Movie Tab II

Nice review. I need to see this. I grew up in the same time, a few years later, but it was very much just spending long days with friends, like you mention. I've been turned off a bit by films with teens around this era, usually from the film making itself and some of the acting, and I'm hoping this is a cut above the usual late 70's into 80's teen films. It seems like, with its cast, I'm probably in good hands. Definitely overdue to finally watch this. Thanks for the review.

Wright, 2010





Fun! For some reason, I had skipped seeing this until now. My mistake! Really fun and creative. If I had known Mary Elizabeth Winstead was in it, I might have watched it sooner.



Whedon, 2005





As a Firefly fan, I have always been a fan of this one. Still holds up today! Some good story-telling here.

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The Pawnbroker (1964) -



Decided to watch some more Lumet flicks. An outstanding performance from Rod Steiger.I thought these retrospection flashes were super effective and powerful, but the longer the retrospection lasted, the weaker it became. I wish Lumet had stuck with just rapid flashes that would let the viewer see the silhouttes and understand what they show, but not long enough to see anything else. Still, a wonderful film.

All the Vermeers in New York (1990) -



My first Jon Jost film. Very sad. It's almost unsettling how bad it is acting-wise at times, but also how beautiful Jost handles the topics he explores and how skillfully he places the camera and composes frames.

Fail-Safe (1964) -



A truly outstanding thrill ride that kept me on the edge of my seat to the very end and literally shattered me during its final five minutes. Henry Fonda and great cinematography to boost.

御用牙　鬼の半蔵やわ肌小判 [Hanzo the Razor: Who's Got the Gold?] (1974) -



The third in the trilogy and just as great as its predecessors. Nothing new here if you've seen the other two, but great entertainment nevertheless.

Hannah and Her Sisters (1986) -



Decided to catch up on Allen, even though I'm not a fan. Many good actors here (von Sydow!!!) and a typical extramarital romance plot. One of his best.

１３人連続暴行魔 [Serial Rapist] (1978) -



Wakamatsu going in hard and taking no prisoners! This is perhaps his most nihilistic and unadulterated work. Just a one-hour-long stream of rape and murder.

ハッピーアワー [Happy Hour] (2015) -



This completely destroyed me! It's called Happy Hour, but it's more like Five Hours of Sadness. It starts beautifully and you can really feel the friendship between these women, but then so many things happen it really got me emotionally. The characters are among the most real I've ever seen in cinema and long, drawn-out dialogue scenes really help to build them. None of the characters are perfect, they make stupid mistakes that made me feel really angry with them (as if they were people I actually know in real life). I feel the most important theme in the film is the inability to communicate with other human being in contemporary world, but there's much more to it!.

君は裸足の神を見たか? [Did You See the Barefoot God?] (1987) -



Yet another depressing movie! Quite beautiful!

Crimes and Misdemeanors (1989) -



A really nice mix of drama and comedy with your usual Allen witticism, but that's about it.

Midnight in Paris (2011) -



My TOP 3 Allen so far. Super-light romantic comedy with Dali, Bunuel, Ray, Picasso, Hemingway, the Fitzgeralds and more!

La dama rossa uccide sette volte [Red Queen Kills 7 Times] (1972) -



A pretty cool giallo flick. I had fun.

Cani arrabbiati [Rabid Dogs] (1998) -



A super brutal offering from Mario Bava! Ruthless criminals kidnap a man, a woman and a child and therefore start a game of life and death. But who will win?

Una sull'altra [Perversion Story] (1969) -



Early Fulci when he still wanted some plot in his movies. It's like a post-Hitchcock, giallo without giallo, kind of criminal flick with dazzling colour cinematography and interesting story.

すけべ妻　夫の留守に [Wife in Heat: While Husband is Away] (1995) -



AKA Rafureshia. Sato does black comedy and... succeeds greatly! It's so ridiculous at times... only Sato could've made this! Jesus, the dinner scene and dad & daughter scene already had me wondering what more does this flick to offer, and believe me, it does a lot.

薮の中 [In the Thicket] (1996) -



WTF, this is the least Sato-esque film made by Sato ever since he started to this point. Looks like he got a big budget and made a... jidaigeki film. This is a reinterpretation of Rashomon story. If it wasn't for the nice colours, occasional mood and great ending, I would've rated it lower.

