Rate The Last Movie You Saw

Attack! - 1956 WWll drama directed by Robert Aldrich and adapted from the play 'Fragile Fox' by Norman Brooks. It stars Jack Palance at his Jack Palanciest. He plays the intense and brooding platoon leader Lt. Joe Costa of Fox Company. Costa has major beef with his CO, Captain Erskine Cooney (Eddie Albert). Cooney is ill-suited to a wartime command and has cost the lives of numerous men in the company by freezing up at critical times. It's common knowledge within the company that Cooney owes his command to his longtime friend, battalion commander Lt. Colonel Clyde Bartlett (Lee Marvin). Bartlett has postwar political aspirations and Cooney's father is a powerful judge and runs the political machine back in their home state.


With it's static staging and dialogue heavy scenes it's origins as a stage play are plain to see in the film's first act and for some reason it put me in mind of a Twilight Zone episode. But once the film branches out and the battle action heats up the true scope and implications are easier to grasp and allow you to be drawn in. This turned out to be a really effective almost noirish drama which, given Aldrich's talent shouldn't be too surprising. Brooks' play is decidedly anti-war, bleak and cynical with the brutality about as credible as the times allowed. After reading the script the Defense Department wanted nothing to do with it and refused access to any equipment or locations. The cast is first rate with WWII veterans Jack Palance, Eddie Albert and Lee Marvin lending an air of authenticity to the proceedings.

Oh yes, I agree 100%, hence my analogy of listening to a jazz solo.

The Show Must Go On, 2019

This documentary follows the successful collaboration between singer Adam Lambert and the surviving members of the band Queen.

I quite enjoyed this documentary, and specifically the way that it tells two different stories--the story of how the members of Queen coped with the loss of their friend and front man Freddy Mercury, and the story of how Adam Lambert went from his time on American Idol to find himself as an artist. I found both stories equally compelling, and the intersection between their experiences was quite heartwarming.

I found myself very interested in the experience of the members of Queen. As they explain quite well in their interviews, they still love their music and the experience of performing, and yet they aren't sure how to move forward from the loss of Mercury. They chart the various ways that they re-engaged with their music and their fanbase: a musical, some appearances on television shows, a tour with a different singer, and finally their collaboration with Lambert. They are very clear that they were not looking to emulate or replace Mercury, but rather looking for someone who could engage with their music in an authentic way.

In Lambert's story, we see the way that a young artist intersects with the pop culture landscape. As one of the band members notes, as soon as they see him on American Idol they realize that he's very talented but won't win because he's obviously gay. (Lambert almost being shut down in his Idol audition because he's too "theatrical" is an ominous indicator of this). I will unabashedly admit that I like Adam Lambert. I think his voice is amazing, "What Do You Want From Me?" is one of my favorite songs to pop up on the radio, and he was EASILY the best thing about the ill-fated Rocky Horror TV special. He's a very honest and engaging interview subject, and the way that he connects with Mercury while at the same time contrasting with him is pretty cool.

The meshing of Lambert and Queen is maybe the most engaging part of the documentary. Here you have two very different generations of musicians, and yet the respect and collaboration between them feels so incredibly genuine. The elder-statesmen musicians have respect for Lambert's presence and it's clear that they empathize with his struggles. The elephant in the room is obviously the idea that Lambert is "replacing" Mercury. Roger Taylor in particular is blunt about the criticisms of Lambert stemming from a lack of imagination. And on Lambert's side of things, he has found a band that is wonderfully eclectic and works very well with his "theatricality".

There are so many ways that artistic endeavors can go off the rails. For me, the question of whether or not this combination is "as good" as the original band composition totally misses the point. Here are two parties that were needing something and found it in each other. I think it's really sweet and totally charming.



Literally the only downside to this documentary is the (in my opinion, unnecessary) presence of Simon Cowell. A few of the other interview subjects--such as some random XFM radio host?--felt a bit out of place. But for the most part the interview subjects are knowledgeable and engaging.

Night and Fog, 1956

This documentary, filmed ten years after the end of WW2, recounts the creation of the concentration camps and the suffering of those unfortunate enough to end up in them.

