View Full Version : Movie Tab II
I've watched a crapload of movies but I can't sit too long without some pain, so I'll cut back for this group.
Dead of Night (Cavalcanti, Charles Crichton, Basil Dearden, Robert Hamer, 1945) 3.5+
http://johnpeeldotnet.files.wordpress.com/2008/09/its-alive-dead-of-night-500x379.jpg
Incredibly audacious and creepy omnibus horror flick which basically invented the genre and set the high water mark at the same time. Mervyn Johns shows up at a country estate and begins to remember all kinds of horrific things which happened before, and although neither he nor the others there can truly remember what's what, his nightmare reoccurs involving every single person there. The highlight of this wonderful flick is the episode with Michael Redgrave as the ventriloquist who may or may not be in charge of his dummy. The actual ending takes that wonderful concept and winds it tighter to make things even more uncomfortable.
The Boys from County Clare (John Irvin, 2003) 2.5
http://www.legalmoviesdownloads.com/still-frames-movie-pictures/the-boys-from-county-clare/the-boys-from-county-clare-box-cover-poster.jpg
Entertaining flick about Irish brothers (Colm Meaney and Bernard Hill) whose bands compete in an Irish music festival. It's pretty much what you'd expect, but then again, you'd probably expect some solid entertainment and you get that. The music is good, the leads play well off each other, and there's some nice romance along with several cliches.
Tristam Shanty: A Cock and Bull Story (Michael Winterbottom, 2006) 3
http://music.york.ac.uk/tristram/img/story.jpg
The film is completely bonkers! It's ostensibly the making of the film of the novel which is allegedly unfilmable. Actors play themselves, their characters and sometimes even people who just seem to wander onto the set. There's a good supply of humor to be found, mostly in the idiocy of what little of the novel's plot we learn about. Steve Coogan does generate most of the laughs but if you don't like him that much, Rob Brydon makes fun of him every chance he gets. The tone is actually quite close to that of This is Spinal Tap.
Lucas (David Seltzer, 1986) 3+
http://img3652.imagevenue.com/images/loc376/65565_00-55-31_122_376lo.jpg
Beautiful, positive coming-of-age story about a smart, small, intellectually-advanced kid named Lucas (Corey Haim) in high school who's attracted to an older girl (Kerri Green) new to his school. He's far too insecure to tell her the truth about his life, but he does introduce her to nature, classical music and the concept that "making money is superficial". However, she evenually decides that she likes some of the things which Lucas doesn't, plus she loves Lucas but isn't in love with him, so she basically is the first female to break his heart. Lucas has to reconcile his unrequited love for the girl with the concept that being a silly jock might give him a "new" chance with her.
Battle of Britain (Guy Hamilton, 1969) 3
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Enormous British cast recreates the Battle of Britain of 1940 with plenty of old aircraft and exciting stagings of WWII dogfights and bombing runs. Half of the film is a "Look who's playing that role" scenario while the rest is an exciting series of action scenes. Hitler and his inner circle ultimately take responsibility for failing to roll over Britain since they couldn't use their tanks, but the British people's stubbornness and inner strength are presented as an equal antidote to the Nazis' crap planning. Thank God for that.
Four Sons (John Ford, 1928) 2.5
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Spectacular and popular John Ford WWI epic which shows the war from the German perspective although one of the "four sons" migrates to America and eventually comes back to fight his homeland. Ford had already mastered crowd scenes, camera movement, sentimental family politics and evil villains before this flick but here he uses all of them to maximum advantage and creates what may well be his best silent film. Little-known Margaret Mann is the heart and soul of the flick as the Mother.
Decision Before Dawn (Anatole Litvak, 1951) 3
http://filmarchiv.at/rte/upload/heft_49/decision-before-dawn_usa-19.jpg
Documentaryish WWII suspenser showcases Oskar Werner in his first American film which also shows how some German soldiers daringly returned to Germany near the end of the war to try to make things easier for both the Allies and their own people. There are plenty of near escapes and exciting episodes as we follow the young German who actually has to behave normally even though he's trying his best to help target a specific group of the German Army to help end the war as peacefully as possible. Richard Basehart and Gary Merrill play the American stars but have little to do, compared to Oskar Werner.
Dirty Harry (Don Siegel, 1971) 4
http://www.pollsb.com/photos/o/377934-harry_callahan_dirty_harry_1971.jpg
Wonderful melding of a character to an actor. This is easily the best of the Dirty Harry movies and is certainly the most self-sufficient in its telling of a scary story about a madman murderer called Scorpio (Andrew Robinson) who terrorizes San Francisco while straight-arrow, but fascistic cop Harry Callahan has to break in a new partner (Reni Santoni) and continues to piss off all the city authorities in his quest to save people and clean up the scum of the city. Sure, it's quite topical for 1971, but it's amazingly relevant to our own times where people are arguing about the difference between the rights of civilization versus the rights of the "criminals". Dirty Harry is one of the best fantasy policiers ever made and it honestly makes you question how much of a Bleeding Heart you can actually be in the face of mindless violence.
saw Lucas as a child. who knew the future then? good movie. nice review mark. :up:
Daybreakers - 4/5
nice little twist on your basic vampire plot. it gets a 4 for being somewhat original in the "viral turning" idea. plus, despite the fact that it was a feel-good / do-gooder type theme, they didnt pull any punches for the viewers on who they rubbed out.
The Road - 3/5
there was a lot of fuss over this film, but truthfully i saw it as more of a parent/spouse horror story. horror that your spouse leaves you (in such a fashion) to face the terrors of life alone. horror that you may leave your child (in such a fashion) and cant protect him forever. in the end, it was a celebration of life, really. and for that desperate portrayal, Viggo gets a huge :up: now. i will also say that there were parts of the film that did not gel and seemed quite random - for example, the ending. they did allude to fact that they were being followed, but methinks there was more going on there. makes me want to read the book to fill in the gaps.
Tacitus
06-03-10, 05:54 AM
I dunno whether The Road disappointed me or, deep down, I wasn't expecting anything brilliant to begin with.
I know there's a lot of guff about 'unfilmable books' etc but the fact remains that I rate Hillcoat as a director rather highly. He's not been exactly prolific but Ghosts Of the Civil Dead and The Proposition were fantastic. Maybe you can't make a silk purse out of a curate's egg?
I've been dying to see The Road, but having gotten halfway through the book several months ago, I can't bring myself to watch the film before I finished what I started.
meatwadsprite
06-03-10, 11:57 AM
I never want to see The Road again, the more I think about it, the more it sucks.
I wouldn't say it sucked, but it's kind of hard to recommend, too. I read the book two months ago and saw the movie last week, so both are pretty fresh in my mind. Just might toss a review together, since it seems to garner some interest and all.
I never want to see The Road again, the more I think about it, the more it sucks.
I was hoping they would save a bullet for me at the end.
-----------------------------
http://www.filmofilia.com/wp-content/uploads/2009/09/bad_lieutenant_2.jpg
Bad Lieutenant is a crooked cop movie on crack. Literately. It's unflinchingly disturbing and wierd and I enjoyed every minute of it. Cage was an absolute nut case, and for all the Nick Cage bashing I do, I truly enjoyed him in this film.
earlsmoviepicks
06-03-10, 12:07 PM
I hear ya, it just keeps going down down down :sick:
I never want to see The Road again, the more I think about it, the more it sucks.
John McClane
06-03-10, 03:25 PM
Man, so much hate for The Road? What's up with that? I must be one of the few who still gets a kick outta The Matrix Reloaded, too.
Anyways...
http://www.highdefdigest.com/images/post/4/4936/original.jpeg
Amazing graphics and animation, minus the creepy eye problem. However, WTF is up with the crappy ending and alteration of the original Beowulf story? Seriously, if it ain't broke...don't make it broke. ;) 3
http://www.impawards.com/2002/posters/treasure_planet_verdvd.jpg
Definitely one of my most favorite Disney flicks. Highly underrated. 4
Tacitus
06-03-10, 03:51 PM
It's not hate at all, from my end, just a sense of unfulfillment. And not really wanting to see it again - which is a bit of a bummer because it was a blind buy on Blu Ray a couple of weeks ago. ;)
It was kinda Fallout: The Movie, only seemingly done on a budget less than that of the video game and nowhere near as good.
Talking of impulse buys, I nearly bought that version of Beowulf on BD in a supermarket today for 8 quid. Bought a packet of cigarettes and some milk instead...
meatwadsprite
06-03-10, 04:24 PM
http://t1.gstatic.com/images?q=tbn:AwEJ_0GKAtdIoM:http://llamabutchers.mu.nu/archives/darth%2520sidious.jpg Let the hate flow through you !
Tacitus
06-03-10, 05:18 PM
I'm a scrubber not a hater. Or something. :confused:
TheUsualSuspect
06-04-10, 01:40 AM
Get Low
http://img.photobucket.com/albums/v118/layden/Posters/get_low.jpg
A Great Performance To Bookend A Great Career.
Felix Bush is a hermit, he lives all alone in the backwoods and he likes it that way. He has a sign that reads 'no trespassing', when someone trespasses, he puts up another sign 'no damn trespassing'. One day a priest arrives to inform him of a death, someone he knows. He then gets the idea to have a funeral party for himself, while he is still alive.
If Robert Duvall were to stop acting now then he can be proud of his career. He surely will continue to act, because he's darn good at it, but with Get Low he manages to give a performance that is both emotional and real. The film is loosely based on real events and Duvall, along with the supporting cast are able to bring this dry period piece to a rather enjoyable close.
Review Here (http://www.movieforums.com/community/showthread.php?p=625550)
re: The Road.
it being a post-apocalyptic movie, I wouldve watched it regardless, but its a GREAT thing that I read the reviews first - these prepared me for the heavy philosophical bent. less Mad Max, more "life is futile......and then we die." i never figured i would be one to eschew portrayals of social malaise or an inevitable demise of all life, but this movie is truly bleak. and im ok with that, except that it seemed to be missing several small yet important pieces. i imagine that those factoids are contained in the book, so im determined to get a copy some day soon, just to assuage my curiosity. suffice to say, for me, the jury is still out on the author of the book, because im willing to believe that some of his/her meaning and overarching point got lost in translation - it may be that s/he does have some profound point to share that the movie simply failed to convey. we'll see.
beyond that, some have opined that the movie is really a discussion about the existence of God, vis a vis The Book of Eli, which im very interested in seeing next week, if only to compare the two.
TheMightyCelestial
06-04-10, 10:53 AM
A few recent views that I enjoyed:
Battle Royale
In the not too distant future, an entire grade level of high school students are planted on a remote island & forced to either kill each other or defend themselves. A class subject in which the only way to get a passing grade is to be the only one left standing.
Battle Royale is a system of discipline that demonstrates how to respect authority & a method of teaching that could prove to be more efficient than making the kids stay after school, cleaning erasers or detention.
But, in the end, it probably wouldn't be as enduring.
Cuz, well then, y'know....
all the little ingrates would all be dead an' stuff.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/scifi/Misc%20And%20By%20Year/35057e3ca41f23152415e0b88abee1531193997.jpg
52.5
Garden State
What do you do when you've been comfortably numb for so long that you're can barely feel reality?
Go back to the neighborhood where you grew up, bump into your friends from high school, start becoming aware of the slightly weird idiosyncraticities in them &/or in their lives, have one of those catharthic big talks with your dad, & most importantly of all (& this is key), start dating Natalie Portman.
Welcome back to the "living".
Welcome to the Garden state.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/movies%20by%20year/Millenium%20Movies/02780f411a0c62653e4439f38d08db351193997.jpg
53
Wonder Woman
Princess Diana will kick yo' ass.
While it may seem that she should be a staple in any conversation dealing with femme fatale butt-kickers, IMO, this original superheroine archetype & daughter of Hippolyta has never been fully depicted at the level of the true warrior demi-goddess that she had the potential to be.
Then, I picked up this recent straight to DVD feature, & came to the conclusion, that even though it may not yet be at the point that I, as a comicbook nerd would like to see her at,
it is still a huge step in the right direction.
The Double W may still be in the form of a cartoon,
but in this latest interpretation of the Amazonian wunder, she is finally approaching the bad-ass broad with brass balls (metaphorically speaking, of course) that she should've always been.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/FotoFlexer_Photo-24.jpg
51.5
Sin Nombre
Take West Side Story, update it by taking out the outdated musical numbers,
then
take Midnight Run, remove the f-bombing humor & cartoonish cadres of law enforcement,
replace 'em with the grit of the deeply entrenched hopelessness of South American poverty,
then
add in some Colors (the movie), but, of course, from the other side of the border,
and finally,
apply some really solid acting with a good story,
sprinkle on some subtitles,
and
what you end up with, once you translate it from it's Spanish title, is a film that is, simply put, Nameless.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/movies%20by%20year/Millenium%20Movies/340c38dc441be8281602345e19466ce21193997.jpg
53.5
Bad Boys
Here's a flick I haven't watched in ages. And revisiting wit' it,
I was reminded that I had a high school buddy who played one of the gangbanging extras in this flick. And so, the way I figure it, on that whole six degrees of separation thing, that puts me only about one degree away from that older brother from La Bamba.
Hell, we practically know each other.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/movies%20by%20year/0750103001232028177moviesbyyear.jpg
53
Once
Two strangers find themselves coming together with a shared love for creating music
& ultimately, the end up creating a love for each that they can never truly share.
A nice lil' no frills romance story without the typical cumbersome complications of the...uhmnn, well.....romance.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/scifi/Misc%20And%20By%20Year/Romance/500full-1.jpg
53.5
The Cook, the Thief, His Wife, and Her Lover
How does a wife get revenge on her crime boss of a husband?
Confront him with the consequences of his actions & then make him eat 'em.
Literally.
Compliments of the chef.
Literally.
A beautifully filmed movie with some really rough edges. And I mean that in a good way.
Literally.
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/movies%20by%20year/Eighties%20Movies/14aj4gm.jpg
54
Layer Cake
mmmm..... cake........
http://i249.photobucket.com/albums/gg214/themightycelestial_bucket/movies/0488268001231381912movies.jpg
52
Tacitus
06-07-10, 08:28 AM
Edge of Darkness (2010, Martin Campbell)
2/5
Radiation is, like, really 80s...
I was a little surprised when I learned that one of the greatest of all BBC thrillers was getting the big screen treatment, not least because I had only just bought the original on DVD but also that a quarter century is a long time for such decisions to get made.
As I'd recently watched the BBC version again, my thoughts on Campbell's (the director of the 1986 series too) remake were probably a bit coloured but, hey, it's a cover version so these things are fair game in my book.
On its own, Edge of Darkness is yer standard conspiracy thriller and, to be honest, looks like it belongs in the 90s or even earlier. Gibson is as charismatic (and mumbling) as usual but his rubber-legged shtick is wearing a bit thin. I honestly dunno how good his Bostonian accent was but he sounded a lot less like a sheep than Matt Damon did in The Departed so I guess it's ok. Is it? ;)
A younger Harrison Ford would have been a much better fit for the part of Craven and 1992 would have been much better as a year to produce the film in but I'm not gonna harp on about the datedness any more...
Distilling 6 hours of drama into a 2 hour film was probably quite a job but, even if you're not aware of the entire original story, one gets the feeling that huge chunks of plot are on a cutting room floor somewhere. Ray Winstone's character in particular is introduced to great fanfare, does the square root of bugger all for most of the film then pops up again at the end in a scene which could well have been pivotal in an earlier cut of the movie. Huh?
For those of you who aren't aware, Jedburgh, the character Winstone plays was central to the BBC series and beautifully acted by Joe Don Baker. I love Big Ray as an actor but what he's asked to do here is incongruous at best, plain silly at worst. If his character was fleshed out more I might have seen a point to it but, as it stands, Jedburgh's appearance in the remake is just daft.
Plus points (because there are a few): The action sequences are handled well and kudos to Campbell for including a sprog of a famous director in both versions he has directed - Danny Huston (again, woefully underused and one-dimensional) here and Zoe Wanamaker in the original. Coincidence? Perhaps.
The scenes between Craven and his daughter (especially the daughter as a child) are actually really well handled - Touching, sensitive and hardly ever overplayed by Gibson but all they really succeeded in doing was make me think of Bob Peck and the young Joanne Whalley. Oh well, thinking of Joanne Whalley is hardly what you'd call a chore, is it? :D
It's watchable enough, is Edge of Darkness, but forgettable enough in equal measure. The political intrigue here is tacked on and the fuzzy 'WMD' aspect of it pales in comparison to the background of Thatcher's Britain, miner's strikes, IRA informers, Trotskyite cells, and CIA interference of Troy Kennedy Martin's original screenplay. Transporting the whole kit and kaboodle from England to America fails this film completely.
There isn't even a vibrator in this version. :(
http://i17.photobucket.com/albums/b69/greenspagbol/Edge-of-Darkness-Mel-Gibson-Wants-R.jpg
TheGirlWhoHadAllTheLuck_
06-07-10, 01:58 PM
The Dresser 3
Based on a play by Ronald Harwood, this film starts slowly but builds up to a great emotional climax. The film is set in the 1940's and is basically about the relationship between Sir, a senile 'grand' actor, and Norman, his devoted but underappreciated dresser (a personal assistant for those who don't know).
The early parts of the film where the cast and crew are dealing with Sir slow down the pace and the luvviness gets grating. However when the film gets into its stride, it proves itself to be quite tragic indeed. Excellent acting from Albert Finney as Sir and Tom Courtenay as Norman saves the film from being a chore but nevertheless it requires a lot from you. Still, it gets 3 because it is worth watching.
Othello (1995) 4
Othello has had rather a lot of film adaptations, especially with grand white actors playing the lead. The typical image one has of Othello is of an old actor blacked up and roaring away whilst Iago stands as the pantomime villain, cackling away.
This film adaptation is quite refreshing. For a start, it has the first black actor to have depicted Othello on film (Lawrence Fishburne, who acquits himself well). Although Fishburne looks a bit too young and fit, he plays Othello as a gentle hero who was too prone to jealousy.
Irene Jacobs plays Desdemona. Her accent makes some of the lines sound quite strange and puts the emphasis in strange places, but she has the right look of innocence and beauty and doesn't dissolve into whininess or implausible confrontationalness as the part has often been played.
Kenneth Branagh plays Iago as a betrayed friend seeking vengeance. It's a far more sympathstic portrayal of the character and it works very well. You can genuinely see how the characters are taken in by his charm and it seems as if this is what Iago might once have been. Branagh makes a small tragedy out of the part and doesn't try to overshadow the others.
It's quite a modern take on the story- it's basically done as a thriller about desire, betrayal and revenge. It's fast-paced and is one of the most accessible versions of Shakespeare I've seen, especially of a play which can be inaccessible to a modern audience.
meatwadsprite
06-10-10, 02:38 AM
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Back to the Future 1985
Everyone but the leads (one a brilliant crackpot) are two dimensional and sputter prodigious lines like "What are you looking at butthead?". The kids in the movie look older than the adults. Time travel is almost entirely abridged.
Good thing the goofball storytelling is warmly embraced by every other element. As suspicious as the characters are, almost every actor rolls with it. Lea Thompson is confidently "world's horniest girl". Thomas Wilson doesn't work as good in his "most deranged rapist bully" role. On a technical level it's beyond capable. The special effects rely a lot more on good photography and real stunts, than cheesy animation.
3
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The Assassination of Jesse James 2007
A methodical and dizzying character study, full of uneasiness and crystalline images. Brad Pitt and Casey Affleck keep raising the stakes, telling an entire story behind the story. The biggest bump in the road is when the narrator starts describing people, that guy should just shut up.
3.5
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Chopper 2000
The only other movie to Jesse James director Andrew Dominik's name. Falling in love with the aforementioned, I figured it fair to check this out. Eric Bana is equal parts insane, violent, and hilarious. The movie works like how an interviewer really meeting this guy would. He's interesting, but I need to get the f**k away from this guy. It's gushing with all kinds of bravura, but not the important kind. Nearing the end you still don't know this guy.
3
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Goldeneye 1995
The next action episode can't come soon enough. Traitor Russians steal an EMP satellite, go get them Bond. Not a single mark to identify it from any other Bond movie.
1.5
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Casino Royale 2006
Two Bonds in one day. This was my first chance to see Blu-Ray in action. It looks good. Very good. As for Casino Royale, well it's without a doubt the best of the series I've seen and probably ever will. Another movie I've loathed and now enjoy. I'm also giving you the benefit of the doubt you're not filing this write up as "Post-Goldeneye effect".
3
The Assassination of Jesse James 2007
The biggest bump in the road is when the narrator starts describing people, that guy should just shut up.
Disagree. Those voice-overs work VERY well, particularly the first one. They punctuate the silence and turn the film into something of a living storybook, which I really liked.
Goldeneye 1995
Not a single mark to identify it from any other Bond movie.
Famke Janssen. Izabella Scorupco. :D
meatwadsprite
06-10-10, 11:33 AM
Disagree. Those voice-overs work VERY well, particularly the first one. They punctuate the silence and turn the film into something of a living storybook, which I really liked.
Some bits were more sensible than others, towards the end he's narrating stuff as it happens - where as in the beginning he tells you about the characters while they lounge around.
linespalsy
06-10-10, 09:26 PM
I started writing up the last batch of movies that I saw but I'm short on time tonight, and leaving town (and the internet) for a week tomorrow, so, I'll leave what I've written and just give ratings for the other three.
http://www.thefilmjournal.com/images/amateur.jpg
Amateur (Hartley, 1994)
I could be mistaken, but I think this was the first Hal Hartley movie I ever saw. This is one of the ones where I think the story matters the most, so I rank it higher than Henry Fool or The Unbelievable Truth or some of his others. But it's worth seeing just because it's still so fresh cinematically. To call this quirky or pretentious would miss the point. It's like cinema got amnesia and so all it's references went fuzzy and distant. New old world. The climax for me comes pretty early when they go to the main character's apartment and right after Hupert starts trying on his ex's clothes. That's up there with my favorite scenes in movies, even if it's a little down hill after that this movie is still well worth 4.
Scary Movie 2 (Wayans, 2001) 2.5
Snake Eyes (De Palma, 1998) 3.5
30 Days of Night (Slade, 2007) 2
It does take a lot of time to make these posts, doesn't it? At least if you want it to look good. Since I've been hurting lately while sitting, I've cut way back on the lengtns of the write-ups but I try to keep it personal, informative and entertaining.
Shut up, mark!
My fave Hartley flick continues to be Trust. It seems his funniest, the easiest for me to personally relate to, and the one where the characters really seemed to connect (probably because of my previous comment).
http://www.possiblefilms.com/wp-content/uploads/1990/09/1Trust-590x377.jpg
linespalsy
06-10-10, 10:57 PM
It does take a lot of time to make these posts, doesn't it? At least if you want it to look good. Since I've been hurting lately while sitting, I've cut way back on the lengtns of the write-ups but I try to keep it personal, informative and entertaining.
Shut up, mark!
My fave Hartley flick continues to be Trust. It seems his funniest, the easiest for me to personally relate to, and the one where the characters really seemed to connect (probably because of my previous comment).
don't shut up, mark! even if it's just a few sentences it doesn't matter, any time i actually stop to think, it takes time to write something. i'm glad someone reads it.
i actually picked up trust earlier tonight to take with me and watch with rebecca. i remember that being one of my favorites too but really i like them all. i'll let you know how it stacks up soon.
i'm sorry to hear about your persistent health issues. so are you watching most of your movies lying down or standing up these days? i wish you all the best, dude. if you ever feel up to it let us know if you liked or didn't like amateur too.
Billy Budd (Peter Ustinov, 1962) 3.5+
http://1.bp.blogspot.com/_6qgeWVXWLfY/SlaLhFuQYCI/AAAAAAAAAYk/7pkDff7fimY/s400/Billy+Budd.jpg
Terrific interpretation by director/co-scripter Ustinov of the Herman Melville novella. Melville is always crammed with Biblical allusions and this one is a great depiction of Good (debuting Terence Stamp) vs. Evil (Robert Ryan) during British naval wartime against Napoleon. It's one of those films where all the pieces fit together and you start to get a knot in your stomach because you fear for Billy's life the second that Claggart sets eyes on him. This film is just as powerful in its own way as Paths iof Glory and Twelve Angry Men, although it never quite reaches their heights. Nevertheless, the ugly truth of what it says about human nature could scarcely be more poetic.
The Queen of Spades (Thorold Dickinson, 1949) 2.5; Cult Rating: 3.5
http://static.guim.co.uk/sys-images/Film/Pix/pictures/2009/11/30/1259584813090/Scene-from-The-Queen-of-S-001.jpg
Unusual adaptation of the Pushkin novel looks and sounds strange, with opulent cinematography and sets and a generally eerie story about a soldier (Anton Walbrook) who goes to the house of chance, but never spends any money because of his poor upbringing. Eventually, he comes across a book with the secret of the cards (the game of Faro) and puts two and two together to determine that an aging local noblewoman (Dame Edith Evans, in her film debut) knows that secret. The build-up is very atmospheric, if low-key, but the final card game is depicted in a highly-suspenseful manner which turns the flick into a cult item.
Alien (Ridley Scott, 1979) 4
http://img2.timeinc.net/ew/dynamic/imgs/071029/alien_l.jpg
Alien is a classic and one of those films which should be seen on as large a screen as possible. True, it borrows a lot from It! The Terror from Beyond Space and Planet of the Vampires, but its budget and technical/creative team (including H.R. Giger) allow it to be far more spectacular than those low-budget flicks. Alien is a terriifc example of a sci-fi/horror flick. The first half is mind-bending sci-fi showing things which had never really been shown before, especially within what appeared to be such spectacular and wide-open sets (even if some were matte paintings). The second half is one of the better claustrophobic monster-on-the-loose flicks aboard the spaceship. This film should really belong in the mafo's MoFo 100 List (http://www.movieforums.com/community/showthread.php?t=14820). :cool:
The Big Lebowski (Coen Bros., 1998) 3; Cult Rating: 4.5
http://thisdistractedglobe.com/wp-content/uploads/2008/07/big-lebowski-1998-jeff-bridges-steve-buscemi-john-goodman-pic-1.jpg
The Coens do the slacker SoCal Dude, and as far as the main characters go, they do them extremely well. Everybody in the pic above could scarcely be better. However, for me, the film is let down by the convoluted "Big" film noir plot and the characters involved with that, especially poor Julianne Moore. What I have to say won't change anybody's mind though. I think it's funny and entertaining but only half-successful. Now, to show you what I mean and how screwed-up I am, I think it's twice as successful as another offbeat modern film noir, The Long Goodbye, so I'm ducking and covering now...
Bicentennial Man (Chris Columbus, 1999) 2.5
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I finally watched this sucka after years of avoiding it for fear of a saccharine overdose. Don't worry, I didn't pay any money for it. It's very long but it's surprisingly cohesive. Sure, it suffers from some of the same problems as Columbus's Stepmom and whatever other of his films you dislike, but it contains some interesting characters and situations, as well as a couple of silly ones. Robin Williams surprisingly keeps most of his schtick out of the flick. For me, it pales compared to A.I., but it's kinda surprising that it was being filmed at basically the same time.
The Cowboys (Mark Rydell, 1972) 2.5
http://i161.photobucket.com/albums/t203/bejmaf/cowboys72.jpg
John Wayne begged to be in this flick and got his wish. I'm not sure why he wanted to be in it, unless it was because of his character's fate or a chance to be a surrogate father, both situations which would have changed his film persona to an extent. As far as the film goes, it's a surprisingly-simplistic take on the situation. It's over two hours long although nothing very surprising happens. It's got a solid Bruce Dern performance as a sadistically-smiling Baddie, and Roscoe Lee Browne is helpful as the wise cook. Most of the kids are played well-enough, but, like I said, the whole thing is awfully predictable, so you pretty much know what everybody will do or what will be done to them within ten minutes of meeting them. The photography is good and John Williams' score is evocative of Aaron Copland, and most people who like Wayne and westerns like it. Just remember, I only give John Ford's Stagecoach a high 2.5!!
Night Tide (Curtis Harrington, 1961) 2; Cult Rating: 3.5
http://www.slippytown.com/nighttide.jpg
Low-budget film shot on the Los Angeles coast (Venice, Santa Monica) about a lonely sailor (Dennis Hopper) who meets and falls for an otherworldly young woman (Linda Lawson) who plays a mermaid at a beach carnival. There is very little plot and much of what transpires comes across as the actors talking with each other rather than the characters interacting. However, director Harrington brings enough low-pro technique to the affair to maKe it easy enough to watch just in case something does happen. Needless to say, it's a fairy tale, so you have to know that it will either end poorly (Brothers Grimm, H.C. Andersen) or well (Disney). The more you're familiar with Harrington, the more you'll know how it may turn out.
Wolf (Mike Nichols, 1994) 3.5-
http://www.brightlightsfilm.com/62/62_images/62wolfjackandmichellebed.jpg
This is also very atmospheric, but it's quite a bit more witty and sophisticated. Nicholson gets to play his publishing executive with real relish and transforms himself from a tired has-been into a wily, athletic up-and-comer after he gets bitten by a wolf. He has plenty of venom to spread around, but he's also getting randy and sets his sights and both of his heads on his boss's daughter Michelle Pfeiffer. Although this is technically a werewolf flick, it's not really interested in the transformations. In fact, the last part of the film where the more-literal wolf "action" occurs is easily the weakest part of the film. Even so, there's plenty of well-crafted entertainment to be found here, especially the gorgeous, scary Giuseppe Rotunno cinematography and the Ennio Morricone score, highly reminiscent of his jazzy Bugsy score.
Capitalism: A Love Story (Michael Moore, 2009) 3
http://furloughfilmfest.files.wordpress.com/2009/09/capitalism-a-love-story1.jpg
Moore tries to keep as up-to-date as possible in this examination of the 2008 financial meltdown and who and what are responsible, at least according to him. Moore blames everybody, and he does get quite specific about it, but here he points his finger at more Democrats than ever before. Moore also presents lots of pathetic individuals who were kicked out of their homes of 20-40 years because they were suckered into refinancing and then couldn't pay up when they became disabled or lost all their savings due to hospitalization or the stock market collapse. Meanwhile, several fat cats, mostly involved with the Federal government, become rich. Then there are the low-earning people who die, leaving their families penniless while their companies collect huge life insurance payoffs on policies they secretly took out on them, basically gambling on their unlikely deaths. Moore's position is basically that the U.S. is a democracy but that capitalism is anti-democracy. He even brings in the Catholic Church to explain that capitalism is anti-Christ. As you can see, Moore still has an agenda, but it's an agenda which should be seen and discussed by people of all political persuasions.
Powdered Water
06-11-10, 01:02 AM
I was pretty touched by the end of the film. I know a lot of people hate Moore, that's fine. But I have to wonder if he meant what he said. I guess we'll know if he doesn't make any more films for the time being until someone starts stepping up and things change.
Maybe after awhile he'll calm down a bit and try to tackle some lighter fare. Perhaps not though. He seems to be an extremely passionate man who truly cares for the people that have been screwed by this countries government.
I thought the Catholic church part of the film was priceless.
I didn't even mention the part where he's driving from bank to bank in an armoured car trying to collect the bailout money for the taxpayers. :cool: I was actually quite impressed with "weak sister" Jimmy Carter's full speech about the Crisis of Confidence on the Special Features too.
Powdered Water
06-11-10, 01:12 AM
I'm still waiting for my bailout. I wish I could get in on that.
Tacitus
06-11-10, 06:57 AM
I like Moore a lot, always have. It's just that some parts of most of his films make me cringe - I call it the Chicken Suit Factor.
Agree with what he says, don't always agree with the way he says it...
That he's trying to change the word 'Socialism' from having a spluttering, Pavlovian response in America is interesting.
Thursday Next
06-11-10, 12:57 PM
Life Is Sweet (1990)- A sort of whimsical gallery of grotesques, Life is Sweet lacks the plot to drive it on of Mike Leigh's later Secrets and Lies, but is an affectionate, at times amusing portrait of an oddball family. I think this film must have been a huge influence on sitcoms The Royle Family and Gavin and Stacey (and not just because Alison Steadman appears in the latter in a similar if slightly more upwardly mobile role).
http://2.bp.blogspot.com/_saIzhtUI0G4/SPjIns3RnpI/AAAAAAAAA5k/07gGTxxPa4I/s400/life_is_sweet.jpg
Brodinski
06-11-10, 06:02 PM
http://www.grayclouds.net/adam/blog/wp-content/uploads/2008/06/vertigo3.gifVertigo
Hitchcock was the kind of director that does not care for themes or symbolism. He generally constructs his plots to arouse suspense, without paying attention to underlying meanings. This is not so in Vertigo where the subject matter, symbolism and characters’ psychology are equally important as the plot, if not more.
I guess that most everyone on this forum has seen the film, so I’ll just briefly touch upon the theme of unanswered love and the frustration that comes with it. Scottie loves Madeleine, Midge loves Scottie and Judy loves Scottie. But this love either slips away (Madeleine) or remains unanswered (Midge, Judy). The relationship between Scottie and Judy is especially interesting, as Judy loves Scottie, but Scottie is only interested in Judy because she looks identical to Madeleine. Here, Hitchcock poses an inconvenient question: when we fall in love with someone, are we then attracted to the person or to the image that we create for ourselves of this person?
Visually, Vertigo is certainly Hitchcock’s most ambitious film I’ve seen so far. The colour scheme that is used in this film is connected with a strong symbolism. On my second viewing and after having read some message boards, I noticed that green is associated with Madeleine. This is in contrast with red, which is associated with Scottie, more particularly his rational outlook on life. Yellow is associated with Midge who represents motherly love (thus safety, cosiness) and also real love for Scottie. Finally, blue represents guilt.
Vertigo is a slow, methodical film but I think I can already say now that is his most ambitious and rewarding film. Thematically and visually it’s certainly the best I’ve seen from him. Terrific film that will probably reward every additional viewing.
Damn, that was long.
5
http://qag.qld.gov.au/__data/assets/image/0019/43930/varieties/Thumbnail.jpgThe General
Must be the most basic story structure ever: a chase, there and back. That’s it. En route, Buster Keaton, who portrays a Southern engine driver, saves the girl he loves and in the ending, there is even an epic battle between the North and the South. This is all spiced up by a bunch of gags, many of which are still funny, even over 80 years after their production date. The sight gags especially did it for me, such Buster Keaton sitting on the wheel axe of a moving train with his deadpan face. Some of the stunts are also incredibly realistic and well-executed, and they look even more impressive knowing this movie was made in the 1920s. This is truly a classic, timeless film that can still be enjoyed by many generations to come.
4.5
http://img249.imageshack.us/img249/3830/mashd.th.jpg (http://img249.imageshack.us/i/mashd.jpg/)MASH
This war comedy portrays a company of army surgeons and nurses. The story focuses on Hawkeye Pierce, Trapper John McIntyre and Duke Forrest who spend their time drinking, and devising the original ways to pester their uptight colleagues Frank Burns and nurse ‘Hot Lips’ O’Houlihan. A comedy like this depends entirely on the quality of the gags and comical dialogue. For me, there were certainly some funny moments, mostly resulting from comical dialogue, like the one between Hawkeye and Burns the night after Hot Lips and Burns were in the middle of some very vocal rumpy-pumpy which was entirely coincidentally overheard by the entire camp. That being said however, if the comedy does not hold its own, there’s not a lot going for MASH to keep the movie from taking a plunge into boredom territory. I think there are also a little too many moments where the comedy is unsatisfactory which results in slightly boring scenes of characters talking to each other. Is MASH funny? Certainly. Is it boring? At times.
3
http://www.cjp.nl/content/img/redactioneel/thumbnail/film/e/eli_kl2.jpgThe Book of Eli
Denzel Washington plays an ascetic monk warrior in a post-apocalyptic society who, for some reason or the other, has to go West. Then there’s the bad guy, Gary Oldman, who is looking for a particular book which should serve as an instrument to form an army of followers. This book is of course the Bible. And this is of course owned by our hero. Then there’s violence, shoot-outs, explosions, Michael Gambon and friggin’ Tom Waits. The underlying message is that all this arguing about religion and the interpretation of the Bible is making people lose sight of the actual message of the Holy Book: Love thy fellow man. How touching. Too bad this message gets ousted by all the explosions and flying bullets. I give The Book of Eli an additional point for the visuals and fights though. It’s a mix of Mad Max and bad spaghetti westerns. And the fight scene under the bridge is the highlight of the movie. Too bad this is at the very beginning of the movie instead of the ending.
2.5
The Cowboys (Mark Rydell, 1972) 2.5
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John Wayne begged to be in this flick and got his wish. I'm not sure why he wanted to be in it, unless it was because of his character's fate or a chance to be a surrogate father, both situations which would have changed his film persona to an extent. As far as the film goes, it's a surprisingly-simplistic take on the situation. It's over two hours long although nothing very surprising happens. It's got a solid Bruce Dern performance as a sadistically-smiling Baddie, and Roscoe Lee Browne is helpful as the wise cook. Most of the kids are played well-enough, but, like I said, the whole thing is awfully predictable, so you pretty much know what everybody will do or what will be done to them within ten minutes of meeting them. The photography is good and John Williams' score is evocative of Aaron Copland, and most people who like Wayne and westerns like it. Just remember, I only give John Ford's Stagecoach a high 2.5!!
Night Tide (Curtis Harrington, 1961) 2; Cult Rating: 3.5
http://www.slippytown.com/nighttide.jpg
Low-budget film shot on the Los Angeles coast (Venice, Santa Monica) about a lonely sailor (Dennis Hopper) who meets and falls for an otherworldly young woman (Linda Lawson) who plays a mermaid at a beach carnival. There is very little plot and much of what transpires comes across as the actors talking with each other rather than the characters interacting. However, director Harrington brings enough low-pro technique to the affair to maKe it easy enough to watch just in case something does happen. Needless to say, it's a fairy tale, so you have to know that it will either end poorly (Brothers Grimm, H.C. Andersen) or well (Disney). The more you're familiar with Harrington, the more you'll know how it may turn out.
