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Setsuko Hara is my co-pilot
@mark f favorites binge:

Atlantic City, USA (1980) -
- Malle trying to be Altman? The film was made too late. It's a 60s film at best. But that's the point. Lancaster is way too old. He's too weak. He cannot protect Susan anymore. Old age is his curse. He wants to get back to his youth, but can he? This is his character's drama.
Olivier, Olivier (1992) -
- A little bit like these Japanese crazy family flicks, but the Japanese flicks are serious in the unseriousness while this one is unserious in its seriousness. Kinda good and definitely much better than Holland's latest output.
Buffet froid [Cold Cuts] (1979) -
- This one sure took me by surprise. I expected a rather straightforward French polar but got some absurdist nightmare à la Bunuel. It took me some time to get used to it. Just like with most Bunuel, I lick it more than I like it, but it's good.

Europa, Europa next, and then possibly anything else that I haven't seen from mark's list when it's all revealed.

Eric Rohmer binge:



Conte d'automne [Autumn Tale] (1998) -
- kinda annoying tbh and I definitely would've left that restaurant if I was that guy
Les nuits de la pleine lune [Full Moon in Paris] (1984) -
- congrats Rohmer, you managed to make every character reprehensible
L' ami de mon amie [My Girlfriend's Boyfriend] (1987) -
- them visuals are everything
Conte d'hiver [A Tale of Winter] (1992) -
- not great until the ending and then it's beyond great

Mamoru Oshii binge:



ケルベロス 地獄の番犬 [StrayDog: Kerberos Panzer Cops] (1991) -
- August in the Blue Gate Sonatine Kommando. Them aesthetics!
Talking Head (1992) -
- amazing meta film about making films; I prefer Oshii's live-action to anime!
人狼 [Jin-Roh: The Wolf Brigade] (1999) -
- narratively dense and visually satisfying but I wish the story was more ambiguous
機動警察パトレイバー the Movie [Patlabor: The Movie] (1989) -
- I'm not big on Mecha Anime but this wasn't half bad
機動警察パトレイバー 2: The Movie [Patlabor 2: The Movie] (1993) -
- better than the first one. Music, aesthetics, mood, meaning... But I can't vibe with it.

Manoel de Oliveira binge:



Douro, faina fluvial [Labor on the Douro River] (1931) -
- Oliveira is the kind of director who can make a great film at 23 as well as at 104.
Famalicão (1941) -
- a step-down from his debut but still a nice one
Belle toujours (2006) -
- a remake of a Bunuel film that nicely pays homage to the original; Piccoli is badass!
Um século de energia (2015) -
- de Oliveira's final film. Could've been better.
As pinturas do meu irmão Júlio [My Brother Júlio's Paintings] (1965) -
- nice paintings
A caça [The Hunt] (1964) -
- amazing
O Velho do Restelo [The Old Man of Belem] (2014) -
- Straub-Huillet done right
Porto da minha infância [Oporto of My Childhood] (2001) -
- not bad but he already did it better in his 80s flick

King Vidor binge:



The Stranger's Return (1933) -
- “It may be possible for Japanese directors to make films like Sternberg’s, but we can’t become the master like King Vidor who made The Stranger’s Return." - Yasujiro Ozu, 1935; you can really see how much Ozu was inspired by this film - the ending gives you the same vibes Tokyo Story does and there's that daughter... similar!
Street Scene (1931) -
- so amazing; the living cell of Depression Era America in film!
Hallelujah! (1929) -
- Kinda like Elmer Gantry but BLACK. The topic of forgiving gets lots in all this horny blue balls Nosferatu Zekiel and Chick blasting Hot Shot with a poker scenes
The Champ (1931) -
- the last scene is easily my least favorite in the film but everything that came before it is perfect
The Patsy (1928) -
- I liked her faces

Tamizo Ishida binge:



花ちりぬ [Fallen Blossoms] (1938) -
- A forgotten masterpiece! Invisible men affect the lives of women, Kinmon Incident, Ishikawa Gozaemon, Yanagiwara Byakuren; "I look back at my life as I look at a beautiful moon. Even the moon has its shadow. Why would I regret my life, even if it wasn't always happy?"
花つみ日記 [Flower Picking Diary] (1939) -
- this felt lesbian af and then I found out it's based on a book by a female writer who initiated lesbian romance literature genre in Japan - sweet!
むかしのうた [Old Sweet Song] (1939) -
- kinda flew over my head

Other films:



Dirty Dancing (1987) -
- God-awful. Would've been 0 popcorns if not for the "Rand fan gets told off" scene
The Boys in the Band (1970) -
- surprisingly good!
銀座化粧 [Ginza Cosmetics] (1951) -
- very subtle but very beautiful
The Magus (1968) -
- quite original; felt some fresh air on my cinephile's face
The Ghost and Mrs. Muir (1947) -
- WHAT IS THIS?! WHY IS IT SO GOOD?! Well, not as good as My Left Eye Sees Ghosts but a great film, nonetheless. I can't really wrap my head around it, though. At first, I thought the ghost symbolized her deceased husband and how she cannot forget him, but I think it was mentioned that she didn't really love him and low-key regretted marrying him, so that interpretation is probably not right. Then, I thought the ghost was her imagination to fight the loneliness, which would make sense why he vanished the moment she gave herself to that writer guy (it would make sense if the ghost was her not letting go of her deceased husband, too). But then the ghost never appeared again for years, which kind of makes the loneliness interpretation faulty, too, because she would think him up again if she were lonely for so many years. Oh well, maybe he really was a confounded, blasted ghost, doggone it! Some amazing lines here, and wonderful retorts. I enjoyed the off-screen sex scene and how the ghost gave up afterward, too.
Beast (2017) -
- I might've overrated it but it's very enjoyable; quite a fresh thriller/crime
女医の記録 [Record of a Woman Doctor] (1941) -
- "People like me and Ozu get films made by hard work, but Shimizu is a genius..." - Kenji Mizoguchi; I kind of get what Mizoguchi means; Shimizu's films feel very humble and genuine; he's a natural
__________________
"Rarely has reality needed so much to be imagined." - Chris Marker







SF = Z



[Snooze Factor Ratings]:
Z = didn't nod off at all
Zz = nearly nodded off but managed to stay alert
Zzz = nodded off and missed some of the film but went back to watch what I missed
Zzzz = nodded off and missed some of the film but went back to watch what I missed but nodded off again at the same point and therefore needed to go back a number of times before I got through it...
Zzzzz = nodded off and missed some or the rest of the film but was not interested enough to go back over it

I didn't enjoy this movie. Moretz was great as far as acting goes but my problem was with the character herself. Something I've seen in movies quite a bit is a woman cheating on her husband and it being justified because he's a bad guy anyway. I don't like this, it's lazy and many times seems to be added as an afterthought once the writer realizes he's made his character unlikable. Well, Maude Garrett became unlikable for me and and I didn't care what happened to her. By extension, I didn't care what happened to her child or lover. It's difficult to like a movie whose characters you do not like or care about.

I also did not really understand the gremlin. I understand that gremlin was something people said when equipment malfunctioned, I learned that in Gremlins but it was unnecessary to the plot and added nothing to the story. If the gremlin was removed from the movie completely and we just had the encounter with the Japanese fighter and subsequent equipment malfunctions due to damage, the movie would have been better.



Stray 2020 Elizabeth Lo



Very well made documentary following the life of stray dogs in Istanbul. Although it did leave me with a lot of unanswered questions about the animals involved.



Minari 2020 Lee Isaac Chung



Released August '21 over here. 'Glenn' came a long way, solid performance by Steven Yeun, last time I saw him was in Burning/Beoning where he also made quite an impression. The cinematography is well done and overall it's pretty good. Perhaps I expected a bit too much because of the Oscar hype.







