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I wasn't planning to post here this soon after my last post, but I saw a movie that I just felt the need to tab. I reccomend this to virtually anyone on the site who is yet to see it.

Monsieur Hire, 1989, Leconte

Monsieur Hire (played by Michel Blanc) is the protagonist and title of this film. The lonely middle aged bachelor finds a nasty habit in spying on his new attractive neighbor, who he falls for. She is Alice, an engaged blonde who has deception flowing through her veins. This is only the smaller portion of the story though, recently a murder occurred in the neighborhood. An unconventional detective is convinced that Monsieur Hire committed the crime. The evidence is stacked against Hire, and if we knew him, we'd accuse him to. That's where the story begins. The film treats this case elegantly, at the same time everyone continues to live their lives, the murder is in the background.

Monsieur Hire is eventually gently confronted by Alice, who has noticed him spying on her on two separate occasions. After this point the story has three twists. The first two shouldn't have caught me as off guard as they did, the final one was an epic scene. The film is under 80 minutes long, you realize at the end that most of this was leading up to the conclusion. Before this point I looked at this as a solid romantic thriller, by the time the end came my mood changed. It was possibly the most devastating scene I've ever encountered. It gave me goose bumps, and I remained silenced for a solid amount of time. I was left speechless, this alone made this film leave a mark on me. One of my favorite French films, elegant but unconventional. The rawness of this film, is not to be put in words.

+

I also watched Sweet Movie (
) and The Ascent (
) since my last post. I'll have to rewatch The Ascent, since I was to tired to grasp everything.
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Yeah, there's no body mutilation in it



It's bad... So very, very bad... And I don't like musicals... I LOVED it. The trailer doesn't do it justice. It's so much worse/funnier than this makes it look. What it'd be like watching it on your own, I don't know. It's definately a "the more the merrier" kind of bad. However, throw in some alcohol and pizza and you this might just become a classic.

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5-time MoFo Award winner.



Bright light. Bright light. Uh oh.
Blackthorn (Mateo Gil, 2011)

Geronimo (Arnold Laven, 1962)
+
Antonio Gaudi (Hiroshi Teshigahara, 1985)


The Efficiency Expert (Mark Joffe, 1992)
+
Hitchcock (Sacha Gervasi, 2012)


The Devil and Miss Jones (Sam Wood, 1941)

Glory (Edward Zwick, 1989)


The Job (Shem Bitterman, 2009)

Foolproof (William Phillips, 2003)

Bound For Glory (Hal Ashby, 1976)


The Freebie (Katie Aselton, 2010)

Legally Blonde 2: Red, White & Blonde (Charles Herman-Wurmfeld, 2003)

Reefer Madness (Louis J. Gasnier, 1936)
Camp Rating:


Colombiana (Olivier Megaton, 2011)

Trapeze (Carol Reed, 1956)
-
Ring of Bright Water (Jack Couffer, 1969)


Beach Blanket Bingo (William Asher, 1965)
-
Loves of a Blonde (Milos Forman, 1965)

Django Unchained (Quentin Tarantino, 2012)
but way too long

Hair (Milos Forman, 1979)

Prince Valiant (Henry Hathaway, 1954)
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page



No internet for the past couple of days, so I watched some stuff:

Tourist Trap (Schmoeller, 1979)

*Jaws (Spielberg, 1975)

*Olso, August 31st (Trier, 2011)

Trinity and Beyond: The Atomic Bomb Movie (Kuran, 1995)

Chimes at Midnight (Welles, 1965)

My Night at Maud's (Rohmer, 1969)
Maud
The Lost Weekend (Wilder, 1945)

Sweet Movie (Makavejev, 1974)

Valerie and Her Week of Wonders (Jires, 1970)

*The Discreet Charm of the Bourgeoisie (Bunuel, 1972)

Ace in the Hole (Wilder, 1951)

Picnic at Hanging Rock (Weir, 1975)

Vivre Sa Vie (Godard, 1962)


[short] A Movie (Conner, 1958)


*rewatches



Sorry if I'm rude but I'm right
Oslo, August 31st (Trier, 2011)

Valerie and Her Week of Wonders (Jires, 1970)



Women will be your undoing, Pépé
Outrage




Had originally saw this when it first came out in '10 at the art institute here in detroit, Takeshi Kitano did a trefecta of writing/directing and starring in this Yakuza based movie. There's a great supporting cast and the basic plot is one personal offense instigates a domino effect of retribution and violence. The dialogue and pace is solid, though you definitely need a Players Card to keep everyone in order, but definitely well worth a watch.