Your review Night Tide reminding me of another flick, Cinderella Liberty (http://www.imdb.com/title/tt0069883/). Directed by Mark Rydell right after The Cowboys.
I give Cinderella Liberty a 4.5.
Classicqueen13
06-12-10, 01:07 AM
http://images.art.com/images/products/large/10087000/10087858.jpg
Definately even better than its predecessor. First Blood Part 2 gives Rambo a little depth. Although, I personally get tired of seeing girlfriends get killed to induce revenge, but hey, it's kinda gotta happen. Stallone is excellent as well as the rest of the cast, most playing rather despicable villians. It also has some good messages about Vietnam vets, especially during this time frame.
Rambo: First Blood Part 2: 3.5
http://1.bp.blogspot.com/_Capxyw9fTy0/SltGDWtKUhI/AAAAAAAAACo/faUF3JcX3_A/s400/Shutter+Island+Movie.jpg
This movie is probably the definition of dark, at least in my experience. However, it stands out in quality from a lot of modern movies. I find DiCaprio to be one of the most talented actors of this generation, and he's in good hands with Scorcese as per usual. Scorcese has fun driving the creepy factor up to the top. He creates some haunting images and neat tricks. What I did not like about this movie was that it got too confusing. I like twists but I felt like at the end it turned into a Hotwheels racetrack. I had a hard time following things, but fortunately, it was cleared up well at the very end. I liked that it kept me guessing but the mind games they added in made it hard to work out clues to even make a guess. Oh well, though, very interesting and spooky film. A little too dark for my taste, so don't hold that against it.
Shutter Island: 3.5+
http://www.britposters.com/images/the%20three%20faces%20of%20eve%20320x240.jpg
Really interesting medical drama that is the perfect example of multiple personalities. Joanne Woodward absolutely shines, making seemingly effortless transitions between the three characters all rolled into one. She's intriguing, charming, and convincing and certainly won her award that year. The script isn't exactly juicy, but I was never bored. It seemed a little long for its short running time, but not for a drama. A watch certainly worth the time, but nothing you couldn't live without seeing.
Three Faces of Eve: 3.5
http://www.pudz.co.uk/27-poster.jpg
I laughed a little. I got a little bored. Really, I think I could've payed no attention whatsoever and still known what was going on. Plus, I knew the ending when I saw the trailer. This movie does have a good bit to offer. By no means will this give you side-splitting eruptions of laughter, not by a long shot. It was does a have pleasant dialouge and few quality jokes throughout. It's mostly a romance, much more than a comedy, and fortunately Heigl is rather charming here and does well for the character. She and Marsden have chemistry and the occasional old-fashioned banter.
27 Dresses 2.5+
http://www.slxs.co.za/wp-content/uploads/2010/02/valentines-day-movie-poster.jpg
What ever happened to old fashioned love movies? More so romantic comedies, because this one and the previous had plenty of love, just nothing else. The most interesting factor here was how these people's lives intertwined, and I think that if that wasn't in this movie it wouldn't have much of anything going for it besides the cast. It is star-studded and spectacular, but it is far from a spectatcular movie. So far. There was almost no comedy whatsoever. A few I think nearing the end but none before that. I kept thinking that this should be in its own Romantic category (not comedy, not drama, just romance). It was much less predictable than 27 Dresses with a few surprises. I have to add as well that I hated that there were only two teenage couples: one who were dumb as rocks and the others who felt the need to share their impending sex lives with the world. Is this really the way our generation wants to be remembered? Sad. Jessica Biel and Jamie Foxx were my favorite part. Anyway, watch it for the cast, the little surprises, and the fun weaving of everyone together. If you watch it at all.
Valentine's Day: 2.5+
Thank you for reading the most modern CQ movie tab post yet
meatwadsprite
06-12-10, 12:57 PM
However, for me, the film is let down by the convoluted "Big" film noir plot and the characters involved with that
But it's only for the good of the characters (which you state are close to flawless) ! Only when the kidnapping plot unfolds, do we see how Lebowski and friends react to the immediacy of this scenario, which tells us a lot more about them.
What I have to say won't change anybody's mind though.
And probably vice versa. :cool:
TheUsualSuspect
06-14-10, 01:33 AM
The A-Team
http://img.photobucket.com/albums/v118/layden/Posters/The-A-Team.jpg
"The Evolution of the Modern Western"
A minor (I don't rate "Major" Status) discussion by Mr. French
Ride the High Country (Sam Peckinpah) 1962) 3.5
http://voiceover.blogdiario.com/img/ridethe.jpeg
This may well not be the classic it's made out to be by some semi-modern critics, but it's easily a film which is well-worth seeing repeatedly and one which shows how the entire genre evolved and inched that much closer to the concept of revisionism. This is basically a mainstream western, and one which was only thought of as semi-important, even though it contained Randolph Scott's last performance and Joel McCrea's last significant one. Peckinpah teamed up with DP Lucien Ballard for the first time (he used him four more times in the future, beginning with The Wild Bunch). This was Warren Oates' first Peckinpah film, and he's rather important in introducing Peck's theme that women are mostly abused by males, especially the most-immature, but sometimes the females can turn the tables on the men. The problem is that when "immature" boys get into a group, their first thought seems to be to retaliate by killing and then by raping. Within the studio system in a lower-mid-level production, there seems to be a great deal of artistic freedom, and it almost seems like Peckinpah was being groomed for stardom. However, his metier seemed to be realistic deaths in ugly surroundings, violent showdown finales, hopefully with something involving camraderie among cowboy friends and chivalry among aging cowboys. If you have never seen a western in your life or have never seen this particular western. make sure you give it a shot. I haven't even mentioned R.G. Armstrong, L.Q. Jones, James Drury, John Anderson, Edgar Buchanan and, in a surprisingly affective performance, young Ron Starr, who never actually made another movie again, even if he conceived a child with Meg Foster.
http://www.barrylou.com/art/film/rideHighCountry.jpg
Dead Man (Jim Jarmusch, 1995) 3; Cult Rating: 4
http://wpcontent.answers.com/wikipedia/en/thumb/e/e2/Deadmanfilm.JPG/350px-Deadmanfilm.JPG
Talk about revisionist westerns!! I still don't honestly believe that it's a legit western, but it obviously has to be considered an illegitimate one, if nothing else! Jarmusch brings in drugy effects, self-references which date back to "Popeye" cartoons [Michael Wincott ad-libs beautifully (I believe)], Gary Farmer gives his greatest performance in a "mainstream" (read: bigger, CULTish) flick, Johnny Depp gets blown hither and yon just like the feather in Forrest Gump, only to become a tough S.O.B., Robert Mitchum gets to talk to bears, lies to humans, and ignores men, and Robby Muller gets to try to one-up his Down by Law cinematography - I personally love his work in Honeysuckle Rose. Dead Man is a personal movie and should definitely be seen with the best picture turned on and the sound turned up. I still prefer Jarmusch's Night on Earth and Ghost Dog, but this film's utter surrealism and total wackness (the scene with Iggy Pop and Billy Bob Thornton pretty much defines "out-there" filming technique!) pushes it over the edge for people who are interested in avant-garde westerns.
http://www.anglonautes.com/art_film/art_film_dead.gif
Zombieland (Ruben Fleischer, 2009) 3.5
http://veggiemacabre.files.wordpress.com/2010/01/zombieland-jesse-woody_l-1.jpg
"In olden days, a glimpse of stocking was looked on as something shocking..."
Actually, many people claim nowadays to not care about westerns (and also horror flicks, Juno). They don't "seem" to relate to younger people, although I cannot fathom that rationale. Today, there are still a few legit westerns, and anybody who cares about the genre will watch them. However, another genre of western is the one where people push forward to settle a land which "no white man" (or sometimes, "no man") has ever been before. Modern zombie films, especially the ones where people are trying to push forward into "unknown" territoty, seem to qualify as modern westerns. The people are self-reliant, they are travelling through a desolate country, they have no way of knowing what may happen, but they do realize the significance of weapons and trust. They also understand the importance of starting a new civilization. Perhaps that's the advantage of westerns over zombie and/or post-apocalyptic flicks. Westerns understand that we need to keep as many traits of civilization as possible, while those flicks set that just more in the future probably think it's not quite as important to express similar ideas.
http://laundelles.files.wordpress.com/2009/06/1969.jpg
For those with no clue whatsoever, Easy Rider is one of the most-free films, and ergo, westerns, ever made. Watch it if you don't believe me. Please!
TheUsualSuspect
06-20-10, 01:49 AM
Toy Story 3
Best movie so far this year.
Go See It.
Iroquois
06-20-10, 08:09 AM
Been about six weeks since my last post in this thread...I've been busy enough, though.
http://www.qcinema.com/images/films/my_own_private_idaho1.jpg
My Own Private Idaho (Gus Van Sant, 1991) - 3
This was solid enough, not so sure it was as great as I've been led to believe, but it was good to watch, complete with some surprisingly good performances, unexpected twists and good cinematography. Could probably do better on a second viewing, though.
http://content.internetvideoarchive.com/content/photos/034/00145110_.jpg
Bill and Ted's Bogus Journey (Pete Hewitt, 1991) - 2.5
Credit's due to the decision to take a darker road to the silly, almost consequence-free antics of the original film, although the humour doesn't quite manage to reach the same level as the original. It's still a fairly amusing piece of mindless entertainment, but it could've been better.
http://www.culturevulture.net/Movies/images/julienbremmer.jpg
Julien Donkey-Boy (Harmony Korine, 1999) - 1.5
Korine's follow-up to the insanely trashy Gummo improves somewhat on its predecessor due to a slightly more coherent storyline, even if it still serves as a very thin excuse to litter the film with an assortment of bizarre characters and wacky situations. Some of these segments prove to be entertaining, even if they do just seem like nothing more than sideshow attractions on film (the guy doing cigarette tricks, a rapping albino, an armless man doing card tricks with his feet, etc.). That's without mentioning Werner Herzog as Julien's insane old father, who effortlessly steals the entire movie with his performance. Outside of those parts of the film, there really is very little, if anything, to recommend about this.
http://twi-ny.com/dogville.jpg
Dogville (Lars von Trier, 2003) - 3.5
This might deserve a higher rating given that I'm still turning it over in my mind weeks later, but even with a relatively low rating I still think it's a surprisingly good work. The entire "stage" gimmick was an interesting concept, the plot managed to be sufficiently surprising and well-acted and all in all it was an interesting piece of work.
http://teaandbooks.files.wordpress.com/2010/01/the-road_l.jpg
The Road (John Hillcoat, 2009) - 2.5
Given that I actually liked the book quite a bit, this was something of a let-down. The film was pretty passable for the most part with the odd sequence that was executed rather well, plus the cinematography was quite decent. But yeah, it's not a great film by any stretch.
http://www.trhonline.com/hohh.jpg
House on Haunted Hill (William Castle, 1959) - 3
I haven't really watched much in the way of horror movies pre-1960 or so, plus viewing various movies like that on Mystery Science Theater 3000 have reduced the idea to something of a joke. House on Haunted Hill still had a fair bit of cheese that turned much of the film into a laugh riot, but beneath this was a fairly decent premise and, for a significant part of the film, some decent execution. I'll admit the tension was rather effective, though the reveals tended to induce some serious laughter among the crowd, along with some fairly melodramatic acting.
http://www.best-horror-movies.com/image-files/suspiria-hanging.jpg
Suspiria (Dario Argento, 1977) - 3.5
This was more like it. I think this marks the first Argento film I've ever seen - now I definitely want to see more. Well-executed in just about every regard with some noticeable but forgiveable hiccups and a very effective piece of horror.
Also, some re-watches that don't really need write-ups:
Wonder Boys 3.5
The Searchers 3.5
Thelma and Louise 4
The Idiots 3.5
Festen 3.5
Fight Club 4
The Texas Chain Saw Massacre 4
TheUsualSuspect
06-20-10, 02:29 PM
Argh, I found Suspiria couldn't follow up on the great opening sequence.
TheDOMINATOR
06-20-10, 05:23 PM
Hello, everyone. Haven't posted in quite some time, but I figured today I'd pop my head in and write up a Tab. :cool:
Since I haven't made a Tab post in God knows how long, this list is probably going to be fairly lengthy, so bare with me. I'll attempt to remember as many titles I've seen over the past few weeks as I can.
Pulp Fiction 4
http://img.listal.com/image/269535/500full-pulp-fiction-screenshot.jpg
Reservoir Dogs 3.5+
http://thecia.com.au/reviews/r/images/reservoir-dogs-8.jpg
Sleepwalking 3.5+
http://www.popentertainment.com/sleepwalking.jpg
The Girl's Room 2.5+
http://ecx.images-amazon.com/images/I/51RXW4MN1ML._SS500_.jpg
Fight Club 5
http://backseatcuddler.com/wp-content/uploads/2007/09/brad-and-edward-fight-club.jpg
The Dream Team 4
http://www.impawards.com/1989/posters/dream_team.jpg
This movie has the best, most clever script and funniest dialogue of any comedy I've ever seen, I think. Peter Boyle's character is utterly hilarious. In the film, he's a mentally insane man, Jack, who thinks he's Jesus.
"I drove the moneylenders from the temple. I can handle a ten-spot."
Jack: Stop! Who dares to tow the van of the living Christ?
Tow Driver: The city of New York, Tarzan! $50 for the violation, $75 for the tow and $20 a day for storage.
Jack: [Skyward] Father, forgive us for we have sinned! We parked our car in a forbidden zone!
:rotfl:
The Dark Knight 4.5+
http://cueballcol.files.wordpress.com/2007/12/the-dark-knight-joker-imax.jpg
The Descent: Part 2 3+
http://content8.flixster.com/photo/11/98/22/11982294_gal.jpg
Four Brothers 3.5-
http://paisley.presys.com/graphics/brothers.jpg
Selling Innocence 2
http://www.dvdcorral.com/overlay.php?uri=/dvd/images/max/011301630049.jpg
The Return 1.5
http://1.bp.blogspot.com/_f-uhedgO7VY/SMvp4Ag3KgI/AAAAAAAABCI/CQr4-kaj4Rw/s400/the+return.jpg
Mischief 3
http://4.bp.blogspot.com/_Jx7dGK6Ioe8/SPz-8dCYcsI/AAAAAAAAAME/sKLKLOu1Lkg/s400/mischief.jpg
While She Was Out 2.5+
http://www.icelebz.com/movies/while_she_was_out/poster.jpg
Tim Burton's Alice in Wonderland 1
Avatar 5 I know, I know. Oh well; it's the truth for me.
The Devil's Advocate 3.5
Shutter (Masayuki Ochiai, 2008) 2.5
The Hangover 3.5+
Ghost Ship (Steve Beck, 2002) 3
The Unborn (David S. Goyer, 2009) 3
Open Graves (Álvaro de Armiñán, 2009) 2.5-
007: Never Say Never Again 2.5+
Igor (Anthony Leondis, 2008) 2.5+
Scorched (Gavin Grazer, 2003) 4
Gigli 4 Yep.
The Lovely Bones 3
http://blacktheatre.files.wordpress.com/2010/01/lovely_bones_ver2.jpg
The ending probably lowered my rating by a full popcorn box; I (more or less) hated it.
Mr. Harvey's death. How he died--getting hit by the falling icecicle and falling down the cliff--didn't bring forth enough justice for me, and it seemed completely random and without much emotional effect. He fell down a cliff...accidentally. I know it's supposed to be about karma, and maybe the book sheds more light on this (I've never read it), but I was left unsatisfied with this horrible person's simple demise.
Otherwise, I thought the film was great; its imagery was especially memorable, but those last few minutes just killed my entire experience.
A Funny Thing Happened On the Way to the Forum (Richard Lester, 1966) 4.5
http://www.dvdtalk.com/reviews/images/reviews/190/1194401102_1.jpg
This movie: <3.
Flatliners 3-
Stephen King's Rose Red 2
All I Want (Jeffrey Porter, 2002) 4-
National Treasure 2.5+
Clash of the Titans (2010) 2.5
Iroquois
06-21-10, 12:11 AM
Argh, I found Suspiria couldn't follow up on the great opening sequence.
Can't argue with that, though I found it considerably tense for a good chunk of its running time.
TheUsualSuspect
06-21-10, 12:14 AM
Hey DOM, the original ending to The Lovely Bones:
You didn't even see him falling down, that would have made things even worse. People wanted to see his body break and be mutilated.
TheDOMINATOR
06-21-10, 01:31 AM
Hey DOM, the original ending to The Lovely Bones:
You didn't even see him falling down, that would have made things even worse. People wanted to see his body break and be mutilated.
Yeah, I'm not sure what I was looking for, but that ending wouldn't have cut it either.
Mark Wahlberg killing him would have been cool. :cool:
Thursday Next
06-21-10, 03:39 AM
La Regle du Jeu
http://image.guardian.co.uk/sys-images/Film/Pix/pictures/2007/03/26/pauletteDubostetNoraGregor_regle460.jpg
4.5
L'Avventura
http://www.lib.washington.edu/media/criterion/images/l'avventura.jpg
3.5
Waitress
http://foodthought.org/uploaded_images/waitress1-785080.jpg
3
Predator
http://i33.tinypic.com/2hxm7it.jpg
2.5
RE: Lovely Bones....Blame the author of the book for that ending. I had the same feeling when I read the book, then I stepped back and thought it about it a bit and understood why she did it. My housemate was also very angry at the ending; she actually stormed upstairs.
I was really pleased with the film; thought Jackson did a good job.
The Imaginarium of Doctor Parnassus
http://www.vayacine.com/images/2009/05/parnassus021.jpg
What a curious failure. Full of colorful costumes, wondrous art direction, and beautiful visual effects, it's interesting to look at, but rather dull to watch. Unfortunately. I wanted to love this film.
Gilliam said this film is about storytelling, and there is a scene early in the film that tells you that, but then it descends into a story about the devil taking souls which got in the way of the storytelling. If stories are about journeys into our imagination, and in the Imaginarium, people can explore their imaginations, then why was I waiting to feel something? Don't stories make us feel for the characters? Love them? Feel their pain? I felt nothing. It isn't enough to just transport us to another world. Stories need to reach down into our souls. And in a film about the devil wanting souls, this film didn't capture my soul. :(
The other flaw was the very reason I wanted to watch it -- Heath Ledger's character. As usual, I couldn't take my eyes of Heath (been a fan for a while), and again I'm reminded of what a great loss it is. But in the end, his character is confusing to me. What was his final motivation? I didn't follow. Wasn't that an important part of the story? And the gimmick thought up to be able to finish the film -- Depp, Law, and Farrell taking his place inside the Imaginarium -- wasn't a bad gimmick at all. Depp and Law worked rather well, but the Farrell segment was the climax of the film. Not having the "real" Tony there took away any understanding of the final moments of Tony's character. Farrell was wonderful; it wasn't his fault. Merely, it was the sad result of the belief that the film could be finished without Heath.
It couldn't.
There is a wonderful story in here somewhere, I just wish I could have found it.
But in the end, his character is confusing to me. What was his final motivation? I didn't follow. Wasn't that an important part of the story? And the gimmick thought up to be able to finish the film -- Depp, Law, and Farrell taking his place inside the Imaginarium -- wasn't a bad gimmick at all. Depp and Law worked rather well, but the Farrell segment was the climax of the film. Not having the "real" Tony there took away any understanding of the final moments of Tony's character. Farrell was wonderful; it wasn't his fault. Merely, it was the sad result of the belief that the film could be finished without Heath.
Cool write up t. It is ironic that a 'story obsessed' story could fail with its arcs and involving you with its characters as much as it did. Agree that not having Ledger there for the finale made it too tricky to stay with him as a character, despite everyone filling in well. On his character's motivation, I just read it as...
He was a slick ****, so used to manipulation, and so at ease with the Imaginarium facilitating and expanding this side of him, that he met an end every classical story says he should. He got his come-uppance. I think poss being a slick ****, and surviving, was his end in itself. As it were.
So, Golgot, I assume we are in agreement. As to what you said,
He was a slick ****, so used to manipulation, and so at ease with the Imaginarium facilitating and expanding this side of him, that he met an end every classical story says he should. He got his come-uppance. I think poss being a slick ****, and surviving, was his end in itself. As it were.
I'm not sure what you mean by the last sentence regarding surviving... what do you mean?
This is what I wanted to believe, but alas, don't think this is where Gilliam went:
I wanted to believe that Tony had sacrificed himself in order for the daughter to be free. But the whole thing with the musical pipe negated that.
Too bad, that would have made me care a bit more, although it might have been a bit corny and trite. I don't know, that story needed help.
TheGirlWhoHadAllTheLuck_
06-21-10, 01:20 PM
Sense and Sensibility (1996) 4
I have not read the Austen novel it's adapted from, but this movie is incredibly enjoyable. It shows that Austen can be done on the big screen and in an accessible way without ruining it (a la Pride and Prejudice 2005).
It's your typical Austen scenario of multiple suitors, romantic troubles, sensible vs. romantic, and empire-line dresses. Kate Winslet is particularly good as Marianne, the romantic younger sister, and Alan Rickman plays a good guy for once! Emma Thompson looks a bit too old to be Winslet's sister (in the novel, she's supposed to be 19) and it's not entirely convincing that she would fall for Hugh Grant's character, who is stupid to the point of silliness, but overall the film is great. (I particularly love the piano scene)
So, Golgot, I assume we are in agreement.
Pretty much, on its failings, tho I think I enjoyed its plus points a bit more- possibly I was just glad to see Gilliam doing something Gilliamesque :)
I'm not sure what you mean by the last sentence regarding surviving... what do you mean?
I meant that that's his default life position, but it only becomes clear/certain towards the end, and that everything he did was about staying alive via his gifts in that direction.
I wanted to believe that Tony had sacrificed himself in order for the daughter to be free. But the whole thing with the musical pipe negated that.
I didn't even think of that at the time. If it had been in there I guess they would've had to sell it with expressions - deliberately falling for the pipe swap etc - which is a nigh-impossible ask with swapped actors.
In the end I kinda liked the dark arc tho, the 'hero' being baddie, dreaming the wrong dream, as it were. Or just caught in a fairytale-spiced nightmare.
What the heck, I wasn't sure what I wanted to say about another film I watched this weekend, but I think this film has been unfairly maligned by some critics, so here goes:
Robin Hood
http://andthismakesaheartbeat.files.wordpress.com/2010/01/russell-crowe-as-robin-hood.jpg
So, fine, this version of Robin Hood was a prequel and well, American audiences don't like prequels. It's too hard for them to handle. After all, they want the familiar story.
So, fine, Crowe's Robin Hood is all serious and some say, even dour. Well, okay, he won an Oscar for being a man bent on vengence. If Maximus wasn't dour and serious, I don't know who was!
So, fine, I see how the critics got this all confused with Gladiator. Crowe's hair is the same. And well, so is.... oh, there's a battle sequence! OMG! Gladiator 2 alright!
I'm done now. ;)
Except for this, yes, I'm a Russell Crowe fan. So I'm a bit prejudiced. But I hated Body of Lies and wasn't that much of a fan of American Gangster. I can not like a Crowe film. Really I can.
Ridley and Russell took a gamble here, telling a well-thought out and smart story in an effort to capture the time in England just before the Magna Carta. I gather what the critics and some audiences find fault is that the story of Robin Hood is so embraced and endeared to generations that changing that was cause for alarm. I happened to have enjoyed it. I thought it rather fascinating to contemplate Robin's beginnings. There was a time in the beginning of the film where I wasn't sure how I felt about this new Robin, but soon I found myself going with it. I admit that Cate Blanchett's inclusion here was crucial. She is absolutely captivating and outshines Crowe. It's hard for me to admit that.
The final battle sequence was like the battle of Normandy only in the 12th century, and it was rather spectacular. My only real gripe with the film is that Robin gives us one rousing speech, but otherwise I didn't feel his character was developed enough in a film about his character. Not sure how that happened and it may be the one flaw that caused all those critics to go nuts.
Of course, the critics yelling about how this is about taxation being evil and that the film didn't have enough socialist qualities, well, I'm a pretty good liberal and I don't see their point at all. Critics sure can be ****s sometimes.
I thought the film was rousing, enjoyable, and the action done as only Ridley can do it. Would it have been better if we had had the familiar story? I honestly don't know. But I do know it had been done before and telling a fresh take on the legend was pretty entertaining to me.
Oh, and one other thing: is Mark Strong going to play every villain in every high profile film from now on?
EDITED TO ADD: Just saw your post, Golgot. About being Gilliamesque, yea, it was that alright! :)
Powdered Water
06-22-10, 01:31 AM
Revenge of the Nerds (Jeff Kanew - 1984) 3
Revenge of the Nerds II: Nerds in Paradise (Joe Roth - 1987) 2.5
I haven't seen this double feature in quite sometime and I still had several chuckles throughout. I actually went to the theater to see the first one way back when. Goodtimes.
Major League (David S. Ward - 1989) 3.5
I've always really enjoyed this silly Baseball movie. It reminds of of 1995 here in Seattle when we got our first taste of Baseball fever. I miss it and hope to experience it again someday.
Porky's (Bob Clark - 1982) 2.5
A year before Bob Clark made one of the greatest Christmas movies of all time (A Christmas Story) he made this rather juvenile movie full of boobs and boys trying to get laid. I found it not altogether unenjoyable. Certainly nowhere near the same ballpark as Fast Times at Ridgemont High but watchable anyway.
Now, Voyager (Irving Rapper - 1942) 4.5
This was just fantastic. Bette Davis was Maryl Streep long before Meryl Streep was even born I've come to believe. Every single movie I have seen Bette in lately, has just completely captivated me. This was another really excellent movie from the 40's and a very worthy addition to the lists.
There's many, many more since the last time I posted in here but I just can't seem to get motivated to post in here that much anymore. Perhaps I'll come back around to it someday.
The Book of Eli - 3.5/5
After seeing this film, I totally "get" the comparisons with The Road, but really - they are two very different movies. I love Denzel. I just do. But even I have to admit that this film was your basic post-apocalyptic blockbuster, with a religious bent tacked on. The visuals were nice, the effects good, but the storyline felt shallow and preachy. And I'm a believer, if you will. ;) I was left with the feeling that the movie was meant to be a poignant expression of faith and love in a time of famine and desolation, but instead it was like being spoonfed a theory. Kudos for that little twist at the end, but I gave it some thought, and I truly do not believe that Washington's character couldve truly executed such deeds if that were true. Big ups for Jenny Beals getting back onto the big screen. :up:
Wolfman - 4/5
Nice to see Benicio back on the screen, and true to form, he chose a dark movie. I'd go so far as to say this film held its own against the more serious werewolf genre films, though I did figure the plot twist our 1/4 of the way thru the movie. It was kind of an obvious, "life is pain, and then you die" type of film.
The Pacific - Part 1 3/5
It's no Band of Brothers, but it'll do.
linespalsy
06-22-10, 01:04 PM
movie update part 1
http://application.denofgeek.com/images/m/trips/gothic.jpg
Gothic (Ken Russell, 1986)
This is okay, it's about Mary and Percy Shelley, their dead baby and the unleashing of subconscious forces of passion at the coaxing of Lord Byron. Maybe Russell was aiming at a post-counter-culture parallel, that was one thing I got out of it. As for the movie itself, insofar as it doesn't try to explain the supernatural I thought it was okay but the characters' attempts to talk about the sublime seemed kind of blunt and gives everything an adolescent quality like a bunch of teenagers trying to scare themselves. As such it's still pretty entertaining.
2.5
http://goremasterfx.files.wordpress.com/2009/10/melanie-griffith.jpg
Body Double (De Palma, 1984)
Really stylish and trashy and seemingly-pretentious film with a lot of De Palma's best self-reference including an audition for a porn movie that then turns into a Franky Goes to Hollywood music video! The movie also seems to trash the entire profession of acting where the hero is a bad out of work actor who would rather watch and actually physically can't act at the most important times, but it seemed to me to have some of the best performances De Palma's gotten out of his actors, including Melanie Griffith as Holly Body.
3.5+
http://www.reverseshot.com/files/images/pre-issue22/dtk%201.preview.jpg
Dressed to Kill (De Palma, 1984)
Earlier De Palma where someone made the unfortunate stylistic choice of shooting everything in very soft focus but still has some pretty great scenes. The long dialog-free seduction and aftermath that makes up the first big arc of the film is my favorite but the whole thing is worth seeing and I'm glad I got to do see it on the big screen.
3
http://www.slashfilm.com/wp/wp-content/images/valley-girl.jpg
Valley Girl (Coolidge, 1983)
Teenagers are often attracted to someone for their "style", but in this movie Nicholas Cage's "punk" attitude seems more of a road block for the central romance between two unappealing characters.
What's interesting to me is that that Valley kids listen to a lot better music than the so-called "real" kids from Hollywood. There are a lot of things that could be taken ironically but although it has a couple laughs there are far better alternatives if you're looking for 80s teen movies...
2
Classicqueen13
06-23-10, 12:58 AM
The Dream Team 4
http://www.impawards.com/1989/posters/dream_team.jpg
This movie has the best, most clever script and funniest dialogue of any comedy I've ever seen, I think. Peter Boyle's character is utterly hilarious. In the film, he's a mentally insane man, Jack, who thinks he's Jesus.
"I drove the moneylenders from the temple. I can handle a ten-spot."
Jack: Stop! Who dares to tow the van of the living Christ?
Tow Driver: The city of New York, Tarzan! $50 for the violation, $75 for the tow and $20 a day for storage.
Jack: [Skyward] Father, forgive us for we have sinned! We parked our car in a forbidden zone!
I find this movie so underrated! I'm glad to see someone who really enjoyed it. I loved the witty script, particularly that line you put up there. Has me in stitches every time. XD
Classicqueen13
06-23-10, 01:35 AM
http://www.ultimatedisney.com/images/t-v/verdict-poster.jpg
As a major Newman fan, I've been pining away to get this from Netflix. A story and a character certainly worth the praise here. Newman really put his heart and soul into the role. Of course, the highlight was the rather touching summation, and I'm glad I liked the ending. The plot is a terrific courtroom drama. Lumet's direction is excellent. Definately one for a movie fan to check out.
The Verdict: 4
http://images.rottentomatoes.com/images/movie/coverv/84/219384.jpg
The great cast is certainly the highlight to this little known film. Newman's rough although surprisingly small role is handled seemingly with ease. While he got top billing (understandably so), everyone seemed to get a rather even dishing of screen time which is handled very well. Bedelia, Cusack, Dern are just a few who offer a lot to the movie. However, I simply couldn't get into this movie and found myself bored up until the end when I was merely curious. The subject matter/plot didn't draw enough interest with me, and being that I pretty much knew how it ended didn't add any suspense. It's a little on the long side, but I think this film would have a lot of potential for someone more interested in the story.
Fat Man & Little Boy: 2.5+
http://www.moviegoods.com/Assets/product_images/1010/430921.1010.A.jpg
This was a rewatch, sort of. Observe Henry Fonda in the poster. I only saw him I think for about 5 minutes total in the entire 3 hour movie. This is true for most of the big stars in the cast. It seemed that most of the screentime was taken up by subtitles for the foreign actors/characters. (Do not watch this movie if you don't like subtitles) Overall, it felt more like a documentary than a war movie with very little character development. War movies are usually the first to bore me (often to sleep) and so with a lot of drawn out battle sequences and people I could hardly understand, I wasn't very intrigued. Not to mention, I know what happened on D-Day therefore the only thing I would wonder was about the specific characters, but I didn't really get too attached to them anyway. Not my cup of tea, and it was a rather big cup at that.
The Longest Day: 2
http://images.rottentomatoes.com/images/movie/coverv/37/171337.jpg
The performances of Russell and Wood certainly give life and flow this bio-drama. They're what really kept me watching, I believe. The rest of the cast provides high quality support. Gypsy's story certainly is an interesting one filled with fascinating characters. I don't usually watch musicals, but I've seen a fair-sized handful in my time. In this one, some of the songs and their timing irked me. Belting lines like "Only 20 bucks, Papa!" as though she was just singing a regular family debate sort of rubbed me the wrong way. I found that a number of strange lyrics were throughout the movie that made me scratch my head. But, hey, can't like everything, and I'm sure that a lot of people wouldn't even notice this. No complaints here.
Gypsy: 3
http://static.omdb.si/posters/active/424026.jpg
I've been wanting to see this as well for quite some time. I've been lucky to see movies lately with superb casts and this one is no different. Douglas is great lead and masterfully handles the character and the situation, I felt. Sutherland certainly holds his own around Douglas, showing quite a bit of talent and skill (in a character kinda similar to his iconic Jack Bauer). Longoria and Basinger seemed to be there pretty much just to pump up the star power, but they don't come close to getting in the way and play necessary parts. The story takes awhile to kick as it begins to unfold, but the running time for this flew by for me. There's plenty of action although the mystery ("mole") aspect of it wasn't impressive. While the script is hardly worth mentioning, but there are some good lines and a couple funny jokes from Sutherland. Overall very enjoyable and entertaining and lived up to my expectations.
The Sentinel: 4-
Caitlyn
06-23-10, 01:24 PM
The Lovely Bones 3
http://blacktheatre.files.wordpress.com/2010/01/lovely_bones_ver2.jpg
The ending probably lowered my rating by a full popcorn box; I (more or less) hated it.
Mr. Harvey's death. How he died--getting hit by the falling icecicle and falling down the cliff--didn't bring forth enough justice for me, and it seemed completely random and without much emotional effect. He fell down a cliff...accidentally. I know it's supposed to be about karma, and maybe the book sheds more light on this (I've never read it), but I was left unsatisfied with this horrible person's simple demise.
I had a problem with the ending too... however, I can't remember if it touched on it in the film, but in the book, Susie talked several times about how she would kill someone and that she thought an icicle would be the perfect weapon because all the evidence would melt away... kinda reminded me of a toned down Hitchcock moment a little bit...
Chances Are (Emile Ardolino, 1989) 3
http://static.omdb.si/posters/active/59942.jpg
Fun fantasy romance about a happily-married man (Christopher McDonald)who dies and comes back to Earth as a newborn baby whose memory hasn't been erased. About 20 years later, the young man (Robert Downey Jr) is brought by Fate into contact with his former wife (Cybill Shepherd), his best friend (Ryan O'Neal) and his daughter (Mary Stuart Masterson) to whom he quickly becomes attracted. Although the story could be considered hokey and old-fashioned, Maurice Jarre's lush romantic score helps propel this cute flick to several laughs amid the predictable twists, and the cast seems especially suitable to the material.
The Girl He Left Behind (David Butler, 1956) 2
http://img186.imageshack.us/img186/4620/2718941020abz1.jpg
Truth be told, until I stumbled across this on TCM, I'd never even heard of this film. It's a standard military training comedy-drama, but what sets it apart from others is the tremendous cast one wouldn't expect to find in such a forgettable flick. It's about a college athlete (Tab Hunter) whose sweetheart (Natalie Wood) falls out of love with him because he seems to be a slacker and doesn't want to do his part for his country by enlisting in the army. Eventually, this jock flunks out of school and gets drafted, and it's in the military where all the following actors can be seen: Murray Hamilton, James Garner, David Jannsen, Jim Backus, Henry Jones, Alan King and Raymond Bailey. Watching the supporting cast at an early age is what really makes the film, at least on a slow evening. Jessie Royce Landis is also on hand as Hunter's clueless but influential mom.
Blue Sky (Tony Richardson, 1994) 3
http://www.gazillionmovies.com/Movies/Review/DVD/Posters/Tickets/B/Images/BlueSky.jpg
Jessica Lange won an Oscar for her role as the mentally-unbalanced, uninhibited Army wife of nuclear testing expert Tommy Lee Jones. Her cheating and antics have caused the couple and their two daughters to move all over the country from base to base. Eventually, Jones makes waves because he's against the government's 1950s above-ground nuclear testing, but he really gets in trouble when he challenges his superior (Powers Boothe) who's sleeping with Lange. The film is packed with melodramatic incident and solid acting, but although quite entertaining, it's let down somewhat by a seemingly unfulfilled ending. After an emotional roller coaster ride, it just sort of ends without any real resolution.
Nothing to Lose (Steve Oedekerk, 1997) 2.5
http://static.omdb.si/posters/active/239080.jpg
Surprisingly watchable comedy about an advertising exec (Tim Robbins) who comes home early to surprise his wife but learns that she's cheating on him. Disconsolate, he roams the L.A. ghettoes where a carjacker (Martin Lawrence) tries to steal his car but actually finds himself more of a prisoner as the exec drives from L.A. to Arizona to forget his troubles. Once there, the two encounter a pair of criminals (Giancarlo Esposito and John C. McGinley) who try to rob them but a funny thing happens, and this triggers the remainder of this road flick. Although it's nothing to shout about, Robbins and Lawrence actually make a good team, and the parts where the film gets more serious and allows the characters to open up actually adds something to the mostly lightweight, borderline-silly flick. It's certainly better than I expected.
Far from the Madding Crowd (John Schlesinger, 1967) 3.5
http://costumedramas.files.wordpress.com/2009/03/ffmcposter.jpg
Schlesinger's film made in between Oscar-winners Darling and Midnight Cowboy distills Thomas Hardy's novel into the story of a young woman (Julie Christie) who is "romanced" by three very different men: a penniless shepherd (Alan Bates), a rich farmer (Peter Finch) and a military officer (Terence Stamp). Schlesinger presents the story in an unusually-edited manner where characters disappear for lengths of time, some major plot points are only hinted at, and characters' motivations are often lacking. However, the film is lushly beautiful (Nic Roeg cinematography) and filled with striking scenes, such as the one involving Bates' sheep near the beginning and a storm which rails just after harvest time. Overall, it's a very good film which is maybe just a bit cold around the heart.
