Rate The Last Movie You Saw

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Victim of The Night
Don't be afraid. You'll have lots of fun with it.
Well, it does have Jerry Reed in it, so I should be ok.



Always avoided this movie as I have zero interest in boxing. But I really liked it. (Hilary Swank was so good in this.) I had no clue the movie was going to violently pivot towards the end. Quite a surprise.

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Saw it because you guys said it was good. It's actually excellent, reminds of Coherence and Predestination
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Oh, I know it was big at the time and I can understand how a sequel a decade ago might have made sense, I'm just saying that every single human I have asked about sequels now, particularly multiple sequels, have said they had no interest and were surprised they were doing it, much less spending tons of money on it.
As I understand it from all my friends who saw it, it was fascinating to see at the time but not something one would necessarily want to revisit as the actual story is hackneyed at best and is ultimately just another white savior story made by a rich white man.
oh okay i see





Saw it because you guys said it was good. It's actually excellent, reminds of Coherence and Predestination
It's my favorite of Christopher Smith's films. It also really rewards watching it a second time.



You can't make a rainbow without a little rain.
Always avoided this movie as I have zero interest in boxing. But I really liked it. (Hilary Swank was so good in this.) I had no clue the movie was going to violently pivot towards the end. Quite a surprise.


I felt the same way about Million Dollar Baby. I dislike boxing so I had no interest in watching it, but I think I watched it because someone here nominated it in a HoF or movie tournament. I had no idea what it was really about, and I was very surprised at how much I liked the movie.
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I forgot the opening line.

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I, Robot - (2004)

I've been watching so many good films lately that my perspective is now fully out of whack I reckon. Here in I, Robot, my gripe is that Will Smith isn't acting anymore. He's just being "that Will Smith guy" - you know, the same one he is in most of his movies. Wisecracking, unaffected by anything and with zero emotional range. Once they'd signed Will Smith on to be in this film, I bet the whole production changed overnight. Some decent action and special effects try to make up for a derivative science fiction plot, and cardboard characters. Love the robots themselves - in fact, the robot called Sonny is the most sympathetic and involving character in the film. I adored Sonny. Should just let the robots take over - they'd probably make much better movies. This was good on some levels, and really bad on others.

6/10


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The Bourne Supremacy - (2004)

With an introduction to Bourne's universe and the characters within already done, this Bourne film gets to concentrate on a solid story that isn't too labyrinthine or too dumb - it's just right. Great car chases - especially the thrilling climax chase in Moscow, not to mention chases on foot, and another example of how indestructible this super soldier is, while at the same time making us believe he is downright vulnerable. If they'd gone too far into 'invulnerable' territory then there'd be no tension in the story at all. I wish Franka Potente had of had a bigger role in this - but Bourne facing what he's facing alone did give the film a different feel from the first, which makes the series still fresh and exciting. Great editing, location filming, and a really good new role for Brian Cox in this one. I enjoyed it a whole lot.

8/10


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Micmacs - (2009)

Very heavy on the cute and whimsy - but that is absolutely Jean-Pierre Jeunet's thing. I thought this film was a decent load of fun - one that's given me an instant crush on Julie Ferrier. The entire story is one of vengeance the main character is after over the arms manufacturers who were responsible for the land mine which killed his father and the bullet that's lodged in his brain. He falls in with a bunch of strange Jeunet characters when he loses his job, and they band together to help him. Feels like it exists inside of the same universe that Amelie, The City of Lost Children and Delicatessen exists in. Perhaps his new film, Big Bug (or Bigbug) will be a return to it. After Micmacs lost money nobody wants to fund his quirky films anymore, which is kinda sad.

7/10
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Latest Review : Le Circle Rouge (1970)





The Amazing Howard Hughes (1977)
Directed by William A. Graham

Tommy Lee Jones gives a likeable performance as the wealthy and eccentric American icon, with the story spanning from Hughes as a child right through to his death in 1976. By no means an exhaustive telling of Hughes' incredible life (a colossal task even in book form), yet it is fairly thorough in covering all the major highlights to a satisfactory degree. It doesn't get into the romance aspect too much, for the most part sticking to the aviation, movie production, legal hearings, business dealings and his relationship with Noah Dietrich, all with a generally laid back and well tempered approach. Real aircraft in all the flying scenes plus some clever use of archival footage add some nice touches throughout. I understand it was something of a break-through role for Jones' career. In his appearance and acting he plays the character with gusto.

I was intrigued to learn that this was originally released as a 3 hour 2 part series. I'd love to see that someday, this being the 2 hour version I've seen several times previously.