むっちり家政婦 吸いつきご奉仕 [Milk the Maid] (2013) -



A big surprise. A really dumb comedy and the leading lady's face looks like a doll's, but she makes up for it with her body and the other ladie's body is good, too, but it is the plot that's the best. It's so naive and magically dumb I just couldn't help but enjoy it. Next one in line: Whore Angels. Should be fun!

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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.

AKIRA (1988) -

Katsuhiro Ôtomo


Timeless!
Still one of my favorite animations ever!
I'll start to read the manga next week since finally it was released the remaster version here in my country.


Wicked City (1987) -

Yoshiaki Kawajiri

A lot of boobs and violence. Everything that you can expect from Yoshiaki Kawajiri.


Ninja Scroll (1987) -

Yoshiaki Kawajiri


My favorite Yoshiaki Kawajiri flick!

Ghost in the Shell (1995) -

Mamoru Oshii

The real GitS!
I had to rewatch this to get the picture of that american s**t version out of my head.

Perfect Blue (1995) -

Satoshi Kon

I need more Satoshi Kon in my life!
I'll watch all of them.

Maximum Risk (1996) -

Ringo Lam

Mindless 'Van Dammage' action B-movie!
I can’t in my right mind give this movie a rating higher than an 2 right?
But I kind of enjoyed it

It (1990) -

Tommy Lee Wallace

Watched for the first time and well...
I liked the practical effects and some characters.

Onibaba (1964) -

Kaneto Shindô

Loved every second of it.
Next time maybe I'll like it even more.

Kuroneko (1968) -

Kaneto Shindô

It did not conquer me as Onibaba did, but very well done and atmospheric.

August (i):

+
The Last Picture Show (Peter Bogdanovich, 1971)


La French [The Connection] (Cédric Jimenez, 2014)

+
Almost Famous (Cameron Crowe, 2000)
Hitchcock/Truffaut (Kent Jones, 2015)
Un prophète [A Prophet] (Jacques Audiard, 2009)


Che sau [Motorway] (Pou-Soi Cheang, 2012)
R aka R: Hit First Hit Hardest (Tobias Lindholm & Michael Noer, 2010)

+
Felon (Ric Roman Waugh, 2008)
Ichiban utsukushiku [The Most Beautiful] (Akira Kurosawa, 1944)
Le Havre (Aki Kaurismäki, 2011)
The Queen (Stephen Frears, 2006)
The Way Back (Peter Weir, 2010)


Life's A Breeze (Lance Daly, 2013)
The Bank Job (Roger Donaldson, 2008)
Wild (Jean-Marc Vallée, 2014)

+
Darkman (Sam Raimi, 1990)
Exam (Stuart Hazeldean, 2009)


Nordvest [Northwest] (Michael Noer, 2013)
Offret [Sacrifice aka The Sacrifice] {Andrei Tarkovsky, 1986)
Survivor (James McTeigue, 2015)

+
The Pyramid (Grégory Levasseur, 2014)


As Above, So Below (John Erick Dowdle, 2014)


Bridesmaids (Paul Feig, 2011)
Piranha 3DD (John Gulager, 2012)
Play (Ruben Östlund, 2011)
The Principles Of Lust (Penny Woolcock, 2003)

Gunn, 2017





Not as fresh as the first film, but still pretty fun overall. Lots of eye candy, but some of the jokes weren't landing for me.

I agree with a good portion though I'm not sure I see this as completely humorless. ie -"Mind if I call you Groucho?" - "I don't mind" (completely deadpan and exhausted).

Also, I thought some of the editing was very visible. I'm talking about the flashback/present/flash back/present still frame with accompany of sizzle sound effect.

I totally agree that some of the non linear script wasn't completely necessary. Also, I should edit my own review as I originally stated the cinematography was gritty. It's really not. I was thinking of a couple street shots having deep contrast leaning on the yellow side, but ultimately the film has an overall bland look which seems to suit it for the characters.

I guess I liked this better than you did, but I don't think it's easy viewing.