Alice in Wonderland (Tim Burton, 2010) 3
http://www.shockya.com/news/wp-content/uploads/alice_in_wonderland_poster_mad_hatter.jpg
I've heard lots of complaints about this movie, and I suppose that I can understand some of them. It's actually a sequel to the Disney cartoon, reprising many of its scenes while making Alice older and having her learn from her previous experiences. I'll admit that the look of the film isn't quite as striking as I would have liked and that after awhile, it seemed as if nothing very interesting was happening. However, Johnny Depp proves to be a very-affecting Mad Hatter who has a true relationship with Mia Wasikowska's Alice and makes the film become poignant at times. Helena Bonham Carter is also quite excellent as the Red Queen. I'd say that this version cannot hold a candle to the cartoon but it's far-better than the rickety all-star 1933 version. Even so, it seems astounding that it made so much money, but 3-D obviously adds on quite a bit of dollars to the grosses.
Battleship Potemkin (Sergei M. Eisenstein, 1925) 3+ ; Classic Rating: 5
http://2.bp.blogspot.com/_TKagscIsnA0/SKkSN-wPT-I/AAAAAAAAAEo/giW4yFljmYQ/s1600/Battleship-Potemkin.jpg
I could probably raise my rating for this, if only for the bravura Odessa Steps sequence. This is my first viewing of the silent classic Potemkin since its picture and music have been restored, and it's quite a sight to behold. Eisenstein, who was 27 at the time, jumps right into the story of the 1905 Russian Revolution, focusing on a battleship where the sailors feel they are being treated as animals and lodge a protest which doesn't sit well with the officers. Eventually they take over the ship and pilot it to Odessa where the poor people react to it as a sign of impending independence and a change in Russia. However, the Old Guard is still in charge and a massacre eventually ensues. Although it doesn't really focus on characters, Potemkin certainly hits you like a punch in the face as editing, music and photography all work together to elicit powerful emotions in the viewer. It culminates in what is perhaps film's single most famous scene which was staged on the actual Odessa Steps 20 years after the massacre occurred. Here is that sequence intact, although the battleship's striking red flag is only seen in white here.
http://www.youtube.com/watch?v=Ps-v-kZzfec
The Lovely Bones (Peter Jackson, 2009) 3+
http://www.covershut.com/covers/The-Lovely-Bones-2009-Dutch--Front-Cover-27679.jpg
Jackson does a pretty good job of finding the right tone, especially in the first 45 minutes. The depiction of the early '70s is a tad superficial but emotionally-honest. Later. the "in-between" isn't really clarified, but it is a beautiful other world for our dead heroine to stay in while she awaits the discovery of her killer. The depiction of the marriage collapsing is probably my least favorite part of the film because it seems to happen too quickly. Meanwhile the police investigation mostly goes nowhere, and it seems almost too obvious who the killer may be (although of course, the audience knows who it is from the get-go). It's a movie with some genuinely-suspenseful sequences but ultimately it just may be trying to accomplish too much and therefore spreads itself a bit thin and thus lessens its intended impact. Even if so, I still recommend it.
Brodinski
06-23-10, 05:33 PM
Edge of Darkness (2010)
http://www.theorangelife.org/PROJECT%203/website%20images/movies/edge_of_darkness_thumbnail.png
Mel Gibson’s return as an actor. In Edge of Darkness, he portrays a vigilante father who’s out for revenge on the men that killed his daughter. An eye for an eye and all that. En route, he bumps into a conspiracy. I like the pacing of Edge of Darkness and its acting performances, especially Danny Huston and Ray Winstone, but unfortunately, director Martin Campbell (Casino Royale) pulls logic’s leg a bit too much for my taste.
3
35 Shots of Rum (2009)
http://www.consulfrance-hongkong.org/local/cache-vignettes/L200xH267/35-rhums_200-f8e05.jpg
35 Shots of Rum tells the tale of a taciturn widowed engine driver who lives with his daughter in a high-rise apartment building in the suburbs of Paris. This is a French art house film about people’s everyday lives and tribulations. What the movie lacks in excitement, it makes up for in thematic richness. Issues that are brought up include dealing with retirement, (unanswered) love and romance, father-daughter relationship, letting go of your loved ones and inequalities between rich and poor. Alfred Hitchcock once said that one should be able to understand and enjoy a movie with the sound off. If that is the case, then 35 Shots of Rum is one of the greatest films I have ever seen. 35 Shots of Rum’s simplistic beauty lies not so much in what the characters say, but in the meaningful pauses, longing glances, and painful silences. Good gawd, watch/buy this if you can, because films don’t get any purer than this.
4.5
Kung Fu Hustle (2004)
http://www.filmclub.nl/images/thumbnails/1570_tn_Kung%20Fu%20Hustle.jpg
I had forgotten all about this one, until I saw TheUsualSuspect’s review here. I finally rented it last weekend, watched it and had the time of my life. Kung Fu Hustle is a bold mixture of gangster movies, spaghetti-westerns and – yes – cartoons. The story and fight scenes are delightfully over the top. In one scene, Stephen Chow, the main character, makes a run for it, but is chased by the furious landlady Qui Yuen. Both run so fast that their legs transform into blurred circles (Road Runner anyone?) until Chow manages to escape when the landlady bumps into a billboard where she sticks to for a couple of seconds before sliding down slowly. Other laugh-out-loud moments are parodies on Spider-Man, The Shining and The Matrix. Everything about Kung Fu Hustle is so wonderfully surreal and comical that you can’t help but sit back and enjoy the ride.
3.5
The Professionals (1966)
http://www.thefilmwall.com/wp-content/thumbnails/57846.png
I bought this DVD for a measly €5 after it caught my eye in Mark’s top 100. It’s a Western about four men who live by their expertise and take pride in their abilities. The reticent Woody Strode is a dependable scout and proficient with a rifle, bow and rope. Robert Ryan is the wrangler of the bunch. Lee Marvin is the tactical genius and Burt Lancaster is the lady’s man, seemingly without principles and a specialist with dynamite. Together, they are hired by Ralph Bellamy to rescue his kidnapped wife (the stunning Claudia Cardinale) from a Mexican revolutionary by the name of Raza (Jack Palance). During their rescue operation, the professionals’ morals and principles will be put to the test, especially Lancaster’s. The dialogue between the characters is to the point and occasionally has a nice humorous undertone. The real star of the movie (besides Cardinale’s knockers of course) is the scenery. I love watching beautifully shot Westerns, like The Good, The Bad and The Ugly, The Searchers and The Professionals, where the characters seem to almost dissolve in the vast landscape. The sandstorm through which the professionals and Claudia Cardinale find themselves is a thing of beauty. It may not be as good as top-level Westerns, but if you love a beautifully shot, good action-adventure flick with excellent cinematography, The Professionals will certainly not disappoint you.
3.5
The Killer (1989)
http://www.anysubs.com/images/movie_profiles/2705.jpg
Before having seen The Killer, I thought I knew what an action movie was and what I could expect of them. Now, I know that even a 20 year old action film can still manage to surprise me, especially if it’s directed by John Woo. The Killer is a jaw-dropping, awe-inspiring action flick on acid. The poetic violence that characterizes the supercharged action sequences are well-established today in many of Hollywood’s action flicks, but many of those still can’t hold a candle to The Killer. What makes The Killer great is that the story and characters are not secondary to the action. The cop and the killer are practically the same, but what sets them apart is the law. Woo’s familiar themes of loyalty and betrayal are also very much present in The Killer. In summary, The Killer is a mind-blowing, riveting action film that is not to be missed by anyone who loves the genre.
4
Thursday Next
06-23-10, 06:26 PM
I decided to catch up on watching older British films after feeling a bit ashamed of my low percentage on the BFI list. I was going to wait and tab them all at once but this film deserves a post all to itself:
A Taste of Honey (1961)
http://www.cinemaretro.com/uploads/RitaTushingham.jpg
"I dreamt about you last night... fell out of bed twice."
It's not all that rare to see a good film, or one which you can appreciate is a well made film, but it is rarer to find one that completely absorbs you and makes you feel like this film has been missing from your life so far.
Adapted from a 1958 play by Shelagh Delaney, A Taste of Honey follows Jo as she leaves school and tries to make her own way in the world after her feckless mother leaves her to move in with her latest boyfriend. Jo has a short lived romance with a sailor, gets her own flat and soon acquires a flatmate in Geoffrey, a young gay man who comes into the shop Jo works in to buy shoes. The trouble is, Jo finds she's pregnant from her one night with the sailor, and it looks as though her life is destined to follow the same course as her mother's...
http://www.televisionpersonalities.co.uk/images/geoffrey.jpg
It's decidedly bittersweet, the youthful hope and optimism of Jo and Geoffrey who declare that they are unique with the run-down, squalid surroundings they find themselves in and the seeming inevitability of Jo repeating her mothers mistakes. But all this is underlined by a wry sort of humour which elevates it above misery and melodrama.
The performances are superb, especially Dora Bryan as the mother. There are a couple of awkward moments which seem particularly un-PC to a modern audience, but on the whole it seemed fresh and vibrant and curiously beautiful, with lights - fairground lights, sparklers, lightbulbs - and shade used to great effect.
5
TheGirlWhoHadAllTheLuck_
06-24-10, 10:14 AM
I imagine a modern day audience will be quite shocked by the ending. I thought it was a good film too, and a good adaptation of the play.
Good Will Hunting 3
Co-written by Matt Damon and starring...Matt Damon! Actually to his credit, it doesn't come off as a vanity project.
Damon's character is a waster who works as the caretaker for a top university. It is discovered that he is a genius at mathmatics, and has a vast memory. Robin Williams plays his mentor/shrink.
I thought all the swearing in the film was unnecessary. Yes, I can understand that Will Hunting's friends (fellow wasters) might swear, but would a shrink really talk about 'jerking off' to an informal client? And would they fall for the most obvious wind-up in the book- asking about their wife?
I liked Stellan Skarsgard's character- Gerry, successful maths professor and mate of the mentor/shrink. He seemed interesting because for ages he refused to suck up to Will, who is gifted but also incredibly annoying and took the less cheesy approach to the film's question, which it deals with rather superficially: 'If you have an incredible talent, do you have the duty to persue it?' But instead of allowing an alternative viewpoint, we get Gerry eventually bowing down to Will. The fact that the gift happens to be in maths is not vital to the story, so anybody wanting an insight into the workings of a mathmatical genius will be disappointed.
The film is enjoyable on a superficial level but didn't really do anything with an interesting premise.
re93animator
06-24-10, 02:04 PM
Over the past week or so I've watched:
Alice (1988) - 3+
I'm not a big fan of Alice in Wonderland style fantasy, but the unique brand of stop-motion effects had me from the start with this one.
Cemetery Man (1994) - 3+
It almost feels like two films in one considering how much of a departure the second half is from the first. It starts off as a pretty standard zombie-horror-comedy and develops into a surrealist film. I think the first half toned down the overall theoretical aspect (which I don't think was intended), but it's very clever and entertaining nonetheless.
The Spirit of the Beehive (1973) - 3
The quality of filmmaking is what really boosts my rating up for this film. I can definitely see why so many others love it, but it was a little too drawn-out for my liking. Very well made, but very tedious.
White Dog (1982) - 3
The film tackles a very difficult subject matter, and still comes out impressively. I think this was one of Morricone's best scores as well.
WBadger
06-25-10, 02:36 PM
I love summers:
http://www.flickchart.com/Assets/Posters/1959/posters/some_like_it_hot.jpg Some Like it Hot (1959, Wilder)- 87/100
http://www.flickchart.com/Assets/Posters/2008/posters/yes_man_ver3.jpg Yes Man (2008, Reed)-- 64/100
http://www.flickchart.com/Assets/Posters/1946/posters/notorious_ver2.jpg Notorious (1946, Hitchcock)-- 86/100
http://www.flickchart.com/Assets/Posters/1956/posters/the_killing_ver1.jpg The Killing (1956, Kubrick)-- 88/100
http://www.flickchart.com/Assets/Posters/1956/posters/EB1A3AD276-27c9.jpg Bigger Than Life (1956, Ray)-- 83/100
http://www.flickchart.com/Assets/Posters/1955/posters/C325880A6E-c599.jpg Diabolique (1955, Cluzot)-- 96/100
http://www.flickchart.com/Assets/Posters/1956/posters/59BCF082B5-4686.jpg The Bad Seed (1956, LeRoy)-- 66/100
http://www.flickchart.com/Assets/Posters/1981/posters/E2CC547A06-787e.jpg Diva (1981, Beineix)-- 69/100
http://www.flickchart.com/Assets/Posters/1996/posters/fargo.jpg Fargo (1996, Coen)-- 91/100
http://www.flickchart.com/Assets/Posters/1972/posters/aguirre_the_wrath_of_god_ver1.jpg Aguirre, The Wrath of God (1972, Herzog)-- 91/100
http://www.flickchart.com/Assets/Posters/1944/posters/laura.jpg Laura (1944, Preminger)-- 84/100
http://www.flickchart.com/Assets/Posters/1979/posters/being_there_ver2.jpg Being There (1979, Ashby)-- 80/100
http://www.flickchart.com/Assets/Posters/2010/posters/922F4685CB-a1b5.jpg Toy Story 3 (2010, Unkrich)-- 81/100
http://www.flickchart.com/Assets/Posters/1957/posters/twelve_angry_men.jpg 12 Angry Men (1957, Lumet)-- 94/100
http://www.flickchart.com/Assets/Posters/1962/posters/77F624DE42-0753.jpg The Trial (1962, Welles)-- 70/100
http://www.flickchart.com/Assets/Posters/1959/posters/rio_bravo.jpg Rio Bravo (1959, Hawks)-- 96/100
Yowza. That's...a lot of movies. How spread out is that list?
WBadger
06-25-10, 02:47 PM
Since my last tabbing which was at the start of the month. Yeah, I've been busy.
Miss Vicky
06-26-10, 01:37 AM
http://ecx.images-amazon.com/images/I/51MH5IQmD4L._SL500_AA300_.jpg
Grosse Point Blank
I Netflixed this one with absolutely no idea what it was about. Though I love John Cusack, I usually don't like his movies. Thankfully, I was in for a pleasant surprise. This tale of an assassin who has a change of heart and goes home to carry out one last job, attend his high school reunion and get back his high school sweetheart is completely absurd yet very entertaining. Bonus: Joan Cusack in all her neurotic glory. Double Bonus: John looks sexy in black.
3.5
linespalsy
06-28-10, 04:24 PM
there may be one or two i'm forgetting but otherwise this brings my movie watching up to date.
http://cdn2.ioffer.com/img/item/747/092/86/TJaMhnIUQj4t8eN.jpg
Cop (1988)
Cheapy adaptation of James "L.A. Confidential" Ellroy's novel Blood on the Moon with a really underdeveloped villain. This is pretty much a second-tier star-vehicle as Woods gets by far the most attention (of any other character or any other aspect of the movie, to an almost absurd degree). I'd still put this over any Stalone or Schwartzenneger cop vehicles of the same era because Woods actually knows how to speak and makes the most of some pretty good smarmy writing (most of it probably lifted from the book).
2.5+
http://www.theyoungturks.co.uk/images/129.jpg
Black Cat White Cat (Kusturica, 1998)
Follows through on a few pretty predictable romantic plot-lines (one of those movies where absurd circumstances are forcing an ideal couple apart with comical results). But there's a lot of magic built around that basic spine of a plot. I don't know what it is, it's too complicated and too sensical to be improvisation but in spite of how predictable the outcome is it still feels like at any given moment anything could happen. So as a collection of big messy ensemble textures (measured against a pig slowly eating the rusted texture of a car) this is a great, truly original film.
3.5
http://www.yankeeclassic.com/miskatonic/dcommunications/films/images/f-lurkingfear.jpg
The Lurking Fear (1994)
One of H.P. Lovecraft's tales of demoniac miscegenation and devolution gets the full straight-to-video treatment. Lovecraft could occasionally take some really turgid prose and evoke something unfamiliar and outside of human experience. Movies have to show you things so I suspect it's harder to do that. This one doesn't do much of anything at all.
0.5
http://vagrantdreamer.files.wordpress.com/2009/11/the-prestige-scarlett-kino-zurich-filme-blog.jpg
The Prestige (Nolan, 2006)
I like how many times characters show up in this movie and fool each other by wearing fake beards. That, and other things require the viewer to stretch her imagination a bit to make it work but that's probably a good thing anyway. There's a lot of self-commentary in the film that is about exactly that, which I find pretty entertaining and worth watching on it's own. As for the actual plot of the film, it's mostly about malice and ego taken to extremes for revenge which, depending on how sympathetic and "deep" you need the characters could work against the movie or not.
4+
http://static.reelmovienews.com/images/gallery/toy-story-3.jpg
Toy Story 3 (2010)
This is pretty fun but it's easily my least favorite Pixar movie so far. An okay way to spend a couple hours but I'm not telling anyone they need to see it.
2.5
http://meerkatproductsltd.typepad.com/meerkatproductsltd/images/2007/12/12/depalma6_2.jpg
Blow Out (De Palma, 1982)
Oh man, this is De Palma cutting totally loose with the camera, so even if I say that Body Double is a completely entertaining movie with a lot of crazy elements in the story and some of my favorite self-aware performances I think this is better film-making. The first scene and a lot of the scene transitions, and the whole plot of Travolta's quest for a "good scream" is brilliant and at the same time such a total downer. Crazy as John Lithgow is as the opperative G. Gordon Liddy wishes he could be, the political thriller part of the story seems almost ordinary compared to the rest of the movie and is the one thing keeping me from giving this an even higher score.
It also makes me want to go back and watch every De Palma film (including the ones I haven't seen) in wide screen format (or in a cinema) because the last time I saw this movie, about a year ago, was a pan-and-scan version that blows by comparison.
4+
http://ecx.images-amazon.com/images/I/51QE7ZJWZSL._SL500_AA300_.jpghttp://archive.sensesofcinema.com/images/directors/03/27/drakagi.jpg
Dr. Akagi (Imamura, 1998)
I also would like to see every Shohei Imamura film again but unfortunately some of my favorites (Profound Desire of the Gods, Eijanaika?) are still not available on video or dvd. This one is good although it has a lot of subplots and perhaps seems longer than it is because their only connection seems to be that they happen to the main character during the final days of WWII.
Out of all Shohei Imamura's films, this is the only one that I remember that actually has an unalloyed decent human being, not driven by selfish biological urges and capable of meaningful self-examination. Except for maybe Black Rain but that one doesn't even seem like the same director who made Profound Desire of the Gods to me. This one does though.
3.5
Great batch of reviews lines :)
I had the same reaction to Black Cat (http://www.movieforums.com/community/showthread.php?p=308593&highlight=cat#post308593) in terms of the 'anything could happen' vibe, even though it's made up of lots of staple sub-plots in theory. To the extent that I poorly shopped this rating together... ;)
3_5 + http://img70.imageshack.us/img70/4386/brass0gx.gif (random brassiness)
linespalsy
06-28-10, 04:58 PM
Have you seen Time of the Gypsies (1988), Golgot? Black Cat White Cat feels almost like a sequel to that movie and I think they go together very well.
I've been wanting to see it for ages. Unfortunately my DVD rental service has gone into 'any DVD but the ones you want' mode recently :|
Jaws (Spielberg, 1975)
5
http://moogirl22.files.wordpress.com/2009/03/jaws.jpg
The bomb. Every time I watch this film, it just keeps getting better. This is a notable fact because I have seen the film upwards of 50 or more times at this point.
Thursday Next
06-29-10, 05:40 PM
A bit of an odd couple:
Pather Panchali (1955)
http://zoegraham.files.wordpress.com/2009/11/pather_panchali_durg.jpg
Mesmerising and thoroughly believable story of a family living in a Bengali village. Three dimensional characters and beautiful shots. Very long, I had to watch it in installments, but thoroughly recommended.
4.5
The Princess and the Frog (2009)
http://popcornandasoda.files.wordpress.com/2009/08/the-princess-and-the-frog.jpg
Took Friday to see this but to be honest it was way over his head. I'm not sure I've seen a non-cgi Disney movie since I got old enough to get into 15 rated films. This one reminded me a bit of The Little Mermaid (which, incidentally, is the first film I remember seeing at the cinema). The songs were cheery enough, the villain suitably scary and the plot a little more complex than I'd anticipated (certainly too much for Friday to follow). It seemed well made though, and I liked the setting and the slight twist on the traditional princess story right at the start.
3.5 (+ 1 star if you're a seven year old girl)
Harry Lime
06-29-10, 09:43 PM
Pather Panchali (1955)...
Very long, I had to watch it in installments...
It's not that long, only a couple of hours. Maybe you watched the entire Apu Trilogy?
Going to see Grown Ups tomorrow. Looks pretty funny :D.
http://i45.tinypic.com/4ixz7c.jpg
http://i45.tinypic.com/a0hqbo.jpg
TheGirlWhoHadAllTheLuck_
07-01-10, 12:39 PM
500 Days of Summer 1_5
Basically it's your average 'indie' 'quirky' film, starring a kooky beauty called Summer (ha ha, see what they did there?) played by Zooey Deschanel, who doesn't do a bad job with such a badly written character and adds the only salvation. The lead guy was dull and boring and the dreadful attempts to make the film kooky (he works in a greetings card company! They listen to 60's music together! She has a funny name! Plus the countdown of the 500 days made the film seem infinitely long and the voiceover narrator was a dreadful idea). The director clearly had a few issues with his own love life but he needn't have bothered to make a film about it. It's like a geeky film student's attempt at 'payback'. And the ending is so cheesy you might just throw up.
It tries so hard to be cool and quirky that it ends up being more cringy than either of those things.
Vanya on 42nd Street 4_5
Unlike the above film, this film is genuinely 'indie'. Essentially it's a filmed rehearsal of a Chekhov play called Uncle Vanya, set in an abandoned theatre. It's sort of part-documentary, part-adaptation, and it works brilliantly. The metatheatre aspect doesn't detract at all from losing yourself in the play (and it's a great play anyway) and they get the Chekhovian mood right. The actors are all great- I particularly liked Larry Pine as dishy drunk doctor Astrov. Anybody who says that theatre can't translate to film, ought to watch this. I docked half a star only because you have to watch it in almost theatre conditions in order to immerse yourself in it; it's not a film you can keep pausing.
Rebecca 5
This is a brilliant adaptation of du Maurier's classic novel. For those unfamiliar with the story, an young orphaned woman marries a brooding older man who lives in a beautiful house and whose dead first wife, Rebecca, pervades the novel. Sounds a bit like Jane Eyre but the novel and this film are perfectly absorbing in their own right. Hitchcock weaves a suspensful tale of jealousy, obsession and murder and he was the perfect choice for directing- he brilliantly captures Rebecca's spirit and the suspense and intrigue of the novel. The second Mrs De Winter (whose first name is symbolically not revealed) is played by Joan Fontaine, who 4 years later would play Jane Eyre and the mysterious older man is played by Laurence Olivier, who although he was perhaps a little young for the role, does a brilliant job. And the woman playing Mrs Danvers is superbly chilling.
Miss Vicky, totally agree about Grosse Point Blank -- caught that on TV one day and enjoyed it a great deal.
Well, my son wanted to see the Eclipse, and well, I could not sit through another one of those horrendous movies, and none of his friends could go, so we separated at the theatre and I caught Tom Cruise's new flick.
http://3.bp.blogspot.com/_I2Lk0Rm6SHM/Su_sIj8TTEI/AAAAAAAAFtI/CRCPZ-UkgOI/s400/Knight+and+Day+movie.jpg
Knight and Day
It seems that the news from yahoo over the weekend was how this film didn't take in as much money as it should have, since it starred Cruise. I gather the vultures were circling, spelling out of the end of his career... or something like that. While I think he's a bit nuts like everyone else, there is no denying in my mind that this is was a very enjoyable way to spend a summer afternoon and Cruise was the reason why.
This movie starts out pretty hysterically as our two main stars meet and get on an airplane. The theatre was pretty empty and it was a bit embarrassing as I could not help laughing out loud at quite a few moments in this movie. Cruise is having a blast making fun of his action persona. The plot is a bit weak and probably the weakest part of the film, but one gets the feeling it didn't really matter to the filmmakers. This is about the two characters and how they go from one fantastical and dangerous situation to another.
I enjoyed every minute of it.
This film should find an audience. While not as good as Mr. and Mrs. Smith, Cruise's performance was just the right tone with Diaz a strong supporting player.
I recommend this.
3.5
http://3.bp.blogspot.com/_AFepa9sf8ug/S12_vw20R_I/AAAAAAAABis/ODZhsOQzYxk/s400/insidedaisyclovercd.jpg
Inside Daisy Clover
I rewatched this the other night on TCM. It was Natalie Wood day. I was sorry I couldn't stay up and watch one of my favorite Wood films, This Property is Condemned, but it was rather interesting to catch this film again. I hadn't seen it in like 25 years or so....
As a girl, I was a HUGE Natalie Wood fan. I watched every film she made, and my one memory of this film was that last image on the beach when she yells, "someone declared war!" I hated the way the film just stopped like that. Watching it now, I still think it stops too abruptly, but I understood better why. Nevertheless, this is a curious film.
First, Wood plays Daisy in this rather quiet way where she is all eyes -- she is constantly observing those around her and not saying a whole lot. I found that rather jarring because I didn't really know Daisy. At the same time, Daisy is 17 and in a brand new world where adults are controlling her life. She follows the incredibly handsome Robert Redford (was there a more beautiful man? was there???) when they meet in the white bedroom; Redford plays the conflicted and cynical bisexual lover and he is in his prime. She listens to her ambitious studio boss, Christopher Plummer (as his slimiest), whose only desire is to make money and his final moments with Daisy makes for great melodrama when she sees exactly what she is to him -- a commodity. Both men play their parts well.
I think it was a mistake to have Wood once again play a singer and not sing, but on the other hand, I think Natalie had a charisma that surpassed so many others. Nevertheless, the only real spirit given to her Daisy is at the end. The direction of the breakdown scene with its use of sound and silence is gripping cinema and is a stand out piece of work. Wood pulls off Daisy's attempted suicide scene, with its borderline humor as she keeps getting interrupted. These are the two best scenes in the film.
Every Wood fan should see this film, I think...but I can't help but feel something is missing here. I felt it long ago, and I noticed it again the other night.
Maybe it was that abrupt ending. I sit there and want to know what happens next....
3
Brother Blue
07-01-10, 02:48 PM
Pickpocket (Bresson, 1959) 4.5
http://www.filmreference.com/images/sjff_01_img0386.jpg
The first Bresson film I've seen so far and on the basis of this it definitely won't be the last. It was excellent.
Thursday Next
07-01-10, 03:02 PM
It's not that long, only a couple of hours. Maybe you watched the entire Apu Trilogy?
It's about 2 1/2 hours. Which doesn't seem that long, but in the context of my free time in an evening, is. I certainly shall be watching the whole trilogy when I get the time...
Here are some more:
Le deuxième souffle (Jean-Pierre Melville, 1966) 2.5+ Art House Rating: 4
http://dua.typepad.com/cinema/images/2007/11/16/deuxieme_souffle_melville.jpg
Long, complex Melville gangster film which delineates his theme of the symbiosis of the crook with the cop. Aging super-criminal Gu (Lino Ventura) escapes from prison and returns to the Parisian home of his lover Manouche (Christine Fabréga) who has recently been terrorized by some thugs from a rival gang. The police commissioner (Paul Meurisse) knows that Gu will turn up but before he can arrest him, Gu exacts revenge on the rival gang. Later, Gu goes to Marseille to plan a way to make enough quick money to get out of the country with Manouche, but the big heist he gets involved in turns to murder and double-crossing. Gu is eventually forced to try to prove to his own side and his rivals that he did not rat on his own friend. Melville presents the events in his usual deliberate style and pace, but if you enjoy his films, you'll like this one. It's almost two-and-a-half hours long which seems a bit of overkill for what actually happens in the film, but it's never really boring and does seem to get better as it moves to its inexorable conclusion.
Miss Julie (Mike Figgis, 1999) 3
http://www.movieposter.com/posters/archive/main/10/A70-5434
This is an intense version of Strindberg's intense play, although it's not nearly as cinematic or striking as the 1951 version. It's set in 1894 Sweden and tells how Miss Julie (Saffron Burrows), the inexperienced daughter of the lord of the manor, confronts her father's footman Jean (Peter Mullan) and spends a long night in the kitchen talking with him about class, the world and their places in it. Their talk is mostly a battle of wits and wills with both sides attempting to turn the table on the other, but eventually both souls open up to share something a bit more tender. However, Jean's sexual knowledge eventually sets him above his "better", and while his fiancee (Marie Doyle Kennedy) sleeps nearby, he attempts to seduce Miss Julie. Director Figgis stages the scenes simply, mostly all in the estate's great kitchen, but the lead performances and the striking dialogue make the entire experience extremely intimate and threateningly real. Both performances are excellent, especially Burrows who imbues Miss Julie with both attogance and innocence and makes it easy for someone to fear for her future as the night progresses. Mullan plays the more-enigmatic Jean and finds a middle ground for him because you're never really sure if he's just being a bastard or truly cares for Miss Julie and is trapped outside his class and will never be able to rise above it. Overall, it's a well-done adaptation of a surprisingly still-modern play.
One, Two, Three (Billy Wilder, 1961) 4 (mafo MoFo Top 100 Film)
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Machine-gun-paced Cold War comedy covers just about everything one could think of, not just what was happening in the divided city of Berlin at the time. James Cagney is a marvel as a Coca-Cola executive who has to "babysit" his boss's teenage daughter (Pamela Tiffin) and gets several headaches when she marries a young "Bolshevik" (Horst Buchholz) from East Berlin. The young woman's family is also on the way to Berlin to pick up their daughter, so Cagney has little time to straighten things out. There is also the usual high quota of sex jokes from scripters I.A.L. Diamond and Billy Wilder and a smart musical score which incorporates Khatchaturyan's "Sabre Dance". It's almost impossible to describe how fast the dialogue flies by as everyone speaks as quickly as possible and the plot twists come at such a frantic pace. Don't expect to go to the kitchen or the bathroom with the movie playing because you'll miss about 20 visual or verbal jokes a minute. Of course, the better-versed you are in the world history and popular culture of 1961, the more fun you'll have watching this terrific comedy, but it's also a great way to learn some of those things in between all the laughs.
Dracula: Pages from a Virgin's Diary (Guy Maddin, 2002) 3
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Only Guy Maddin would fashion a silent version of Bram Stroker's Dracula into a black-and-white ballet featuring Mahler symphonies. If you've seen Maddin, you'll know that he's fixated on silent film technique, and here he adds subtitles, color tinting and occasional color flourishes during the more-intense scenes. We also have an Assian actor playing the vampire roaming around England and finding plenty of victims for his nocturnal activities. The strange thing is that I find this one of the more-satisfying Dracula films and certainly my fave all-ballet film, so maybe it's not as wacko as it seems. Maddin also loves his kinkiness so this adaptation accents some of the themes often only hinted at in other vampire films. The 73-minute running time flies by, so if you're intrigued, give it a shot.
Die, Mommie, Die! (Mark Rucker, 2003) 2.5+
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Here is another offbeat adaptation; this time it's a satire of 1950s melodramas and the catch is that the lead female character is played by a man. Sure, it's been done before, but this one seems to wink a little less at the audience than others. Charles Busch adapts his own play and stars as the washed-up singer matriarch of a dysfunctional family. She's sleeping with an unemployed actor (Jason Priestley) despite the fact that her producer husband (Philip Baker Hall) has her on a short leash, and her daughter (Natasha Lyonne) doesn't trust her and her son (Stark Sands) especially need his mom right now. There is also a murder involved in the plot. The film is fun but isn't totally successful because most of the twists are predictable, but it's an easy enough way to spend 90 minutes, especially the more melodramas you've seen which were "made in Hollywood, U.S.A."
Jesus of Montreal (Denys Arcand, 1989) 4 (mafo MoFo Top 100 Film)
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Beautiful, thought-provoking, irreverent, haunting, funny, sexy and deeply moving are all words I use to describe what I consider the greatest Jesus film ever made, Jesus of Montreal. It's set in present-day Montreal where a group of actors get together to put on an updated version of the Passion on the grounds of a Catholic church. The troupe's ostensible leader, Daniel (the incredible Lothaire Bluteau), who is to play Jesus, begins the film recruiting his apostles and before long it becomes apparent that almost everything which is happening in real life is a mirror of the Passion Play and the Gospels, often in strikingly original ways. Director/writer Arcand looks at things from many perspectives so you can never be sure what his personal agenda is, but one thing is for sure and that's if you're a believer, you should be able to put Jesus's life into a more-modern and personal context. If you hate "religious" movies, you will quickly see that this is not a religious film at all, yet it doesn't shy away from showing a powerful Jesus (both Biblical and "actor") who is totally capable of performing miracles which affect people's lives in the here and now. It's a wonderful film which seems to accomplish the impossible by presenting a potentially-polarizing subject in a very inclusive way. I think it can only disappoint the most-fundamentalist of churchgoers, but it will reward those with open hearts and minds. Besides that, it's damn entertaining. Two of my fave scenes are the low-budget special effects presentation of the beginning and ending of the world and the hilarious scene of dubbing a porno movie. However, it's the night-time Passion Play itself, which is so hypnotic and causes Daniel and his followers to get in trouble with the Catholic Church even though it's critically acclaimed and loved by the audiences.
Rosalie (W.S. Van Dyke, 1937) 2
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Nelson Eddy stars in this musical without his usual co-star Jeannette MacDonald. Here he's teamed up with another musical superstar of the '30s, Eleanor Parker, and although this concoction is directed by Swifty Woody and has a top-notch supporting cast, it seems to go on forever. Eddy plays a West Point cadet who falls in love with a visiting European woman (Powell), not realizing that she's a princess. Although blessed with a Cole Porter score, it's a shame that the more-traditional patriotic Army songs seem to be more-memorable. Additionally, there's a tip-top supporting cast including Frank Morgan, Ray Bolger, Edna Mae Oliver and Billy Gilbert. Maybe I was in a bad mood or something because I would usually like this kind of silly movie, but it really seems to be at least a half-hour too long and not up to the usual MacDonald-Eddy standards.
On the Yard (Raphael D. Silver, 1978) 2
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Little-seen prison drama is well-crafted and well-acted, but it's just not that different or special enough to make it very memorable. It mostly involves something resembling a power struggle between inmate Chilly (Thomas G. Waites), who basically runs the con side of the prison yard and wife murderer Juleson (John Heard) who owes Chilly but refuses to hide or back down from his everyday life when he cannot pay him back on time. There are three other significant inmates: old-time repeat offender Red (Mike Kellin), recently-returned Nunn (Richard Bright) and seemingly crazy Morris (Joe Grifasi) who's building a hot-air balloon to escape from prison. Meanwhile, the Captain of the Guards (Lane Smith) is trying to shut down Chilly and his operations and get Juleson to rat on him. Filmed on location at a Pennsylvania prison and using inmates as extras, the film is very realistic but it's also a tad too lowkey to turn itself into a good movie. Even so, if you like prison movie character studies where things don't exactly turn out the way you expect them, you could do worse.
Sitting Pretty (Walter Lang, 1948) 3.5+
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Mr. Belvedere teaches a baby an object lesson he'll never forget.
This is a hilarious film about problem children, nosy neighbors and their gossip, how difficult it is to maintain a happy marriage, and, most of all, a wonderfully-unique character, Lynn Belvedere (Clifton Webb), a "genius" who can do almost everything and turns the suburban community of Hummingbird Hill upside down and inside out in a very short while. The couple (Robert Young and Maureen O'Hara), who are desperate for a nanny/babysitter for their three frightful children, think they are getting a female for the job, but Mr. Belvedere proves to be too wonderful for them to ever get rid of, even when the nosiest neighbor (Richard Haydn) in film history gets people into trouble by trying to claim that some hanky panky is occurring under their roof. Just sit back and let all the clever dialogue, situations and acting produce several smiles on your face and out-loud laughs. Mr. Belvedere is one of the wittiest characters in film history, right up there with Webb's own Waldo Lydecker from Laura. It's just too bad that the two Mr. Belvedere sequels which turned up in the mid-1950s are so mediocre.
Alice in Wonderland (Clyde Geronomi, Wilfred Jackson, Hamilton Luske, 1951) 4.5 (mafo MoFo Top 100 Film)
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Walt Disney hated this awesome version of the Lewis Carroll novel. He couldn't find anybody to root for and he found the lack of a strong story to be a huge roadblock. All I can say is I'm thankful that he didn't force the animation and writing team to change the incredibly surreal and uproarious content of this, my vote for the greatest traditional animated film ever made. I don't really want to go into how fast-paced and insane this film is, but it's a non-stop assault on the pomposity of logic and staid Victorian England which is also still able to include digs at many modern foibles which humans have in our current day and age, among them being rude and in far too much of a hurry to even say good day. It's also a potent political satire when we get to the Red Queen and how all things must be her way. There are so many wonderfully-drawn and beautifully-voiced characters that it's unfair to single some out, but I have to mention the Cheshire Cat (Sterling Holloway), the Caterpillar (Richard Haydn), the Mad Hatter (Ed Wynn) and the March Hare (Jerry Colonna). The crazy songs are frosting on the cake and a perfect aural counterpoint to the mind-blowing visuals. Some of this movie, especially the incredible opening scene, seems to be almost shot in 3-D.
Blackboard Jungle (Richard Brooks, 1955) 3
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This movie is mostly remembered as the film which brought rock and roll to big-budget Hollywood films. It begins and ends with "Rock Around the Clock" by Bill Haley and the Comets. It's also noteworthy for early performances by overage high school delinquents Sidney Poitier, Vic Morrow, Jamie Farr and Paul Mazursky. Basically, it's a naive telling of problems in inner-city schools, yet it's actually still pertinent to this day in the way it tries to get teachers who want to teach together with students who want to learn and improve themselves. Of course, the problem is that poverty and ignorance are so pervasive with many students and too many teachers find it difficult to enlighten minds when they have to be a policeman babysitter, so it's very difficult for the two sides to get together, especially in the face of peer pressure on both sides. So even though the film is dated, it still works for the most part and is a nice document of several juicy performances.
