Rate The Last Movie You Saw

The Salesman, 2016

Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) are a couple living together and performing together in a production of Death of a Salesman. Forced to relocate to a new apartment when their old place becomes structurally unsafe, a tragic misunderstanding leaves Rana alone in their home where she is attacked by an assailant. As Rana struggles to put the experience behind her, Emad becomes obsessed with tracking down her attacker.

This is a compelling, 360-degree examination of the way that a single tragedy can unfurl into a series of hurtful moments both large and small.

There's a tricky line to walk in the way that this story is told, namely that the thriller/mystery aspect of things---Emad's investigation---is naturally a more interesting storyline from a narrative point of view. His search for his wife's attacker mirror's our own desire to see justice done and hits at our very human desire to know and understand what happened.

But thankfully, an equal weight is put on Rana's own struggles, and particularly the way that Emad's investigation keeps her trauma fresh. We never learn the extent of what happened to Rana in the bathroom, aside from understanding that she suffered a serious head wound. The fact that Rana herself can't seem to say--not even to her own husband--speaks volumes. In one quietly heartbreaking sequences, Rana tells a neighbor that she won't be going to the police, and he tells her she's right. Not unkindly---but at the same time in a way that makes your stomach turn---he notes that she would have a lot of "explaining" to do. Essentially, despite her obvious injuries and her not knowing the man who attacked her, she'd have to prove that she was a victim. Through aspects of the play (such as sequences being censored or an actress who is supposed to be nearly nude being covered head-to-toe), we understand the oppression that surrounds Rana and any other victim of sexual assault. In the context that Rana has very little chance at justice, Emad's decision to chase down her attacker feels more like a cruelty than a kindness.

At the same time, Emad's own anger is understandable. Seeing someone you love hurt is horrible. In the wake of Rana's attack, Emad's anger radiates out like an explosion: anger at the "promiscuous" woman who had the apartment before them, anger at the friend who found them the apartment, anger even at Rana herself for still being afraid to shower alone. You would hope that finding the attacked would give Emad a more "healthy" place to channel his anger, but life isn't that simple.

I intended to watch this film in two parts, but I couldn't turn it off. Hosseini and Alidoosti give searing performances as two people whose love keeps them together, yet whose reactions to a tragedy are pulling them in opposite directions.

I would also be remiss if I didn't mention an absolutely and adorable turn by a young actor named Sam Valipour as a boy named Sadra, the son of one of Rana and Emad's fellow actors. This child is the cutest flippin' thing, and a sequence involving him and Rana in the latter half of the movie offers a much needed pause for a deep breath.

Really excellent.

27th Hall of Fame

Shura (1971) -

I don't know that there's anything in this movie which blew me away, but there was nothing which bothered me either. I suppose the plot is a fairly straightforward revenge story, but the stylistic elements of the film were more than enough to save the film. For instance, I liked the usage of darkness and shadows in several scenes. I don't know if I can quite put my finger on why those elements work, but something about seeing various characters appear/disappear from the shadows gives the film a dreamy aesthetic. I also liked how certain scenes were repeated. Through these scenes, you get a sense of Gengobei imagining how he wants to behave in certain situations or how some of the violence he commits or witnesses it etched into his head. These scenes also cause the film to become a subjective experience which puts you in Gengobei's headspace really well. Finally, the high level of violence also surprised me. While certain elements like the slow motion and the (relatively) high levels of blood help in this regard, that most of the deaths are prolonged gives them even more staying power. All things considered, this is definitely the most violent classic samurai film I've seen. As I said at the start of this review, I wouldn't say this film blew me away, but I do have a lot of respect for the film's technical qualities. It's a stylistically impressive take on the revenge film which is so unique with its craft that you eventually stop caring about its somewhat barebones plot.

__________________
IMDb
Letterboxd

X

Ti West blends Texas Chain Saw Massacre, Boogie Nights and The Visit (with just a dash of Eaten Alive) into an authentic homage to 70s horror. It sidesteps many previous issues I had with West’s previous films by focusing on lively, engaging characters and paying off the numerous set ups sprinkled throughout the first act.

It’s sleazy, gory, dirty fun that manages to homage without winking or betraying the aesthetic and atmosphere.