The biggest problem with "Before the Devil Knows You're Dead (2007)" is that it crammed enough material for many movies thus it couldn't fully satisfyingly delve into any event or theme. It almost had enough tragedy to make a separate movie in one frame. It kept skimming through events without being able to inflict enough shock as all of it was underdeveloped.

I was actually thinking something similar about the relationship between the son and father. I wanted more backstory.

But I've also seen films skim before that I've liked so..I don't know. I guess that's where the audience has to fill in blanks on their own - like - dare I say - fine art. (ducks!)

Children Of Paradise



I am never surprised when I haven't seen a great film. After all in the grand scheme of things I haven't seen that many. I am still very surprised when I see a movie this great that I had never even heard of before. I have never heard of this film till I saw Cricket post about it a few weeks ago. I was blown away. It will take another viewing or two but Baptiste may be a top twenty ever character for me. This film just has everything. Humor, romance, and tragedy. It is loud and frantic while still being quiet and full of tender moments. I absolutely loved it. Favorite film I have seen this year.

Detroit



This film has mostly minority actors, is directed by a woman, and is great. How in the world am I not hearing more about it. Second favorite of the year so far. More to come. Go see it Mofo, someone needs to be talking about this film.

Welcome To The Dollhouse



Read a few reviews on latterboxd that talked about the realism of this film. Maybe I am a lucky man but I just don't get it. The film is decent but does not ring true to me at all which makes it even more dour than intended. The conflict that comes in the final third is especially artificial.

Grand Illusion



Really good at times but another realistic film that was very hard for me to connect to emotionally. It felt very influential at parts and I am glad I saw it but short of a favorite for me.

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Letterboxd

Realism? I love that film and i completely agree with you. It's just oddly hilarious to me, Dawn is the most unfortunate character in the world and she isn't even sympathetic like at all, which is awesome. Glad you didn't hate it at least.

Also sad you didn't love Grand Illusion, i thought it was perfect. I think the last part with the woman when they escape was oddly emotional but that's not why i like the rest of it. Again glad you didn't hate it.

Glass Bottom Boat in Catalina (No Director Listed, 1966)

+
Baby Face (Alfred E. Green, 1933)

The Parrot and the Swan (Alejo Moguillansky, 2013)

Orpheus Descending (Peter Hall, 1990)

+

Vagabond Kevin Anderson perks up the life of unhappily-married Italian immigrant wife Vanessa Redgrave in 1940s Mississippi in this Tennessee Williams adaptation.
The Royal Rodeo (George Amy, 1939)

Castro (Alejo Moguillansky, 2009)

Border Incident (Anthony Mann, 1949)

+
Sayonara (Joshua Logan, 1957)

-

After the Korean War, Major Marlon Brando finds his life turned upside down when he falls for Japanese “girl opera” performer Miiko Taka.
The Reluctant Saint (Edward Dmytryk, 1962)

Across the Wide Missouri (William A. Wellman, 1951)

The Levelling (Hope Dickson Leach, 2017)

+
The Gold Bug (Alejo Moguillansky & Fia-Stina Sandlund, 2014)

Complicated film about an Argentinian film crew making a movie about a Swedish feminist or is it an Argentinian radical? It’s actually both, as well as a treasure hunt by the crew and a self-aware film about itself.
The Feminine Touch (Major W.S. Van Dyke, 1941)

It Happened at the World's Fair (Norman Taurog, 1963)

+
Some Freaks (Ian MacAllister McDonald, 2017)

-
Mystery Street (John Sturges, 1950)

One of the first films about forensics is this murder mystery starring policeman Ricaedo Montalban and Harvard doctor Bruce Bennett.
My Man and I (William A. Wellman, 1952)

+
We Must Have Music (No Director Listed, 1942)

Live a Little, Love a Little (Norman Taurog, 1968)

The Transfiguration (Michael O’Shea, 2017)

Loner teenager Eric Ruffin, who has an unhealthy relationship with vampirism, takes his new girlfriend (Chloe Levine) to a screening of Murnau’s Nosferatu.