The Delinquents (Robert Altman, 1957) 2
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Director Altman's first feature film (he wrote the script in five days) is a foray into juvenile delinquents roaming Kansas City, Missouri, looking for people to rob and abuse. Caught in the middle of their crime spree are good teenager Scotty (Tom Laughlin) and his sweetheart Janice (Rosemary Howard). The couple's problems start when her parents decide that the kids are too serious and forbid Scotty from seeing Jancie. Here is where the leaders of the delinquents, Billy (Peter Miller) and Eddy (Richard Bakalyan), make their move to make the couple's life a living hell. The film starts out with a narrated prologue which makes it sound like an Ed Wood flick, but the studio added this against Altman's wishes. In general, the film operates on a higher technical and acting level than those of Wood, and it's reasonably watchable despite the overlit interior and exterior scenes. Altman admits that nobody knew what they were doing, but this, a James Dean docu and his many shorts got him plenty of work directing TV shows for the next decade. It's also fun to see Laughlin one year before he played a naval pilot in South Pacific and a full decade before he did his first Billy Jack role.
TheGirlWhoHadAllTheLuck_
07-02-10, 02:47 PM
Les Miserables (1935) 4
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Hollywood version of Victor Hugo's epic novel. Jean Valjean, a convict, manages to turn his life around, but he is relentlessly persued by Javert, a fanatic policeman who cannot believe that a convict can redeem himself.
Considering this film is just under 2 hours, it manages to pack a lot in. I'd rather they'd added another hour or so on though, so they could increase the screen time of Eponine (can't remember the actress's name but she was very good) and not have to rush parts. It's not a particularly faithful adaptation- in this one there's no sight of a prostitute, Cosette gets to meet her mother, the revolution is pretty small scale, and Eponine is a secretary of Marius's.
Frederic March does an incredible job of playing Jean Valjean's redemption and presence. The downside is that however much facial hair they stick on him, he still looks gorgeous, and his relationship with the grown up version of Cosette- his adoptive daughter- has a weird undertone to it (that's them in the pic). Marius is not particularly interesting or good-looking and Javert doesn't age much at all (it takes place over quite a long time period).
However, despite the flaws, it is a gripping pacy film.
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Miss Vicky
07-03-10, 07:38 PM
^
Why?
I got negative rep because I didn't know exactly what she meant by asking why? :rotfl:
Miss Vicky
07-03-10, 10:18 PM
LOL. (To anybody reading - that neg rep didn't come from me. Just to clarify.)
Why did you decide to watch those particular movies? I haven't seen them, but judging by their previews they don't seem like anything I'd inflict upon myself.
honeykid
07-03-10, 11:01 PM
I thought Cop Out was quite good, I liked it anyway. Completely agree with the other two, though. Actually, there's only one good trailer of Cop Out (that I know about) the rest made it look pretty crap, IMO.
re93animator
07-03-10, 11:30 PM
A couple of classics:
G Men (1935) – 6/10
It may not be rare for a film of its kind to set its focus equally on its action and police procedural aspects today, but it was in the 30’s, and it’s still not typically done as good as it is here. It features a great performance from James Cagney to boot.
This Gun for Hire (1942) – 7/10
Film-noir at its most exemplary. If you’re not familiar with noir, it’s a good place to start exploring the genre; and if you are familiar with noir, it should be essential viewing.
...and a couple of B-movies:
I Sell the Dead (2008) – 5/10 Camp rating: 7/10
A wonderfully fun homage to Bava, campy 70’s/80’s, and gothic horror. It comes recommended for those who enjoy full-blooded, atmospheric horror made with dedication. Morbidly picturesque cinematography and a hilarious performance from Larry Fessenden are the film’s highlights.
Mutant Chronicles (2009) – 4/10 Camp rating: 5/10
Great visuals and impressively designed steampunk-ish sets, but nice visuals can’t always save a film; especially when the film’s script and direction are too weak to support each other. It’s not quite self-aware enough, but as a crappy actioner, it’s not too bad.
TheUsualSuspect
07-03-10, 11:36 PM
Jrs, why don't you ever give insight to the film? I simply rating and no words would do fine.
Cop Out - I wanted to see this ever since I saw the trailer for it. Never got a chance. Bruce Willis and Tracy Morgan are a strong pair on screen and they work well. Sean William Scott i think steals the show. I laughed at more than what I expected I would laugh at. Which is a plus I suppose for this movie. I give it 3
The Karate Kid - This wasn't that bad for a remake the Ralph Macchio original. Sure the one in the 80's is a classic but this one with Jaden Smith and Jackie Chan is done actually pretty well. I saw this out of pure curiosity. It stayed somewhat true to the original which is what made it worth watching. Along with subtle humor and some cool martial arts the movie was a pleasure to watch. I give it 3_5
Grown Ups - I have been wanting to see this since I first saw the trailer for it. Perfect casting for this movie has made this one of the funniest film I've seen this year. Adam Sandler, Kevin James, Chris Rock, David Spade and Rob Schneider together are just absolutely hilarious. Five kids who won a championship basketball in 1978, 32 years later got back together but unfortunately due to their coach's passing. They gather at the site of a championship celebration from years ago, along with their wives and children. The movie is jam packed laughs. I strongly suggest this one. I give this 4
Jrs, why don't you ever give insight to the film?
I do at times. Want me to link to each one? I can do that if you want me to.
You really don't, actually. There's a difference between opinion and insight, but you usually don't provide the former, anyway. And yeah, I think you should get negative rep (though it wasn't from me) for not understanding what Vicky meant, because it was incredibly obvious.
It's a moot point, though, because you're being banned, for more reasons than I can possibly list here. Ending incredibly pointless conversations like this one before they begin is just an added bonus.
honeykid
07-04-10, 05:54 PM
Is that the third time jrs has been banned this week? :D
Harry Lime
07-04-10, 06:04 PM
I gave him postive rep for actually writing a little something about those three movies. Kinda felt sorry for him, just a bit.
Is that the third time jrs has been banned this week? :D
Yup, but this time, it's for good.
Carry on with the move tabbing and whatnot. ;D
honeykid
07-04-10, 08:26 PM
He's not a MoFo, he's a very naughty boy. ;)
Iroquois
07-05-10, 09:38 AM
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Lone Wolf and Cub: Baby Cart at the River Styx (Kenji Misumi, 1972) - 3.5
The second instalment of the Lone Wolf and Cub series is more or less on par with the first film. I'm not exactly sure what else to say about this film - it doesn't really come across as high art (to me anyway) and makes for some simple yet enjoyable samurai action anchored to a fairly slim plotline.
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2019: After the Fall of New York (Sergio Martino, 1983) - 3
A gloriously trashy Italian rip-off of Escape From New York that's extremely uncomplicated and just fun to watch. I don't think there's much else to say, other than if you like low-quality trash then you could do much, much worse than watching this.
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Deep Red (Dario Argento, 1975) - 3
Argento's film about a musician who ends up becoming involved in a murder mystery wasn't quite as good as I'd expected it to be. It's pretty solid for the most part, although there are several scenes that feel like they could've been edited down (if not out completely). The extremely jazzy score also seems to work against some of the more intense parts of the film. Other than that, it was a fairly solid plot that got stretched out a bit too long and was handled rather well.
Casino
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The first time I went to a casino, I forced one of my friends to follow my finger as I pointed out the dealer was being watched by the pit boss who was being watched by the floor boss, who bore no resemblence to Don Rickles.
4.5/5
Avatar (Cameron, 2009) 4
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Yeah, I guess I am a big ol dummy. I saw this for a second time and I still had a blast watching it. Yes, I understand it's sort of trite in some ways and that there isn't really much new here, but I have fun watching this film. The scenes during which the Na'vi are riding the dragon-like creatures are just fantastic. I think the film is paced well for its length and Neytiri is fetching in her own way. I knew the second viewing would either make or break this one for me, as this time round there was no 3d and I watched it on a TV. It was still fun! A guilty pleasure, I guess...
Shutter Island - 4/5
i just love DiCaprio. he's such a twerpy underdog kind of guy, and his role choices are solid gold - you gotta give him that. it took me longer than normal, so i kind of figured out the plot twist nearer to the last quarter of the film, but it was still a great ending. i thought that for once, it was a celebration of the mental health practitioner, rather than a judgment. for that, it gets :up: go ben kingsley.
Hot Tub - 1.5/5
This was the male version of Spring Break, imo. Not so used to John Cusack doing such lame work, but if its late, and youre in the mood, it could be funny. Truth is, there are other male bonding, reliving youth films that do the job better.
Green Zone - 2.5/5
Now, I am actually a huge Matt Damon fan, but this film fell far short of the mark for me. Damon was great in his typical "american hero" role, a la Jason Bourne all over again, but the obviously slanted, preachy politics of this film grated for me. I already know Damon is a big Democrat, and I agree with his points, etc., but I thought that the political bent got out of hand. I honestly sat there at one point and said to myself, "could they be any more obvious?" for that, it gets several points knocked off, despite Damon's charm.
Percy Jackson and the Olympians: The Lightning Thief - 5/5
This was the family film we all sat down to after grilling out on the lake at my sisters house - never read the book(s?), but we figured out whodunit as soon as the culprit appeared. :eek: still in all, it was an adorable, positive-mesage driven film that said: (1) ADHD and dyslexic people are really demigods; (2) dont do drugs, they steal your life; (3) your mom is with that awful guy because she wants to protect you, so be nice to her. ;)
Movies should never lose points for politics, but I realize that some people knock them down for much more trivial reasons, such as it's a horror film, a western, a fantasy film, etc. Of course, Damon didn't write, produce or direct Green Zone either.
Miss Vicky
07-07-10, 12:27 AM
Hot Tub - 1.5/5
This was the male version of Spring Break, imo. Not so used to John Cusack doing such lame work, but if its late, and youre in the mood, it could be funny. Truth is, there are other male bonding, reliving youth films that do the job better.
I take it you've not seen 2012 or 1408 or America's Sweethearts?
All kidding aside, I find this statement rather odd. As much as I love John Cusack, I typically go into his movies expecting them to be lame and am surprised on the few occasions when they're not.
rauldc14
07-07-10, 12:28 AM
Kind of a joke that I've yet to see Shutter Island.
Harry Lime
07-07-10, 01:05 AM
Kind of a joke that I've yet to see Shutter Island.
Not really. Checked your lists and there's many others you should see before Shutter Island (although it is a good flick), starting with Raging Bull.
rauldc14
07-07-10, 01:37 AM
Not really. Checked your lists and there's many others you should see before Shutter Island (although it is a good flick), starting with Raging Bull.
Yes, there are a lot of great ones I haven't seen, but its just that I've wanted to see Shutter Island for quite a while. Raging Bull I have just put off for some reason and honestly probably won't get around to for awhile.
Harry Lime
07-07-10, 01:42 AM
Raging Bull I have just put off for some reason and honestly probably won't get around to for awhile.
Your loss.
TheGirlWhoHadAllTheLuck_
07-07-10, 10:11 AM
The Deep Blue Sea 2_5
Terence Rattigan's brilliant play about the wife of a judge, who leaves her husband and lives with her younger lover, an immature alcoholic, gets a middling film adaptation. Vivien Leigh plays the wife, Hester Collyer (but she takes her lover's surname at the start) but she's too cold to be believable as a woman who runs off with a younger man. Hester Collyer is one of the strongest female parts we have in British theatre, but you wouldn't know it from Leigh's performance.
Kenneth More is however spot-on as her self-absorbed alcoholic lover who realises that Hester loves him more than he loves her, and gives a sympathetic performance. Emlyn Williams is also good in the role of Judge Collyer, who is still in love with his wife but fails to understand why she has run off with Freddie or why their marriage failed.
Opening out the play doesn't really work. It's a claustrophobic sort of play that works in one setting, a bit like Cat on A Hot Tin Roof remains primarily in the Pollitt house. The ski-trip they add in is totally out of place and doesn't make it any more cinematic.
It would get three stars for the two good performances and the play's story and for Vivien Leigh fans, it will be a curiosity, but I docked off a star because for those unfamiliar with the play, its film treatment makes it seem very dated.
Used Future
07-09-10, 04:05 AM
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Predators (Nimrod Atal, 2010) 3.5+
If you're worried this latest instalment in Twentieth Century Fox's faltering franchise is another dud, then don't be. It's a savvy, knowing return to form which gleefully harks back to original film in both it's style and basic premise; whilst introducing enough new elements, and minor plot twists to keep things fresh. There's nods aplenty not only to McTeirnan's original, but also Aliens (the title isn't the only reference, as dialogue is recycled, and John Debney's geneic but workmanlike score often resemble's Horner's) and the ensemble line-up of characters feel vaguely reminiscent of countless other flicks.
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Ok so Predators is one great big derivative in-joker, but it pulls it off with real moxie, comprising of chunky action sequences, snappy pacing, and a truly likable cast (Adrian Brody? who'd a thunk it - but he's ruthlessly efficient and believable as intelligent mercenary leader Royce). There's tension, there's violence (there's precious little time to finnish this because I'm late for work), and the scene in Louis Ozawa Changchien's yakuza warrior, Hanzo squares up to the beastie with a samurai sword, sent shivers down my spine. Reap it!
Blue Velvet (David Lynch, 1986) 2.5; Cult Rating: 5
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Lynch's audacious telling of the soft, wet underbelly of Reagan America is a real headscratcher of a movie, at least for me. The setup is wonderful, the cinematography is broodingly-beautiful, the supporting characters are played by actors (Dennis Hopper, Dean Stockwell, Isabella Rossellini) who give brave performances, at least in the fact that they trust Lynch to keep them from coming across as moronic caricatures. The problem is that those characters are truly moronic caricatures, so most the brave acting goes down the tubes for me. The film's political and social satire also seems to get jettisoned the longer it goes on and tries to just make people feel uncomfortable for the hell of it. I find no connection between what's going on in this movie and any legit commentary on 1986 America, and God knows that 1986 America was ripe for a slap in the face. My problem seems to be that Lynch came up with a set-up and some characters and then just fell in love with their absurdity and went out of his way to highlight it. Most critics disagree with me, and Woody Allen said that it was the best film of the year, but that was probably because he was dealing with his own guilt issues at the time. Anyway, I do give Blue Velvet credit for leading Lynch to create the "Twin Peaks" TV series, something which does what Blue Velvet attempted, but does it far more entertainingly as well as scarier. It's really hard to be scared of the villains [in Blue Velvet] when they act like idiot Looney Tunes who swear.
Invictus (Clint Eastwood, 2009) 3+
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Straightforward filming by Eastwood of how South Africa transferred its government from an apartheid system to one ruled by the majority race under "ex-con" Nelson Mandela (Morgan Freeman). Mandela knows that he needs the help of all South Africans, especially the whites, to achieve a peaceful transition, and he chooses the national rugby team, captained by François Pienaar (Matt Damon), to try to rally the country around even though most all of the black citizens hate the team because they're a sign of apartheid. Mandela connects with Pienaar on a very personal level, going so far as to share with him the poem which helped him to get through his days in prison. That poem was Invictus by William Ernest Henley. The film is well-intentioned and elicits tears although Eastwood seems uninterested in the actual rugby matches for the most part, at least until the Finals where South Africa goes up against New Zealand's mighty All Blacks. The film is good but the jaded will not like it, even if it is based on a true story. It just suffers from overlength and underdevelopment, but its heart makes up for it.
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Living in Oblivion (Tom DiCillo, 1995) 3+
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This is one of those films which every low-budget/student filmmaker should see because it just has such a ring of truth to it. The acting and dialogue are spot-on and the plot twists are fun. Steve Buscemi is great as the director, Catherine Keener (who probably never looked prettier) is the lead actress and her then-reallife husband Dermot Mulroney is aces as the director of photography. The film is both funny and maddening, both intentionally so, and has plenty of plot twists which are both a benefit and also slightly a letdown in that they progressively get easier to guess. Considering the film was originally meant to be a five-minute short, that's not really surprising, but this is certainly a film which can introduce you to the offbeat world of director Tom DiCillo who has made a few similarly-worthy films.
The Battle of Algiers (Gillo Pontecorvo, 1966) 3.5 Art House Rating: 4
https://www.movieposter.com/posters/archive/main/71/MPW-35655
Blistering semi-documentaryish film which highlights the battle of Algiers and Algeria's independence from France which was achieved after a long fight during thw 1950s and early '60s. It's actually really quite current in the way it shows how the freedom fighters are actually terrorists (much in the same way American patriots were in the Revolution) while the powers in charge will use whatever forms of torture it takes to break them for the good of "themselves", including an early form of water boarding. The film can be seen as both an action and a war film but it has an overriding political agenda which shows that when imperialists are in charge of a country rather than the natives, extremely bad things happen. The film centers itself around one young Algerian guerilla and the French captain who is sworn to capture or kill him. The use of real Algerian locations where the story actually took place, including the Casbah, provides more power to this important, intense film.
The Freshman (Andrew Bergman, 1990) 3.5
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This is another crazy farce from writer/director Andrew Bergman although it's nowhere near as insane as his original The In-Laws. The thing which pushes this fillm over into the Big Fun category is that Bergman was somehow able to get Marlon Brando to basically reprise his Don Corleone character in The Godfather and uses him as the anchor for a twisty comedy about a New York film student (Matthew Broderick) who agrees to work for the mobster when he basically makes him an offer he can't refuse [well, his fetching daughter (Penelope Ann Miller) seems to be part of the deal... ]. The entire plot with the Komodo dragon, "chef Larry London" (Maximillian Schell), Bert Park as himself, and the Feds out to get "The Godfather", adds up to dozens, if not hundreds, of smiles, giggles, and guffaws. The cherry on top is all the stuff involving film school where teacher Paul Benedict occasionally seems to have as little a clue on how to get through to his kids as the same actor had in directing Richard III in The Goodbye Girl.
Fright Night (Tom Holland, 1985) 3.5++
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Terrific '80s horror flick/comedy provides equal amounts of scares and laughs as teenager Charley (William Ragsdale) comes to realize that his new neighbor (the one with the coffin in his basement) is a murderous vampire named Jerry (Chris Sarandon). Charley isn't having any luck with his girlfiend Amy (Amanda Bearse), either with love or in getting her to believe that Jerry is a vampire, but he's able to enlist washed-up horror actor Peter Vincent (Roddy McDowell) to at least consider helping him out. Although Fright Night doesn't have the largest budget around, it makes up for it with a sophisticated story and dialogue, some sexy scenes, decent makeup and gore FX and a cunning use of the wide screen. There are multiple times where the vampire or his minions appear in one of the corners of the screen to terrorize an unsuspecting "good guy" which will be lost if not seen in the widescreen format, and this makes Fright Night a truly scary picture, at least in a "fun" way which doesn't "wink" at the audience (see Blue Velvet above).
Rachel Getting Married (Jonathan Demme, 2008) 2.5
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I'm not sure what I expected when I watched this film, but it was an almost agonizing experience for me, and I don't mean that in a good way, like say, Who's Afraid of Virginia Woolf?. I'm resigned to the fact that most families (especially mine) are dysfunctional and cause far more embarrassing scenes than necessary, but almost nothing can prepare one for this film where the younger daughter Kym (Anne Hathaway) leaves rehab and attends her sister's wedding at the family home. Now, this family has many skeletons in its closet and they all come out before the film's finale. I don't want to get into and "spoil" the details. However, I feel I can go into Demme's presentation and Jenny Lumet's screenplay. Demme returns to his early days (think: Last Embrace) of herky-jerky camera movement in an attempt to draw the viewer in, but all it did for me was to make me even more irritated at the pathetic characters and situations created by Ms. Lumet. I'm not saying that every character in film history doesn't deserve sympathy from somebody, but this collection I found difficult to care about. The second half of the film is better than the first when things are allowed to calm down a bit. Anne Hathaway is quietly powerful rendering the saddest day of her and her family's lives at an AA meeting. Musician/singer Tunde Adebimpe (from the acclaimed band TV on the Radio) is natural as the groom of Rachel (Rosemarie DeWitt), and eventually some of the characters almost reach an understanding, but then things get screwed again by the constant practicing of one of the worst bands in wedding film history. I mean, when a giant such as Robyn Hitchcock is used as an afterthought to listening to a pain-inducing string section practicing for almost two hours, you know the basic concepts of the film are askew, unless they are to make the viewer hate the movie. HA!
The Incredibles (Brad Bird, 2004) 4.5 (mafo MoFo Top 100 movie)
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I'm not sure what else to say about The Incredibles which I haven't said already. Some superficial people think it's completely unoriginal and a Fantastic Four ripoff but they must not be really good at details. Some people think its plot is too narrow or predictable, but I still am not sure what movie they may have watched. The Incredibles does have the most-creative presentation of just about any animated film I've ever seen, in that it incorporates old newspapers, newsreels, the humdrum world of cubicle insurance, the exciting world of holographic messages, awesome sets, costumes (No Capes!), vehicles, robots, etc. It also has the coolest James Bond villain's hideout and the coolest James Bond musical score ever, and then you can add the fact that it has numerous memorable supporting characters and just about the fastest pace of any other "cartoon". Of course, besides Frozone, Edna E. Mode is the creme of supporting characters and voiced by none other than scripter/director Brad Bird. Now, this is not part of the film proper, but if you've never watched the DVD bonus, Mr. Incredible and Pals, I recommend you do so ASAP. Be sure to watch it both with and without the commentary. Unfortunately I cannot find it on YouTube.
The Wolfman (Joe Johnston, 2010) 3+ (Director's Cut - 119 minutes)
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I watched the director's cut of The Wolfman, and I don't understand why the movie was a bomb at the box office. I know it was 16 minutes shorter in the theatre and this could have weakened its impact somewhat, but I found the flick to be at least as good as the recent Sherlock Holmes which earned over $200 million domestically. It's true that many people believe they know everything there is to know about The Wolfman because the Lon Chaney, Jr. flick was so short and direct, but this film, at least in its longer version, has several added plot twists which the original never considered, and besides that, the original isn't really that good of a film. Although this Wolfman has the brooding Lawrence Talbot as a Shakespearean actor, it's surprising how well Benicio Del Toro fits the role of an Englishman, and there is a palpable heat which slowly develops between him and the fiancee (Emily Blunt) of his dead brother. Anthony Hopkins has plenty to contribute as Lawrence's nobleman father, and there are all those twists and turns which are new here. I especially enjoyed the cameo on the train with Max von Sydow and the wolf's head cane, as well as that idiot psycho doctor who gets exactly what he deserves. Extra credit for all the extreme violence and gore on hand in the Director's Cut. :cool:
The Buddy Holly Story (Steve Rash, 1978) 3.5
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Gary Busey got his Best Actor Oscar nom for playing the title role here, and he not only plays a believable Buddy Holly, but he plays his own guitar, sings and dances. The other Crickets (Charlie Martin Smith - standup bass - and Don Stroud - drums) also sing and play their own instruments. The three do not really attempt to sound like the original records, but the joy and truth of what they do does make it highly worthy of the spirit of original rock 'n roll. The band was formed in Lubbock, Texas and went through some problems trying to be heard, but once the public got a taste of them, they became extremely popular. Buddy also finds time to woo and marry his beloved Maris Elena (Maria Richwine). The film is jam-packed with rollicking musical numbers, especially when the band plays the Apollo Theatre in Harlem and the closing segment with the Big Bopper and Ritchie Valens that fateful night before "The Day the Music Died". The Buddy Holly Story actually ranks as one of the very best films about the birth of rock 'n roll to this day, and it may well take a very long time for another film to ever touch its heartfelt depiction of the 1950s when all races could actually come together over the music; at least if you were young enough and wanted to piss off your parents. :cool:
Miss Vicky
07-11-10, 03:15 PM
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A Single Man (2009)
This pensive and brooding stream-of-consciousness day-in-the-life-of film gives a glimpse into the mind of a man who can no longer see the beauty of life. Numbed by the sudden death of his lover and surrounded by people unwilling to understand his grief, George Falconer goes through the motions of life, all the while forming a plan to end it.
This movie is beautifully filmed and each of the principle actors give fine performances. Despite (or maybe because of) a not-so-happy ending, it does well to send the message that you should never give up on life and that, despite any darkness, there is always a bright light somewhere.
4
Classicqueen13
07-12-10, 08:23 PM
It's been so long that this one's gonna be a two-parter.
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This is a great romantic comedy although sort of forgettable. The storyline wasn't what I expected, but it was fun and kind of quirky. I won't say isn't very original because a big chunk of it isn't (Bonehead guy meets a girl he could actually love but she's dating a jerk. Blah, blah, blah) The movie just has a light vibe that's very enjoyable. The script dwindles in parts but it provided hearty laughs throughout. The movie isn't all comedy though with its share of serious and suspenseful moments. The romance starts right of the bat with the sort of "get to know you" scene that usually comes halfway through the average movie. Costner and Russo have good chemistry even though it's not Costner's best and I'm not a big fan of Russo. You'll think you know the ending, but you don't! :)
Tin Cup: 3.5
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This is my grandfather's favorite movie, and I finally got to watch it with him. John Wayne and Dean Martin make an excellent pair in the traditional Hawks buddy relationship. This isn't the only movie with a plot like this, but it makes for an interesting story. The script is terrific filled with good lines and plenty of laughs. Nelson makes a good third-wheel here, coming in whenever needed. Brennan provides quite a few of the jokes. The only problem I had was the familarity of the storyline involving the woman. "All you have to do is ask me" is used again here. It's one of my favorite parts of Only Angels Have Wings, and I don't know of an older Hawks movie that uses it. So, I suppose it irks me a little that Hawks used it so frequently. It was in To Have and Have Not as well. Not to mention, Dickinson didn't seem very strong here. Definately a must-see western though in my opinion.
Rio Bravo: 4
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It is easy to understand why this movie isn't well-known. The plot isn't exactly one that makes you go "I have to see that" even though it doesn't sound bad. Newman starts off particularly mysterious, charming, and very witty. Of course, his performance held up to the end but the writing doesn't do anything for him here. Mason fits in perfectly and the rest of supporting cast does well with small roles. I was hoping that there would be a great plot twist at the end, but it plays out cleanly with an interesting climax. It's not much, but it gets the job done. The movie's pretty short and I loved some of Newman's jokes in the beginning that made it well worth it for me.
The Mackintosh Man: [rating]3[rating]
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This movie was thoroughly creepy and quite chilling in my opinion. It had good direction and excellent casting. I was always trying to figure out Bridges' psychotic character, which he plays flawlessly. I felt though that Sutherland's performance might have even been better. Many before Bridges had played the crazy villian, but Sutherland's character and his obsession isn't terribly common. He captures the frustration and emotion brillantly. Travis was good too even though her character didn't quite go through the emotional struggles that the other two did. I loved how capable they made her character toward the end, but by the time that rolled around I didn't care much for her. Her lack of understanding drove me to strongly disliking her by the time her shining moments came in. The only thing I really disliked was the ending, which I know was different in the original. I almost wanted that ending, but I concluded it was about a tie. Great thriller that's definately worth a watch, even though I hear the original is better.
The Vanishing: 3.5+
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This was just in time for the 4th of July :) Deserving of its title in the Top Thrills of all time I must say. I was thinking of mark f here the whole way through. It's a such a great ride. Spielberg's direction is more than impressive, it's spectacular. I was expecting cheesy special effects, but everything was very realistic. From the chilling opening to the very end, he had me wound. Not to mention, memorable visuals as well. The cast couldn't have been better. Robert Shaw kind of steals the show toward the end, but no complaints on any performance. The script has plenty of comic relief and just a great screenplay. Must-see for movie fans.
Jaws: 4
re93animator
07-12-10, 11:03 PM
Had quite a bit of free time this past week:
The Book of Eli (2010) - 3_5
Behind Shutter Island, this is the best I've seen this year. Beautifully shot, acted, written, directed and (especially) scored.
The Crazies (2010) – 3
Though it’s not saying a whole lot, this is an improvement over its predecessor. It’s filled with a little too many cheap thrills and last-minute saves to be taken seriously, but fortunately it’s able to back them up with well tuned suspense.
The House of the Devil (2009) – 3
One hour of effective pacing that disappointingly turns into a semi-standard and grotesque cat and mouse thriller in the final thirty minutes. Granted, the cat and mouse portion of the film is more effective than it would be in a typical horror flick, but it’s mainly due to the exceptional built-up.
Many films pay their tribute to 80’s horror, but few actually feel like they could’ve been made in the decade. This one does, and I salute it for that.
The Ladykillers (1955) – 4-
A film that relies almost solely on sharp, subtle humor to get the job done. The humor derives from circumstance, and it’s a rare case of sensible hilarity. Not only that, it’s also a consummate, intelligent crime drama.
The League of Extraordinary Gentlemen (2003) – 2_5
Based very loosely on the graphic novel of the same name, this isn’t nearly as intelligent or entertaining as its source material, but it isn’t the worst way to drain a couple of hours.
It’s incredibly underwhelming though, considering all of the potential it had. The weak script and hectic action sequences are what ultimately kill it. With its big budget, proficient direction and remarkable set design, the film isn’t nearly as entertaining as it ought to be.
My Name is Bruce – (2007) – 2 Camp rating: 2_5+
A self-aware, campy comedy that both lampoons and pays tribute to the 80’s b-horror flicks that serve as its roots. It will surely satisfy most of the Bruce Campbell fans out there with its abundance of style and wit, but the over-the-top sense of humor may be too much for some.
Predators (2010) - 3_5-
A worthy companion piece to the original. I'll try to get a complete review up soon.
The Producers (1968) – 3_5+
Love Mel Brooks or hate him, it’s not difficult to revere what he’s brought to the comedy genre. With The Producers, his originality in rendering oddball characters is displayed with crystal clarity. Brooks may depict the same sort of erratic characters in most of his films, but the one thing they don’t do in The Producers is get tiresome. Fueled by terrific performances throughout, this is often considered one of the funniest films ever made for good reason.
West Side Story (1961) – 3_5
A beautifully offbeat musical melodrama. For the ones that the film may not appeal to, the first half may fall flat, but it picks up speed in the second. It’s visually striking, the music is great, and the story is powerful.
... and re-watches of a couple personal favorites:
Arsenic and Old Lace (1944) – 4
A brilliantly original screwball comedy. It’s also a ballistic exercise in mad, borderline surreal, scriptwriting as well as a creative spoof on thriller writing. As the film dwells more and more on its own madness, it just continually gets funnier.
Assault on Precinct 13 (1976) – 3_5
For low budget action, this is about as good as it gets. Even counting its sub-par acting, the film is too much fun for any action fan to miss out on. It also includes plenty of surprises, intense direction, and one of the coolest soundtracks ever committed to film.
Thursday Next
07-13-10, 06:23 AM
Saving Private Ryan (1998)
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After admitting to not having seen this on the 'movies you're embarrassed to admit you've never seen' thread, I decided it was about time I watched it. I don't find war films particularly entertaining, as a rule, I was confused by a lot of the action sequences and couldn't work out who was blowing who up. But it's a solid film with unexpected moral ambiguities, I liked the soldiers' ambivalence about their mission and found Ryan's ending 'was I good man?' subtly touching.
4
The Go-Between (1970)
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Part of my catch-up of older British films. An evocative but slightly over-long adaptation of the L.P. Hartley novel. I liked the occasional, jarring flashes of 'present day' – televisions, more modern cars which seem to add to the building sense of unease.
4
Kind Hearts and Coronets (1949)
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More Brit film catch-up. Wickedly funny period film about a disinherited man who murders his way to a dukedom. The anti-hero is thoroughly charming in a villainous way and you almost root for him to succeed in his plot to bump off his estranged relatives who are all played by Alec Guiness. (One slight issue – a film about multiple murders which features the 'n' word gets a U certificate?)
4
Garden State (2004)
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It's quite well shot, if a little gimmicky, but I can't find much else good to say about it. I found it self-indulgent and immature. Likely to appeal to 17 year old emos, but it didn't do anything for me. I don't mind quirky, but films that try too hard to be quirky quickly irritate me. Perhaps it makes a difference if you find Zach Braff charming. I don't.
2
Rope (1948)
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Brilliant, tense thriller/ dark comedy about two men who murder a friend and throw a dinner party quite literally over his dead body. More than holds its own against modern counterparts like Shallow Grave. It's all set in one apartment but thanks to clever touches like the swinging kitchen door it never feels stagey or artificial. Quite how Hitchcock got away with the main characters blatantly being a gay couple in 1948 with the censors and all I'm not sure. Part of the brilliance is in the murderers giving themselves away through their need to show off or nervousness. Part is the way it is filmed as though it were one long take. Highly recommended.
5
TheGirlWhoHadAllTheLuck_
07-13-10, 09:07 AM
Ballad of The Sad Cafe 1
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This film adaptation of the Southern Gothic classic by Carson McCullers is dull and soporifically paced- the trait of a bad Merchant-Ivory movie, which is actually what it is (sort of- Ivory isn't involved)Vanessa Redgrave doesn't do a bad job of playing the mannish spinster who becomes devoted to her hunchback cousin but whose ex-husband's return ruins everything; nobody really does a bad job- it's just a lifeless adaptation. It also looks very budgety, which doesn't help.
The Strange Affair of Uncle Harry 3
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Enjoyable melodrama starring George Sanders as a man living with his two spinster sisters. He finds love with an urbane New York girl but the beautiful sister ruins it because of her rather creepy obsession with him. It might be a bit slow-paced at times but the blatant Freudian undertones are interesting. There's a warning at the end of the film saying not to disclose the ending so that your friends can enjoy it- and who am I to disagree?
Kind Hearts and Coronets (1949)
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More Brit film catch-up. Wickedly funny period film about a disinherited man who murders his way to a dukedom. The anti-hero is thoroughly charming in a villainous way and you almost root for him to succeed in his plot to bump off his estranged relatives who are all played by Alec Guiness. (One slight issue – a film about multiple murders which features the 'n' word gets a U certificate?)
4
I'm not sure if you know this or if it makes you feel better or worse, but this tries to explain the usage of the word (from Wikipedia):
Usages
British
In British English, n**ger is now a derogatory and racist word. However, earlier, together with the original form of negro, the word was used without derogatory intent. For example, Victorian writer Rudyard Kipling used it in 'How the Leopard Got His Spots' and 'A Counting-Out Song' to illustrate the usage of the day. Likewise, P. G. Wodehouse used the phrase “N**ger minstrels” in Thank You, Jeeves (1934), the first Jeeves–Bertie novel, in admiration of their artistry and musical tradition. As recently as the 1950s, it was acceptable British usage to say n**gers when referring to black people, notable in mainstream usages such as N**ger Boy–brand candy cigarettes, and the color n**ger brown (dark brown); however, by the 1970s the term was generally recognized as racist, offensive and potentially illegal. As recently as 2007, the term n**ger brown reappeared — in the model label of a Chinese-made sofa, presumably regional Chinese usage of an out-dated form of English. Agatha Christie's book Ten Little N**gers [none of those ten characters were black but they were all British] was first published in London in 1939 and continued to appear under that title until the early 1980s, when it became And Then There Were None.
meatwadsprite
07-13-10, 11:14 AM
Nig*a please.
Thursday Next
07-13-10, 11:55 AM
Agatha Christie's book Ten Little N**gers [none of those ten characters were black but they were all British] was first published in London in 1939 and continued to appear under that title until the early 1980s, when it became And Then There Were None.
The uses in Kind Hearts and Coronets were references to this Agatha Christie book rather than a racist insult, however I still wonder whether it should get at least a PG certificate.
Classicqueen13
07-13-10, 12:27 PM
Part Two
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This may be one of the most overrated movies of all time. Great reviews and Top Thrills list? Seriously? This is the most insane and far-fetched movie I've ever seen. The writers had a good idea, but wow. That's all I can say. Jumping a 50 feet hole in the road was only a portion of the craziness. The ending had to be the worst. They couldn't get off the train because she was chained to that pole. What even happened to it? This direction was just plain poor. There was a scene in the beginning (shooting in the elevator) where I swear I was lost, and it could've been solved with some better camera placement and techniques. A concept that should've been a considered a couple more times during the movie as well. I did like the acting. Reeves and Bullock were enjoyable and doubtlessly had chemistry. Hopper was a good baddie, no arguement there. The script had its moments of greatness as well, mostly in the jokes. For example, "He lost his head." Die Hard on a bus? Certainly, and Die Hard is unrealistic. But surviving a lot of gunshots and explosions is different from saving yourself from falling under a bus by stabbing the fuel tank with a knife and hanging on.
Speed: 2-
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The most likely audience for this one is the kids, and there's plenty here for them to enjoy. There's a colorful crew of characters, all shown by the cute pooches. A great voice cast brings a lot of humor and spirit into the characters. The script doesn't even come close to the wit of the old Disney movies, but there's enough laughs to keep the adults entertained. (I personally loved the little Temple of Doom reference they snuck in there) You'll probably be able to guess what happens next throughout the movie, and the climax gets a little contrived. The story rolls along quickly though, and I didn't get bored. There's a good moral of the story too: Be true to yourself. Worth the trip to take the kiddies or if you liked the cartoon. A solid three popcorn for me.
Marmaduke: 3
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Part drama, part thriller, this movie is great. I was on the edge of my seat, and the plotline about rescue swimmers was a terrific idea. Costner and Kutcher are absolutely perfect for their roles. Both of them turn in good performances, each character with some deep emotional baggage. The script isn't very memorable, but the tension certainly was. I knew the ending, but it's not a difficult one to guess. At the climax, however, I was gripped. Definately worth checking out, in my opinion. I had no complaints here.
The Guardian: 3.5
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The movie seems to revolve around Gene Hackman and his wonderful performance. The movie's about freeing Vietnam POW's, which makes for a good plot, one more interesting than the average war movie to me. It's quite awhile before you get to breaking them out. In the mean time, the characters kept me watching intently. Each character had just enough background to interest me, and they are played by a solid cast. All the actors worked very well with Hackman and each other. It's a story with a lot of heart as well.