Dark City




It's the cinematography that really does it for me in this one. Alex Proyas, who had previously directed The Crow really has an eye for shadow/noir style film making. It stars Rufus Sewell, William Hurt, Keifer Sutherland, Jennifer Connelly and Richard O'Brien from Rocky Horror fame



Bright light. Bright light. Uh oh.
Wild Heritage (Charles Haas, 1958)

Falstaff (Chimes at Midnight) (Orson Welles, 1965)
+

Attack! (Robert Aldrich, 1956)

The Gun Runners (Donald Siegel, 1958)

The Wizard of Oz (Victor Fleming, 1939)


Leave Her To Heaven (John M. Stahl, 1945)

The Human Stain (Robert Benton, 2003)
+
Riding Alone for Thousands of Miles (Yimou Zhang, 2005)


Thunder and Lightning (Corey Allen, 1977)

The Last Supper (Stacy Title, 2005)

Striking Distance (Rowdy Harrington, 1993)

Flowers and Trees (Walt Disney, 1932)


Across the Line: The Exodus of Charlie Wright (R. Ellis Frazier, 2010)
+ good ending
A Summer in Genoa (Michael Winterbottom, 2008)

Treasure Island (Byron Haskin, 1950)


The Rare Breed (Andrew V. McLaglen, 1966)

I Know What You Did Last Summer (Jim Gillespie, 1997)

The Invisible Man (James Whale, 1933)


The Inglorious Bastards (Enzo G. Castellari, 1978)

Lust For Life (Vincente Minnelli, 1956)




Rhaegar Targaryen's Avatar
Prince of Dragonstone
American History X

The film sees Edward Norton superbly portray a neo-nazi character called Derek Vinyard. Indeed Vinyard is a terrifying creation, an exceptionally intelligent racist capable of manipulating vulnerable individuals into his deranged way of thinking. However after a harrowing stretch in prison Derek is determined to leave his old way of life and to make sure his younger brother Danny doesn't follow the same path he did.
While it's fascinating to watch Derek often make well reasoned arguments for defending his racist beliefs, in truth this film is not actually about white supremacists. What this film is actually about is our humanity, it's about our ability to change.
Where this movie falls down is on the editing floor. Edward Norton and several producers molded this film in their image during editing, director Tony Kaye was walled out and when the film hit screens, Kaye claimed he was disgusted with the finished product. It resulted in Kaye washing his hands of the entire affair.
The directors biggest grievances were, the film was shaped so that the audience was made to entirely empathise with Derek Vinyard and that the film had no "black voice" that is no explanations/insight was offered as to the actions of the black characters. He believed as a result of the editing process that the black characters were made hollow and completely one-dimensional.
I agree with these views, particularly the latter. However in spite of the obvious flaws, the philosophical questions, intellectual intrigue and realistic portrayals (Norton, Furlong) this movie offers certainly makes it worthwhile viewing.




Diving Bell and the Butterfly is one of the most moving films I've ever seen. Deserves better than the rating you gave. I'd say even half a popcorn more than the score you gave Rebecca, which must be an all time fave of yours, cause I dont recall you rating a film
in the past month(s)?
The diving bell and the butterfly was in my opinion among the most mediocre film of the genre of manipulative melodrama trash that I ever watched. And I have watched tons of it. It's almost as mediocre as the Untouchables but without the jokes.



Chappie doesn't like the real world
The diving bell and the butterfly was in my opinion among the most mediocre film of the genre of manipulative melodrama trash that I ever watched. And I have watched tons of it. It's almost as mediocre as the Untouchables but without the jokes.
How did you find it manipulative? I don't get that at all. I don't use popcorn, but it gets an A- from me.



Bright light. Bright light. Uh oh.
Calling The Diving Bell and The Butterfly "manipulative melodrama trash" is like calling Bicycle Thieves and Ikiru the same thing, except that TDBatB isn't melodramatic.