The Asphalt Jungle - I keep running across movies I had heard little to nothing of but which once seen are nothing short of indispensable. I guess that might be the very definition of a classic. This is noir of course, with that genre holding an undeniable attraction for me. Both effective character study as well as compelling heist thriller the actual robbery takes a backseat to the five men involved and their personal lives and significant others. It's also an exemplary cast with top to bottom great performances and stalwart direction by John Huston. It also features debut performances from people like Strother Martin, Jack Warden and Marilyn Monroe.

From the opening scene of a dreary and overcast riverfront with a lone figure scuttling along a crooked street the movie immediately draws you in.

Sam Jaffe, in an Oscar nominated role, plays Doc Erwin Riedenschneider who has just gotten out of prison and still hopes to carry out a once in a lifetime score which he had all planned out right before the authorities sent him up. He approaches Cobby (Marc Lawrence) a bookie who in turn puts Doc in touch with shady lawyer Alonzo Emmerich (Louis Calhern). Emmerich agrees to bankroll the heist and help fence the jewels in return for a percentage. Riedenschneider then hires the rest of the gang, Louie Ciavelli (Anthony Caruso), a professional safecracker who recommends Gus Minissi (James Whitmore), the hunchbacked owner of a diner, as a getaway driver. The last member of the crew is a friend of Gus', strongarm "hooligan" Dix Handley (Sterling Hayden).

WARNING: spoilers below
The heist itself goes according to plan until the men are surprised by a night watchman. While in the process of disarming him, Louie is accidentally shot in the stomach. From there the caper gradually and inexorably unravels as each member of the gang is hunted down by the authorities or betrayed by greedy co-conspirators. This being first and foremost a hard boiled yarn, Police Commissioner Hardy (John McEntire) throws the rulebook out the window and it's not long before the cops coerce a confession and names out of Cobby. As it turns out Emmerich is flat broke and had planned to double cross the gang, keep the jewels and leave the country. When Doc and Dix show up at the apartment where the lawyer keeps his mistress Angela Phinlay (a young Marilyn Monroe in one of her first roles), they're surprised to find private detective Bob Brannom (Brad Dexter) waiting with a gun. Doc had suspected Emmerich of duplicity and had shared his misgivings with Dix. Dix manages to shoot and kill Brannom but not before being wounded himself. After confronting Emmerich and instructing him to contact the insurance company and arrange a settlement for the return of the jewels the two men go on the run while being hounded by a citywide manhunt. They eventually take refuge with Dix's longtime acquaintance and wannabe girlfriend Doll Conovan (Jean Hagen). After turning down Doc's offer of half the jewels the two men separate and Doc is eventually caught on the outskirts of town when he stops to ogle a young girl dancing to a restaurant jukebox. His character is portrayed as being erudite and professional to the core but he also has a weakness for women which ultimately leads to his downfall.

Which leaves the character of Dix Handley who is introduced and setup as being a mindless thug but actually turns out to be the star of the film and surprisingly ends up the moral center of the story. He confides to Doll that his one dream is to go home to Kentucky and buy back the horse farm that his family once owned but ultimately lost. With that as his finish line he sets out accompanied by Doll, who refuses to abandon the wounded and doomed Dix. And what a transcendent sendoff he's given. A memorable and elegiac ending to a surprising character and to
a magnificent example of film noir.




Please Quote/Tag Or I'll Miss Your Responses
Marvin & Tige - 7.5/10


I saw this years ago on Prime, and loved it. John Cassavetes runs into an 11-yr old black boy who wants to commit suicide. If you wanna know more, check out the movie. It's now on Tubi. I know my score probably went a half point down because of the disruptions, but its still good. Very minimalist.





I just watched the original theatrical cut (I think?) of Blade Runner for the first time and

WOW

That voice-over is TERRIBLE. Just so bad. And while the beginning voice over is just intrusive and dumb, the one at the end actively makes the scene much, much worse. You go from this beautiful speech and visual moment to
WARNING: spoilers below
"Well, I guess I'll never know why he saved me. . . . "
.

And then the
WARNING: spoilers below
slow jazz playing over them driving away--with additional voice-over!--like some horrible Toyota commercial
.

Woof.