Uncommon Valor: 3+
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This movie had a lot of potential. The storyline was partcularly intriguing, and Ben Kingsley makes a terrific villian here. He's creepy and mysterious, just enough to spook you a little. I didn't have a problem with Aaron Eckhart. One could probably find some flaws in his performance, but I was trying too hard to figure out just what was going on. Usually in a mystery, this is a good thing. However, the director was trying was too hard to make the flashbacks look edgy and stylish. They left me completely confused and a little dizzy. They didn't even totally add up for me in the end. When things finally start coming together, the "Yeah, right." level shoots up. By this I mean, we have the intention of running a tractor-trailer off the road with a Ford Expedition. An FBI agent has to chase a truck driver over numerous rugged hills. Or my personal favorite, he's out in the middle of nowhere and when he calls his partner/girlfriend, she arrives in about three minutes. If you're asking me, pass on this one folks.
Suspect Zero: 1.5
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I didn't think I was going to like this movie, but I like Kiefer and agreed to try it with my sister. I couldn't believe how much I ended up liking it. The psychic premise of the movie didn't, and still kind of doesn't, appeal to me. I did like, however, that Kiefer's character Micky never really looked at it in a poetic way as some of the other characters did. Speaking of Micky, I loved this character. It's easy to see that he's a throwback to the old detectives of cinema. He particularly reminded me of my buddy Harper with his sense of humor. Micky's witty and gave me loads of laughs, which I wasn't expecting. Kiefer was perfect for the role, obviously using his own humor in places. The rest of cast was good too, although I thought Polly Walker wasn't the best choice. The understated script was great, in my opinion, and the storyline was a lot like the previous movie I listed. The "flashbacks" in this one just made a lot more sense. The mystery isn't tough to figure out, but it's a good ride as Micky pieces it together himself. Perhaps, this is a guilty pleasure, but it was certainly a pleasure for me.
Eye of the Killer: 4+
honeykid
07-13-10, 12:59 PM
I'm not sure if you know this or if it makes you feel better or worse, but this tries to explain the usage of the word (from Wikipedia):
Usages
British
In British English, n**ger is now a derogatory and racist word. However, earlier, together with the original form of negro, the word was used without derogatory intent. For example, Victorian writer Rudyard Kipling used it in 'How the Leopard Got His Spots' and 'A Counting-Out Song' to illustrate the usage of the day. Likewise, P. G. Wodehouse used the phrase “N**ger minstrels” in Thank You, Jeeves (1934), the first Jeeves–Bertie novel, in admiration of their artistry and musical tradition. As recently as the 1950s, it was acceptable British usage to say n**gers when referring to black people, notable in mainstream usages such as N**ger Boy–brand candy cigarettes, and the color n**ger brown (dark brown); however, by the 1970s the term was generally recognized as racist, offensive and potentially illegal. As recently as 2007, the term n**ger brown reappeared — in the model label of a Chinese-made sofa, presumably regional Chinese usage of an out-dated form of English. Agatha Christie's book Ten Little N**gers [none of those ten characters were black but they were all British] was first published in London in 1939 and continued to appear under that title until the early 1980s, when it became And Then There Were None.
All very true. The dog in The Battle Of Britain is called N***** too, which has now been erased from the film. To my knowledge, the word became derogatory because of it's usage in the States, as American culture became more dominant over here and is now, of course, completely unacceptable. Pretty much the same thing happened with Gollywog dolls.
TheGirlWhoHadAllTheLuck_
07-13-10, 01:17 PM
Eclipse 3
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This is the third novel in Stephanie Meyer's ever-popular vampire chaste-bonkbuster tetralogy (the last one will be Breaking Dawn (in two parts)- but you'll have to wait two years!). It's not that bad a film- there's an actual plot. The Bella/Jacob vibes in New Moon will come to a head (this is where the phrase 'Team Switzerland' comes from, although Kirstin Stewart mumbles the line so it sounds like 'Tea Swisserland' and she doesn't explain its meaning, leaving the non-initiated potentially confused) and we get some nice gory vampire biting.
The best thing is that we get a little break from Edward (and not in a New Moon, emo-pining way) and we get to look at the more interesting members of the Cullen quasi-incestuous 'family', via some flashbacks (They're not actually a family- it's more like an incest-fest with Carlisle, who we love, as the vamp-pimp). The opening out makes the film more interesting and bearable for those sick of the 'yes, yes!/no no!' moanings of Bella and Edward (although you do get a little scene of that).
It's a bit slow at times but the romance is handled well (Bella is forced to look critically at her relationship, which makes her relationship with Eddie less annoying) and there's quite a lot of attacking. The vamps and the werewolves come together...probably the best film out of the series. The adaptation is faithful and will tick all the boxes for those Twi-loving teens/those old enough to know better than to lust after 108 year old/17 year old boy vampires. And for the uninitiated, it's light entertainment.
MovieMan8877445
07-13-10, 02:18 PM
My friend let me borrow the Scream trilogy last week, because of the upcoming fourth film. I liked all of them, and it was a pretty great slasher series. I liked how the actual films played out knowing that it was a horror movie. I thought it helped make the series very original. Even if it did get kind of tiring by the time I got to Scream 3.
Scream - 3+
Scream 2 - 3
Scream 3 - 2.5
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meatwadsprite
07-13-10, 02:25 PM
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187 1997
I expected a really over the top, goofy ghetto movie. With Sam Jack it would have been alright. Nope, this is one of the worst things I've ever seen. Overly long, desperately confused, no narrative flow, and a techno soundtrack. Jackson is a teacher in a crappy school, he gets stabbed and we follow him years later where he subs in at another bad school. I don't know where to begin with what's wrong this.
0
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The Prestige 2006
Solving the labryinth of motivations and time frames is a lot more fun than trying to sink your teeth into characters which don't let you in.
3
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10 Items of Less 2006
Morgan Freeman plays some version of himself and ends up spending the day with a grocery store clerk. A fun unchained performance and some clever writing.
3
linespalsy
07-14-10, 12:24 PM
187 1997
I expected a really over the top, goofy ghetto movie. With Sam Jack it would have been alright. Nope, this is one of the worst things I've ever seen.
Not that I have any strong disagreement with your "0" rating or anything, but the movie does feature Jackson drugging a student by shooting him with a bow and arrow with a syringe arrow-head. Then he amputates the kids lucky trigger finger and tattoos a hokey message on it, as I recall. That scene alone makes this movie more over-the-top and goofy than any other Death Wish wannabe crap that comes to mind.
honeykid
07-14-10, 01:13 PM
A quick note. For those outside the US who are interested in seeing Eye Of The Killer, it's known as After Alice.
meatwadsprite
07-14-10, 01:30 PM
Not that I have any strong disagreement with your "0" rating or anything, but the movie does feature Jackson drugging a student by shooting him with a bow and arrow with a syringe arrow-head. Then he amputates the kids lucky trigger finger and tattoos a hokey message on it, as I recall. That scene alone makes this movie more over-the-top and goofy than any other Death Wish wannabe crap that comes to mind.
It has moments of epic cheese, but the tone on everything else is like some surreal-garbage via Oliver Stone.
Classicqueen13
07-15-10, 12:51 AM
A quick note. For those outside the US who are interested in seeing Eye Of The Killer, it's known as After Alice.
That's right, HK. I meant to mention that some place, but didn't.
St. Elmo's Fire (Joel Schumacher, 1986) 3
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The Brat Pack attempts to grow up with varying degrees of success. Demi Moore is so superficial that her big "reveal" about why she behaves the way she does is totally predictable, and I really wanted to shove Rob Lowe's sax down his throat after he went into about the fifth minute of his solo at the club where his band was playing. On the other hand, those scenes were sorta entertaining in an embarrassing way, and it's almost surreal how much the whole film comes across as highly-watchable, especially poor Emilio Estevez and his pursuit of older Andie MacDowell and "gay" Andrew McCarthy finally hooking up with the love of his life, Ally Sheedy. In fact, besides the Estevez scenes up at the snowbound cabin, the scenes where Sheedy and her lover Judd Nelson "attempt" to divide up their records while breaking up is a highlight. The film begins as if it's on both poppers and speed but eventually a semblance of plot and logic arises, at least if you can take it long enough for that to occur.
Signs (M. Night Shyamalan, 2002) 3
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This film still delivers some chills and laughs, but it seems that every time I rewatch a Shyamalan flick, it seems much slower and much-less complex. These mysterious crop circles do turn out to be created by space aliens and not by weird neighbors, but these aliens do not really have all that much of a personality, and they don't seem to satisfy any purpose except to help Mel Gibson's family come to terms with a family death and bring back a semblance of normalcy to a troubled family. Sure, there are some suspense scenes and a few humorous ones, but they seem to come more from what people do not know than what they do know. Once everything becomes crystal clear, the charm and originality of the flick seems to evaporate too. However, it's still vastly superior to Night's latest flicks.
Rudy (David Anspaugh, 1993) 3.5
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Hey Powdered Water, you have no excuse not to watch this flick, no matter how much you "hate" Notre Dame. The entire film comes across as utterly preposterous , but it's all based on a true story and really knows how to push all the buttons in how to make a sports fan or an underdog lover get completely drawn into the story of Rudy (Sean Astin), a small, scholastically-underachieving teenager with the biggest heart in the world, who will stop at nothing to succeed in his dream of becoming a Notre Dame football player during an actual game. Besides his father (Ned Beatty), Rudy is also pursuing his dream for a chubby brainiac (Jon Favreau) and a Notre Dame stadium employee (Charles S. Dutton) who once played football for the team. Jerry Goldsmith's beautiful theme music builds subtly from the opening credits to produce chills during the tear-filled finale.
La Dolce Vita (Federico Fellini, 1960) 3; Art House Rating: 4.5
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Fellini fashions his own completely-unique film about empty journalist Marcello (Marcello Mastroianni) who follows other empty people around Rome and writes up their lives for the even emptier "regular people" to feed upon in a way to forget about their own lives. (It kinda reminds me of what's happening now with Lindsay Lohan and Mel Gibson.) The film is incredibly episodic, and while most of it is very realistic, there are occasional flourishes where time and location seem to disappear effortlessly under Fellini's masterful direction. The film does eventually add up to something powerful, but while you're watching the entire three hours, I can understand how it might bother and/or bore some viewers, but for those willing to look carefully and connect the dots, the final few scenes are actually quite powerful in offering up Fellini's own interpretation of fellow Italian auteur Antonioni's theme of people living alone and unable to communicate. The fate of Msrcello's friend Steiner (Alain Cuny) and that of the giant manta ray at the end could only be conceived by a man who was deeply living in a world he felt was almost a vacuum yet desired to communicate, however seemingly-haphazardly, with humankind.
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EDIT - I forgot to mention that Nico can be seen in the film. She has a very small part, and I suppose she's actually playing herself (her name is Nicolina), but many of the actors are actually playing characters with their own names. Anyway, if you've never noticed Nico in the movie, she has a scene in the car with Marcello and a few others and she begins to speak with a Teutonic accent, exactly the same way she "sings" on the Velvet Underground and Nico record. She is obviously speaking German, but when Marcello asks her what language it is, she responds "Eskimo". Not really too much to say, but something fun for those who care about such pop culture trivialities.
The Trouble with Harry (Alfred Hitchcock, 1955) 3.5+
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Hitch gleefully spins a tale about a dead body that almost everybody believes was personally killed by them and gets buried and unburied over and over. Yes, the film is a black comedy, but it does have plenty of trademark Hitchcock suspense as well as some of the funniest dialogue you'll ever hear. It takes place in New England during the fall, and Brenda and I both agree that it's probably the film which most resembles what our honeymoon looked like with all those striking autumnal colors. I don't want to get into too many details, but Harry causes trouble for an elderly hunter (Edmund Gwenn), a spinster (Mildred Natwick) who likes him, a painter (John Forsythe) with a devilish tongue, and a pretty young mother (Shirley MacLaine). This is not only the first Hitchcock film with a Bernard Herrmann score, but it's also MacLaine's film debut and an early flick for the boy (Jerry Mathers, the Beave from "Leave it to Beaver") who plays her son and steals all his scenes. It may take just a little bit to really get going, but this film is generally underrated in the Hitchcock oeurve.
Step Brothers (Adam McKay, 2008) 3
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Supremely-idiotic comedy with equally-moronic characters and situations results in nothing less than a funny, laugh-out-loud flick about competing 40-ish stay-at-home sons who become part of the same family when their parents marry. The fact that the characters played by Will Ferrell and John C. Reilly probably have IQs which total together less than one-half of what one of them weighs shouldn't be held against the movie. Of course, if you don't like a film such as There's Something About Mary, you should probably steer clear, but this thing has tons of gross-out gags along with a few actual sophisticated touches which seem to have been added as almost an afterthought. Mary Steenburgen and Richard Jenkins are solid as the parents, and Adam Scott is appropriately-hateful as the successful younger brother of Ferrell. I don't really relate to it on a personal level but it certainly has no problems going in bizarre uncharted waters quite often, so I give it points for that.
The Battle at Apache Pass (George Sherman, 1952) 2
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This is something akin to a sequel to the 1950 James Stewart western Broken Arrow where Jeff Chandler also played Cochise. In this film, Cochise has made peace with the White Eyes, but Geronimo (Jay Silverheels) and some corrupt Indian agents conspire to bring about a full-fledged war when the cavalry commander (John Lund) is away from his fort. Much of the film was shot in and around Monument Valley and there are some decent action scenes, but overall, it's just a fair-to-middling western which looks particularly good. It's fun to see "Tonto" playing Geronimo but there could have been a few more confrontations between him and Cochise. Two years after this film, Douglas Sirk directed a pretty good sequel called Taza, Son of Cochise which starred Rock Hudson in the title role.
My Name is Julia Ross (Joseph Lewis, 1945) 2.5
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This resembles a low-budget Hitchcock film where Julia Ross (Nina Foch) answers an ad for a live-in secretary and finds herself in the middle of a plot to seemingly kill her so that a woman (Dame May Whitty) and her psycho son (George Macready) can collect on an inheritance which they cannot get now because Mr. Psycho already went crazy and murdered his real wife. So the family takes her to a seaside mansion, drugs her and tries to convince her that she's really the wife. Julia isn't buying any of it, but nobody knows who she is, including some of the new servants and local townspeople, so she comes across as insane to everybody else. The film is very short, but it manages to build up some nice suspense touches and Macready is an excellent psycho who enjoys destroying things with knives.
Faust (F.W. Murnau, 1926) 3; Classic Rating: 4
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Murnau's final German film before he moved on to Hollywood is a great blend of spectacle and special effects, especially in the first half. It's a classic story of Good vs. Evil, not all that unlike the Book of Job, where Mephisto [the Devil] (Emil Jannings) bets God that he can turn God-fearing, good man Faust (Gösta Ekman) into an unrepentant sinner if given a free hand. Faust wants youth and is especially attracted to a beautiful innocent (Camilla Horn). Eventually, her brother (William Dieterle) does battle for her honor with Faust in a scene reminiscent of Shakespeare's far-later Romeo and Juliet. The opening combines every imaginable use of sets, costumes, F/X, trippy editing and storytelling skill which Fritz Lang would later try to improve upon in the next year's Metropolis. The second half of the film which tells how Faust falls a bit short in his purity is entertaining but not as mesmerizing as the earlier scenes. However, it's very interesting to see Dieterle acting in this film before he moved to the U.S. to become a significant director and make his own Americanized version of this tale, the wonderful The Devil and Daniel Webster (1941).
[I]Sneak Previews: I watched about 75% of Tom Tykwer's The International on cable and will try to catch the remainder the next time it plays (probably this weekend).
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I also watched the first three-fourths of Tom Ford's A Single Man before Brenda had to crash. Those write-ups will appear next time.
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TheGirlWhoHadAllTheLuck_
07-16-10, 01:46 PM
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Children of A Lesser God 4
Aesthetically it looks a little dated but this film, based on a stage play, is about a couple who struggle to communicate on a physical level or an emotional one. James, played by William Hurt, is a music-loving teacher at a deaf school who falls in love with the caretaker, played by Marlee Matlin, who's an alumnus of the school.
Both leads do very well, considering what a tough job they have. Matlin deservedly won an Oscar and Hurt has to sign and verbally translate for the benefit of the audience. The portrayal of the romance is convincing and sympathetic without being patronising- both partners have their problems and indeed chemistry. It's a must-watch for anyone learning sign-language and a very good watch for everyone else.
TheGirlWhoHadAllTheLuck_
07-16-10, 03:47 PM
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Design For Living 2_5
'Boys, it's the only thing we can do. Let's forget sex.' This is what Gilda (Miriam Hopkins) tells Tom (Frederic March) and George (Gary Cooper), the two best friends she is romantically torn between, but it could easily be what the film company told the cast and crew.
It's based on a play by Noel Coward, and although films should be judged on their own merits, it's worth looking at the original. Ben Hecht occasionally manages a witty line but he's no Coward (he wrote the screenplay ditching all of Coward's lines except about two). Miriam Hopkins is brilliant as Gilda, a sassy bohemienne who shakes up the frienship of the two men. Neither Fredric March nor Gary Cooper are convincing as being sexually-liberated, maybe because their parts are underwritten and so it feels forced at times. Cooper looks like March has dragged him into it.
The vital chemistry is also lacking. Neither Gilda's relationship with George or Tom is convincing. In fact, the only chemistry is between Hopkins and Edward Everett Horton, who plays the safe and comfortable boss/older friend, and their relationship raises mild laughter.
In the original Coward play, the sexual element is blatantly obvious (in the film, they say the word 'sex' but when it comes down to it, they're quite coy). I can understand their decision to take out the homoerotic undertones between the two men but it makes it less fun. The play works because we know exactly what these immoral bed-hoppers are going to do. Yes, you might be surprised by the ending in this film if you don't know the play, but it needs the oomph to go with it.
It could have been promising and whilst it isn't dreadful, it certainly falls short.
I've always loved this Ernst Lubitsch bauble which I found dripping with sex. Of course, I never read Coward's play, but Hecht has always been considered one of the best screenwriters of all time. I'd give it 3.5. Did you watch this for a class or for fun?
TheGirlWhoHadAllTheLuck_
07-18-10, 11:10 AM
I've always loved this Ernst Lubitsch bauble which I found dripping with sex. Of course, I never read Coward's play, but Hecht has always been considered one of the best screenwriters of all time. I'd give it 3.5. Did you watch this for a class or for fun?
I watched it because the play was so great. I understand that Coward's stuff is a sort of English humour and that it might feel a bit weird having Americans perform it but Coward gets to the juice right away. At the start of the play, Gilda's known the two men for a fair while and she's already shacked up with the artist. I found the part where the two men are pretending they're not interested in her dull, although it picks up near the end when Gilda makes her choice.
However chemistry is all in a premise like this and the three stars don't have a strong enough one to be entirely convincing. The film, like many an adaptation, claims to be daring whilst sidestepping all the really daring issues of the original.
TheGirlWhoHadAllTheLuck_
07-18-10, 11:21 AM
Summer Interlude 4
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A ballerina looks back on her teenage romance that ended in tragedy. This is much more my sort of Bergman film (the only other I've seen is Hour of The Wolf)- a charming observation of human behaviour. Although the story is rather slight, it is well acted and the landscape looks very pretty.
Now onto some reviews I've been wanting to do for ages:
All About Eve 4_5
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Brilliantly acerbic view of the American theatre world with a star performance from Bette Davis as Margo Channing, the star whose career is threatened by an ambitious newcomer. George Sanders is perfect as Addison DeWitt, the ruthless theatre critic who sees through Eve's act. The screenplay is perfect for movie quotes- my only bad point is that it's a little too long.
Sunset Boulevard 5
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Billy Wilder was a master director and Sunset Boulevard is a masterpiece. Released around the same time as All About Eve and losing the Oscar for Best Picture to it, this is a decidedly darker look into the world of acting. Wilder takes Hollywood and shows it as a cruel and unforgiving world, haunted by ghosts of the silent movies (there are some cameos from silent movie stars and Gloria Swanson stars as Norma Desmond, the demented one-time star of the screen). Norma Desmond will do anything to return to the film world and William Holden plays the young aspiring screenwriter who'll do anything to get into the film world. As black a comedy as you're likely to find and disturbingly believable, this is a must-watch.
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Shutter Island (Scorsese, 2010) 2
Really don't see what all the fuss was about. I wanted to like it, but the whole thing was clunky, contrived, and downright boring. I like my mysteries to bead along at a smooth, flowing pace and - God forgive me - make sense. Shutter Island seems driven only by the desire to reach its uninspired conclusion, and sups too much on its own manufactured creepiness. The island itself never becomes a character; it's used merely to batter the viewer with staple thriller imagery. And the dream sequences are just ridiculous. I recognize that this is adapted, and part of me wants to read the graphic novel just to see what went wrong. But I'm just not a fan of Scorsese these days.
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The Host (Bong, 2006) 3_5
My girlfriend bade me watch this with her. :D Pretty excellent monster thriller with a very Japanese shade of comedy (ironic, given that this is a South Korean picture). I love the lack of apprehension at showing the creature or his faculties. Sometimes, we just want to see the damn thing. It did slow up and become a little dragged somewhere in the middle act, and there were some minor holes in plot. But the characters were both fun and believable, the monster was awesome, and the ending really satisfied.
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Youth in Revolt (Artera, 2009) 2_5
Has its moments, for sure. Michael Cera is basically the same character as always, but gets to stretch his scrawny limbs a little more here (mostly to the film's benefit). Though it did several laughs out of me, the film seemed very confused about where its comedy lived: frat comedy? quirky Indie? episode of "My Name is Earl"?
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Toy Story 3 (Unkrich, 2010) 5
Not much I can say about this one. It's a beautiful end to what we'll now consider one of the best animated film series ever. The storytelling is brilliant, the animation is (once again) a step up, and although the conclusion was a little easy to predict... it was the right one. I'm glad to have grown up with these films.
TheGirlWhoHadAllTheLuck_
07-19-10, 01:15 PM
A Single Man 4
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Finally a film that allows Colin Firth to show off his acting talents! The film (and the Isherwood novel it's based on) follows one day in the life of the protagonist (George), an English professor in America dealing with grief over the death of his long-term male partner. A weak central performance would collapse it but Firth delivers a very intense moving portrayal of isolation, enhanced by but not limited to, the fact that he is living in an era (early 1960's) where homosexuality isn't socially acceptable.
Seeing as pretty much all the publicity of the film features Colin Firth and Julianne Moore together in, you'd be forgiven for thinking that she's a secondary lead. She does well in her role of Charley, George's outspoken best friend, but the character is a puzzle piece in George's life and not the pivot. Matthew Goode puts in a good (no, that's not a weak joke) performance as George's dead lover and I think Nicholas Hoult was very good as Kenny, the curious student.
The cinematography has been both praised and criticised in various reviews. The film looks very beautiful and a lot of thought has gone into all the little details that are a vital part of the story (A quote from Isherwood's 'Goodbye to Berlin' is an apt description: 'I am a camera with its shutter open, quite passive, recording, not thinking...') Some critics have said that it's too pretty for its own good- that it's superficial, and at times it does feel like you're watching a male fashion/perfume advert (a black and white flashback emphasises that feel), but the emotion is always there beneath it and this style of cinematography seems appropriate for this film.
If you read the novel, which you should do, you'll see that it's told in third-person present tense- 'George walks, George sits...' Firth narrates parts in first person but the camera fills in the detatched quality of third person narrative.
All in all, a good adaptation and an intense claustrophobic film.
re93animator
07-19-10, 06:16 PM
A very good batch:
Kind Hearts and Coronets (1949) – 4
Known to many as the film that gives Alec Guinness eight opportunities to bite the dust, Kind Hearts is a brilliantly wry dark comedy. It’s dry, sardonic humor is about as clever as any you’ll find.
The Lavender Hill Mob (1951) – 3_5
Great little picture about a group of men that attempt to pull off what seems like a fool-proof crime, only to find their plan growing more and more unrestrained as they carry it out. Its humor comes out of the hilarious fortuity (or lack thereof) of the plot, and while the humor isn’t too subtle by classic British comedy standards, it never gets remotely close to becoming an annoyance.
The Proposition (2005) – 3+
Builds a melancholic tone off of ambient imagery, idle pacing and staggering violence. The first act is a tad slow, but the film thrives on a riveting second half and an especially sublime ending.
The Salton Sea (2002) - 3+
A man desperate to find his wife's killer turns his life around and gets tangled up in a seedy underworld of crooked cops and drugged-out tweakers. It's an interesting neo-noir that should be stylish, dark and unpredictable enough to entertain most.
Tora! Tora! Tora! (1970) – 3_5
Recapitulates the story of the infamous raid on Pearl Harbor (it’s often considered one of the most historically accurate accounts as well) by throwing in an hour and a half of build-up that leads to an unforgettably volatile climax. It’s also one of the most impressive films on the Japan/US portion of WWII.
Interesting fact: “Akira Kurosawa agreed to direct the Japanese part of the film only because he was told that David Lean was to direct the American part. This was a lie, David Lean was never part of the project. When Kurosawa found out about this, he tried to get himself fired from the production - and succeeded.” – From IMDB.
I'm going to go back into my last Tab post and add this, but for those of you who don't go back to reread older posts, I messed up when I forgot to discuss Nico being in Fellini's La Dolce Vita. She has a very small part, and I suppose she's actually playing herself (her name is Nicolina), but many of the actors are actually playing characters with their own names. Anyway, if you've never noticed Nico in the movie, she has a scene in the car with Marcello and a few others and she begins to speak with a Teutonic accent, exactly the same way she "sings" on the Velvet Underground and Nico record. She is obviously speaking German, but when Marcello asks her what language it is, she responds "Eskimo". Not really too much to say, but something fun for those who care about such pop culture trivialities.
http://www.refinery29.com/img/screen_nico_1222a.jpg
Cries&Whispers
07-19-10, 06:27 PM
I always took that literally. I thought she was just playing herself in the movie.
By the way, I care about such pop culture trivialities, mark. Keep 'em coming. You always have something interesting to contribute to every thread I've visited.
Used Future
07-20-10, 07:02 PM
http://i733.photobucket.com/albums/ww335/GialloFunk/6a00d8341c354953ef01157056976d970b-.jpg?t=1279664469 http://i733.photobucket.com/albums/ww335/GialloFunk/satanbug_feature.jpg?t=1279572622
The Satan Bug (John Sturges, 1965) 4
An accident at a top secret biological weapons lab deep in the Mohave desert turns out to be something much worse as it emerges saboteurs have made off with a batch of phials containing deadly germs; one of which could wipe out mankind in weeks if exposed to the air. Is it the Russians? or has someone closer to home got a grudge against...well...everyone?
It's left to razor sharp ex government agent Lee Barrett (George Maharis) to track down the perps and recover the Satan Bug in this no nonsense intelligent, and original (at least for the time) thriller that delivers on all levels. The dialogue is often wonderful, particularly the 'testing to see if he's still one of ours' scene in which we're introduced to Barrett, and Sturges concocts plenty of taut thrills. Most memorably the initial doom laden debriefing just before Station Three exits automatic lockdown; a deadly encounter in an abandoned church; and the crackerjack finale complete with a shot of the deadly phial in question rolling precariously along the seat of a helicopter as it spins out of control. Great yet simplistic stuff that almost feels like a boys own precursor to Robert Wise's 1971 gem The Andromeda Strain. Shame it's not had a US or UK dvd release...heigh ho.
http://i733.photobucket.com/albums/ww335/GialloFunk/hardcore1979poster4.jpg?t=1279575849 http://i733.photobucket.com/albums/ww335/GialloFunk/rsesrm.jpg?t=1279576085
Hardcore aka The Hardcore Life (Paul Schrader, 1979) 3.5-
George C. Scott gives a particularly powerful performance as devout Christian businessman Jake VanDorn whose teenage daughter Kristen goes missing whilst on a church funded trip to Los Angeles. A friend recommends he hire sleazy private investigator Jack Mast (an equally convincing Peter Boyle) to locate her, but evidence Mast uncovers turns out to be VanDorn (and every loving father's) worst nightmare; an explicit pornographic 8mm film.
Typically unflinching thriller from Schrader often feels like him expanding on the story behind Jodie Foster's character (Iris) from his name making Taxi Driver script. Hardcore plays like a nightmarish decent into a hell where nobody wants to talk, as VanDorn ditches Mast and goes on his own obsessive search for Kristen amongst the exploited lost souls of the L.A. sex industry. Soon he's mingling icognito amongst the exploiters as a producer of hardcore movies, and it's here that Schrader's film loses much of it's credibility. Despite the unglamorous depiction of the flourishing 70's L.A. porn scene (which is never explicit and far from titilating); it's hard to believe such a straight laced church goer would go to such lengths, and even harder still to imagine any of the streetwise porn sharks taking him seriously. As good as Scott is in the film (and believe me he's fantastic) the sight of him suddenly donning superfly collars (and in one pivotal scene a ridiculous wig and false moustache) whilst casting for a new 'movie' never rings true, and undermines what is an otherwise compelling and challenging piece of cinema. It's still streets ahead of Joel Schumacher's 8MM though.
http://i733.photobucket.com/albums/ww335/GialloFunk/parentsmovieposter.jpg?t=1279580191 http://i733.photobucket.com/albums/ww335/GialloFunk/parents.jpg?t=1279580347
Parents (Bob Balaban, 1989) 3-
It's white picket fence 1950's suburbia and quiet young Michael Laemle (Brian Madorsky) has just moved to a new town with his overbearing parents. There's passive aggressive and downright sinister dad Nick (an on form Randy Quaid), and wide eyed mom Lily (Mary Beth Hurt) whose nowhere near as vacant as she'd like you to think she is. Michael's become a vegetarian, but that doesn't stop his leering parents constantly plying him with dubiously sourced meat platters. Then there's the blood soaked nightmares; dad's job at a company called Toxico, and don't forget the school social worker's concern over the youngster's disturbing artwork...
Parents is artfully directed by Balaban with much of the photography composed of off kilter low wide angles, giving the subtle impression of a child's eye view. It's clear he's playing on the dilemma of overactive young imagination and immature misinterpretation (Michael's friendship with a similarly imaginative young girl helps reinforce this); versus the possibility of real inherent evil on his parents part. We think we know the truth, but Balaban and Richard Hawthorne (who wrote the story) keep you guessing as the film plays it's cards frustratingly close to it's chest. That's the biggest problem with Parents; Michael aside it doesn't reward the viewer with enough insight into any of the characters (or intriguing plot turns for that matter) until the final all too predictable reel. Sure we know Michael's an odd kid, and his nightmares are often genuinely creepy, but every time we think the story is about to deliver something interesting; Balaban moves on to the next scene only to repeat the process. With that said the entire cast are great; particularly Hurt and Quaid who play it to the hilt and really get under your skin as the titular Parents. I just think Balaban tried to be a little to subtle for his own good, and as a result Parents is nothing more than a well made, sometimes effective, yet distinctly unsatisfying curio.
http://i733.photobucket.com/albums/ww335/GialloFunk/l_72791_5023ec77.jpg?t=1279660874 http://i733.photobucket.com/albums/ww335/GialloFunk/Tamara.jpg?t=1279660906
Cleopatra Jones and the Casino of Gold (Charles Bail, 1975) 3
Tamara Dobson returns as lovable narcotics agent with attitude Cleo, in this ramped up superior sequel. Here the budget appears to be slightly bigger, as the action is cleverly shifted to Hong Kong no doubt in a bid to cash in on the success of Enter the Dragon released two years earlier. It's really just a low rent Bond movie with second rate martial arts, claustrophobic direction and diabolical acting. The plot is nothing more than a markedly jazzier rehash of the original, with Clio sent in to bust up a drug ring headed by the Dragon Lady (Stella Stevens trying hard to fill Shelly Winters' boots). She's aided along the way by Asian agent Mi Ling Fong (real martial arts actress Ni Tien) who does a much better job of kicking everyone's ass. Dobson looks like she's been taking makeup tips from Ziggy Stardust, and gives Elizabeth Taylor such a run for her money in the changing outfits department; you'd swear they had velcro backs. That said it really is hugely entertaining in that undemanding way the best B-movies have about them. There's plenty of sassy put downs from Cleo, wonderfully hammy supporting characters, and a wham bam shoot em' punch em' up ending so over the top, you could almost be watching a Toei flick. This aint no Jive Turkey sucka!
Miss Vicky
07-21-10, 12:36 AM
http://ecx.images-amazon.com/images/I/41mMdEF6nhL._SS500_.jpg
City Lights
Had kind of mixed feelings about this one. On one hand, I found the comedic aspect of it to be rather lacking. Slapstick and pantomime just aren't my thing (though, of course, I do realize that other types of comedy aren't really suited to silent film). On the other hand, I found the basic storyline and the romantic aspect of the film to be very sweet. Overall, the movie was decent enough, but not one that'll likely ever find its way into my personal movie collection.
3
EXTRA! EXTRA! Lennon makes his amazing return to reviewing movies with this review:
http://i800.photobucket.com/albums/yy290/Kinomax/predators_teaser_poster.jpg
Predators (Nimród Antal, 2010)
Now, I know what you're saying, an R-rated action movie with babes, guns, and freaking Predators? Lennon'll love this! Well sir, you are wrong, not even I liked this steaming pile of crap.
READ ON FOR MORE (http://www.movieforums.com/community/showthread.php?p=644294#post644294)...
Caitlyn
07-24-10, 05:29 PM
Ride With the Devil (1999)
http://i31.photobucket.com/albums/c395/Caitgee/Movies/RideWiththeDevil.png
Never have understood why there was so much negativity attached to this when it first came out… I loved it the first time I saw it and still do. To me, it is a much better depiction of what was really going on during the American Civil War than Gone With the Wind…
5
Remember Me (2010)
http://i31.photobucket.com/albums/c395/Caitgee/Movies/V-1-1.jpg
Watched this a while back and even though I pretty much knew where it was headed, I still enjoyed it… Pattinson actually did a decent job… and, given a chance, and the right material, I think he can act… he and Brosnan played well off each other and were believable as a father and son at odds with each other…
3.5
Hackers (1995)
http://i31.photobucket.com/albums/c395/Caitgee/Movies/hackers.jpg
Hadn’t seen this in years but it was on TV the other night and I ended up watching it… Pretty dated now but still a little fun… as long as you don’t forget the cheese…
3
Percy Jackson and the Olympians: The Lightening Thief (2010)
http://i31.photobucket.com/albums/c395/Caitgee/Movies/0ed2f7bf-1.jpg
I’ve never read the book so have no idea how close they followed it… I did read some pretty negative things concerning that though… but all in all, I thought the film was fun… just as long as I remembered it was geared toward a younger crowd… I thought their take on Medusa and where she had been hanging out was pretty cool… and the special effects weren’t too bad…
3.5
Changeling(2008)
http://i31.photobucket.com/albums/c395/Caitgee/Movies/changeling.jpg
Bought this a while back and finally got around to watching it… and as far as I’m concerned, Clint did it again… Jolie gave an exceptional performance and I wish she would do more films of this nature… Malkovich was... well... Malkovich… he’s always great …
5
The Twilight Saga: Eclipse (2010)
http://i31.photobucket.com/albums/c395/Caitgee/Movies/Eclipse-stills-eclipse-movie-134598-1.jpg
Yes, I took my cousins to see this… one of which will probably have her license the next time around but I’ll probably end up going anyway because I’ve been there for the others and have enjoyed getting to spend the time with them… anyway, Eclipse is easily the best of the three. David Slade got this one a lot closer to the book and I liked the darker look of it. I know one of the major criticisms of the Twilight films has been toward the acting but all the actors seemed to have loosened up a bit… and I enjoyed seeing the glimpses into Jasper and Rosalie’s past… and the fight scenes and wolves were pretty cool...
3.5
downthesun
07-25-10, 11:16 AM
Alpha Dog
http://upload.wikimedia.org/wikipedia/en/a/aa/Alphadog_posterbig.jpg
Alpha Dog shows that not all criminals are masterminds and that not all "nerds gone wild" stories have happy endings. Nick Cassavetes should be commended for the unflinching manner in which he tells the story - it packs a punch, although it runs a bit too long to be truly unsettling. There's an art to figuring out when to end a movie and this time Cassavetes doesn't get it right, in my opinion.
Alpha Dog transpires in the late 1990s and focuses on drug dealer Johnny Truelove (Emile Hirsch) and his posse, which includes jokester Frankie Ballenbacher (Justin Timberlake) and gofer Elvis Schmidt (Shaun Hatosy). When Johnny has a falling-out with one of his customers, Jake Mazursky (Ben Foster), who owes him money, all hell breaks loose. The escalating conflict results in a prisoner being taken: Jake's naïve younger brother, Zack (Anton Yelchin), who's the lamb to Johnny's wolves. Although Zack is initially kidnapped, he adapts to his captivity, playing video games with members of Johnny's crew, drinking and doing dope, and flirting with girls. It's paradise for this sheltered lad, and he doesn't want to go back to being Mommy and Daddy's Perfect Boy. However, life lessons for Zack aren't foremost on Johnny's mind. He's trying to figure out the best way to stay out of prison or end up in a body bag, and that may require Zack to be in a position where he can never testify.
It's interesting to watch a movie in which the criminals are idiots and wimps. Most of the time, bad guys in movies such as Alpha Dogs are geniuses and ballsy thugs. Johnny plays at times is a sophisticated badass, but when it comes down to it, he's a fraud. He's not smart and he's intimidated by guns. There are many times when he has a chance to pull the trigger but doesn't. Johnny's playing the role of the gangster until one of many unintelligent decisions puts him in a situation in which the consequences are severe.
Most of the characters are not the kinds of people the average person would feel comfortable spending a couple of hours with. Then comes Zack. He's a good guy whose situation is not of his own making. He happens to have a crazy half brother who's in debt to Johnny.
