Rate The Last Movie You Saw

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Bright light. Bright light. Uh oh.

Slaughterhouse Rulez (Crispian Mills, 2018)
5/10
The Last Vermeer (Dan Friedkin, 2019)
6/10
Goodbye Seventies (Todd Verow, 2020)
5/10
Misery (Rob Reiner, 1990)
7/10

Misery indeed.
Blithe Spirit (Edward Hall, 2020)
5/10
Body Brokers (John Swab, 2021)
6/10
Donna (Jaret Martino, 2020)
+ 5/10
Beyond Clueless (Charlie Lyne, 2014)
+ 6/10


Compilation of over 200 teen movies - mostly from the 1990s - that reflect the director's point about that era.
The Pond (Petar Pasici, 2021)
6/10
The Sinners (Courtney Paige, 2020)
5/10
Take Me to Tarzana (Maceo Greenberg, 2021)
5.5/10
Pinocchio (Matteo Garrone, 2019)
6.5/10

Geppetto (Roberto Benigni) tries to keep his wooden creation (Federico Ielapi) from getting into trouble.
Tom and Jerry (Tim Story, 2021)
6/10
Burn It All (Brady Hall, 2021)
5/10
The Covered Wagon (James Cruze, 1923)
5.5/10
The United States vs. Billie Holiday (Lee Daniels, 2021)
6.5/10

The U.S. Government deems that Billie Holiday shall not sing "Strange Fruit", her song about lynching, in public.
Devil's Knot (Atom Egoyan, 2013)
6/10
The Violent Heart (Kerem Sanga, 2020)
+ 5/10
Myth: A Frozen Tale (Osvaldo Civirani, 2019)
6.5/10
Kalashnikov (Konstantin Buslov, 2020)
6/10

During WWII, comrade inventor Mikhail Kalashnikov (Yuriy Borisov) witnesses the weakness of the Soviet machine gun versus the Nazis' and eventually develops the AK-47.
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Slaughterhouse Rulez (Crispian Mills, 2018)
5/10
The Last Vermeer (Dan Friedkin, 2019)
6/10
Goodbye Seventies (Todd Verow, 2020)
5/10
Misery (Rob Reiner, 1990)
7/10

Misery indeed.
Blithe Spirit (Edward Hall, 2020)
5/10
Body Brokers (John Swab, 2021)
6/10
Donna (Jaret Martino, 2020)
+ 5/10
Beyond Clueless (Charlie Lyne, 2014)
+ 6/10


Compilation of over 200 teen movies - mostly from the 1990s - that reflect the director's point about that era.
The Pond (Petar Pasici, 2021)
6/10
The Sinners (Courtney Paige, 2020)
5/10
Take Me to Tarzana (Maceo Greenberg, 2021)
5.5/10
Pinocchio (Matteo Garrone, 2019)
6.5/10

Geppetto (Roberto Benigni) tries to keep his wooden creation (Federico Ielapi) from getting into trouble.
Tom and Jerry (Tim Story, 2021)
6/10
Burn It All (Brady Hall, 2021)
5/10
The Covered Wagon (James Cruze, 1923)
5.5/10
The United States vs. Billie Holiday (Lee Daniels, 2021)
6.5/10

The U.S. Government deems that Billie Holiday shall not sing "Strange Fruit", her song about lynching, in public.
Devil's Knot (Atom Egoyan, 2013)
6/10
The Violent Heart (Kerem Sanga, 2020)
+ 5/10
Myth: A Frozen Tale (Osvaldo Civirani, 2019)
6.5/10
Kalashnikov (Konstantin Buslov, 2020)
6/10

During WWII, comrade inventor Mikhail Kalashnikov (Yuriy Borisov) witnesses the weakness of the Soviet machine gun versus the Nazis' and eventually develops the AK-47.
good music on Billie Holiday movie? i was thinking to watch it?



