who are old before they were ever meant to be old, and the fact that war is often fought by those who were just yesterday children. Those with the most to lose, are often those who are sent to die. More incredible is that most of it is true, and that 30,000 young men felt that awful fear moments before thier life, love and soul was suddenly and violently snuffed out.

5

[Okay]

https://iv1.lisimg.com/image/13245768/620full-the-year-my-voice-broke-%281987%29-screenshot.jpg
The Year My Voice Broke (John Duigan, 1987)

I think the biggest issue I have is that the main dude doesn't really grow and he's fairly unlikable throughout. Like, the worst shit is happening to Freya and it always feels like he's trying to make it an opportunity for himself and by the end I don't think he's gotten out of nice guy incel territory though I think the film wants me to think he has.
Eh, didn't feel like the kid was unlikable at all, and he was just a kid after all. I even specifically remember him running to tell Freya about Trev vs. the police, and realistically he had nothing to gain and everything to lose by immediately rushing to deliver that information. That showed to me that his loyalty and friendship towards her trump his own personal feelings and selfish benefits.

[ueno_station54]

Eh, didn't feel like the kid was unlikable at all, and he was just a kid after all. I even specifically remember him running to tell Freya about Trev vs. the police, and realistically he had nothing to gain and everything to lose by immediately rushing to deliver that information. That showed to me that his loyalty and friendship towards her trump his own personal feelings and selfish benefits.
yeah no that's definitely where the film wants me to be and it does things to get there, i just didn't get there y'know?

[Wyldesyde19]

Going to finish Das Boot. I have a little over 2 hours to go, yet.

[SpelingError]

Going to finish Das Boot. I have a little over 2 hours to go get.

Heh, I've seen the director's cut twice and watched it all in one sitting both times. It was rather easy to get through for me.

[PHOENIX74]

I’ll be starting up Das Boot tonight. Probably won’t finish it right away, as I’m likely to divide it into two viewings.

Going to finish Das Boot. I have a little over 2 hours to go, yet.

Heh, I've seen the director's cut twice and watched it all in one sitting both times. It was rather easy to get through for me.

I watched the German television version that goes 5 hours and it took me 3 days - I love Das Boot but I'd never seen that version before. Usually I'll watch the Director's Cut, but just once in my life I wanted to see the extremely long version, which I've had on DVD for ages (a German import) - this Hall gave me the impetus to finally do it.