The movie bypasses the perfect ending point - a mock-interview with Sharon Stone as Zack's mother - and instead spends 15 extra minutes with Johnny and his gang. This part of the movie is unneeded and drags the on a bit. While Alpha Dog may start out being about Johnny, it quickly becomes about Zack and Zack's developing friendship with Frankie.
http://images.usatoday.com/life/_photos/2007/01/12/alpha-dog.jpg
As Zack, Anton Yelchin develops a sweet, baby-faced character in which bookworms everywhere will relate. Zack is every high school student who spent more time studying than socializing. It's an effective performance, right to the end. Also strong, which did somehwat surprise me, is Justin Timberlake as Frankie. It doesn't take long for him to get rid of his reputation and do some real acting. Frankie is a tragic figure - a boy who's in way over his head. Ben Foster is brilliant as Jake and was one of the stand out performances from the movie. Emile Hirsch is decent as Johnny, but it's neither a memorable or a compelling performance. A little star power is provided by Bruce Willis in a small role as Johnny's dad and Sharon Stone as Zack's mom. Both play very little roles and apart from an interview with Sharon Stone at the end, they have very little screen time.
Cassavetes approaches the subject matter with a clear eye and a very dark sense of humor. Most of Alpha Dog's jokes are dark, darker, and darkest. The film is designed to make viewers feel uncomfortable and it achieves this with a shocking ending, which although predictable, is like a punch to the stomach. Cassavetes isn't interested in generating suspense; this is more of a study of human nature. The picture he paints isn't pretty but it's accurate. Alpha Dog isn't a happy movie, but it's solid and the impressions it leaves will not be easily shaken away.
http://www.movieforums.com/community/../images/popcorn/3box.gif
Inception (http://www.imdb.com/title/tt1375666/) (Nolan)
Christopher Nolan falls down the plot hole.
http://www.thecampussocialite.com/blog/images/alice-falling-down-rabbit-hole.jpg
What nonsense, nothing but manic behavior, and endless psycho-babble about the horror/sci-fi rules. Does anything that happens here really matter or can you just go deeper into the dream to change the rules? Why not go down to the forth level and plant the idea in his DNA?
The bad guys are the worst shots ever, or are they really shooting? This would explain why professional gunman can rain bullets for 148 minutes and only get one hit. At least in The Matrix they dodged the bullets. But why expend any unnecessary energy? They will just miss. The van should have looked like this.
http://www.youtube.com/watch?v=lCiLV94XlFc&feature=related
Warning graphic violence
In the end I was left with a lot of questions. Has Nolan seen Dreamscape, Brainstorm, Videodrome?
Is he a MC Escher fan?
http://hightouchconcept.files.wordpress.com/2007/06/mc_escher_relativity_623x600.jpg
Rene Magritte?
http://jerryandmartha.com/yourdailyart/images/magritte2.jpg
Was the film real or a dream? Did I watch it in a theater or did the theater watch it inside me? Why do fools fall in the love? The Stuff, are you eating it ...or is it eating you?
Oh wait a minute...
http://toketastic.com/images/bong.jpg
... now I understand man.
1
Hey Loner, I was gonna reply to your post, but it occurs to me it might make sense to move it into the Inception thread first. Any objection?
planet news
07-26-10, 12:51 AM
Loner, I lawled. Great post, man.
Hey Loner, I was gonna reply to your post, but it occurs to me it might make sense to move it into the Inception thread first. Any objection?
Your website green one. :)
I am WAY behind at work, so I have to keep it short for now:
Invasion of the Body Snatchers (Siegel, 1956) 5
http://www.dvdbeaver.com/film/DVDReviews25/a%20invasion%20of%20the%20body%20snatchers/de%20ws%20invasion%20of%20the%20body%20snatchers%202043.jpg
I'm a big fan of the 1978 version, but I hadn't seen the original! Fantastic stuff, for sure, although I still prefer the '78 ending.
Invasion of the Body Snatchers (Kaufman, 1978) 4_5
http://www.wileywiggins.com/adams.jpg
So, now I have seen the original - I still prefer this one, personally, even though I recognize Sielgel's version as the definitive Invasion flick. I like the minimal synth score and the overall atmosphere in the 1978 version, and as I mentioned above, the ending is aces.
Holden Pike
07-26-10, 11:39 AM
I'm a big fan of the 1978 version [of Invasion of the Body Snatchers], but I hadn't seen the original! Fantastic stuff, for sure, although I still prefer the '78 ending.
Unfortunately the Studio forced Siegel to tack on the opening and closing scenes of the '56 version. The original ending was, appropriately, Miles screaming like a madman on the highway as the truck rolled on toward the city. But the ending of the Kaufman version, which ups the ante considerably, is amazing and a classic in its own right.
And how cool is McCarthy's cameo as he slams into Sutherland's car, now that you've finally seen the original?
http://www.youtube.com/watch?v=8gXs3kSvRzM
TheGirlWhoHadAllTheLuck_
07-26-10, 12:24 PM
District 9 4
http://img.timeinc.net/time/daily/2009/0908/box_office_0814.jpg
It starts off slow, with a pretend documentary style that doesn't really work (it sometimes pops up later in the film) because it is so blatant about the set-up of the film being an analogy for apartheid. It's set in South Africa- you don't need to spell it out for us.
So as an analogy, it's a little self-conscious. Although my attention waned at times, the film is inventive and clearly the filmakers have thought about the details- it works on a dystopic sci-fi level. The 'prawns' (the humans' derogatory name for the aliens) are sweet in a way and I genuinely felt sorry for them. I didn't care so much for the human guy who was some sort of government worker.
So my verdict- as a political analogy, it feels too self-conscious; as a science-fiction dystopia, it works.
Maurice 3_5
http://www.moviemail-online.co.uk/images/large/Maurice-screen.jpg
The film is based on an EM Forster novel that was written in 1913 but was unpublished until 1960 because it openly and positively dealt with homosexuality. It's all very well-acted- its small faults are not down to the actors.
The story's sort of a cross: Part 1 is very much like Brideshead Revisited- two young men fall in love at Cambridge, although the nature of that love varies between the two. Part 2 is Lady Chatterley's (or Lord Chatterley's) Lover- Maurice is awakened by a working-class servant. And yes, there is full-frontal nudity.
James Wilby gives a sensitive portrayal of Maurice. Often when straight actors play gay roles, it seems to be of the Brideshead nature but Wilby conveys the sexual nature effectively without it coming across as pornographic or an attempt to exploit it for his film career (unfortuantely I haven't seen him in anything recently) In a rare serious role, Hugh Grant plays Clive, Maurice's first love who insists on a non-sexual relationship. Grant's actually very good in this and you do genuinely feel sorry for the character as well as the actor- he's never had another serious role like this and probably never will. Mellors, the gamekeeper- I mean, Scudder, the servant- is played by Rupert Graves, with an adorable accent, and he's very good too. Just adorable Out of the three main roles, this is probably the hardest to play: Alec as a character is not as complex as Maurice and Clive and the film is slanted towards Clive's relationship with Maurice- Alec only really comes in near the end. The fact that Graves manages to overcome the obstacles is impressive, especially as he was only 23- the scene when he looks through Maurice's window...just wonderful.
I'd also like a special mention for Mark Tandy, who plays Lord Risley, a fellow student who is jailed for 'indecency'. He really gives a poignancy to such a small role and the court scene is pivotal to the change in Clive.
Were it not for strong performances, the film may not have worked; although one must applaud Forster for giving a portrayal of a gay man whose life doesn't end in doom, it's not that strong a work. The filmmakers have clearly had to make adjustments. There's quite a long bit about Maurice debating whether he's gay or not and he goes to see a doctor and for therapy...although this may be of interest to gay viewers or viewers interested in attitudes towards homosexuality in the 1910's, it dragged the pace. We know Maurice is gay so the scenes are redundant- sure, perhaps there should be a few scenes where Maurice feels confused but there was too much. Clearly it was important to show Edwardian society's rejection of homosexuality in order to explain why the relationships are so difficult and to add dramatic tension but the court scene is enough. Ivory ought to have had more confidance in the dramatic effect of that- think of the early scene in Another Country. That just says it all.
That's the second fault. It's a Merchant-Ivory production and it suffers from those two faults- slow pacing and historical fetishes. The period is evoked nicely but there's too many slow scenes where we're really just staring at the pretty rooms or the pretty outfits, etc., instead of getting on with the story. Were it not for these long scenes cluttering up the drama, I'd give the film 4 stars, maybe even more.
I would recommend the film though, particularly for gay viewers who like a happy ending (although there's a little sadness about one character) and/or are interested in the attitudes and aesthetic of the time. And yes, that woman talking when Maurice is playing cricket is Helena Bonham Carter, in a little cameo.
linespalsy
07-26-10, 01:54 PM
I haven't thought of ratings for all of these yet but here's my viewing since last time I was in this thread. I'll try and do write-ups for at least some of these, if anyone has any in particular that they want to hear my thoughts on, let me know.
Trust (Hartley, 1990)
Fist of the North Star (1986)
Violence Jack, Part 3: Slum King (1990)
Violence Jack, Part 1: Evil Town (1988)
Flashdance (Lyne, 1983)
Pirate Radio (Curtis, 2009)
Bad Lieutenant: Port of Call - New Orleans (Herzog, 2009)
The Killer Inside Me (Winterbottom, 2010)
Twilight: Eclipse (Slade, 2010)
Bringing Up Baby (Hawks, 1938)
Iron Man 2 (Favreau, 2010)
Get Him to the Greek (Stoller, 2010)
Inception (Nolan, 2010)
downthesun
07-26-10, 02:03 PM
Leaves of Grass
http://upload.wikimedia.org/wikipedia/en/d/d7/Leaves_of_grass_ver2.jpg
Tim Blake Nelson is an up and coming director whose work until now had been received well critically but didn't manage to make an impact at the box office. By snagging Edward Norton to play the lead role(s) in Leaves of Grass he may be able to change that.
The movie centres around twins, Bill & Brady who lead very different lives. Whilst both are geniuses in their own right, they've chosen to use their brains in very different ways. Bill is a renowned professor who has been offered a job at Harvard, whilst Brady makes a living by growing and selling top quality marijuana. When he runs into trouble with a local drug lord he finds a way to lure Bill back to Oklahoma to help him deal with his problems.
Edward Norton as usual is brilliant with his handling of both roles and when Brady and Bill are seen together it really seems like Norton has found his perfect co-star. In this film he strays away from his slightly stereotyped roles as a crazy, violent man (American History-X, Fight Club, Primal Fear) and does so by showcasing his great range in this leading role. The story of the film is nowhere near as intense as some of Norton's previous roles and one of the downsides is the shoddy special effects used when showing the twins together. My sister commented that it reminded her of the same technology used to generate two Lindsay Lohans (god forbid) in Parent Trap.
Tim Blake Nelson wrote, directed and acts as the main supporting actor in Leaves of Grass. The script and directing at some points reminded me of a Coen Brothers movie with the quick and unexpected violence and some decent dialogue between the twins. Whilst primarily being a comedy, Leaves of Grass does switch genres and tones throughout and what we are left with is a movie that slightly lacks in edginess but shows the potential that Nelson has.
3.5
The Hurt Locker
http://mindlesscomfort.files.wordpress.com/2010/01/hurt-locker-boom.jpg
Hurt Locker veers away from the general formula followed by war movies that would be classed as Action or Drama flicks. Kathryn Bigelow shows that it is possible to make a war thriller that is packed with tension without making it a movie that merely glorifies the violence of war. I literally spent the majority of the film on the edge of my seat, waiting for the next explosion or gunshot, as I'm sure many of you did.
Some people I have met have argued that the film has no real story to it. I on the other hand believe it is a simple story about a team of bomb defusal experts finishing their tour of Iraq and trying to get the whole team back in one piece, much like the mini-series Generation Kill. On the surface it is a simple story about the good guys against the bad guys and the lack of a political motive behind the movie is refreshing. The Hurt Locker has some of the most intense scenes I have seen in recent memory and this is in no small part due to Bigelow's excellent directing.
The Hurt Locker is well crafted and will leave many people on the edge of their seats and exhausted by the time the end credits roll round. I for one felt almost drained after watching it. However, whilst suspense is built up excellently in this film, the characters and setting are also equally well developed. The audience at points almost feel like they are in Iraq with the bomb disposal squad. Despite the appearance of actors such as Guy Pearce, the majority of the film largely lacks any big name stars which works well to keep the audience focussed on what is going on and to helps them appreciate this masterpiece in film-making.
4.5
A Serious Man
http://moviechopshop.com/wp-content/uploads/2009/10/a-serious-man.jpg
If I've learnt one thing over the many years I have been watching movies, it's that the Coen Brothers can never be accused of making the same kind of movie over and over again. With A Serious Man, Joel and Ethan yet again prove they are the masters of versatility and constantly test themselves and succeed with flying colours. As a big fan of their work, every Coen Bros film I have seen has hit the spot and that is the case with A Serious Man as well.
Similarly to the previous film I reviewed, the Coens shy away from big name A-list actors for their latest feature. The only recognisable faces were “that guy with the annoying face from Mad About You” (Richard Kind) and “that Nazi from Sons of Anarchy” (Adam Arkin). Whilst the leading actor Michael Stuhlbarg has made his name on stage, he has no significant experience in films. However, he along with the rest of the cast are excellent. Like The Hurt Locker, small name actors help the Coens to set the scene very well.
The movie is a modern day version of the Book of Job and the Coens clearly have a message they want to deliver with this film. Like their previous work, A Serious Man has as much going on beneath everything as there is going on on the surface. What starts off as a fairly straightforward plot quickly twists and turns into a movie that only the Coens could make work. Without a proper ending, the movie leaves the audience to make their own conclusions on what happens. Undoubtedly some will be pessimistic whilst others will be optimistic with their own ideas on what happened to all the characters and I have a sneaky feeling that's exactly what the Coen brothers wanted. Whilst not being their best movie, A Serious Man is a very good film and I wait with bated breathe for what these two geniuses have in store for us next.
4
Classicqueen13
07-26-10, 10:02 PM
http://cdn-8.nflximg.com/us/boxshots/large/509638.jpg
A terrific ensemble of actors all have great chemistry, which I think is what adds a special touch to this movie. The relationships are portrayed great. The characters are enjoyable to watch and are probably the best part of the writing even though the script is pretty good. The idea is so intriguing and Schumacher's direction adds a chill factor I think. It probably would've been better if my little sister hadn't told me everyone's sins first.
Flatliners: 3++
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I really didn't have an interest in seeing this but my mom picked it, and I must say if she had picked something else, I wouldn't be disappointed. I think Will Smith is talented, but he's playing the common tortured soul mostly the same way I've seen him play others. The storyline is interesting, but I was making a lot of predictions and piecing things together a little more quickly than I should have. It's a better love story for any romance lovers. If you enjoy inspiring and do good works dramas, this is good for that. Overall, that was probably its most redeeming quality and it gets an "eh, not bad" from me.
Seven Pounds: 2.5+
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Worthy sequel of the classic because you can't really expect it to be as good. I mean seriously, it's Jaws. The returning leads are great and the additions provide solid support. The plot's about the same as the first, but never-the-less entertaining. There were a few just plain annoying teenage kid moments, but watch it to complete the worthy part of the Jaws series.
Jaws 2: 3
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I didn't feel like I wasted two hours on this movie, but if I had spent my two hours doing just about anything else, I wouldn't regret it. A big problem for me: the movie practically starts out saying that Brad Pitt was old enough to fight in Vietnam. They did manage to cover up this up by never really showing "present-day" Brad Pitt. When they did, he was pretty beat-up so correcting the age gap passed okay. Robert Redford's created a very cool character here. The script is great, but the direction didn't feel very original. I think some things could've been better explained or further explored. However, it never lost my attention and I was certainly in it until the end. Acting can't be complained about either with Redford and Pitt leading the cast.
Spy Game: 3
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I definately spent more time waiting for Kiefer Sutherland to have a line and looking for "Argyle" from Die Hard (It takes to long to spell his real name) than I did laughing. Neil Simon has a knack for screen-writing in that his scripts don't always make me laugh out loud, but they make me smile and chuckle. The story is heartfelt, as might be expected. Don't look for suspense here although the plot could've provided it. The actors add a great deal of charm and a "comfy" feel to the film. It's just one for a rainy day to make you smile.
Max Dugan Returns: 3
linespalsy
07-27-10, 03:43 PM
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Trust (Hartley, 1990)
Good early film by Hartley, which is one of his more character-centric and thus "normal" efforts. I'd have to rewatch Simple Men and a couple others but this is probably in my top five (after Amateur and No Such Thing) of his movies.
3.5+
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Fist of the North Star (1986)
The first half of this juvenile post-apocalyptic epic manga-adaptation is one of the most entertaining stretches of cinema ever made, if your currency for hilarity is cartoon head explosions, ridiculous scale-inconsistencies and just overall creative (though entirely formulaic) mayhem. The second half is definitely a letdown, but still...
3.5
Violence Jack, Part 3: Slum King (1990) 0.5
Violence Jack, Part 1: Evil Town (1988) 1.5
Ultra-schlocky anime in the Fist of the North Star vein but without half the imagination or style. The first part gets an extra point for some truly tasteless transsexual cannibalism. Go Go Nagai.
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Iron Man 2 (Favreau, 2010)
I haven't seen the first one but if, like me, you've been wanting to see Tony Stark get drunk and pee in his Iron Man suit, this is where you should start. The rest of the movie is pretty entertaining too.
3
and here's the rest:
Inception (Nolan, 2010) 4+
Bringing Up Baby (Hawks, 1938) 2.5
Flashdance (Lyne, 1983) 2.5+
Pirate Radio (Curtis, 2009) 2-
Bad Lieutenant: Port of Call - New Orleans (Herzog, 2009) 3.5
The Killer Inside Me (Winterbottom, 2010) 3-
Twilight: Eclipse (Slade, 2010) 2
Get Him to the Greek (Stoller, 2010) 2.5+
TheGirlWhoHadAllTheLuck_
07-28-10, 10:36 AM
Watership Down 2
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Don't let this cute picture deceive you. The novel the film is based on can be read by both children and adults; it has grown-up themes (it's basically an allegory for WW2) but the novel deals with them sensibly and sensitively.
Alas, the film does not. Although Watership Down did not shy away from the troubles the rabbits faced, it was certainly not as grisly and horrible as this film. The fight scenes are unnecessarily bloody and the rabbits writhe in pain (google image 'watership down' and you'll see what I mean)
Even some adults would probably be surprised at the violence of the film. It seems that the director was unsure whether he was making a children's film (the song Bright Eyes is mawkish and the rabbits are cute, though the animation is poor, and for some bizarre reason it's certificated U) or a gritty adult film, 'Quentin Tarentino for kids', as one Amazon reviewer dubbed it. Steer clear of The Plague Dogs film adaptation if you are squeamish- a man accidentally shoots himself in the face and his face is covered in dripping blood. Surprisingly, it's rated a PG.
The book is far more complex than this film would have you suggest. It gets one star for the story, which is pretty faithful to the book, and one star for the good voices.
The Poughkeepsie Tapes(2007)- Ok when a friend told me about this movie he thought it was a documentary and that they are showing the actual murders when I started watching the movie it feels disturbing but halfway trough the movie I decided to check about this killer and it turned out that its just a mockumentary and pretty well crafted one it still feels kind of sick but knowing its a movie and its just not the same
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I was always transfixed by Watership Down as a kid. I can still see the stylised mythic opening now, and the visceralness of the rabbit's struggle (who thought that'd work? ;)) made the story gripping. Made it feel important/real too.
The animation is pretty ropey in general looking back, but hey, kids like 'nature' stuff, blood, being scared, rooting for heroes, and fluffy things. Not sure what the best age to watch it would be tho. Definitely too scarey for the little'uns.
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journeyowns
07-28-10, 01:11 PM
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The King Of Kong: A Fistfull Of Quarters
A documentary about a mans quest to hold the high score in Donkey Kong, and the previous record holders quest to hold onto the score. I just watched this on netflix instant, and man I loved it. It is easily one of the best documentaries I've ever seen. I wanted Steve Wiebe to win. I felt connected to him and his family. This is one that I'd heard about for a long time and never got around to watching until now. Great stuff. Highly recommended.
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Thursday Next
07-28-10, 04:38 PM
The Thing (1982)
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Yes, it has taken me this long to get around to watching this sci-fi/horror classic. I was slightly traumatised by a particularly gory clip I saw some years ago and kept putting it off but it came on tv the other week and I decided to get over myself and just watch it. With my hands over my face at some points, I'll admit. It was too gory for my tatses, but everything else about it, the setting, the premise, the growing panic and paranoia among the team members was all excellent, gripping stuff. The scene with the blood testing particularly.
4
In the Heat of the Night (1967)
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Sometimes you just know a film's going to be good from the opening credits - perhaps this is an illusion, like love at first sight, nothing more than a postiive initial feeling backed up by later positive feelings, perhaps there are just as many films with good openings that turn out to be dull that we forget. But I had the same feeling from the start of this as I did with Dog Day Afternoon, and the rest of the film didn't disappoint. You know what this film's about so I won't go into plot details. I was quite shocked at the racism, more than I expected. (And also the casual way people go around slapping each other, was this really what the sixties was like?). Rod Steiger's performance really is excellent and as a murder mystery and a character piece it really is satisfying.
4
Sherlock Holmes (2009)
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I was gripped with a sudden desire to watch this film ahead of the BBC 'modern Holmes' adaptation shown on tv last Sunday, so bought the dvd and watched it on Saturday. And I enjoyed it immensely. It's utterly daft, of course, but it's fun. It could have done with a few fewer fist fights and a bit more deduction, at times there's almost little to make it Sherlock Holmes rather than any other period action-adventure (not that there's many of those, I suppose). There was something a little comic book about it, but I didn't mind that at all. This is the first movie with Jude Law in it that I can recall having actually liked, pretty as he is he's often rather dire - perhaps the moustache helped his acting ability. The Watson/Holmes dynamic is great, lots of sparky banter, much more interesting and convincing to watch than the Holmes/Iren Adler sideline, although I think I'd have liked her a little better if she'd done a bit more scheming and a bit less swooning after Holmes and getting all teary. The mystery's preposterous but it's somehow fitting. Nicely open-ended and I do hope there's a sequel.
4
Inception (2010)
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I don't really want to say too much about this as it really is the kind of film that is better the less you know about it. It's good, I was entertained for the full 2 1/2 hours and while it's not without flaws I certainly didn't feel my intelligence was being insulted as in some blockbusters (*cough*Avatar*cough*). It's an interesting concept and it looks fairly good. There's a bit of humour, mostly a bit of bickering between Tom Hardy and Joseph Gordon-Levitt's characters, but I think it really could have done with a bit more to really make it the sort of film that will live in people's affections on subsequent viewings. If Nolan had spent more time really exploring the possibilities of imagination and dreams and less time watching The Matrix it could have been really spectacular. But as it is it's good, slick, entertaining and well worth watching.
4
TheGirlWhoHadAllTheLuck_
07-28-10, 04:39 PM
Another Country http://www.movieforums.com/images/popcorn/4_5box.gif
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I'm a sucker for schoolboy stories- maybe because I went to an all-girls school. Anyhow, a young Rupert Everett stars as Guy Bennett (both Guy as an old man and Guy as a 17 year old). Guy is a Russian spy being interviewed in the 80's and asked about his schooldays, the experiences of which left him disillusioned with his country. Flashback to the 1930's and a private school a bit like Eton but not Eton...
A young Colin Firth plays Tommy Judd, Guy's best friend who is in love with Communism and who appears to be the only straight boy in the school (bar the first-years. It's rather a stretch to believe the tiny little first-years are just six years younger than Firth or Everett, who were both in their early to mid twenties). Firth and Everett have great chemistry and I loved all their scenes together.
The school is really run by the student prefects, in particular a fascist one called Fowler, who create an oppressive atmosphere where being openly gay gets you kicked out.
Guy is openly gay but some of his conquests, who are prefects, are less willing to be openly gay, valuing their career futures above honesty. His romance with a fellow pupil is touchingly innocent but the prefects, in particular Fowler, will do anything to keep the blame of themselves.
On one level, the film is a coming-of-age story about a gay boy who realises that honesty is not always the best policy. It beautifully evokes the harshness of a public school environment and the cruelty that those who refuse to fit in face. On another level, the school is a microcosm of English society- Guy would face that condemnation everywhere in England, a fate he slowly comes to realise. 'Another Country' relates to the promise of Russia and Communism and the disillusionment with their own country.
However I would have liked the film to be a little longer and some viewers may find it too much of a leap to believe that Guy having a bad time at school because he is gay would lead him to become a spy and betray his country. But saying that, the play/film isn't trying to give an easy answer. The death of X is clearly also a factor, which gives Guy the political disillusionment needed to betray the country. And even if you still don't believe that Guy would become a spy, this is still a moving tale of the transition from innocence (even their cynicism is just your typical teenage rebellion) to bitterness and disillusionment.
Needless to say, Everett is brilliant in this, and it's nice to see Colin Firth before he was Mr Darcy. The score is also haunting.
Interesting bit of trivia- Everett starred as Guy in the original stage production with Kenneth Branagh as Tommy but a year later, Colin Firth played Guy.
linespalsy
07-28-10, 05:36 PM
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Obsession (De Palma, 1976)
This one is okay, Cliff Robertson's obsession with -- and pursuit of a random woman who looks just like his wife 15-years-dead is pretty creepy and nuts. Just thought I'd mention that I'm also long-overdue to see Vertigo again.
2.5
Tacitus
07-29-10, 10:09 AM
Picnic At Hanging Rock (1975, Peter Weir)
5/5
I picked up the new Blu Ray edition recently and still feel slightly unusual...
My stall is getting set out early here in that I think Picnic At Hanging Rock is one of the most beautiful and evocative films ever made. It would sit comfortably in the top 10 of my top 100 if I'd have owned it at the time of writing. Heck, the top 5. ;)
I'm sure that most people have seen the film or at least know of it so I'm mainly gonna talk about the merits of the new transfer.
Old films on HD can go one of three ways -
1. A total restoration job in the manner of the first two Godfather films or Blade Runner.
2. The selection of the best quality original print the studio could find with maybe a little tidying up here and there, such as, from my collection anyway, The Wild bunch or The Searchers.
3. A complete balls-up with the director taking it upon himself to muck about with the source material and ruin the colour. The French Connection, I'm looking sternly at you...
I suspect Picnic At Hanging Rock falls under #2 and, when I first put it into the player, I was ever so slightly let down. Let down, that is, until I popped my DVD (the three disc special edition) in for a quick comparison.
In comparison to the already decent DVD transfer, the BD's picture practically jumped off the screen. Glorious colour with deep, varied shadow and the removal of most of the little artefacts and anomalies which usually distinguish a 35 year old lowish budget film. They've thankfully not done anything about the noticeable film grain because, well, that's just wrong.
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The result? Weir's dreamscape is now of the standard I'd have wanted if I'd seen it in the cinema in 1975 - I honestly can't remember if I did or not but, as I was 2, it's probably unlikely.
The clingy, sultry atmosphere of the outback, the beauty of the cast (in particular Helen Morse as the French teacher), the hypnotic score and the perfect pacing of the mystery (Weir's decision to actually leave bits out of the director's cut is completely justified). All of this is amplified.
Heck, even Mrs Mangel looks good. ;D
As a film I don't think I can fault Picnic At Hanging Rock. As a Blu Ray release there's not much to nitpick on either.
Whether on Blu Ray or DVD, file under 'essential'.
Please. :)
linespalsy
07-29-10, 03:47 PM
That movie's awesome.
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Harry Lime
07-29-10, 05:49 PM
That movie's awesome.
Agreed.
Iroquois
08-01-10, 01:56 AM
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Tetsuo, the Iron Man (Shinya Tsukamoto, 1989) - 2.5
Utterly crazy and impressionistic technological fable about an ordinary guy who slowly but surely mutates into some bizarre metal freak. It's short and blunt but the utter craziness of the visuals does pummel the senses and by halfway through I was just waiting for it to end. An interesting visual experiment, sure, but hardly anything worth going through again.
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Toy Story 3 (Lee Unkrich, 2010) - 4
I'm not in the habit of rating new films higher than 4, though I think this comes mighty close. It may retread some of the ground covered in the last film, but most of all it stays interesting, amusing, captivating, heartwarming and above all right up to Pixar standards. Brilliant.
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Predators (Nimrod Antal, 2010) - 3
This was about what I expected - not quite on the same level as the original, but nonetheless a reasonably entertaining way to kill a couple of hours.
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Gettin' Square (Jonathon Teplitzsky, 2003) - 1.5
Don't know if you remember this other Australian crime movie I saw a while back called Two Hands, but this is something in the same vein. Didn't like this for many of the same reasons (lame acting, weak comedy, unremarkable filmmaking, bad music, etc.) with the odd spot of half-decent writing. But yeah, right now I'm trying to figure out if this was better or worse than Two Hands, but that's like deciding whether cat crap tastes better or worse than dog crap.
TheGirlWhoHadAllTheLuck_
08-01-10, 10:33 AM
A Handful of Dust 3_5
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Directed by Charles Sturridge and produced by Derek Granger, the same people behind the seminal 1981 adaptation of Brideshead Revisited, this is a tackling of one of Waugh's other novels.
It starts off nice and Bridesheady. There's a big house with a rich couple (James Wilby, who looks like he should be in a Waugh novel, and Kristen Scott Thomas) and a little son. The wife, Brenda, decides to have a little fun and get a flat in London, also bagging mummy's boy man-candy John Beaver (played by Rupert Graves). However after a tragic accident, she decides to divorce her husband and set up house with Beaver.
What her husband Tony decides to do is incredibly bizarre. The film veers from Brideshead to Kafka, and the change is both sinister and irritating. This film has a top cast- Rupert Graves and Judi Dench, playing his mother, are both very underused- and I would have liked to see more satirical swipes at the upper classes. Sometimes you think you're watching a tragic drama, sometimes a light satire, and at the end, a very black comedy. The ending may have worked in the context of the novel but in the film, it comes off as frustrating. The threads seem a little loose; the novel has more time for exploration. This could have worked as a TV series and on second viewing, the blackly comic ending (which I'm sure most people would find sinister and random than blackly comic) may be better but expecting one thing and being given another is frustrating to say the least.
TIP: Listen to the score- occasionally there are tribal sounding pan pipes. That's a clue.
Invaders from Mars (Menzies, 1953) 2
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After running across Holden's old thread on body snatcher flicks, I made a point to try to watch all the original flicks he had listed, and Invaders from Mars was next in this this weekend. I had fun watching it, with tongue firmly planted in cheek, but this film isn't on the same level of quality that say, the original Invasion of the Body Snatchers resides on. Invaders from Mars is a rather small film with relatively few set pieces, an engaging and fun cast, and a paranoia theme that I am sure was quite chilling during the time the film was made. However, the third act is almost laughable, as martians in green suits run back and forth across the screen over and over. I'm glad I watched it, just to get it under my belt, but it certainly won't get my vote in Holden's poll thread!
Body Snatchers (Ferrara, 1993) 3
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Although this version is not on par with either of the previous versions, I still liked this version quite a bit. I enjoyed the military setting, the cinematography, and Meg Tilly was pretty damn creepy as the step mom. Also, Holden had mentioned how creepy one of the pod scenes was, and he was right. This flick has some pretty effective stuff in it, but ultimately fails to execute on all the levels the previous versions did. Worth a watch, but make sure to see the original and the '78 remake first.
They Live (Carpenter, 1989) 1 or is it 5?
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Ah, what a classic! Rowdy Roddy Piper is an esteemed and dynamic actor, using subtle facial expression and tiny movements to express a wide range of emo...oh wait - this guy is the worst actor to ever get in front of a camera! That doesn't matter though, because this film is all about the camp. It also contains a most excellent fist fight! Don't forget your sunglasses!
Miss Vicky
08-02-10, 11:25 AM
No popcorn rating for They Live?
It's rated - It's either 1 or 5 boxes, depending on the angle. Personally, I love the flick.
TheGirlWhoHadAllTheLuck_
08-02-10, 02:37 PM
Here we go. The two film adaptations of Lolita put head to head:
Lolita (1962) 3_5
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Vladimir Nabokov's notorious novel of a middle-aged man's desire for a barely pubescent girl is a tough beast to tackle. Is it a love story? Is it a tragedy? A lesson in morality? Or is it a black comedy? It's a very hard novel to pin down- Kubrick opts for the latter, which gives him an excuse to tone things down.
The best thing about this film is Sue Lyon, who plays the title character. She is charming and sassy, if a little vulgar for Humbert's taste, and her performance is iconic. Shelley Williams is also good as Lolita's trashy single mother who Humbert marries in order to get close to the daughter.
Humbert Humbert, the ardent pervert, is played by James Mason. He's sort of part Swiss, part English, born in France...European, as he calls himself in the novel. Of course, he's a lunatic so who knows what to believe- anyway, the contrast between Mason's erudite Britishness and the trashiness of the world he encounters create a great deal of humour. Humbert/Nabokov's skills at character and behaviour observation are brilliant and Kubrick makes similarly good observations about a culture and generation clash.
However I found Peter Sellers, who plays Quilty, annoying. I'm sure those who find him terribly funny will love him in this. I didn't find him terribly funny- he just seemed to be trying to do a star turn.
Sure, the paedophilia was played down but the novel is about much more than paedophilia. The film is not flawless but it is an enjoyable black comedy and worth watching for Sue Lyon's performance alone.
Lolita (1997) 2_5
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This newer version is directed by Adrian Lyne, he of Flashdance fame. Lyne goes for the opposite of Kubrick, choosing to interpret the novel as a tragic love story.
Dominique Swain looks more like the Lolita of the book and she captures Lolita's childishness, although it's treated in a creepily fetishistic way. Humbert is actually the only person that calls Lolita in the book (not the case in Kubrick's film) and this film stays true to the book in that respect- Lolita's actual name is Dolores Haze. There are even some 'love scenes' in this film although using a body double negates the purpose.
Now onto Humbert, played by Jeremy Irons. Mason's Humbert is an erudite voyeur/pathetically infatuated man. Irons' Humbert is a poor unlucky man who falls in love with a fourteen year old girl (just like Kubrick's film, they bump up the age) and pays the price. His narrative parts are beautifully done, seductive yet wistful and regretful- Irons just has a wonderfully expressive voice. However he is notably awkward throughout the film which makes the whole experience even more uncomfortable than it is by default.
Finally, Quilty- a tough character to play. Apparantly the filmmakers had originally thought of having Irons play both paedophiles, which would have been quite nifty. Instead they get Frank Langella, who is shady as Quilty but entirely unattrative. Why Lolita would want to shack up with him is beyond me. There is also a repulsive scene where Quilty's running from Humbert, wearing a dressing gown open to reveal..um, everything. Why anybody thought that was a good idea is beyond me.
The setting of the film is beautiful- it looks like fourties' Americana. Humbert's observation of his environment is expressed well here. Poetically trashy indeed. However like Flashdance, it's unnecessarily pervy. Jeremy Irons was at least 10 years too old to play Humbert (Humbert's about 37 at the start) and although it follows the book faithfully and the actors aren't too bad, there's somethign very exploitative about it.
I don't see how there's any way I can write these up in any detail right now. I can't really sit in this dumb chair long enough and I've gotten backlogged.
A Single Man (Tom Ford, 2009) 3 http://civilcinema.cl/wp-content/uploads/2010/07/A-single-man-150x200.jpg
Tour-de-force performance by Colin Firth combined with some interesting directorial touches which include framing the central characters in tighter and tighter frames-within-the-frame make this well worth watching. The ironic ending may surprise you. It's set in Los Angeles in 1961 so there are plenty of historical and pop cuture references too.
Prophecy (John Frankenheimer, 1979) 2+ http://content9.flixster.com/movie/97/93/42/9793423_det.jpg
This is basically trash, but the cast and professionalism on display makes it either bearly-watchable or a humongous waste of a good idea. It's about how pollution creates monsters out of both animal and human babies when left unchecked. The main monster looks like a giant grizzly bear turned inside-out.
The Human Condition II (Masaki Kobayashi, 1959) 3.5; Art House Rating: 4 http://dodjer.com/uploads/posts/2010-01/1264469282_Ningen_No_Joken_I_1959_The_Human_Condition_Parts_1_2_CRITERION_Remaster.jpg
This second three-hour section of the epic film seems a little more powerful than the first part. It does get to you, but I wish the characters didn't yell at each other so much. I realize that they're in an untenable position, but if I were in a war zone, I'd be much quieter so that people would have less of a chance of shooting me based on where my voice comes from.
The Sheepman (George Marshall, 1958) 3+ http://images.letmewatchthis.com/thumbs/27976_The_Sheepman_1958.jpg
Highly-enjoyable comic western adventure with Glenn Ford being his likeable self and easily wooing pretty Shirley MacLaine from baddie Leslie Nielsen. Mickey O'Shaughnessy and Edgar Buchanan lend expert support to this age-old cattlemen vs. sheepmen tale.
Lonely are the Brave (David Miller, 1962) 3.5 http://img.cooga.net/films-lonely-are-the-brave-1962-kirk-douglas-244701.jpg
Quietly-powerful tale about how there really is no place for a simple cowboy in the modern world. Kirk Douglas is terrific, especially in his scenes with Gena Rowlands as his best friend's wife. Kirk is also excellent interracting with his other love, his horse Whiskey. Walter Matthau is solid as the sheriff tracking down Douglas after he breaks out of jail, and Carroll O'Connor as a truck driver with an unusual cargo provides the ultimate exclamation point to this significant film.
Carny (Robert Kaylor, 1980) 3 http://content6.flixster.com/movie/51/11/16/5111168_det.jpg
Unusual flick about modern-day carnivals showcases Gary Busey and Robbie Robertson as buddies who work the crowds for all they can get. Jodie Foster shows up to complicate the relationship, and then the whole thing turns into something resembling a mini-version of The Sting. Whatever you think of it, it does have striking atmosphere and photography as well as a great latter-day musical score by Alex North.