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A Lion Is In The Streets - 5.5/10
I'm done watching any movies that portray the 30s, they always screw them up, especially if they're loosely based on the life of Huey Life.. They always amplify and exaggerate the actions of anyone in The South. When I was in "The South" it was the opposite; people's speech, actions, and life in general was slower paced.



Every biopic on populists (especially left-of-centre) are usually based on lies. If we assume that every politician is corrupt, why are those who do nothing (or worse, regressive) never criticized, but the ones who actually gave something for all the people are constantly lied about (Jimmy Hoffa) or contain mostly trivia and gossip, with a side of lies, assumptions, and hearsay.


The movie is only 88 minutes long, but the way it's made is awful. Too much time spent on baloney, instead of getting to the root of the story and the characters. Seems like something a really drunk director would make.







Rules Don’t Apply (2016)

After hearing an interview of the great cinematographer Caleb Deschanel, and looking for other films he photographed, I stumbled across this movie written and directed by Warren Beatty. It’s a light romantic comedy which also provides a vessel for Beatty’s fascination with Howard Hughes.

The boy meets girl set up is fairly fresh: Lily Collins plays an aspiring actress who --along with 30 others-- is brought to Hollywood by Hughes with the promise of a screen test. She and her mother (Annette Benning) are put up in a lovely home to wait for the call. She is provided a driver (Alden Ehrenreich) who ferries the ladies about town.

Eventually the mother gets exasperated by the wait, so she heads back home to Virginia, which allows circumstances for the actress and the limo driver to get acquainted. At first they become friendly due to similar beliefs: religion, aspirations to succeed. But later they get estranged, as the actress has quite an entanglement with Hughes, while the limo driver becomes more important in Hughes’ empire. The actress and driver are ultimately put together at the end, after a roundabout side story with Hughes.

Reportedly Beatty had wanted to do a Howard Hughes film with himself playing Hughes for decades. Unfortunately by the time the project came to fruition, Beatty was 79, playing Hughes in his 50s. Several highlights of Hughes’ history are featured: his ownership of RKO, his airplane crashes, his acquisition of TWA, his designing of Jane Russell’s brassiere, the "Spruce Goose", his marriage to Jean Peters, and the like. Beatty emphasi
zes Hughes’ eccentricities, but they seem over played to the point of silliness. He might have been better off featuring a younger actor as Hughes, or setting the story later in Hughes’ life. Still he’s an enjoyable character, and after all this is a comedy, not a documentary.

Deschanel comes through with the cinematography, but the writing itself is scattered enough to confuse rather than enhance the story.
Perhaps there was a more cohesive narrative within the script, and it was the editing that came up a little short. Still it was harmless fun, with a chance to enjoy the performances of a good cast which includes popular actors such as Matthew Broderick, Paul Sorvino, Candice Bergen, Martin Sheen, and Ed Harris in effective supporting roles.

Doc’s rating: 5/10



The Fall -


What you've heard about The Fall being a visual marvel is true. Its vibrant colors and breathtaking vistas are truly a feast for the eyes. I can see why this project appealed to Tarsem because it provides the ideal canvas for his imagination. This is not a coffee table book movie, though: its characters are compelling and provide substance to its imagery. I, like the adorable Alexandria, hung on every one of the heart and body-broken Roy's words and the literally and figuratively colorful players in their stories recall the Baron's entourage in Terry Gilliam's The Adventures of Baron Munchausen. Watching their adventure play out is as satisfying as noticing its actual world parallels, whether its discovering who's playing who or Alexandria's influences upon it. Besides demonstrating the power of a good story, obviously, the movie succeeds as a reminder to look at life through the hopeful and innocent eyes of someone like Alexandria every once in a while and especially when the going gets tough. However, like Baron Munchausen and a lot of Gilliam's other work, the sugar in the movie has much more flavor than its medicine. Still, what delicious, memorable and ambitious sugar it is!



Greenland, 2020 (F)

Another perfectly good story of a failing marriage being saved by the apocalypse.