Sorry if I'm rude but I'm right
Wow, you watched former Inglorious Basterds! Looking forward to seeing it as well since I've watched original Django and found out it's better than Tarantino's film.

The Diving Bell and The Butterfly is a pretty good film.



Here's my latest affront to the central limit theorem. Re-watches outnumber first-timers in this post.

Blindness (Fernando Meirelles, 2008)

7 Psychopaths (Martin McDonagh, 2012)

Sinister (Scott Derickson, 2012)
-
The Omen (Richard Donner, 1976)
-
Star Wars (George Lucas, 1977)

White (Krzysztof Kieslowski, 1994)

The Shining (Stanley Kubrick, 1980)
+
Speed Racer (Wachowski bros., 2008)

Lola Rennt (Tom Tykwer, 1998)

The Empire Strikes Back (Irvin Kershner, 1980)

The Faculty (Robert Rodriguez, 1998)
+
The Legend of Hell House (John Hough, 1973)

The Return of the Jedi (Richard Marquand, 1984)
+
Silver Bullet (Daniel Attias, 1985)
+
Scream (Wes Craven, 1996)

What Lies Beneath (Robert Zemeckis, 2000)

Hotel Transylvania (Genndy Tarkakovsky, 2012)

The Tenant (Roman Polanski, 1976)
+
Mystery Men (Kinka Usher, 1999)
+ (I think this belongs on my "top 100".)
That Day (Raul Ruiz, 2003)

The Chimes at Midnight (Orson Welles, 1965)



Sorry if I'm rude but I'm right
Hotel Transylvania (Genndy Tarkakovsky, 2012)
Thought it was Tarkovsky and wanted to +1 rep you. After a second I found out it's Tarkakovsky. +1 rep'd anyway.



Seven Psychopaths gets the same rating as Star Wars? Shame on you!
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"Anything less than immortality is a complete waste of time."



They're both great. And if I rated it any higher you probably would have still complained that I gave it the same rating as Mystery Men .



* = re-watches.

Taken (Piere Morel, 2008)

The Longest Yard (Robert Aldridge, 1974)

Specters (Marcello Avallone, 1987)

The Grey (Joe Carnahan, 2011)

The Chain Reaction (Ian Barry, 1980)
+
Rain Of Fire aka Holocaust 2000 (Alberto De Martino, 1977)
Kirk Douglas running naked on Salt Lake value

*Silver Streak (Arthur Hiller, 1976)

*Lake Placid (Steve Miner, 1999)

*Walkabout (Nicolas Roeg, 1971)

*Blue Thunder (John Badham, 1983)
+
*30 Days Of Night (David Slade, 2007)
-
*Crocodile Dundee (Peter Faiman, 1986)

*Crocodile Dundee II (John Cornell, 1988)

*The Hunted (William Friedkin, 2003)

*Pardon Us (James Parrott, 1931)

*Cliffhanger (Renny Harlin, 1993)

* The Day Of The Triffids (Ken Hannam, 1981 TV)
+




Sorry if I'm rude but I'm right

Valerie is a bad girl.

Twin Peaks
(TV series) -

Twin Peaks: Fire Walk with Me -

Blue Velvet -

In the Realm of the Senses -

Srpski Film -

Solo (Lopushansky short) -

Cannibal Holocaust -

Valerie and Her Week of Wonders -

Check-up On the Roads -

If Night Has Fallen, Sleep Well. The Rest Is Silence, Secrets Now (short film for hipsters) -

The Fly (1980 short) -

The Man in the Lower-Left Hand Corner of the Photograph (short) -

Ripples (short film for hipsters) -

Bitteren Tränen der Petra von Kant -

Before Sunrise -

Before Sunset -

Ashik Kerib -

Navajo Joe -

Day of Anger (1967 western)-



Twin Peaks (TV series) -

Twin Peaks: Fire Walk with Me -

Blue Velvet -

Navajo Joe -
Great to see another viewer of Twin Peaks, I watched the entire show and the film a few weeks ago and absolutely loved it, I'm actually missing it already And Blue Velvet is my favourite Lynch film so glad to see you liked that too

Navajo Joe I liked, it's an at times very fun Spaghetti Western but felt in parts it was weak, enjoyable watching it though in terms of the genre, I need to see more Corbucci.
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