8/10



Chuck seemed like a stubborn character hell bent on self destruction, so I didn't really have much of a quibble with it. Besides I'm not an expert on medical insurance in the US so perhaps he didn't even consider it.! I'd much prefer the ending as is, as opposed to some sort of sugar coating.
But he also came off as an extremely self-absorbed character at the same time; his selfishness was the main reason why the rescue attempt unfolded the way that it did, after all, so him just letting that happen to himself at the end was pretty implausible to me (I mean, a normal person who's not an asshole letting that happen to themselves would stretch belief in the first place, so it definitely stretches it when it comes to Chuck). Besides, I think the real "sugarcoating" is the contrived length the movie went to in order to cause his comeuppance, since that felt rather forced, and made that aspect feel like a victim of the Hays Code requirement that immoral characters always had to be punished in some way by the end; an outcome more like Nightcrawler would've been much more challenging, and more true to life, IMO.



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Mort Sahl:The Loyal Opposition - 10/10



I'm devastated over his death, and have watched this 4 times. It only premiered in 1989 on PBS.. The last time I saw Mort in person I asked him about this. He said the director, Bob Weide (CURB YOUR ENTHUSIASM) hadn't cleared the sources, so it couldn't be distributed. I met a girl from Germany at the hostel in SF the next day, and.. it's a long story (PM me if you are interested) but after asking me if I wanted to go to The Whiskey (if she would have asked me to go to hell with her, I would have replied, "What time?") I asked if she wanted to go to The Museum of Radio & Television, which was the only way to view this (Paley Center), but it was my last full day, and we didn't go, but instead walked around North Beach. When we went to Vesuvio's, she went and got some tea, and I look out the window, and I see the "hungry i" where Mort got his start..


You don't have to be an American to enjoy this. Just a human. It's funny. And it's got a heart. It's an amazing time capsule. It's so well done. I think you would all love it.









3rd Rewatch...this movie just gets better every time I watch it and the main reason for that is Bradley Cooper. The love and sensitivity and attention to detail, not to mention imagination he put into bringing something fresh to a movie that had already been made three times is to be applauded. Loves those opening scenes at the drag club and the supermarket where Jackson is falling in love with Ally before he notices how talented she is. Cooper was robbed of a Best Director nomination, which is truly the best thing about this film. The off-the-charts chemistry he has with Lady GaGa is a close second and if you watch closely, he just throws this film to her. Sam Elliott was robbed of the Best Supporting Actor Oscar and I loved Andrew Dice Clay as Ally's dad.



The Stand at Paxton County (2020)

Drama about a daughter leaving the military and going home to her fathers ranch to see he and his neighbours are being bullied to give up their lands by the powers that be.

Ok, a bit soapy.




Bride of Frankenstein (1935, James Whale)

I enjoyed this more than the original film mainly because of Elsa Lanchester as the Monster's Mate. She is hands down the coolest and creepiest thing in these first two Frankenstein movies.




Bride of Frankenstein (1935, James Whale)

I enjoyed this more than the original film mainly because of Elsa Lanchester as the Monster's Mate. She is hands down the coolest and creepiest thing in these first two Frankenstein movies.
I can't remember where I first watched this film, but the print I saw was gorgeous. Like, one of the best looking black-and-white films I'd seen at that point. This would be great to see on the big screen.



Bride of Frankenstein (1935, James Whale)

I enjoyed this more than the original film mainly because of Elsa Lanchester as the Monster's Mate. She is hands down the coolest and creepiest thing in these first two Frankenstein movies.
I agree. And both thumbs way up for the inimitable Elsa Lanchester! I loved her in Witness for the Prosecution (1957). But she was a natural for comedy.





House of Games, 1987

A psychiatrist named Margaret (Lindsay Crouse) is celebrating the release of her first book when she becomes concerned about a patient who owes a serious debt to a group of gamblers led by the charismatic Mike (Joe Mantegna). But the gamblers actually turn out to be a crew of con men, and Margaret--under the guise of "research" for a new book--allows herself to be pulled into their scams, big and small.

This is definitely a David Mamet film--and maybe the most Mamet of any of his films I've see--for better or for worse.

For me, the strength here is definitely the cohesion between the actors and the writing. The way that Crouse and Mantegna give their own pace to the dialogue is just fantastic. They feel like they're operating on different planes of existence, with Crouse's laconic delivery contrasting with Mantegna's assured patter. The supporting cast is likewise a great fit for the material. Ricky Jay as one of Mike's conmen collaborators is solid as ever, and on the other end of the spectrum Lilia Skala as Margaret's kindhearted mentor with no idea what her prized pupil is up to.

The way that the film is shot is also effective, with many scenes taking place in spaces that feel just a bit too small, a bit too cramped. The sequences with the conmen almost exclusively take place in dimly lit environments, so that the sense of Margaret descending into something seedy works on a visual level.

The downside to me was just a bit too much predictability. It was really hard for me to tell if certain plot points were meant to be surprises, or if they were things that we as the audience were meant to have sussed out right from the beginning. The story still works, to a degree, but I wish that there had been a few more unexpected moments. And I'm not talking specifically about "plot twists", but just overall: the plot, the character trajectories, etc.

I liked this film, but was a bit surprised that liking it was as far as I went.