Who the hell keeps asking for these. There's literally two good scenes of destruction, totalling under 3 minutes of this insulting 2 hours runtime.



In a pretty odd coincidence (and it does appear to have been coincidence), 2016 saw two films about the tragic story of Christine Chubbuck, a journalist who died by suicide live on television in 1974. Her story had largely been memory holed, showing up mostly on lists of unusual deaths or asked after by ghoulish types eager to find the video of her death. To even to attempt to tell a story like this, about a woman who prefaced her own suicide by saying it was in keeping with her station's policy of promoting "blood and guts", raises a lot of questions that are difficult to answer. Can this story be told without confirming that her final critique of society was anything other than correct--we are here for the blood and guts? What do you say about a person whose life was largely unremarkable (this is not a value judgment; most are) other than the manner of her death? Are we ghouls just for being here at all? The anger of Chubbuck's surviving relative, her brother Greg, at the mere existence of these films is understandable.

Christine


As a rule, I don’t care for biopics. They have a flattening effect on their subjects that makes them seem bland and formulaic. The exceptions (e.g., Lincoln; Nico, 1988) tend to focus on a specific, important period of time as a sort of synecdoche for the subject’s life. This film is of the latter type and is better for it. The most obvious question about Christine Chubbuck is Why? Why did she do this, and why in the way that she did? Beyond her haunting last words, she left little in the way of certain answers. There were reasons, of course--but the same reasons many people might have, whether they die by suicide or not. She was unhappy in love, her work was not fulfilling in the way she wanted, she had suffered from health problems, she had largely untreated mental illness. All of these reasons are shown in the movie, but none really answer the question Why, and of course that’s because the answer is really unknowable. To its credit, the movie seems to recognize this, and while it shows the possible reasons, it never settles on any answer. Rather, you have an empathetic portrayal of a woman who is struggling--and failing--to connect with the people and the world around her. Her pain is real. The answers are elusive. 8/10

Kate Plays Christine


I am sympathetic to what the filmmakers were trying to do here. Understanding that an authentic portrayal of the person that Christine Chubbuck was was all but impossible, they’ve chosen to critique the very idea of trying to do such a thing by following an actor ostensibly hired to play Chubbuck in a film about her. The problem is that the critique doesn’t really work. In trying to understand our impulses to mine the personal tragedy of Christine Chubbuck the film simply seems to exploit both her and the actor playing her (gratuitous bikini and topless shots add to this impression). The self-critique of “maybe movies like this shouldn’t be made” comes across more as a hedge than as self-awareness.
WARNING: spoilers below
In addition, by making the “film within a film” (seemingly) deliberately bad, it undermines the idea that this can’t be done well. Maybe it can, if the film is good! And when at the end the message devolves into a scolding of the audience, I could only feel frustrated that I had bothered at all.
I don’t need (in fact, definitely do not want) to see how Christine Chubbuck died, but I do want to feel like I’ve learned or seen something new. 4/10

While I’m here, I want to highly recommend this piece on the films by Miriam Bale in the New Republic. Her views are similar to mine only much better stated.



Women will be your undoing, Pépé
Pinocchio (Matteo Garrone, 2019)
6.5/10

Geppetto (Roberto Benigni) tries to keep his wooden creation (Federico Ielapi) from getting into trouble.

The United States vs. Billie Holiday (Lee Daniels, 2021)
6.5/10

The U.S. Government deems that Billie Holiday shall not sing "Strange Fruit", her song about lynching, in public.
There had been a number of bad Pinocchio films in the past decade or two, causing me to avoid a favorite childhood story of mine, but, I may have to give this one a shot.

Meanwhile, I am TOTALLY checking out US vs Billie Holiday. I so do LOVE that lady and have seen Lady Sings the Blues (1972) and after watching the trailer, I am truly hooked!!
Thank you mark!!