4/5

Oxygen (2021)

The Tragedy of Macbeth follows Shakespeare's tragedy with Washington and Frances McDormand taking the lead roles. Corey Hawkins takes the role of Macduff, who sets out to take revenge against Macbeth, as he walks down the path of horrible imaginings as they turn them into reality. They are joined by an ensemble cast composed mostly of theater actors.

Much has been said about this being the first film written and directed by one of the Coen brothers, without the others involvement. Not only that, but he also takes on the task of taking a super-popular and iconic source material, where there's little surprise to what will happen. So what does Joel do? He builds a visually captivating film with some perfect performances to counter anything else.

Grade:


Full review on my Movie Loot

__________________

Nightmare Alley follows Stan Carlisle (Bradley Cooper), an ambitious drifter with a mysterious past who starts working as an assistant for a carnival clairvoyant act. After learning the tricks of the trade from Madame Zeena (Toni Collette) and her alcoholic husband, he leaves with Molly (Rooney Mara) to start his own psychic act for the wealthy. But how many lines will he cross in the process?

As its expected from Del Toro, the film is a visual spectacle. His direction is impeccable, and the cinematography by Dan Laustsen is gorgeous. The performances are pretty much great all across, with Cooper and Cate Blanchett being the standouts, but others like Mara, Collette, and Richard Jenkins are great as well. It was also great to see Mindhunter's Holt McCallany in a supporting, but somewhat significant role in the second half.

Grade:


Full review on my Movie Loot

Just like its predecessor, West Side Story follows the Jets and the Sharks, two gangs of white and Puerto Rican members respectively that are fighting for control of their neighborhood. Meanwhile, Tony (Ansel Elgort), a former Jet on parole, falls in love with Maria (Rachel Zegler), the sister of the leader of the Sharks, further sparking the conflict between both groups.

Ironically, just like with the original, it is the side characters the ones that end up being more interesting, and the ones that steal the show. David Alvarez and Ariana DeBose are electric as Bernardo and Anita, but it is Mike Faist the one that stands out for me as Riff, the leader of the Jets. He brings a tragic pathos to the character that no one has; something that is exemplified by the above quote.

Grade:


Full review on my Movie Loot

100% agree with you on all those movies, Thief. Especially preferring Bernardo and Anita to the boring as hell Tony and Maria and their dorky arm dance behind the bleachers.

Give me a whole Bernardo/Anita film, see how it goes

Thanks for mentioning Mike Faist as Riff...there's so much dazzle surrounding him onscreen that it's easy to overlook his beautifully understated performance.

The Subject Was Roses - 6/10

__________________
https://www.youtube.com/c/LoyalOpposition

It's the best performance on the film for me, easily.

The Godfather follows that family business, led by Vito Corleone (Marlon Brando), as he tries to transfer control to one of his sons. But rising tension between the reigning families of the city threaten their grasp on power, and puts the reluctant Michael in the middle of the crossfire to handle the business.

For something that's "strictly business", there sure seems to be a lot of it around family gatherings and events. From the opening wedding scene to the closing baptism. Memorable family events that unwind as the Don carries out business. Even when it's under the guise of friendly meetings, everything is a "business transaction". Every seemingly friendly interaction is done with the expectation that the time to pay will come someday.

Grade:


Full review on my Movie Loot

I haven't seen West Side Story (and won't be) but I'm glad to see the love for The Godfather. I'm not sure if that's still my #1 favorite film of all time but for awhile there it was me and Saddam Hussein's all time favorite.

I never realized that a young Martin Sheen looked so much like Tobey Maguire.

Bradley Cooper was amazing in this movie.

Just finished watching Deep Water (2022). Directed by Adrian Lyne, Ben Affleck and Ana de Armas star as a married couple. She sleeps around, he knows it, and when one of her lovers disappears, gossip spreads that he may be responsible. Some good moments, but surprisingly dull for the most part. For a supposed erotic thriller, this is not very erotic or thrilling. Needed to be sexier and more violent. Performances are pretty one note and the screenplay is mediocre. My rating is a .

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

No. haven't seen the original, but I'm curious to check it out.