The trick is not minding
I just watched the original theatrical cut (I think?) of Blade Runner for the first time and

WOW

That voice-over is TERRIBLE. Just so bad. And while the beginning voice over is just intrusive and dumb, the one at the end actively makes the scene much, much worse. You go from this beautiful speech and visual moment to
WARNING: spoilers below
"Well, I guess I'll never know why he saved me. . . . "
.

And then the
WARNING: spoilers below
slow jazz playing over them driving away--with additional voice-over!--like some horrible Toyota commercial
.

Woof.
Yep. A cautionary tale of what happens when a studio interferes. Although I’m not as. bothered by the voice over narration as some.
I think there is something like 4 versions of it? And the final cut is supposedly the definitive version that most seem to appreciate the most.
At some point, I’ll have to watch it.



I just watched the original theatrical cut (I think?) of Blade Runner for the first time and

WOW

That voice-over is TERRIBLE. Just so bad. And while the beginning voice over is just intrusive and dumb, the one at the end actively makes the scene much, much worse. You go from this beautiful speech and visual moment to
WARNING: spoilers below
"Well, I guess I'll never know why he saved me. . . . "
.

And then the
WARNING: spoilers below
slow jazz playing over them driving away--with additional voice-over!--like some horrible Toyota commercial
.

Woof.
"Sushi. That's what my ex-wife used to call me. Cold fish."



Yep. A cautionary tale of what happens when a studio interferes. Although I’m not as. bothered by the voice over narration as some.
I think there is something like 4 versions of it? And the final cut is supposedly the definitive version that most seem to appreciate the most.
At some point, I’ll have to watch it.
I thought that it was poorly written, not well-delivered, and unbearably loaded with needless exposition.

Like, I cannot overstate how shocking it was after seeing the film without it. I've read about it, obviously, but I hadn't expected to be so put off by it.



"Sushi. That's what my ex-wife used to call me. Cold fish."
Sorry, I've decided to move into the denial stage of my feelings about this and I have no idea what you are referencing.



I thought that it was poorly written, not well-delivered, and unbearably loaded with needless exposition.

Like, I cannot overstate how shocking it was after seeing the film without it. I've read about it, obviously, but I hadn't expected to be so put off by it.
Ford didn't want to do it and it wasn't a part of the original script. It was tossed together and forced upon them so Ford tried to sabotage it by delivering it utterly monotonously.

They still kept it. It's bafflingly bad.



Going back to 2010, to a couple of films I really liked, but haven't seen since then...


By IMPAwards.com, Fair use, https://en.wikipedia.org/w/index.php?curid=31566396

Submarine - (2010) - DVD rewatch

Back in 2010 it felt to me like Richard Ayoade could do absolutely no wrong. Garth Marenghi's Darkplace, Man to Man with Dean Learner, and his comedic acting as Moss in The IT Crowd made him a prominent figure that was ushering in a new era of British comedy that included figures like Peter Serafinowicz, Chris Morris and Steve Coogan. Morris had written and directed his first feature, the excellent Four Lions in 2010. So how good was Ayoade's debut? More than promising. It was good enough for Ayoade to let me down by not becoming a full-time writer/director and building a body of work - instead stretching himself thin hosting television shows, writing and providing voice-over work on various projects.

Based on a novel (as yet unpublished when it was suggested Ayoade turn it into a script and a feature film) by Joe Dunthorne, Submarine reflects the pain and triumph of first love. It's protagonist, Oliver Tate (Craig Roberts) is eccentric in the extreme, and has an imaginative inner world that reflects cinema. Many films are referenced - but not at the expense of a wonderful comedic timing that's exploited to the full. Tate is a pragmatist who becomes an unlikely bully and arsonist to win the girl he's attracted to - Jordana (Yasmin Paige). When Jordana's mother is diagnosed with a brain tumour and his own parents seem on the verge of splitting, Tate's life begins to spiral out of control - something he'll try all manner of ways to correct.

