Rate The Last Movie You Saw

As much as I love 70s music, even glam, I'll be danged if I can find one Suzi Quatro song to get behind. I've tried a few times but her stuff is just fingernails on a chalkboard to me. If anyone can recommend a "good" Quatro song, send it my way.

I've always liked "Stumblin' In" but that's pretty low-hanging fruit. And a duet.

L.A. Confidential - CONTAINS SPOILERS

L.A. Confidential is my favorite kind of favorite movie: the kind that's a little different every time you see it. With each rewatch, I notice something I hadn't before or obsess over scenes that previously left me indifferent or confused. In this rewatch, I made a point to pay more attention to Captain Dudley Smith and I'm glad I did. Even though I know his real intentions - the scene that reveals them still sends chills down my spine - Cromwell's performance is one that rewards repeat viewings. You can interpret his actions in his screen time up to the big reveal as those of a commanding officer who looks out for his subordinates or as those of a master manipulator who knows exactly which buttons to push. This realization made me notice how strong the movie's subtlety is in general (the kind I also constantly miss, in general, due to my phone addiction, I'm ashamed to admit). Aside from Smith's duplicity, highlights include the way Spacey's Vincennes enunciates "lieutenant" while talking to Pearce’s Exley, the chief's (John Mahon) stone-cold glare towards Exley while awarding him, Exley and Smith's smug poses in the newspaper photo shoot and Vincennes' bemused expressions while the clueless Exley interrogates Johnny Stompanato. As for the uniqueness and beauty of the movie's look and feel, it still very much captivates. The movie manages to resemble one from the '50s and one from the late '90s at the same time and thus portrays its era in a way that favors accuracy over glorification, but thankfully without dulling the era's charms. The quality of the good, bad and ugly dynamic of Exley, White and Vincennes respectively also stood out this time, their acting credits since 1997 making their casting seem even more inspired. All this added appreciation also led to a stronger understanding of what this delightfully told and acted noir story is all about, which is so succinctly expressed in the Fleur di Lis slogan "whatever you desire." As Sid Hudgens puts it in the introduction, Los Angeles is sold as a place that has just that, whether it's the means to raise a family, become a superstar or indulge the basest of pleasures. Sadly, those desires have been co-opted by the likes of Mickey Cohen, Pierce Patchett and Dudley Smith while those who punish them like Exley are more likely to be shunned than praised and wave goodbye to the girl than take her home. My favorite takeaway from this rewatch, however, is simply watching a Hollywood movie with such a talented and devoted cast and crew. Not to mention, and this may be a combination of quarantine fatigue and having read too many Martin Scorsese articles doing the talking, but there's the added appeal of knowing that Hollywood took a chance on the movie for the sake of making something good first and something bankable second.

Great review, movie ****ing slaps.*


One of the things I love is that it nails the essence of noir while feeling modern without being too obvious about it.*I recently went through the first season of HBO's Perry Mason and the contrast between the elegant direction of the movie versus the heavy handed, declarative of its own importance style of the series couldn't be more stark.*

Great review, movie ****ing slaps.*


One of the things I love is that it nails the essence of noir while feeling modern without being too obvious about it.*I recently went through the first season of HBO's Perry Mason and the contrast between the elegant direction of the movie versus the heavy handed, declarative of its own importance style of the series couldn't be more stark.*

I really haven't been watching many mainstream movies lately so this is hard to rate and compare. I am a sucker for disaster movies as they give me as close to what I'd call a scare as anything. My wife and I enjoyed it from start to finish, and that's about all you can ask for.

I really haven't been watching many mainstream movies lately so this is hard to rate and compare. I am a sucker for disaster movies as they give me as close to what I'd call a scare as anything. My wife and I enjoyed it from start to finish, and that's about all you can ask for.

I always really liked the That's Entertainment movies.

Kaluuya is not going to win Best Actor, he is being submitted as supporting because no one has a chance against Chadwick Boseman, who will be winning every Best Actor award available this season.

Believe it or not, this was my favorite of the three movies.

I would swear that this had fallen out of grace with you.
I watched this movie because of you, you had spoken pretty highly of it many years ago and I always said I was gonna watch it but then it was hard to find or I just wasn't sure I was in the right mood on a given night or whatever and it took me years to get around to it.
When I finally did and wrote it up I thought I remembered you telling me that you weren't as high on it anymore or maybe I'd misremembered your level of enthusiasm for it.
Do I have that wrong?
Cause I really was pretty impressed with it.

I thought I had sent that he was Supporting because Lakeith Stanfield's character was supposed to be the principal.

Which have you heard? Probably all these.

42nd Street, 1933

A Broadway director named Julian Marsh (Warner Baxter) is putting on a musical called Pretty Lady. Lots of hijinks ensue as lead actress Dorothy (Bebe Daniels) juggles trying to romance a wealthy financier while rekindling a relationship with a former dance partner, Pat (George Brent). Fresh-faced novice Peggy (Ruby Keeler) is mentored by two other dancers, including a giddily-promiscuous dancer nicknamed "Anytime Annie" (Ginger Rogers).

This is an enjoyable romp. It is pre-code, and so you get that little jolt of off-color jokes, such as a pretty forward explanation about how Annie got her nickname. The dance numbers, especially the final 20 minutes (which are almost entirely just the production of the musical). There is a lot of fun camerawork, bold sets, and solid choreography.



Aside from the production numbers, the film really sparkles with the performances and the characters. Rogers, in particular, is hilarious as Annie. She is such an assured character, and it is so fun to see a "slutty" character also be someone with a level head and a lot of heart. Daniels and Brent have great chemistry as Dorothy and Pat, and it is easy to root for them as a couple.

The only downside for me was the humor that lands on the unfortunate side of being dated. Does anyone still think it's funny to think about men in power getting young girls on the "casting couch"? And in probably the worst scene, a man grabs a woman and kisses her. She pushes him away. He tells her not to play around. She looks him right in the face and says she isn't kidding. He grabs her again. She pushes away and runs out of the room. He chases her while the other people at the party laugh and one man yells "Go get her!". Just, yuck.

Overall this was a fun flick that really sings in its performances.