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

Mr. Majestyk (Richard Fleischer, 1974) -

Charles Bronson is one mean melon-farmer in what is ultimately another passable '70s action piece. Gotta love the stabs at being socially conscious, but not so much the inconsistent approach to the action itself that makes this movie feel longer than it is.

Brain Damage (Frank Henenlotter, 1988) -

Nasty, brutish, and short piece of '80s horror-comedy about a smart-talking parasite that drugs people and feeds off brains. It's got some interesting visuals here and there, but for the most part it is just a perpetually unpleasant experience.

French Cancan (Jean Renoir, 1955) -

I do question exactly how much I should let my movie choices be dictated by whatever happens to be expiring off MUBI. This isn't bad or anything, it just doesn't click with me. I can appreciate the art direction and the choreography, though.

Roger Waters: The Wall (Sean Evans and Roger Waters, 2014) -

Maybe it's because I already managed to catch this particular tour in person and also played the album to death and back over the past decade or so, but to me the most interesting parts of this concert film ended up being the pseudo-mockumentary interludes that see Waters traveling to war memorials. I suspect I'll never love The Wall like I used to, but at least I feel okay with never truly hating it either.

Brute Force (Jules Dassin, 1947) -

At its core a pretty standard prison break film, but certainly a brisk and entertaining one that is able to pack quite a bit into 90 minutes. Solid structure, decent characterisation, and even some well-crafted action scenes.

Indie Game: The Movie (James Swirsky and Lisanne Pajot, 2012) -

Fascinating underdog story about a handful of game developers trying their damnedest to bring their highly personal projects to life against all odds. Appreciable as a multi-faceted approach to videogames as an artistic medium that acknowledges various sides to creators, businesses, and the community.

The Limits of Control (Jim Jarmusch, 2009) -

I still stand by much of what I wrote about this in my 2015 review, but I'll jack up the rating a bit anyway. Might still be my least favourite Jarmusch, but he's got a pretty solid average so it's okay.

Pete's Dragon (David Lowery, 2016) -

Another live-action Disney remake, but it probably helps that I don't know the original and that A Ghost Story gave me a good first impression of Lowery's filmmaking. I'd still say that I liked it well enough, though.

Encounters at the End of the World (Werner Herzog, 2007) -

I feel like I could end up calling this my favourite Herzog documentary ahead of Grizzly Man, but time will tell on that front. In the meantime, this is still a remarkable nature documentary that sees Herzog aptly juggle all of his most well-known fascinations while showing off a subject as intriguing as Antarctica and its various eccentric inhabitants.

Hearts of Darkness: A Filmmaker's Apocalypse (Eleanor Coppola/George Hickenlooper/Fax Bahr 1991) -

One extremely unnecessary Burden of Dreams remake.

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Iro's Top 100 Movies v3.0

Perelman, 2003





Excellent stuff here. With Deakins on camera, it looks fantastic. Kingsley is stellar, as usual, and the rest of the cast, including Jennifer Connelly and Shohreh Aghdashloo turn in fine performances, as well. A recovering addict has her house seized, due to a tax error by the county. The house is auctioned off, and Kingsley's Colonel Behrani, an Iranian immigrant, buys the house for a song. His plans to do a bit of remodeling and resell are thwarted when Connelly's character, Kathy, attempts legal action. The situation spirals out of control, affecting all involved.

海よりもまだ深く [After the Storm] (2016) -



New cinema

Mommy (2014) -



isn't that bad

Song to Song (2017) -



after all.

Gem-Jams (Lambert Hillyer, 1943)

The Man Who Had Power Over Women (John Krish, 1970)

+
Mrs. Winterbourne (Richard Benjamin, 1996)

Dark of the Sun (Jack Cardiff, 1968)

Reteamed from The Time Machine, widow Yvette Mimieux and mercenary Rod Taylor try to survive a Civil War in the Congo while being attacked from all sides.
Victory Quiz (Will Jason, 1942)

What a Woman (Irving Cummings, 1943)

+
Penny Serenade (George Stevens, 1941)

La Marseillaise (Jean Renoir, 1938)

King Louis XVI (Pierre Renoir) listens to his love Marie Antoinette (Lise Delamare) babble.
The Deadly Trackers (Barry Shear, 1973)