Sommersby (Jon Amiel, 1993) 3.5- http://content8.flixster.com/movie/25/92/259218_det.jpg
Americanization of the French film The Return of Martin Guerre transplants the tale of a man's identity to the Post-Civil War South. Richard Gere actually gives one of his better performances as a man almost everyone agrees is the man who's been missing for almost seven years. His wife (Jodie Foster) seems happy to see him although their relationship wasn't particularly happy before he went to war. Later on, a murder trial is turned into a decision on whether this Sommersby is actually the real one or an imposter.
A Lobster Tale (Adam Massey, 2006) 2.5- http://ecx.images-amazon.com/images/I/51YlJSlwzPL._SL500_AA300_.jpg
This is a likeable but incredibly low-key fable about how a New England lobster fisherman (Colm Meaney) finds something akin to magic seaweed which can heal most illnesses. He and his family have to decide what to do with it, if anything. You'd think this would set up some confrontations and soul-searching, but the film seems more interested in quirky atmosphere than plot machinations.
Box of Moon Light (Tom Di Cillo, 1997) 3 http://ecx.images-amazon.com/images/I/5178MA2J34L._SL500_AA300_.jpg
Enjoyable character study with offbeat flourishes which gets by mostly due to terrific performances by John Turturro as an uptight workaholic who runs into his exact opposite in the "off-the-grid" Sam Rockwell. Their "adventures" and bonding are nothing extraordinary but certainly life-affirming. If you enjoyed DeCillo's Living in Oblivion or any of his later films, you should like this one.
Greenberg (Noah Baumbach, 2010) 2.5 http://www.onlinemovieguru.com/images/movies/Greenberg_2010.jpg
Ben Stiller is good as walking psychological nightmare Roger Greenberg who gets lucky when he meets his brother's assistant (Greta Gerwig) who's willing to take a chance on him no matter how abusive he becomes. In fact, that may be the problem with Greenberg since the character may be quite off-putting to many viewers. I think it's worth watching but I didn't like it as much as The Squid and the Whale and Margot at the Wedding.
Shutter Island (Martin Scorsese, 2010) 3.5 http://www.bhscutlass.com/wp-content/uploads/2010/02/shutter-island-movie-poster.jpg
Entertaining suspense-mystery suffers from being both overlong and too-talky. The huge cast does well, and Scorsese and crew pile on the F/X at almost every moment even if you don't notice it. Thus, it should probably appeal to most people, even if you're one of the many who figures it out in advance. I wish the great Max von Sydow would either be given larger roles or be up to tackling them because he effortlessly brings gravitas and humor to both this and the director's cut of The Wolfman.
Racing with the Moon (Richard Benjamin, 1984) 3.5 http://content9.flixster.com/movie/26/37/263719_det.jpg
Wonderful coming-of-age story set in a Northern California coastal town during WWII where two buddies (Sean Penn and Nicolas Cage) are about to enter the Marines. They work at the bowling alley and know most people in town, and then the Penn character meets and falls for a girl (Elizabeth McGovern) he sees at a movie theatre. Cage also has a girlfriend, and things turn much-more dramatic when she gets pregnant. Overall, this is a solid comedy-drama, especially for those who want to see the male stars in earlier performances.
The White Ribbon (Michael Haneke, 2009) 2; Art House Rating: 3.5 http://ecx.images-amazon.com/images/I/519KJiDgDkL._SL500_AA300_.jpg
Surprisingly-inert tale about what happens in a small German village just before the outbreak of WWI. The black-and-while photography is somewhat stimulating, but most of the puzzle pieces in the film seem obvious in retrospect and not nearly as clever or thought-provoking as the apparent intention is. It's still a mystery open to interpretation but based on what's actually shown in the film, I tend to find one plausible explanation and I don't find it a deep enough examination of the causes of the Great War to warrant going through the whole thing. Even so, the movie moves along rather quickly, even if it "seems" like nothing much is happening.
Inception (Christopher Nolan, 2010) 3.5+ http://www.etonline.com/movie_media/photos/085751h1.jpg
I wrote a little about this in the Inception thread, so I'm not going to rehash that here. I think this is another film which is overlong and overly-talky (especially the first part), but I found it entertaining and certainly easy to follow. Sarah and I spent at least two hours talking about the flick afterwards so it's far more thought-provoking to me than The White Ribbon. I still think that Sarah's interpretation of the ending is the best I've heard, and she posted that over in the Inception thread too. :cool:
The Gauntlet (Clint Eastwood, 1977) 3.5 http://www.qwipster.net/gauntlet.jpg
Completely-unpretentious action-comedy with millions of bullets and some filthy dialogue which almost makes Clint Eastwood look like he's going to throw up. Clint plays a Phoenix cop who's too dumb to understand he's on a suicide mission to escort a hooker (Sondra Locke) from Las Vegas back to testify at a Mob trial. Locke probably gives her best performance this side of The Heart is a Lonely Hunter, and Billy McKinney is a riot playing another pervert. This film has no computer F/X but it has plenty of real stunts to make up for (or is that top?) them.
My Name is Nobody (Tonino Valerii, 1973) 3.5 http://www.rowthree.com/wp-content/uploads/2009/08/my_name_is_nobody_onesheet.jpg
Great spaghetti western with the "team" of old man Jack Beauregard (Henry Fonda) who just wants to quietly retire and sail to Europe and a young Nobody (Terence Hill) who looks up to him and wants him to become a hero worthy of the history books so others will have someone to positively influence them. The cinematography is beautiful and Ennio Morricone's score has many memorable themes as well as weird la-la backing vocals and a synthesized take on "Ride of the Valkyries" as well as a lift from what sounds like "My Way". The plot isn't especially important but the set-pieces are terrific. It does have ample comedy but I don't really think it's a spoof of the genre. It works itself up a few times to things resembling a Biblical saga and to a real feeling of warmth between the two lead characters.
Harry Lime
08-03-10, 03:50 AM
My Name is Nobody (Tonino Valerii, 1973) 3.5
Going to "find" this film and check it out. I'm also reading Leone directed a few scenes for this film. Thanks, Mark.
linespalsy
08-03-10, 11:11 AM
http://www.thefilmjournal.com/images/safe.jpg
Safe (Haynes, 1995)
I actually saw this a couple of months ago and forgot to post it. It begins similarly to Dressed to Kill, with a woman in her nice suburban home having unsatisfying sex with her husband. But even though Angie Dickinson in DtK was unhappy and largely invisible to her douchey husband, she knows she's unhappy and convincingly portrays a pretty resilient woman who yearns for some fun and intimacy.
Julianne Moore's character in Safe is completely cut off from herself. When she gets sick she joins a holistic new-age cult and moves into a clean, white, futuristic bubble. The real strength of this movie is how ambiguous it is about Moore's character and whether her illness is "real" or something she's doing to herself. Ultimately modern medicine and her self-awareness focus-group both seem insufficient in living up to their promises, but even that felt ambiguous at the end. People looking for a satisfying conflict-resolution plot will likely be disappointed, but I wasn't.
3.
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Scary Movie (Wayans, 2000)
Re-watched the second one recently and so I had to go back to this one too. 2 is probably my favorite but both of these are pretty good. "If this were a scary movie we'd all be played by actors in their late 20s, early 30s..." The fart and sex jokes don't hurt it any either.
3+
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The Gospel According to Mathew (Pasolini, 1964)
The Bible and the story of Jesus is so ubiquitous and the subject of such a singular level of scrutiny that I any film adaptation may automatically be seen as interpretive even if - as in this movie - the human and divine natures of these characters lies entirely in their implacable faces. There are some very beautiful tableaux here which make good use of minimal camera movement but I didn't find a very strong or affecting story/commentary to get engaged with.
2.5
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Allegro non Troppo (Bozzetto, 1977)
Interesting tongue-in-cheek, but ultimately reverent take on Disney's Fantasia, which in turn seems to have influenced Neo-Tokyo and Robot Carnival. Has some really nice animation.
3+
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Casualties of War (De Palma, 1989)
This is a really dark, scary movie about moral decay and people who think they can get away with something because "hey, this is war" and "this is how things are." Even if they don't get away with it this remains a very pessimistic story because it shows just how hard it actually is to stop rape and murder, how easy it is to pull off.
On top of that you should see this for some amazing set-pieces and photography. The scenes themselves have lives and personalities of their own far more than any individual characters. This is so richly cinematic a movie that the bookends which are there to remind you that it's just a bad dream actually might help to ground you back in reality while you're watching it.
4.5
Miss Vicky
08-03-10, 11:13 AM
+rep for Casualties of War. One of my favorite movies.
Broken Flowers
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I had high hopes, and I feel like I did enjoy this overall. Bill Murray was good, and it's a nice little adventure but I think Jarmusch lays on the self-awareness a little too thick at times, especially with the tongue-in-cheek stuff like "Don Johnston" and "Lolita". I will also admit that I rather enjoyed the ending, no matter how widely open ended it was.
2.5/5
Classicqueen13
08-04-10, 12:06 AM
Shenandoah (1965)
This is one of best movies about family I've seen. There's a lot to love about this poignant western. James Stewart was perfect for the role of the patriarch of a lovable big family. The parts of his children were flawlessly cast as well. The script has a lot of funny moments even though toward the end the movie turns quite sad and dark. This one tugged at my heartstrings for certain.
4+
In the Electric Mist (2008)
Tommy Lee Jones cooled the action and stepped up the mystery here, which I found to a be a refreshing change. The role was probably written with Jones in mind, but that's no problem. The rest of the cast, including a suspicious John Goodman and an easy to miss Ned Beatty, have fantastic chemistry. The direction I must say nailed the atmosphere as well. The script isn't very memorable, and things don't add up too cleanly but decently. I did really like in the story the addition of the Confederate General. Not bad at all for under 2 hours.
3+
Dirty Harry (1971)
I must say that Dirty Harry exceeded my expectations a little. I knew that it was a very high-ranked movie among most, but I guess I wasn't looking for much here. A hero is only as good as his villian and I think Harry Callahan and the Scorpio killer are the absolute best example for that statement. I have to admit I was ready to shoot Scorpio myself (If only I had a gun and something to magically transfer me into the movie!) Robinson deserves recognition for that performance. Clint's Harry is likable in his rotten luck and determined way. Good script and good direction make for a darn good movie.
3.5
White Lightning (1973)
The typical Reynolds southern car-racing and revenge flick, but probably one of the best. Gator is an interesting character if not for the way he was written than the performance by Burt. He does well even without his mustache. The rest of the cast is solid although not very memorable. It has lots of great action elements: prison breaking, lake loving, whiskey running, and of course car chases. The script is good for a laugh or two and few quotes that may stick with you. You'll know before you start it if it's your type of movie.
3
My Heroes Have Always Been Cowboys (1991)
I've anxiously waited for two years to able to see this one of my favorites again and now I've seen it three times in the last week. I can already tell it's one I can watch over and over again. The characters and their experiences are the best part of this movie. I find them easy to relate to and enjoyable to watch. It's a great father-son movie, love story, and story about understanding yourself. I have to note the character of Jolie (Kate Capshaw) that I absolutely adore. I was particularly drawn to her the first time, but now understanding what it's like to miss someone who returns so much, I feel even more compelled to the performance. The story and script are very well-written although not forever impressing. Stuart Rosenberg directs, and even though the ending is predictable, it's a terrific drama. That may not suit everyone but fits me like a broken in cowboy hat.
4.5+
TheUsualSuspect
08-04-10, 12:37 AM
Broken Flowers
I had high hopes, and I feel like I did enjoy this overall. Bill Murray was good, and it's a nice little adventure but I think Jarmusch lays on the self-awareness a little too thick at times, especially with the tongue-in-cheek stuff like "Don Johnston" and "Lolita". I will also admit that I rather enjoyed the ending, no matter how widely open ended it was.
2.5/5
I enjoyed the film, even if it was 2 hours of Bill Murray acting like a deer caught in headlights.
Broken Flowers
Bill Murray was good, and it's a nice little adventure but I think Jarmusch lays on the self-awareness a little too thick at times, especially with the tongue-in-cheek stuff like "Don Johnston" and "Lolita".
Jarmusch is the King of self-awareness. Maybe even more so than von Trier and Lynch. Some people buy into all of them, others buy into some of them, and there are some people who take each of their films the way they find them. I say Good for you because maybe even Spielberg or Scorsese is more aware but they work on a different level so they have their own crosses to bear. :cool:
Miss Vicky
08-05-10, 04:43 AM
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One Flew Over the Cuckoo's Nest
For reasons I can't even explain, this movie sat unwatched in my collection for years (I'd say at least 6 or 7 years, no joke). This is almost tragic because this is one incredibly engaging, moving and entertaining film. Each performance is top notch and the movie masterfully strips away each character's facade to reveal the real person - and the good or evil that goes with it.
4.5
re93animator
08-06-10, 07:37 AM
The Burrowers (2008) – 2_5+
Even after reading some abysmal criticism regarding this, its horror-western tag appealed too much for me to give it a pass. Still, my expectations weren’t set on the type of film I received. I discovered a beautifully set, well acted, genuinely ambitious piece of work. Unfortunately, it’s a case where its entertainment value is trumped by almost all of its other qualities.
Its mellow score, artistically shot setting and idle pacing rule most of the film. So, you can bet that when the snarling, CGI-ridden monsters pop up, they seem entirely out of place. The creatures are, as anyone should expect from my description, the film’s biggest inhibition. The film may fall flat as a monster movie, but fortunately, a heavy portion of its grandeur lies in effective atmosphere.
The Girl with the Dragon Tattoo (2009) – 3_5
Other filmmakers better take note of the style used here, because it’s nearly perfected. As well as being an engrossing murder-mystery, it’s a consummate character study, and remains engaging throughout its 2 ½ hour runtime.
Let’s Scare Jessica to Death (1971) – 3
The plot: A recently released mental patient moves into an old house set near a questionable old town, where she befriends an even more questionable woman. As the plot thickens, recurring visions and voices begin to drive the woman into a paranoid state.
It should contain enough paranoia, equivocal characters and repressed mental instability to remind anyone of something Polanski would’ve specialized in during the heyday of his career. It’s nowhere near as good as Polanski’s early features that detail a similar brand of fear, paranoia and isolationism, but it is a good, slow-burning exercise in psychological horror with an original sort of “what is reality” aspiration.
Split Second (1992) – 2_5 Camp rating: 3_5-
It’s clearly inspired by Blade Runner and classic creature features, but with such diverse inspirations, it creates something original. Like the traditional monster movie, it builds up its creature with brief glimpses until the end (you can fault the film’s advertising campaign for clearly showing the monster on the poster).
Also, congratulations to the lighting guy for providing the film with such a unique visual quality. If you need a cheap strobe light, just drape a thin sheet over your television with this film playing underneath.
What Lies Beneath (1999) – 3-
Plenty of modern films mold their style in the form of Hitchcock, but What Lies Beneath takes it a step further. Its style is almost replicated from numerous Hitchcock films, and perhaps that’s one minor reason why it doesn’t work well enough as a standalone picture. It’s pretty good, but its own clichéd predictability stands in the way of it being great. Its biggest problem is its recurring tendency to underestimate the viewer.
One scene in particular left me irritated. It occurs when Claire is spying on the neighbor she suspects of murder. While she’s playing the voyeur with her binoculars, the neighbor looks directly at her though the window. We then see a quick camera movement and the neighbor’s door is swinging open. Another quick camera movement and there are dirty footprints leading to her house. She panics only to find that the footprints belonged to her husband that somehow pops up behind her without making a sound. It makes me wonder (A) what the heck was wrong with the neighbor that spotted her and stormed out of his house (and shows up later in the film acting as if nothing happened), and (B) how they keep their front walkway so tidy with all of those dirty footprints that they must track coming in from the driveway.
The rest of the film is packed with cheap surprises similar to this, and once you’ve seen enough, they feel forced and (worse) planned. Fortunately, it has a few effective chills here and there that help redeem it. I know this is a movie-goer’s cliché, but if you can just turn your mind off and enjoy the movie, it can be sufficiently entertaining.
On a more positive note, I liked the look and setting of the film. By the time the credits rolled, I think the foggy lake was the picture’s biggest scene stealer.
linespalsy
08-06-10, 04:02 PM
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Saragossa Manuscript (Has, 1965)
Someone miraculously finds a book during a war between Spain and France. The book is about and written by his grandfather, a French-Spanish soldier named Alphonse van Worden. In particular it's a chronicle of his time spent in the haunted mountains of spain, where van Worden chances into the company of strangers who each tell him stories which often contain other stories which were told to them, and so on.
Most of the stories are entertaining on their own. It may be a matter of taste, but the weakest part of this adaptation is that in spite of being 3 hours long and selecting only a few stories from the book, most of these vignettes feel cramped.
It's worth seeing though. Partway through the movie van Worden stumbles upon the manuscript of the story he's wandered into, which another character accidentally left out. They take it away because "if he read any further, everything that follows won't make any sense." (presumably because then his story would include his reading the story of his reading the story of his reading the story....?) Maybe he did read too much, because I'm not convinced that anything that follows that point in the movie does make much sense, including the part where he watches his own mirror image eloping with his sexy twin lovers.
3.5
http://www.iwatchstuff.com/2008/05/01/my-winnipeg-poster.jpg
My Winnipeg (Maddin, 2007)
This is a ridiculous phony homage to "Yug" Maddin's hometown, "Hapyland", aka Winnipeg. He's trying to homage in order to "escape" it, but the problem is the place just tends to put everyone to sleep, perchance to dream of hockey and naughty schoolgirls and staged Nazi invasions.
3.5+
http://www.filmref.com/directors/dirpages/images/forbidden1.gif
Forbidden Games (Clement, 1952)
Very disturbing wartime portrayal of the monstrous brutality of adults towards children. It's more than that though as it portrays the childrens' inner war as a game where you have to kill in order to make a beautiful graveyard. There's a joke in there about putting the cart before the horse as a euphemism for pre-marital sex. The movie is pretty slow for a while but by the end I was won over.
3.5
http://missionmission.files.wordpress.com/2008/06/invasion-of-the-body-snatchers-playground.jpg
Invasion of the Body Snatchers (Kaufman, 1978)
Haven't seen the original but I really enjoyed this one. I don't know if I missed something or if they just didn't fully explain the ins-and-outs of transformation but it's all right. There are some imaginative scares and at least one weirdly depressing plot twist. Worth seeing.
3
voneil7
08-07-10, 01:16 AM
Halloween 2
http://upload.wikimedia.org/wikipedia/en/8/8f/Halloween2009.jpg
Let me start off by saying I liked Zombie's version of the first one, and that is where the compliments end. This in my opinion, ranks among some of the worst remakes ever made. I felt this was not only a departure from the franchise, but even from Zombie's version of the first. Michael just didn't feel like Michael to me at all. I thought this movie dragged and was longer than it needed to be. I also felt that it was brutal for the sake of being brutal and I don't think anything Zombie changed in his version of the story, added anything to it at all. The performances were over the top, anyone who has seen Zombie's films know what I'm referring to. The writing was just brutal and many of the scenes were hard to see, I often found myself squinting trying to figure out what I was looking at. In conclusion, I just wish I had back the time I took to watch this movie, and I don't say that about a lot of movies. Not that you need me to tell you what to do, but if I were you, I would just avoid this one altogether.
1
voneil7
08-07-10, 01:31 AM
The Road
http://upload.wikimedia.org/wikipedia/en/a/a7/The_Road_movie_poster.jpg
I am a fan of Cormac McCarthy, so let me get that bias out of the way first. I did like this movie a lot, it is dark and depressing, but I also loved the hope it showed amongst the characters. Viggo Mortensen was amazing!! His performance made me feel as if he was really going through it. I don't mean to call out just Viggo, as I felt the performances by the entire cast were incredible. I only wish Duval was in it longer for selfish reasons as I enjoy pretty much everything he does! I would certainly recommend this movie for the performances alone, as I know that McCarthy's work doesn't appeal to everyone (at least from my experience of talking to people I know about him).
3.5
voneil7
08-07-10, 01:33 AM
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This is the first image that comes to mind when I think of that movie Sedai. :)
Before Sunrise (1995)
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The thing that sets this romantic story apart is that the budding lovers really talk to one another. Boy, do they talk! -- in long static dialogues in front of an unfidgety camera. They philosophize, they tell stories, they remark on their surroundings, they're never at a loss for words -- and I absolutely loved it. This was a film that gave us the backstory that most other romantic films leave to a quick montage.
4/5
planet news
08-08-10, 06:00 PM
Absolutely agree. Before Sunset is equally as awesome, by the way.
i am going to DVD exchange to try and find it in a bit.
Salt
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As far as dumb spy thrillers go Salt isn't any worse than, say, any of the Moore Bond films -- the pacing is excellent and the first act boasts a great chase sequence. But credibility is quickly shed with escalating levels of ridiculousness, and without a strongly written lead, subsequent action scenes have little tension. Jolie has moments, but so little effort is made to establish emotional connections that she comes across as a poor man's Bourne.
But damn, is Angelina gorgeous with jet black hair :p
2/5
honeykid
08-09-10, 08:14 PM
Well, as the role was supposed to be played by Tom Cruise, maybe poor man's Bourne is what they were going for? :D
Leon: The Professional
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I can just imagine the script writers for this one. They walk towards each other in a narrow hallway, each intently reading a book. As they collide the pages go everywhere. "Hey, you got your "Day of the Jackal" in my "Lolita"!" "Hey, you got your "Lolita" in my "Day of the Jackal"!" And thus a classic was born.
4.5/5
Tacitus
08-10-10, 06:52 AM
Whatever happened to Luc Besson?
I suppose the trite answer is that The Fifth Element happened. There was so much elan in his early work.
meatwadsprite
08-10-10, 10:10 AM
I think Godzilla happened.
Iroquois
08-10-10, 10:19 AM
I think World War II just hit us.
linespalsy
08-10-10, 06:21 PM
http://img2.timeinc.net/ew/dynamic/imgs/060418/133522__nacho_l.jpg
Nacho Libre (Hess, 2006)
I pretty much think the idea of dudes in colorful tights strutting around a ring as funny in and of itself. So a movie making fun of that as this one does is an easy one for me to like. It's got some wonderful saturated colors and Jack Black's "intentionally incoherent" swaggering performance really hits a sweet spot with me. That accent is great.
3.5
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White Zombie (Halperin, 1932)
This was a pretty trashy and weird idea that plays out somewhat predictably. Cinematically it's somewhere in the middle for what I've seen from the period. A few steps above Dracula with a spooky atmosphere and some interesting framing, but a few steps below Freaks. ("Below Freaks" can still be pretty creepy.)
3
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Sisters (De Palma, 1973)
Creatively sleazy setup from the get-go with the medical documentary stills-credits cutting away to a parody of the voyeuristic tv game show. I found a pretty dark sense of humor here, even in the surreal expository hallucination and William Finley's hypnotic fisheyes.
3.5
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Vertigo (Hitchcock, 1958)
What can I say, Hitchcock created possibly a masterpiece here and makes a movie, particularly a very rich story that is well worth seeing multiple times, and still holds up on its own in spite of all the times it's been borrowed from. For now I'm going to say Rear Window is still the best Hitchcock film that I've seen but I'll check in if I ever change my mind about that.
4-
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Flying Down to Rio (Freeland, 1933)
A pretty slow set up and silly romance, but "silly" seems to be the order of the day as it's pretty much an excuse to have a show of girls strapped to planes with little see-through tear-away clothing. By the time it got to the trapeze girls I was won over. If you savor cinematic spectacle see the real thing, don't just peep the picture.
3+
re93animator
08-11-10, 06:16 PM
Got to the theater twice over the weekend:
Inception (2010) – 3_5
It’s a tad underwhelming after all the rave criticism that I’ve read regarding it, but it's still a fun, thoughtful way to pass 2 ½ hours as well. If the fast paced action sequences don’t do anything for you, its plot ingenuity should.
The Other Guys (2010) – 2_5
It has moments, but mostly follows the same path that most Will Ferrell comedies do. Its humor isn’t too ridiculous, but most of it feels forced.
Groundhog Day
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http://www.jasonrink.com/wp-content/uploads/2009/12/bill-murray-groundhog.jpg
I've always enjoyed this, but while watching it tonight, I was captivated not just by the humor, but by the inspiring humanity that shines through. It's incredibly warm and joyous, and for pretty much the entire second half, I had this big, goofy grin on my face. It's the ultimate feel-good movie. And it's completely hilarious. "I'd love to stay and chat...but I'm not going to."
5/5
The Other Guys
http://buzzbo.com/stl/files/2010/07/otherguys1-550x343.jpg
http://www.daemonsmovies.com/wp-content/uploads/2010/02/DF-10919_r-550x365.jpg
The Other Guys has a respectable efficiency, never missing an opportunity to be wierd-funny, which is what Ferrel is good at. Much less frequently the film is clever-funny or splapstick, but thankfully never gross-funny. The movie gets bonus points for making investment scammers the bad guys instead of drug lords.
a positive 2.5/5
Dinner for Schmucks (2010)
http://www.jeffisageek.net/blog/wp-content/uploads/2010/07/dinner-for-schmucks-trailer-2-2-6-10-kc.jpg
http://www.filmofilia.com/wp-content/uploads/2010/04/dinner_for_schmucks_teaser_poster.jpg
This was supposed to be a comedy, but they switched some things around. Instead of the expected 75% comedy 25% predictable plot we get 75% predictable plot and 25% comedy. When it tried to be funny it really was, the actual dinner scene and all scenes involving Zach Galifianakis and Jemaine Clement are really funny. Unfortunately they are too few and far between and instead we get to watch Paul Rudd transform for an unfunny dick hole to an unfunny saint.
1.5/5
WBadger
08-13-10, 12:21 AM
Why are you copying other people's reviews from Criticker?
Tacitus
08-13-10, 05:51 AM
Eh?
Harry Lime
08-13-10, 07:11 AM
The Other Guys has a respectable efficiency, never missing an opportunity to be wierd-funny, which is what Ferrel is good at. Much less frequently the film is clever-funny or splapstick, but thankfully never gross-funny. The movie gets bonus points for making investment scammers the bad guys instead of drug lords.
This was supposed to be a comedy, but they switched some things around. Instead of the expected 75% comedy 25% predictable plot we get 75% predictable plot and 25% comedy. When it tried to be funny it really was, the actual dinner scene and all scenes involving Zach Galifianakis and Jemaine Clement are really funny. Unfortunately they are too few and far between and instead we get to watch Paul Rudd transform for an unfunny dick hole to an unfunny saint.
Why are you copying other people's reviews from Criticker?
Oh oh. Busted! At first I thought he could have been the one that wrote the reviews on the other site, but then I checked, different users.
Good sleuthing there Badger.
Harry Lime
08-13-10, 07:17 AM
As far as dumb spy thrillers go Salt isn't any worse than, say, any of the Moore Bond films -- the pacing is excellent and the first act boasts a great chase sequence. But credibility is quickly shed with escalating levels of ridiculousness, and without a strongly written lead, subsequent action scenes have little tension. Jolie has moments, but so little effort is made to establish emotional connections that she comes across as a poor man's Bourne.
Another one. Three different reviews, all three on criticker, all three from different users. Hey, cut it out.
Tacitus
08-13-10, 08:08 AM
Oh dear.
It might seem like a little thing to some but people spend time writing reviews and to see them used somewhere else under a different name is bad form. I pasted the passages into Google (which I've done a few times in the past) and they came up clean but obviously Google is just not picking up the site in question.
We'll give him the right of reply though. :)
Yeah, we'll definitely need Fiscal to weigh in here. In case it wasn't obvious, copying other people's reviews without sourcing it (especially in a way that implies that you were the one who wrote it) is a big no-no.
Iroquois
08-13-10, 11:05 AM
A few re-watches and a new movie.
Wake in Fright (Ted Kotcheff, 1971) - 2.5
"All the little devils are proud of Hell." Kafkaesque drama about an English schoolteacher getting sidetracked from his beachside holiday and being marooned in the middle of a rural Australian community. I think of this as a companion piece of sorts to Walkabout, though this is far more twisted. The cinematography's quite solid (even if some of the old-school camera trickery rings a little hollow) and the performances are honest - almost brutally so. It's interesting, but I'm hesitant to call it a genuinely good piece. Probably worth seeing regardless, though.
The Departed (Martin Scorsese, 2006) - 2
Still my least favourite Scorsese film. Even trying to forget the radical changes made to the Hong Kong original (especially making it all edgy and stuff), there's still plenty of stuff I don't like about the film. There's the acting (which never quite works whether it's Nicholson's phoned-in villain or DiCaprio's stunted anti-hero, to say nothing of the rest of the cast), the visibly erratic editing, the overbearing soundtrack. There's a couple of scenes that are handled rather well, but overall this is still a major disappointment in every regard.
Heathers (Michael Lehmann, 1988) - 4
Far from perfect, but it's my kind of movie.
Inception (Christopher Nolan, 2010) - 4
The rating is either a little high or completely justified, but either way it was still utterly engaging and done with considerable polish.
Picnic at Hanging Rock (Weir, 1975) 5
http://vonsamuel.files.wordpress.com/2010/02/better1.jpg
JUST my cup of tea. Surreal, dreamy, open-ended. Hello new top 10 favorite? Perhaps... I need to see it a couple more times before I award that distinction. It was as if Mr. Weir once took LSD and stared at a Renoir for hours and then put his trip on film, showcasing all the dark little corners he had explored in the process.
planet news
08-13-10, 12:14 PM
Eat Pray Love (Murphy, 1975) http://www.movieforums.com/community/../images/popcorn/2box.gif
http://rogerebert.suntimes.com/apps/pbcsi.dll/bilde?Site=EB&Date=20100811&Category=REVIEWS&ArtNo=100819999&Ref=AR&Maxw=366
Julia Roberts, about to eat or pray.
BY PLANET NEWS / August 11, 2010
Elizabeth Gilbert's book "Eat, Pray, Love," unread by me, spent 150 weeks on the New York Times best seller list and is by some accounts a good one. It is also movie material, concerning as it does a tall blond (Gilbert) who ditches a failing marriage and a disastrous love affair to spend a year living in Italy, India and Bali seeking to find the balance of body, mind and spirit. During this journey, great-looking men are platooned at her, and a wise man, who has to be reminded who she is, remembers instantly, although what he remembers is only what she's just told him.
I gather Gilbert's "prose is fueled by a mix of intelligence, wit and colloquial exuberance that is close to irresistible" (New York Times Book Review), and if intelligence, wit and exuberance are what you're looking for, Julia Roberts (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Julia%20Roberts&Class=%25&FromDate=19150101&ToDate=20101231) is an excellent choice as the movie's star. You can see how it would be fun to spend a year traveling with Gilbert. A lot more fun than spending nearly two hours watching a movie about it. I guess you have to belong to the narcissistic subculture of Woo-Woo.
Here is a movie about Liz Gilbert. About her quest, her ambition, her good luck in finding only nice men, including the ones she dumps. She funds her entire trip, including scenic accommodations, ashram, medicine man, guru, spa fees and wardrobe, on her advance to write this book. Well, the publisher obviously made a wise investment. It's all about her, and a lot of readers can really identify with that. Her first marriage apparently broke down primarily because she tired of it, although Roberts at (a sexy and attractive) 43 makes an actor's brave stab at explaining they were "young and immature." She walks out on the guy (Billy Crudup (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Billy%20Crudup&Class=%25&FromDate=19150101&ToDate=20101231)) and he still likes her and reads her on the Web.
In Italy, she eats such Pavarottian plates of pasta that I hope one of the things she prayed for in India was deliverance from the sin of gluttony. At one trattoria she apparently orders the entire menu, and I am not making this up. She meets a man played by James Franco (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=James%20Franco&Class=%25&FromDate=19150101&ToDate=20101231), about whom, enough said. She shows moral fibre by leaving such a dreamboat for India, where her quest involves discipline in meditation, for which she allots three months rather than the recommended lifetime. There she meets a tall, bearded, bespectacled older Texan (Richard Jenkins (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Richard%20Jenkins&Class=%25&FromDate=19150101&ToDate=20101231)) who is without question the most interesting and attractive man in the movie, and like all of the others seems innocent of lust.
In Bali she revisits her beloved adviser Ketut Liyer (Hadi Subiyanto), who is a master of truisms known to us all. Although he connects her with a healer who can mend a nasty cut with a leaf applied for a few hours, his own skills seem limited to the divinations anyone could make after looking at her, and telling her things about herself after she has already revealed them.
Now she has found Balance, begins to dance on the high wire of her life. She meets Felipe (Javier Bardem (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Javier%20Bardem&Class=%25&FromDate=19150101&ToDate=20101231)), another divorced exile, who is handsome, charming, tactful, forgiving and a good kisser. He explains that he lives in Bali because his business is import-export, "which you can do anywhere" — although later, he explains she must move to Bali because "I live in Bali because my business is here." They've both forgotten what he said earlier. Unless perhaps you can do import-export anywhere, but you can only import and export from Bali when you live there. That would certainly be my alibi.
The audience I joined was perhaps 80 percent female. I heard some sniffles and glimpsed some tears, and no wonder. "Eat Pray Love" is shameless wish-fulfillment, a Harlequin novel crossed with a mystic travelogue, and it mercifully reverses the life chronology of many people, which is Love Pray Eat.
Miss Vicky
08-13-10, 12:19 PM
Eat Pray Love (Murphy, 1975)
Um, what?
linespalsy
08-13-10, 12:30 PM
I always knew Planet News was really Roger Ebert.
planet news
08-13-10, 12:35 PM
Whatever. That's my review, linespalsy. How do you like it? :D
http://awaitingrain.typepad.com/photos/uncategorized/2008/03/01/bandwagon.jpg
planet news
08-13-10, 12:42 PM
Um, what?
This is the original version. I give credit where credit is due.
Miss Vicky
08-13-10, 12:46 PM
This is the original version. I give credit where credit is due.
Right...
Holden Pike
08-13-10, 12:50 PM
Um, what?
He obviously copied Sedai's formatting from the post above his, but forgot to change the 1975 of Picnic at Hanging Rock to the 2010 of Eat Pray Love. Rogert Ebert couldn't help him there.
Miss Vicky
08-13-10, 12:51 PM
He obviously copied Sedai's formatting from the post above his, but forgot to change the 1975 of Picnic at Hanging Rock to the 2010 of Eat Pray Love.
Yes, I got that.
He obviously needs to pay more attention to what he's doing.
planet news
08-13-10, 12:54 PM
Maybe I was tired from having just written that fine, fine review. I still haven't heard any opinions about it. Just b!tching about my formatting. :mad:
Holden Pike
08-13-10, 12:54 PM
He obviously needs to pay more attention to what he's doing.
It kinda works here, a sort of double-plagiarizing; the review and the format.
Miss Vicky
08-13-10, 12:56 PM
Maybe I was tired from having just written that fine, fine review. I still haven't heard any opinions about it. Just b!tching about my formatting. :mad:
I was bitching about misinformation, actually.
Holden Pike
08-13-10, 12:57 PM
Maybe I was tired from having just written that fine, fine review. I still haven't heard any opinions about it. Just b!tching about my formatting. :mad:
Ebert's Chicago Sun review doesn't make me want to see Eat Pray Love. But his spelling and grammar are correct and he's still a good writer.
Is that what you want?
planet news
08-13-10, 12:58 PM
Neither of you could ever understand how a master like me works.
It's a joke, people. An obvious (but pretty funny) joke.
Holden Pike
08-13-10, 01:00 PM
Neither of you could ever understand how a master like me works.
Yeah, it went over all our heads. Fiscal is the one who needs the lesson, not us. :indifferent:
meatwadsprite
08-13-10, 01:02 PM
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The Curious Case of Benjamin Button 2008
Who knows why Fincher attempted this. It spans many more years than Zodiac, so it's going to be that much more realized and encompassing ? Wrong. Dead Wrong. It's not a disaster like I previously claimed, but it's really bitter cold and ponderous for a romance spectacle. If life really is as portrayed here, life sucks.
3
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Love Exposure 2010 ?
The first half is the most fun I've had watching a movie for a long while. The second half I was begging to be put out of my misery. The beginning is nothing but a wild joy-ride of stunts and a tackling of important political issues like the surplus of hot asian girls. The second half thinks these anime characters are justified to lounge about in really long, patient scenarios.
3.5
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Close Encounters of the Third Kind 1977
Wow, I did not remember this movie correctly. Spielberg has wrapped this story about a father not satisfied with his family, in a comedy sci-fi package. I think it's biggest success is that the movie unfolds very much in a single thought mindset, identical to that of it's central player (Richard Dreyfuss). Even calling Dreyfuss a center is a stretch though, this isn't an intimate movie in any of Spielberg's usual ways. Which is unfortunate, because that's what the man does best. This is spectacle over everything, a showcase of old special effects.
3
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Shutter Island 2010
Not as strong as the first time, but some fine performances keep this afloat. Brilliant back and forths between Leo and Jackie Earle Haley / Ben Kingsley / Mark Ruffalo. The island's atmosphere has nothing on the cast and Scorsese's knack for surreality is almost absent here.
3
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The Ghost Writer 2010
How long can Polanski make McGregor jump at shadows ? Two hours. It's descent is well done, fine tuned sophisticated performances - the kind Polanski built his name on. The deep dark mystery that McGregor unravels is so faceless and unthreatning, that it's more of a funny sitcom watching him cause a bunch of ruckus for nothing. The ending is good for a nice big laugh.
2.5
http://t2.gstatic.com/images?q=tbn:ANd9GcTCwzjouohSVVV781bc6oEZoRza8nlSAiPLvT2SFFuJnGcs32U&t=1&usg=__Qbn4-grcPuYVjgCyg-W23kcBs9c= http://t1.gstatic.com/images?q=tbn:ANd9GcQkA7dCnfGHybk2D3Q4dW2BDPRDfHcgLLEG4YOppWFrzBm1SOw&t=1&usg=__ngBrdJbETLb8Uh_h9_8DNYAV1Nc= http://t1.gstatic.com/images?q=tbn:ANd9GcRz5l_z7J4MIa3ZpEKLGdPgynkeklVAMxivkAu5TAponpBATtM&t=1&usg=__JSRrftKZWsj0RSPUQaA2JqBW4Fg=
Three Kings 1999
A great premise dissolves into a cheesy middle east action movie, quickly.