The Bad News Bears. This is my American Graffiti and Dazed and Confused.
Mine as well!!
I was in seventh grade when it came out and f@ckin loved it when I first saw it at the movie theaters. Turner was my GOD as a kid LOL


as for myself:






The Servant (1963)
with a high probability of a
on my future viewings.

Susan: Shall I tell you the truth, Barrett?
Barrett: Yes, Miss.
Susan: The truth is, I don't give a tinker's gob what you think.

SPOILER ALERTs are a god bless. Though, there are exceptional exceptions where the "secret" truly could be already known instead of realized only to be then fully enjoyed on following viewings. Making the first viewing far more appreciated and, I believe, heighten the over-all enjoyment of said first viewing on another level.

That "secret" regards IMDb's quick synopsis: "Upper-class Tony (James Fox in an Introductory Role) hires servant Hugo Barrett (Dirk Bogarde), who turns out to have a hidden agenda."
For you see, in 1963 it was still illegal in Britain to have a homosexual relationship. Never mind a film of it.

Based on Robin Maugham's similar named novella, that is said to be inspired by a similar incident that occurred in the author's life as the the son of Frederic Herbert Maugham, a Lord High Chancellor of England, and nephew of W.Somerset Maugham, the writer.
The surfacing -yet at the same time, its real truth, hidden - themes of control and corruption as they are turned around between social classes is so masterfully played out, and with such artistry, that I would have thoroughly enjoyed the cunning of Director Joseph Losey even more so if I was in on the hidden agenda before viewing. Instead of coming to the realization of what specifically that hidden agenda involved in the final third of this sexually-charged film.
One specific scene comes to mind, early on in the movie, at a restaurant when the focus dances between three different ongoing conversations and their implications at the time.

Cinematically, Losey creates a surreal, feverous, almost nightmarish imagery as control is spun around; the sexual, alcohol-dependent depravity/darkness taking the foreground away from the initially depicted normality of proper/accepted behavior.
Much like a classic horror film, the "monster" is never seen and only alluded to. Brilliantly.

I CAN NOT wait to rewatch this to explore and completely enjoy seeing the "secret" that exists beneath the veneer.
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IMAGES
(1972, Altman)
A film from Robert Altman



"I'm not going to be able to finish this puzzle. There's too many pieces missing."

There's not much that can be said about Images without spoiling some of its mystery, and yet, there's so much that can be said without even beginning to understand it either. Borrowing a bit from Bergman's Persona, Altman seems to revel in the mind-games he throws at the audience as this couple tries to make ends meet. And if there's something that can be said without a doubt is that York is great in the lead role.

Grade:



Full review on my Movie Loot
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Call of the wild- 7/10

The CGI didn’t really bother me that much and I think it’s critics making something out of nothing. It’s decent enough.

Carlito’s Way- 10/10

It might be my favourite mafia movie. It has a sensitivity that the genre lacks. While your goodfellas or godfather tells stories with gunfire Carlito’s way is a very subtle story and character-driven movie- almost like a play.



is thouroughly embarrassed of this old username.
Possession (Andrzej Zulawski, 1981) (rewatch)

This is one of those movies I liked a good bit when I first watched it but assumed I'd dig it a lot more on a rewatch and sadly that wasn't really the case. There's certainly a lot to appreciate; the wild overacting (usually) fits the film perfectly, the presentation and how its shot are super cool and it's definitely got a powerful aura to it. The problem is that the film gets considerably less interesting as it goes and even gets borderline normie at points and its also just too long.Overall the positives still heavily outweigh the negatives and its still a fun ride.

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The Big Gundown (1966, Sergio Sollima)

I'm not particularly big on Italian westerns (aside from Sergio Leone's work - hey, maybe there are some other good ones I ought to check out), but this one was quite good. Lee Van Kleef's charisma alone is the price of admission, but there's also a good story with well fleshed out characters that kind of sucks you in and keeps you interested. Very enjoyable.