The Private Affairs of Bel Ami (Albert Lewin, 1947)

The Hard Guy (Arthur Hurley, 1930)

Brooks, Meadows and Lovely Faces (Yousry Nasrallah, 2016)

+

The women at an Egyptian wedding have their share of secrets, but the men are far more jealous and violent.
After the Battle (Yousry Nasrallah, 2012)

Janie (Michael Curtiz, 1944)

Eyes in the Night (Fred Zinnemann, 1942)

The Bachelor and the Bobby-Soxer (Irving Reis, 1947)

High schooler Shirley Temple and artist Cary Grant leave her family’s home for a date. “Hey, you remind me of a man. What man? Man with the power. What power? Power of hoodoo. Hoodoo? You do. Do what? Remind me of a man...”
Ostende (Laura Citarella, 2011)

MGM's March on in 1934-35 with Metro Goldwyn Mayer: Convention of the Century (No Director Listed, 1934)

When Ladies Meet (Harry Beaumont, 1933)

The Front Page (Lewis Milestone, 1931)

Newspaper editor Walter Burns (Adolphe Menjou) rips the paper out of the typewriter of reporter Hildy Johnson (Pat O’Brien) who tries to punch him out.

The Cove (Louie Psihoyos, 2009) -

This animal-rights documentary does have some remarkable hooks such as the once-legendary dolphin trainer trying to atone for his actions or its night-vision displays of outlaw activism. Definitely a rough watch.

Portrait Werner Herzog (Werner Herzog, 1986) -

(Disclaimer: due to technical difficulties, I had to watch this without English subtitles so I treated this viewing as a primarily visual experience, in which case it is a passable autobiographical piece.)

Fitzcarraldo (Werner Herzog, 1982) -

Yeah, I think I'm about ready to start ranking Herzog pretty high on my list of favourite directors. Definitely becomes more interesting now that I've seen Burden of Dreams, at least.

Portrait Werner Herzog (Werner Herzog, 1986) -

Finally managed to find a version with English subtitles, but I still reckon it's pretty so-so.

Querelle (Rainer Werner Fassbinder, 1982) -

My second Fassbinder after Petra von Kant and, while it's not quite as good as that particular film, it's definitely enough to make me want to see more of his work. Colourful and decadent in enough of the right ways. Now I wonder if Todd Haynes was trying to mimic this film's style when he did his own Jean Genet adaptation in Poison.

Magic Mike XXL (Gregory Jacobs, 2015) -

Usually, describing a sequel as being the kind of film that you expected the first film to be is a means of criticism. With this film, it's actually kind of a compliment as it takes a potentially irritating premise - road trip with The Boys™ - and manages to make something genuinely worthwhile out of it.

In the Shadow of the Moon (David Sington, 2007) -

The problem with absorbing as many Herzog docs as I have been doing recently is that it makes more conventional and sensible docs like this one seem awfully dry and stolid in comparison. That probably suits a film that is mainly about retired astronauts recounting their experiences in an affable but straightforward manner, though.

Sabotage (David Ayer, 2014) -

Schwarzenegger completionism takes me to this ugly little B-movie where he leads a squad of corrupt DEA agents that's being targeted by cartels. It's unpleasant and not especially well-made, but somehow it does work just enough to not be completely awful.

Waterworld (Kevin Reynolds, 1995) -

An overly long and extremely sluggish film that shamelessly recycles all sorts of post-apocalyptic tropes BUT ON WATER, but it's got its moments thanks to its unabashed mid-'90s aesthetic that's only bolstered by its notoriously over-the-top production instead of hindered by it. The third act alone was enough for me to push it up an extra half-popcorn, but now I wonder if that might have been a mistake.

The Earrings of Madame De... (Max Ophüls, 1953) -

This feels like a couple of the stories from La ronde got stretched out to feature length, which definitely underlines why they benefited from staying so short. It's still an elaborately-constructed piece of work on a technical level, but its central love triangle plot is ultimately pretty passable.