Great supporting roles for Noah Taylor, Sally Hawkins and Paddy Considine - not to mention some great original songs by Alex Turner - make this a very pleasant, funny film experience. It had me from the very first moment and engaged me the whole time. I'm glad I returned to it.

Special Features - A commentary by Ayoade, Joe Dunthorne and cinematographer Erik Wilson. Unfortunately all three seem to be quiet individuals who fail to inspire, but I appreciate all the film references (ie - Le Samouraï) being pointed out. Lengthy Q&A sessions which are quite funny. The full Through the Prism with Graham T. Purvis video within a movie. Interviews. Ben Stiller (executive producer) message to the crew. Deleted scenes. Extended scenes.

8/10 (but possibly 7/10)


By The cover art can or could be obtained from year.html IMP Awards or Momentum Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=30047133

Another Year - (2010) - Rewatch

Heartbreaking Mike Leigh film with a typically great performance by Lesley Manville. It centers on main characters Tom (Jim Broadbent) and Gerri (Ruth Sheen) - two people who have their lives very much in order and are happy with how they turned out. Revolving around them are a cast of characters whose lives are a big disappointment. Ken (Peter Wight) - overweight and unfit. Ronnie - just lost his wife. Carl - Ronnie's bad-boy son. But especially Mary (Lesley Manville) - alcoholic, lonely and a life that's in complete disarray. When Mary sets her sights on seducing Tom and Gerri's son (who is half her age) her fragile friendship with Gerri becomes unglued, which in turn breaks her down to a desperately low emotional mess. It's here that the film finds it's focus and turns it from average to a very good Mike Leigh movie.

7/10 (but possibly 8/10)



I just watched the original theatrical cut (I think?) of Blade Runner for the first time and

WOW

That voice-over is TERRIBLE. Just so bad. And while the beginning voice over is just intrusive and dumb, the one at the end actively makes the scene much, much worse. You go from this beautiful speech and visual moment to
WARNING: spoilers below
"Well, I guess I'll never know why he saved me. . . . "
.

And then the
WARNING: spoilers below
slow jazz playing over them driving away--with additional voice-over!--like some horrible Toyota commercial
.

Woof.
Yup; I mean, I haven't watched the theatrical version since I was 13 (which was twenty years ago), back when I'd barely watched any movies in a more critical, "adult" manner, but even then, I still remember those creative decisions striking me as being lousy. Hopefully this won't put you off of watching the other, voiceover-free cuts, though, since they certainly benefit from the alterations.



Yup; I mean, I haven't watched the theatrical version since I was 13 (which was twenty years ago), back when I'd barely watched any movies in a more critical, "adult" manner, but even then, I still remember those creative decisions striking me as being lousy. Hopefully this won't put you off of watching the other, voiceover-free cuts, though, since they certainly benefit from the alterations.
Oh, I've seen another version (possibly the Director's Cut?) twice and really enjoyed it. This version was horribly jarring. (I mean, it gets okay in the middle when the voiceover basically goes away, but then it comes raring back at the end).

This is the first time it's ever made sense to me that someone gave this a bad review when it came out.



I just watched the original theatrical cut (I think?) of Blade Runner for the first time and

WOW

That voice-over is TERRIBLE. Just so bad. And while the beginning voice over is just intrusive and dumb, the one at the end actively makes the scene much, much worse. You go from this beautiful speech and visual moment to
WARNING: spoilers below
"Well, I guess I'll never know why he saved me. . . . "
.

And then the
WARNING: spoilers below
slow jazz playing over them driving away--with additional voice-over!--like some horrible Toyota commercial
.

Woof.
It's funny because for years that was the ONLY Blade Runner and I loved it. I didn't like the voice-over, I never have liked voice-over, but it was still just a really cool movie.
Then the Director's Cut was released in theaters in '92 and all our minds were blown. Oh that wasn't just a really cool movie... it was a masterpiece of cinema. How about that?
The DC is still my favorite version.

PS - There is a recurring story out there that Ford was really irritated about the voice-over decision and intentionally undermined it with his weird delivery.



"Sushi. That's what my ex-wife used to call me. Cold fish."