1.5
Miss Vicky
08-13-10, 01:05 PM
It's a joke, people. An obvious (but pretty funny) joke.
Clearly it wasn't that obvious. I take it he copied Ebert's review and pasted it here?
I rarely read professional movie reviews in general and I never read them about movies that I have no interest in seeing.
Yeah, he copied it. All the actor's names are links that lead to Ebert's site, and the fact that he put "BY PLANET NEWS" all conspicuous-like the first clue. For me, anyway.
Well, I will give it a go.
Terrible review, sir. With technique like that, you will NEVER get published. I mean really, who watches movies anymore? Pshaw! Your antiquated views on a clearly dead medium go to showcase how stunted your view of the world is on almost every level. As if people would actually sit down and stare at a screen for two hours in this day and age.
How's that? ;)
planet news
08-13-10, 01:12 PM
Nice snippets, man.
The second half thinks these anime characters are justified to lounge about in really long, patient scenarios.:rotfl::up: Very fair appraisal.
This isn't an intimate movie in any of Spielberg's usual ways. Which is unfortunate, because that's what the man does bestI disagree here. Whenever he does "intimate" films they're always about the same thing: a father reasserting control. I love this film, because it's about a father letting go and taking a look at the "bigger picture" which often seems ignored in Speilberg's sci-fis. He always tries to do silly things like making Jurassic Park (LIVE DINOS!!!!) a story about how a father regains family dominance. Sorry, but the father is made into the bad guy here and the Dinosaurs actually then become a good thing. Projected statements like "dad, you know if it hadn't been for those dinos..." come to mind.
Scorsese's knack for surreality is almost absent here.As much as I like this film, I'd have to agree here. He's obviously trying too hard with all the John Cage music and super-bright lighting. I think those dream sequences are beautiful and moving, but not "disturbing" in the surreal sense.
I really liked those dream sequences, and I think I can list them as my favorite moments in the flick. Alas, I have to agree that some of the other surreal stuff in the flick seemed a bit forced and...I guess calculated is the word.
After seeing blatant surreality done right in stuff like Mulholland Drive and Weir's Picnic at Hanging Rock, I can honestly say Scorsese should stick to the subtler surreality techniques like those used in Taxi Driver, which he just nails.
I really dig Close Encounters though - great film.
meatwadsprite
08-13-10, 02:09 PM
Favorite bit of Shutter Island is when
Ben Kingsley straight up tells Teddy that he never had a partner and Leo plays along.
TheGirlWhoHadAllTheLuck_
08-13-10, 03:57 PM
Damage (1992) 3
I was eager to watch this film, knowing that it had Jeremy Irons and Rupert Graves in, and whilst the film is entertaining in a melodramatic sense, it is problematic.
The plot: a married middle-aged government man called Stephen, presumably something to do with global issues because he talks about climate change (Jeremy Irons), meets an art dealer woman called Anna (Juliette Binoche), who happens to be his son Martyn (Rupert Graves)'s girlfriend. They start an illicit affair.
The main downfall is that Binoche and Irons have no chemistry whatsoever. She looks rather repulsed by him and he looks like a depraved pervert. Unfortunately they have many sex scenes together, which are unintentionally humorous because of the totally unconvincing relationship and take up too much screen time. Apparantly Binoche had problems with Irons so it's not clear whether their characters don't like each other or the actors don't like each other. I know quite a lot of people find Irons attractive but I do not. Why Binoche's character would be attracted to him (he's scrawny and looks about 60) is a total mystery. She also doesn't display any signs of vampishness or irresistability. The two characters are presumably supposed to have an all-consuming passion for each other but this doesn't appear to be the case.
The second problem is down to the script. Anna is given a motivation- her brother hung himself when she was 15 and she has sort of given up because of it so she persues loveless affairs- but it is not particularly convincing. I assumed it was a lie for most of it until the mother says something that makes it slightly creepy. At least one might interpret it as self-damage though, so that fits with the title. Stephen is given no motivation whatsoever; the affair starts so early on that there's little time to build his character beyond anything other than a pest. Unfortunately it seems to be told through Stephen's point of view. The ambiguity of where our sympathies are supposed to lie- is Stephen taking advantage of an emotionally damaged woman or does she have no conscience about being a homewrecker, having relationships with the father and the son?- is potentially interesting but it's not played on enough. The director/actors seem to be unsure of which of the pair should have our sympathy so in the end, neither of them get much sympathy.
The final problem- probably a mix of script, director, and maybe even the novel it's based on- is that Stephen's family are underused. They are the sympathetic characters and yet they are shoved into the background. Miranda Richardson really gives a powerful performance at the end, when she is allowed some proper amount of screen time, and Rupert Graves is convincing as the oblivious son (how could Anna be so mean? He's adorable). As the affair is not convincing, splitting the film between affair and the damage the affair causes would have made a much more interesting film.
It's frustrating because it provokes a lot of questions but these are questions that clash with each other. It's not clear whether the film is supposed to be about the dangers of all-consuming lust or the mystery of why people embark on empty destructive affairs. Although ambiguity can be interesting in a film (although it works better in a novel because it's more obvious that it's intentional), it would have been more satisfactory to choose one of those and explore it in a greater depth.
TheGirlWhoHadAllTheLuck_
08-15-10, 09:30 AM
M. Butterfly 3_5
Truth is stranger than fiction. This film's based on a successful play, which is based on the real life story of a French consul who falls in love with an opera singer in '60's China but fails to realise that she's a man. Strange, non? In fact, how does one turn that into a play/film?
Jeremy Irons stars as Rene, the French consul. If anybody can pull off the role, it's him. He manages to smoulder and play the tragic lover as well as portray the deeper significance- that Rene is an example of Western aggression pushing their sterotypes onto the Chinese, unaware that the 'schoolgirl' is actually male. People will go to ridiculous lengths to deceive themselves and play out their fantasies- the audience know that Rene must on some level know the truth but arrogance or tragic delusion means he persues the romance to the end.
The stumbling block for most people is that John Lone doesn't really look like a woman but in a way, it creates dramatic irony and serves to make Rene's pathetic downfall and dubious treatment more tragic and the political allegory of the relationship more obvious. Film is a literal medium though- whilst theatre-goers expect metaphors, motifs and allegory, generally film-watchers expect realism and plausbility. Perhaps the film concentrated too much on the relationship and trying to portray it realistically...I don't know.
If you're willing to look past the implausbility of mistaking Lone for a woman, this is a disturbing but rewarding film- a tragedy based on cultural ignorance and arrogant/delusional fantasies, plus an ironic spin on Madame Butterfly (those who know French will understand why 'M' has a dot after it in the title).
linespalsy
08-15-10, 10:42 PM
http://www.scene-stealers.com/wp-content/uploads/2007/10/nbp-peeping-tom.jpg
Peeping Tom (Powell, 1960)
A guy is a lifelong voyeur who murders women when he can see the fear on their faces. Not only that but he has to film their deaths and seems to exhaust every possibility for self-reference about movie making and watching that a character in a thriller can offer. This movie then goes further by tracing everything in this main character's perversity to his childhood and his father who was a quack "scientist". The most chilling thing about Peeping Tom, other than its truly complex story - is the portrait of a killer who is crazy and knows it, but I feel like there is more room to recognize the irony of that last statement that the movie loses track of somewhere in Freud's shadow. Well worth seeing though.
3+
http://fleenewyork.typepad.com/photos/uncategorized/2008/01/18/oom2_laura_preminger_site_3.jpg
Laura (Preminger, 1944)
Classic detective mystery where the detective falls in love with the woman who's murder he's investigating. Most of the strength comes from the smarmy characters he has to deal with in solving the murder and even though I guessed who the killer was and where he hid the real murder weapon midway through my first viewing of the film it's worth sticking it out to the end.
3+
http://i2.fc-img.com/CTV02/Comcast_CIM_Prod_Fancast_Image/6/812/1193245347718_5010_0002.jpg_290_210.jpg
The Dream Team (Zieff, 1989)
Michael Keaton plays a writer who can't write because he's too busy making up bs, and was institutionalized because he has violent outbursts. This is mostly an actor's movie because even though it has a plot once it really starts moving there aren't very many surprises, and the idea of insanity is mostly as an excuse for zany antics and a heart-warming story rather than exploring it thematically. Unfortunately, besides Keaton you never really forget that the other four "crazy" actors are just pretending to be crazy by acting stupid.
2-
http://npaper-wehaa.com/pub-files/122159050448cffde85913a/pub/nypress-03-12-2009/lib/123675159649b754ec3eaaa.jpg
Z (Costa-Gavras, 1969)
Awesome "true story" political thriller that keeps breaking away from a straight narrative as new actors and motives try to slide into the driver's seat, then breaks the fourth wall by having one of it's characters "report" to you directly what happened in spite of it all... Pretty harrowing stuff.
4-
http://www.geneautry.com/geneautry/motionpictures/filmography/images/strawberryroan_lobby.jpghttp://www.westernclippings.com/images/comic/ga_page_2.jpg
The Strawberry Roan (English, 1948)
I was surprised at how much I enjoyed this "singing cowboy" movie, which is the first of its kind that I've seen. Maybe because of that I'm rating it a little high but I actually found it pretty nuanced and engaging as far as this stuff goes. Gene Autry plays a character of the same name who works for a rancher breaking in horses and singing with his friends. This is pretty hokey but really no more so than thousands of other "classic" and contemporary movies and is pretty interesting aside from the music in that it's a western with plenty of shooting and some great stunts but no really bad guys.
3.5-
http://matchcuts.files.wordpress.com/2008/11/detective-story.jpg
Detective Story (Wyler, 1951)
A day in a Manhattan Police Station, told from a multiplicity of perspectives that is carefully selective to include a range of criminals (from first time offenders to lifers) and attitudes toward crime, tolerance and forgiveness. There's a big subplot about abortion that is presented very brutally and makes this of some interest aside from the very compelling manner in which it shuffles between four or five plots, Altman-style (but 20 years earlier).
3.5+
Tacitus
08-16-10, 07:29 AM
The Box (2009, Richard Kelly)
1.5/5
What do you get if you cross Close Encounters with The Game?
A preposterous load of auld toot, that's what.
It's difficult to know how to precisely hack apart a film so slight. The Box's one hook seems to be (and thankfully one of the characters vocalises this near the end, lest the hard of thinking get confused) that its world exists in some kind of Purgatory.
It's purgatory sitting through 2 hours of treading water.
I'm sure that Rickard Kelly thought he was on to a winner here - The teenagers who got sucked into the Darko mythos have finished bleeding their parents through university and now want, like our loving couple here, a nice house in a nice suburb with a nice job and a nice spouse. They also want something that's got hidden meaning. An ting.
Unfortunately for the Jonathans and Chloes of this world, everything remotely oblique in The Box is so badly telegraphed that it's in danger of growing a beard before the director decides to put us out of our misery with a bit of exposition.
That aside, the two central characters are complete dullards who accept all this errant nonsense with nary a raised eyebrow and instead plod dutifully from one set piece to the next while the orchestral score builds behind them just a little too loudly.
Now, Cameron Diaz and James Marsden are hardly the most expressive of actors at the best of times and in a film that compels the both of them to spend long periods staring blankly into space hardly plays to their strengths (does James Marsden have any strengths to begin with?). In fact, poor Cameron frowns and pouts so much that the wrinkles on her face would hold a fortnight's worth of rain by the end.
No wonder she's now doing B Movies with Tom Cruise...
In its favour, The Box looks very nice. Though brown.
I can remember the 70s and it wasn't as brown as this - It should be more yellowy. ;)
Frank Langella does his best, bless him, but the film is as hollow as what's in the package to begin with.
http://i17.photobucket.com/albums/b69/greenspagbol/the-box-450ms122209.jpg
Brown!
linespalsy
08-16-10, 12:43 PM
movie update part II. I'm kind of tired of hearing what I have to say at the moment so I'll just write up the first couple and if anyone wants to hear about any of the others please say so.
http://2.bp.blogspot.com/_zzl_dczrSAw/SH7Crrs_MuI/AAAAAAAAAXU/y8OYy6jhquE/s400/red2.jpg
Red Desert (Antonioni, 1964)
This is an effective movie in that I think a large part of its intention is to collapse personal, social and environmental observation into an aesthetic critique of industrialization. The commentary is mostly in images and the excellent use of sound rather than in people or plot, so a lot of viewers will mistakenly think this is "pretentious" (a word I almost never use and never use pejoratively), but I think this message comes across pretty clearly and effectively. It even seems like a propaganda film to me. It uses color, form and sound to convey a feeling that this 1960s industrial Italy is corroding people's abilities to connect to the world or each other and perhaps even their minds and bodies. It even literally sucks the color out of organic forms when they're placed in an oppressive concrete place.
This is all a set up for a contrast with a woman's inner world that is pretty much the exact opposite of the real but is made to seem much more real in it's lushness and calm, here too the use of sound is very stong. The movie seems somewhat slow due to its lack of plot but I'm willing to allow that because it really is an aesthetically powerful and memorable film.
3.5
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Gremlins (Dante, 1984)
This is definitely one of the best monster movies out there. It's suspenseful, gross, funny, and has some great moments of parody that all fit together pretty well.
3.5
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Marie and Bruce (Cairns, 2004) 3
http://t0.gstatic.com/images?q=tbn:r7LowROGVuUDEM:http://i10.photobucket.com/albums/a144/mikestreeter/gremlins2d-1.jpg&t=1
Gremlins 2 (Dante, 1989) 3.5
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Fast, Cheap & Out of Control (Morris, 1997) 3.5
I also watched a couple feature-length film-maker interviews, bonus features on the My Dinner With Andre and Seven Samurai Criterion Collection dvds.
TheGirlWhoHadAllTheLuck_
08-16-10, 01:58 PM
Where Angels Fear to Tread 3_5
http://img.youtube.com/vi/r2bcPIsmyUU/0.jpg
This is actually the second time I've watched this- the first time was just after I'd finished reading the novel.
The problem with the film is that the novel (or novella really) is very short, and it's not so much about events as about the effect they have on the characters, therefore at times the film feels a little stretched out. (It's not an Ivory-Merchant film but a film by the guys behind Brideshead Revisited) Also, Helen Mirren is about 10 years too old to play Lilia, who is in her relatively early thirties, so it doesn't make sense that she would have to rely on her in-laws so much.
The story- Lilia (Helen Mirren), an impulsive English widow, marries a young Italian man (Giovanni Guidelli) and it all ends badly. Her former in-laws are sent over to clean things up. The protagonist appears to be Lilia at first but it's actually Phillip (Rupert Graves), Lilia's ex brother-in-law, so keep your eyes on him. The first time around, it felt a bit weird to switch my attention away from Lilia- it could have been cut right down. Also keep them on Caroline Abbot (Helena Bonham Carter), Lilia's companion and Phillip's unspoken objection of affection.
Guidelli sort of reminded me of a young Rupert Everett and he was serviceable rather than impressive; this may partly be down to Forster's novel. Although the novel is supposed to be on the side of the Italians and the working class, Gino is a rather two-dimentional character, being more of a symbol of manliness (although his final scenes are touching).
I find it very easy to keep my eyes on Rupert Graves. :D Phillip transforms from having a superficial love for Italy to being faced with reality and forced to admit his failings and Graves plays that brilliantly, both Phillip's formal role as man of the house and his realisation that he isn't really much of a man at all, more like a boy. And Helena Bonham Carter is subtle in suggesting Caroline's inner feelings and frustration at Phillip.
It's more of a thematic film than an action-packed film, but the morals- the English meddling in a foreign country and causing a tragedy with their carelessness, and how class and culture represses and causes unhappiness- are intriguing and it's well-acted. Even if you decide not to watch the film, do read the novel :)
A "Collin" Film Fest!
I had a bit of a Collin Farrell night, and what a marvelous night it was!
I began with the film that jump started his career, Tigerland: (2000)
http://www.cinema.com/image_lib/4016_2664.jpg
The film is a character-driven story with a narrow focus: the action follows a small group of men in training to go to Vietnam. They end their training in an area set up like the real Vietnam -- named Tigerland.
What an absolute surprise and delight! This is an incredible film, compelling, raw, and intense. It is also no wonder that buzz surrounded Collin's performance. He plays Bozz, a man whom we get to know and yet not know; he is a reluctant hero, he doesn't want to go to Vietnam and yet ends up helping other men get out of it. He's intelligent, a natural born leader, gifted with a rifle, a total rebel who is in and out of trouble, and yet... who is he?
I wouldn't say Joel Schumaker is a great filmmaker, but this is the kind of film that reinforces all the effort I put into being a cinephile. Looking for gems is like wandering into a cave and digging and digging for that shiny stone. I feel like I wander through a myriad of mediocre and plodding films and then I see something like this. A movie that reminds me why I love movies. :D
Speaking of gems, in the same night, and wanting more Collin, I decided to rewatch The New World:
http://www.entertainmentwallpaper.com/images/desktops/movie/the_new_world5.jpg
I wish I had the energy and time to write a review of this film (and I keep thinking I have spoken about it before) but of all the Terrence Malick films I've seen, this is by far my favorite. I know it is not the critics' favorite, but so be it. Unlike Tigerland, Collin's performance isn't what makes the film; neither is a sweet and kind Christian Bale; it is the beauty of Malick's filmmaking style that shines along with the young actress, Orianka Kilcher, who plays Pocahontas.
The ending of this film should be seen, discussed, and reviewed by anyone who believes themselves filmlovers. Malick chooses an incredibly visual and poetic style here: we see her running after her son through the manicured lawns of an English estate as Malick gives us the wild Indian girl among a wilderness now tamed. Soon she will be gone as the land and world she came from. It is both tragic and beautiful and I defy anyone not to cry. Simply a breathtaking film and a heart wrenching ending. I nearly hyperventilate every time.
Another one of those times when you realize why you love movies in the first place.
Just last night, I watched another Collin film (Collin Firth, this time) and my feelings are not quite the same as they were during my Collin Farrell evening:
http://fandangogroovers.files.wordpress.com/2010/02/colin-firth-a-single-man.jpg
A Single Man
I desperately wanted to see this film and well, I made my way through it, wanting to love it, but, alas, I found it plodding and at times, boring. You know you have a problem when you suddenly get up and wash dishes in the middle of the movie. I hadn't exactly planned to do that. ;)
Collin Firth was excellent, but that is not enough to recommend this film.
This is a film about loss and reaffirmation of life. Collin is a gay man who has recently lost his lover of 16 years. The film spans one day as he plans his suicide. Suffice it to say that we realize he is sad, and suffice it to say that by the end, he renounces his idea of suicide. In truth, the getting to that point had me feeling a bit suicidal as well.
:(
This reminds me of those films that try to be a "gem," but for me, the two films with the other Collin were the true gems. This one just tried too hard.
Holden Pike
08-16-10, 05:30 PM
Just so you know, both Misters Firth and Farrell spell Colin with a single L. http://smilearchive.com/s/otn/ez/ezpi_cooldude.gif
TheUsualSuspect
08-16-10, 08:00 PM
The Box (2009, Richard Kelly)
1.5/5
I agree with your review, although I was a bit more generous with my rating. I dug what Kelly wanted to do, but thought the way he presented it was pretty sloppy.
Once I saw the three portals, I gave up.
Classicqueen13
08-16-10, 10:46 PM
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A thriller filled with mystery and jump-out-of-your-seat moments. I was fairly engrossed into the mystery. Intrigued isn't a strong enough word. I really did want to know what was going on. Things are very effectively tied together, and while I thought I was going to hate it, I loved the ending. It's a little out there perhaps, but I liked it. The cast is well assembled including likable scenes from Kathy Bates and Rosanna Arquette. I heard that this was one of Costner's better performances, but I think this is far from his strongest. He seemed a little weak in the beginning, but he seemed to grow into the character. The script starts out great and even kind of witty, but it dwindled off and didn't turn out to be overall impressive. Well directed as well. A good quick mystery.
Dragonfly: 3+
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What really struck me about this movie is that it certainly has its own style. Brimming with racial undertones in the mystery plot, it's really an enjoyable watch. Washington is great in a role that could have been written for him. The supporting cast are all very good, but most memorable has to be Don Cheadle. His character provides plenty of hearty laughs as well as helps drive the plot. The mystery is well done, pieced together, and explained.
Devil in a Blue Dress: 3+
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I was not expecting much at all from this Rom-Com. It's probably ideal as a date movie. While Leary and Bullock aren't sizzling with chemistry, there's a lot of romance and their relationship makes up most of the plot. It's surprisingly funny. I laughed way more than I expected and then a little. Leary's goofball Frank provided almost as many laughs as his boss and the gang working for him. The FBI agent tailling them was even comedic. There's plenty to laugh at and a lot of love going on here. Certainly worth the time but don't set your sights too high, IMO.
Two if by Sea: 3+
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I watched this one split down the middle. As in half-way through, I quit for a long time and went back to finish it. I must say Arnold and Jamie are a great pair for this movie. This comedic action flick has all the laughs and explotions I would've hoped for. The ending felt like it was dragged out some though. Cameron's naturally got some good special effects that have aged quite well. The plot is funny in itself and the script has a lot of good dialouge.
True Lies: 3.5
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I had very high expectations for this movie and it lived up to every bit of them. The superb, stellar, fantastic cast filled with a lot of my favorites all have great characters to soak up in a rather simplistic plot for Grisham. Bullock's headstrong and capable legal assistant may have been my favorite part of the movie. While I don't think McConaughey has a lot of skill, he may have been born to play this role. Jackson was terrifically cast. Spacey's character plays a bigger role than he does, but he was smart to get in here. Donald and Kiefer Sutherland both do a lot with their small roles. The script has moments of humor, poignant speeches, and great lines. Really something I think any movie fan would enjoy this underrated courtroom drama.
A Time to Kill: 4+
Eat Pray Love (Murphy, 1975) http://www.movieforums.com/community/../images/popcorn/2box.gif
http://rogerebert.suntimes.com/apps/pbcsi.dll/bilde?Site=EB&Date=20100811&Category=REVIEWS&ArtNo=100819999&Ref=AR&Maxw=366
Julia Roberts, about to eat or pray.
BY PLANET NEWS / August 11, 2010
Elizabeth Gilbert's book "Eat, Pray, Love," unread by me, spent 150 weeks on the New York Times best seller list and is by some accounts a good one. It is also movie material, concerning as it does a tall blond (Gilbert) who ditches a failing marriage and a disastrous love affair to spend a year living in Italy, India and Bali seeking to find the balance of body, mind and spirit. During this journey, great-looking men are platooned at her, and a wise man, who has to be reminded who she is, remembers instantly, although what he remembers is only what she's just told him.
I gather Gilbert's "prose is fueled by a mix of intelligence, wit and colloquial exuberance that is close to irresistible" (New York Times Book Review), and if intelligence, wit and exuberance are what you're looking for, Julia Roberts (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Julia%20Roberts&Class=%25&FromDate=19150101&ToDate=20101231) is an excellent choice as the movie's star. You can see how it would be fun to spend a year traveling with Gilbert. A lot more fun than spending nearly two hours watching a movie about it. I guess you have to belong to the narcissistic subculture of Woo-Woo.
Here is a movie about Liz Gilbert. About her quest, her ambition, her good luck in finding only nice men, including the ones she dumps. She funds her entire trip, including scenic accommodations, ashram, medicine man, guru, spa fees and wardrobe, on her advance to write this book. Well, the publisher obviously made a wise investment. It's all about her, and a lot of readers can really identify with that. Her first marriage apparently broke down primarily because she tired of it, although Roberts at (a sexy and attractive) 43 makes an actor's brave stab at explaining they were "young and immature." She walks out on the guy (Billy Crudup (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Billy%20Crudup&Class=%25&FromDate=19150101&ToDate=20101231)) and he still likes her and reads her on the Web.
In Italy, she eats such Pavarottian plates of pasta that I hope one of the things she prayed for in India was deliverance from the sin of gluttony. At one trattoria she apparently orders the entire menu, and I am not making this up. She meets a man played by James Franco (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=James%20Franco&Class=%25&FromDate=19150101&ToDate=20101231), about whom, enough said. She shows moral fibre by leaving such a dreamboat for India, where her quest involves discipline in meditation, for which she allots three months rather than the recommended lifetime. There she meets a tall, bearded, bespectacled older Texan (Richard Jenkins (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Richard%20Jenkins&Class=%25&FromDate=19150101&ToDate=20101231)) who is without question the most interesting and attractive man in the movie, and like all of the others seems innocent of lust.
In Bali she revisits her beloved adviser Ketut Liyer (Hadi Subiyanto), who is a master of truisms known to us all. Although he connects her with a healer who can mend a nasty cut with a leaf applied for a few hours, his own skills seem limited to the divinations anyone could make after looking at her, and telling her things about herself after she has already revealed them.
Now she has found Balance, begins to dance on the high wire of her life. She meets Felipe (Javier Bardem (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Javier%20Bardem&Class=%25&FromDate=19150101&ToDate=20101231)), another divorced exile, who is handsome, charming, tactful, forgiving and a good kisser. He explains that he lives in Bali because his business is import-export, "which you can do anywhere" — although later, he explains she must move to Bali because "I live in Bali because my business is here." They've both forgotten what he said earlier. Unless perhaps you can do import-export anywhere, but you can only import and export from Bali when you live there. That would certainly be my alibi.
The audience I joined was perhaps 80 percent female. I heard some sniffles and glimpsed some tears, and no wonder. "Eat Pray Love" is shameless wish-fulfillment, a Harlequin novel crossed with a mystic travelogue, and it mercifully reverses the life chronology of many people, which is Love Pray Eat.
Eat Pray Love BY ROGER EBERT / August 11, 2010 (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20100811/REVIEWS/100819999)
Eat Pray Love
A Confederacy of narcissists
Release Date: 2010
Ebert Rating: **
By Roger Ebert Aug 11, 2010
Elizabeth Gilbert's book "Eat, Pray, Love," unread by me, spent 150 weeks on the New York Times best seller list and is by some accounts a good one. It is also movie material, concerning as it does a tall blond (Gilbert) who ditches a failing marriage and a disastrous love affair to spend a year living in Italy, India and Bali seeking to find the balance of body, mind and spirit.
During this journey, great-looking men are platooned at her, and a wise man, who has to be reminded who she is, remembers instantly, although what he remembers is only what she's just told him.
I gather Gilbert's "prose is fueled by a mix of intelligence, wit and colloquial exuberance that is close to irresistible" (New York Times Book Review), and if intelligence, wit and exuberance are what you're looking for, Julia Roberts is an excellent choice as the movie's star. You can see how it would be fun to spend a year traveling with Gilbert. A lot more fun than spending nearly two hours watching a movie about it. I guess you have to belong to the narcissistic subculture of Woo-Woo.
Here is a movie about Liz Gilbert. About her quest, her ambition, her good luck in finding only nice men, including the ones she dumps. She funds her entire trip, including scenic accommodations, ashram, medicine man, guru, spa fees and wardrobe, on her advance to write this book. Well, the publisher obviously made a wise investment. It's all about her, and a lot of readers can really identify with that. Her first marriage apparently broke down primarily because she tired of it, although Roberts at (a sexy and attractive) 43 makes an actor's brave stab at explaining they were "young and immature." She walks out on the guy (Billy Crudup) and he still likes her and reads her on the Web.
In Italy, she eats such Pavarottian plates of pasta that I hope one of the things she prayed for in India was deliverance from the sin of gluttony. At one trattoria she apparently orders the entire menu, and I am not making this up. She meets a man played by James Franco, about whom, enough said. She shows moral fibre by leaving such a dreamboat for India, where her quest involves discipline in meditation, for which she allots three months rather than the recommended lifetime. There she meets a tall, bearded, bespectacled older Texan (Richard Jenkins) who is without question the most interesting and attractive man in the movie, and like all of the others seems innocent of lust.
In Bali she revisits her beloved adviser Ketut Liyer (Hadi Subiyanto), who is a master of truisms known to us all. Although he connects her with a healer who can mend a nasty cut with a leaf applied for a few hours, his own skills seem limited to the divinations anyone could make after looking at her, and telling her things about herself after she has already revealed them.
Now she has found Balance, begins to dance on the high wire of her life. She meets Felipe (Javier Bardem), another divorced exile, who is handsome, charming, tactful, forgiving and a good kisser. He explains that he lives in Bali because his business is import-export, "which you can do anywhere" — although later, he explains she must move to Bali because "I live in Bali because my business is here." They've both forgotten what he said earlier. Unless perhaps you can do import-export anywhere, but you can only import and export from Bali when you live there. That would certainly be my alibi.
The audience I joined was perhaps 80 percent female. I heard some sniffles and glimpsed some tears, and no wonder. "Eat Pray Love" is shameless wish-fulfillment, a Harlequin novel crossed with a mystic travelogue, and it mercifully reverses the life chronology of many people, which is Love Pray Eat.
Cast & Credits
Liz Gilbert Julia Roberts
Richard Richard Jenkins
Stephen Billy Crudup
David James Franco
Felipe Javier Bardem
Delia Shiraz Viola Davis
Ketut Liyer Hadi Subiyanto
Columbia Pictures presents a film directed by Ryan Murphy. Screenplay by Murphy and Jennifer Salt. Running time: 141 minutes. Rated PG-13 (for brief strong language, some sexual references and male rear nudity).
Harry Lime
08-17-10, 12:43 AM
Yeah, PN was just being funny after Fiscal was busted for plagiarism.
planet news
08-17-10, 01:25 AM
Yet another massive MoFo failure in detecting blatant satire.
Loner's right on the lightsaber line so I won't derep twice, but c'mon man. I'm trying to reach 500 before Yoda raises the threshold. At least derep a deserving post. There are many if you look.
planet news
08-17-10, 01:29 AM
Red Desert (Antonioni, 1964)
This is an effective movie in that I think a large part of its intention is to collapse personal, social and environmental observation into an aesthetic critique of industrialization. The commentary is mostly in images and the excellent use of sound rather than in people or plot, so a lot of viewers will mistakenly think this is "pretentious" (a word I almost never use and never use pejoratively), but I think this message comes across pretty clearly and effectively. It even seems like a propaganda film to me. It uses color, form and sound to convey a feeling that this 1960s industrial Italy is corroding people's abilities to connect to the world or each other and perhaps even their minds and bodies. It even literally sucks the color out of organic forms when they're placed in an oppressive concrete place.
This is all a set up for a contrast with a woman's inner world that is pretty much the exact opposite of the real but is made to seem much more real in it's lushness and calm, here too the use of sound is very stong. The movie seems somewhat slow due to its lack of plot but I'm willing to allow that because it really is an aesthetically powerful and memorable film.
3.5
Finely written review. Antonioni is an untapped resource for me. Thanks for giving me a place to go after Blowup!
re93animator
08-17-10, 09:47 AM
Carnival of Sinners/La Main du diable (1943) – 3+
A story of greedy self-conflict and the choice between normalcy or unlimited love, fortune and talent… at the risk of eternal damnation. The film has fallen under the radar over the years. It’s extremely hard to find, but if attainable, it’s worthwhile.
Malefique (2002) – 3+
The horror in Malefique might be too grotesque for some, but the thing that makes it so interesting is its attempt to keep the viewer captivated by the fear of the unknown (in true Lovecraftian tradition). Though much of its mystery is a little too predictable, the basic plot leaves a profound impact.
Razorback (1984) – 2+ Camp rating: 2_5
The suspense scenes (especially the ending) often suffer from jumpy camera movement and a poor creature model that, thankfully, stays off-screen most of the time, but are aided by some very artistic lighting.
Considering that it was set in the Outback, and that it was directed by the man that introduced us to Highlander, I was hoping that this would turn out more entertaining than it was. The film doesn’t take itself too seriously, but it’s just uninteresting to watch.
Red Rock West (1993) – 3_5-
Its minor implausibility may bother some, but its plot craft and extremely effective tension make it well worth watching. As its protagonist falls deeper and deeper into a hole that he somehow dug himself, we get a neo-noir that crafts its sequences in a way that seems reminiscent of Hitchcock while still maintaining its own originality. This would make a great double-bill with Blood Simple.
Yeah, we'll definitely need Fiscal to weigh in here. In case it wasn't obvious, copying other people's reviews without sourcing it (especially in a way that implies that you were the one who wrote it) is a big no-no.
Thanks for the email Yoda. Here is a response (http://www.movieforums.com/community/showthread.php?p=660157#post660157)
If I need to get it out of that part of the forum, that's fine.
linespalsy
08-17-10, 11:27 PM
http://thegoodolddays.org/39steps2.jpg
The 39 Steps (Hitchcock, 1935)
The 39 Steps takes a while to get into because of its careful attention to incidental characters and mise-en-scène. It starts paying off about a third of the way in and keeps you guessing how the main character's going to unwind the espionage plot right up till the end. It's pretty absurd but has some absolutely clever and charming episodes. I'm not going to give it a 4 just yet.
3.5+
http://girlsguidetothegalaxy.com/wp-content/uploads/2009/06/searchers.gif
The Searchers (Ford, 1956)
There are some very ugly people in this, not least of which is John Wayne's hate-fueled anti-hero. I did find the story and much of the drama pretty engaging but what pushed this over the edge for me was the cinematography and visual storytelling based around wide-open spaces and haunting scenes of dark and light.
3.5
planet news
08-17-10, 11:38 PM
I still don't get how The Searchers is considered the best western of all time.
linespalsy
08-18-10, 12:05 AM
I really don't feel like I've seen enough or understand "the western" well enough to say much to that except that there are a few westerns that I like better and I've only seen maybe 10 or 12 (including all Leone's and a couple by Altman, so most that I have seen are from a later period than The Searchers).
I could see a case for it though. It looks fantastic. and by that I don't just mean pretty pictures, I mean the use of interior space to build against the huge contrasting scope of exteriors and make it even bigger, right from the opening shot of the movie was really breathtaking. It may be almost a cliche by now but I found that a pretty powerful and lasting image and from then on I looked forward to any scene that would have light from the outside intruding into a dingy interior. Not just that but the exterior photography as well was very high quality and reminded me of the best movie ever, which came out 6 years after The Searchers.
The story and commentary I could maybe see a case for. There was an interesting argument about its social content and perceived message by rufnek and uconjack, both of whom are definitely more appreciative and steeped in the genre than I am, and possibly more attuned to that way of looking at movies. This was a couple years ago in a John Wayne appreciation thread, starting here (http://www.movieforums.com/community/showthread.php?p=386938).
For me I thought the story was compelling enough as melodrama, I mean I thought it exploited the drama of the central relationship/dual conflicts -- two buddies in hostile territory supporting each other but also having some very deep-seated differences leading to tension -- effectively enough but I don't think I'd call it great on the basis of its themes or story alone.
It does make me want to see more old westerns, though I guess you could say that started before I saw this even with The Strawberry Roan anyway.
Red Rock West (1993) – 3_5-
Its minor implausibility may bother some, but its plot craft and extremely effective tension make it well worth watching. As its protagonist falls deeper and deeper into a hole that he somehow dug himself, we get a neo-noir that crafts its sequences in a way that seems reminiscent of Hitchcock while still maintaining its own originality. This would make a great double-bill with Blood Simple.
Or The Last Seduction ...
The Searchers is considered a classic great western for other reasons than what lines said, even though he was certainly correct in his assessment. Besides watching westerns, you have to comprehend John Ford's sentimentality. If anything, I think that Spielberg is considered as a sentimental heir to both Capra and Ford. Now, I agree that they all have sentimental tendencies, but just look at The Searchers, Meet John Doe and Empire of the Sun. They do contain some sentimental passages, but they are each considerably darker than most (if not all) of the directors' films.
Westerns are basically about man against nature and man against himself (nature part 2). The best ones are very basic and spectacular visually. Then again, something like Johnny Guitar, although striking, isn't like a normal western visually, but it has more psychoanalytical baggage than almost any film I've ever seen. :cool:
linespalsy
08-18-10, 12:50 AM
Thanks mark, now I know where to start when I eventually get around to Capra and Spielberg.
What would you say is the most sentimental of Ford's movies? Which do you think is the best sentimental movie of his?
honeykid
08-18-10, 01:03 AM
I've not seen it, but I think I've heard that it's The Man Who Shot Liberty Valance. But watch Cheyenne Autumn as well, just because.
Tacitus
08-18-10, 05:46 AM
I'd say that TMWSLV is more elegiac than sentimental.
My Darling Clementine maybe?
Swamp Thing (Craven, 1982) 1 or a 3 on the trash and laugh scale.
http://3.bp.blogspot.com/_AXy1-eDfEQc/SXIlD5Z_66I/AAAAAAAAC-c/a0wb3VY89zQ/s400/Swamp-Thing_l.jpg
I used to watch this constantly when I was a youngster, and I loved it back then. I hadn't seen it since the early 80s, and it certainly has not aged well. It really feels like 5 different films, being incredibly uneven throughout. The action scenes seem like unused outtakes from the A-team, and the final reel is laugh out loud bad.
We had a friend over, and the aim was to have a fun trash flick night, but after Swamp Thing, we had to bail on the trash idea for the evening...\
Next up was...
Blast of Silence (Baron, 1961) 4
http://www.dvdbeaver.com/film2/DVDReviews36/a%20blast%20of%20silence%20noir/title%20blast%20of%20silence.jpghttp://www.jdmfilmreviews.com/images/blast-of-silence-criterion-dvd-film-noir-allen-bar1.jpg
Harsh, dark noir about a hit man on the job in Manhattan during the Christmas Holiday. Written, directed and played by Allen Baron, someone I hadn't been exposed to yet. Some great camera work in this one, lots of yummy shadows and memorable characters, as well. The voice over is really fun, too.
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