Legend (Brian Helgeland, 2015)

Bitter Lake (Adam Curtis, 2015)

Harold & Kumar Go to White Castle (Danny Leiner, 2004)

World War Z (Marc Foster, 2013)

The Lego Batman Movie (Chris McKay, 2017)

Borat (Larry Charles, 2006, Rewatch)

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Double Harness (John Cromwell, 1933)

Dog Lady (Laura Citarella & Verónica Llinás, 2015)

Screen Actors (Hal Elias, 1950)

The Magnificent Yankee (John Sturges, 1950)

Mrs. (Ann Harding) and Supreme Court Justice Oliver Wendell Holmes Jr. (Louis Calhern) live a long, eventful life.
The Violent Men (Rudolph Maté, 1955)

+
The Flame Within (Edmund Goulding, 1935)

+
My Cousin Rachel (Roger Michell, 2017)

Gilda (Charles Vidor, 1946)

Rita Hayworth and Glenn Ford have a love/hate relationship, and then there’s her husband (George Macready).
Pocketful of Miracles (Frank Capra, 1961)

A Report from Miss Greer Garson (No Director Listed, 1944)

+
Strange Lady in Town (Mervyn LeRoy, 1955)

Contratiempo aka The Invisible Ghost (Oriol Paulo, 2017)

-

A car full of murder evidence is sunk in a lake but how long will it remain a secret?
Universal Soldier (Roland Emmerich, 1992)

Universal Soldier: The Return (Mic Rodgers, 1999)

Abouna (Mahamat-Saleh Haroun, 2002)

-
Blossoms in the Dust (Mervyn LeRoy, 1941)

-
Before she becomes obsessed with homeless and “illegitimate” children, Greer Garson celebrates a happy new year. Later, she says before the Texas congress, “There are no illegitimate babies – only illegitimate parents.”
Remember? (Norman Z. McLeod, 1939)

-
The Very Thought of You (Delmer Daves, 1944)

Glimpses of California (James A. FitzPatrick, 1946)

It's a Great Feeling (David Butler, 1949)

+

In a film chock-full of Warner Bros. stars playing themselves, Joan Crawford overhears Dennis Morgan and Jack Carson arguing over the clothes they’re going to buy for and take off waitress Doris Day.

My Wild Irish Rose (David Butler, 1947)

Pretty Baby (Bretaigne Windust, 1950)

Equestrian Quiz: What's Your I.Q.? No. 11 (Dave O’Brien, 1946)

The Hard Way (Vincent Sherman, 1943)

-

Ultra-melodrama about a young talented woman (Joan Leslie) being pushed by her ambitious sister (Ida Lupino) to climb over everyone, including her husband’s best friend (Dennis Morgan).
Beatriz at Dinner (Miguel Arteta, 2017)

The Lady Takes a Sailor (Michael Curtiz, 1949)

Eyes of the Navy (No Director Listed, 1940)

Ship of Fools (Stanley Kramer, 1965)

In 1933, a German ocean liner bound from Mexico to Germany has a disparate group of passengers including a middle-aged American coquette (Vivien Leigh) and a German (Alf Kjellin) who still loves his wife but renounced her as a Jew.
Gunman in the Streets (Frank Tuttle, 1950)

+
The Deadly Affair (Sidney Lumet, 1966)

Lemon (Janizca Bravo, 2017)

Room at the Top (Jack Clayton, 1959)

Unhappily-married Simone Signoret and social climber Laurence Harvey are intensely “loving friends” until societal conventions interfere.
Term of Trial (Peter Glenville, 1962)

+
At Ellen's Age (Pia Marais, 2011)

Soul in Cinema: Filming Shaft on Location (Hugh A. Robertson, 1971)

-
Police Python 357 (Alain Corneau, 1976)

In another version of The Big Clock and No Way Out, the lover (Stefania Sandrelli) of police inspector Yves Montand is murdered by her other lover, the inspector’s boss (François Périer) who assigns him to find the killer.
Layla Fourie (Pia Marais, 2013)

Holland Sailing (Harry Wismer, 1950)

+
The Gallant Hours (Robert Montgomery, 1960)

Love Me or Leave Me (Charles Vidor, 1955)

Ruth Etting (Doris Day) performs at the Ziegfeld Follies until her jealous gangster “mentor” Martin (“The Gimp”) Snyder (James Cagney) puts the kibosh on it.