Despite the mostly sedate tone of the narrator, this film is like a howl against the cruelties that people can inflict on each other.

Watching this film, I felt the way that I often do when confronted with cruelty on this scale and scope---it is almost beyond comprehension, and it's like looking into a nightmarish abyss. My grandfather was present at the liberation of one of the concentration camps (I want to say Buchenwald), and my mother said that he was never the same after what he saw there.

There is almost nothing that I can say about this film. It is heartbreaking in the sense of the the entire scale of it but also down to little details, like footage of a man carrying a nude, emaciated corpse slung over his shoulder. The outraged question at the end of the film--"Who is responsible?" feels like an indictment that reaches far beyond the Nazi leadership.

The Matrix (1999)



Re-watched it thanks to the family suggestion since the last time I watched it was in the movie theater back in 1999. They don't make blockbusters like these anymore.

It's probably the most horrifying film I've ever seen, barely edging out Come and See. While most war films/documentaries avoid showing the most harrowing bits to war, Resnais straight up presents them in their true, raw fashion and it makes for a truly powerful effect. It's not something I could see myself rewatching for obvious reasons, but I have a lot of respect for it. Glad you loved it!

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It is truly a painful viewing experience. I think that the film strikes just the right balance of showing the horrors but with clear empathy for the victims. When people want to minimize (or flat out deny) the Holocaust, the image of buckets full of skins or decapitated heads says all that is needed.

I followed it with The House is Black, which was also hard to watch, but at least more hopeful.

By "© 1939 by United Artists Corporation." - Scan via Heritage Auctions. Cropped from the original image., Public Domain, https://commons.wikimedia.org/w/inde...curid=85709464

Stagecoach - (1939)

Cheating a bit here, because Stagecoach wasn't in the queue of films I'm watching, but considering I'm going on a bit of a John Ford journey here I wanted to add this in. Previous times I've tried to watch this, I haven't been able to give it all my attention - and intended to really immerse myself in a film that's considered to be one of the greatest of all time. One that really revitalized the Western genre, which would dominate the film landscape for decades after. I don't have the best copy of it - but fortunately there's a Criterion edition which I'll get later on down the track.

For the first time I really got sucked into the excitement of it all. This film builds up tension for a good while. From the outset we know that the titular stagecoach will be travelling through Apache territory and that they're on the warpath. The danger is continually brought to our attention - and in the meantime the myriad characters in the film are sketched out. A gambler, alcoholic doctor, prostitute, pregnant soldier's wife, driver, sheriff, whisky salesman, banker and the outlaw Ringo Kid (John Wayne in his big breakthrough role - he became a real star after this film.) All the characters have reason to push ahead to their destination, despite the peril.

The music is marvelous (and won an Oscar,) as is the cast. The grand view of the Arizona and New Mexico plains is somewhat muted by the decaying print my copy was made from. When the action starts you can almost hear the screams and shouts a 1939 cinema audience would have been making. It's superb - to this day. Thomas Mitchell won an Oscar for his portrayal of the perpetually drunk doctor, but when it came to it's nomination for best picture it was up against The Wizard of Oz, Of Mice and Men, Wuthering Heights, Mr. Smith Goes to Washington and eventual winner Gone With the Wind.

8.5/10


Copyright held by the film company or the artist. Claimed as fair use regardless., Fair use, https://en.wikipedia.org/w/index.php?curid=34291972

3 Godfathers - (1948)

This John Ford film got pretty heavy-handed with the Bible allegories, and swayed from absolutely brilliant at times to not so great at others. Three bank robbers on the run are being chased by a posse who keep beating them to places where they can get water to drink. This leads them to a ruined water tank and a dying woman giving birth. They promise to look after the child, and make a perilous journey to New Jerusalem, keeping the child alive at any cost.

Some scenes are breathtaking, as is expected in a film like this. There's a bizarre scene where the three cover the baby with grease - I don't know if you're supposed to do that or not, but they take great pleasure in it. The baby transforms the three from desperate fugitives to loving fathers and it's this transformation which provides the best part of the film.

A good movie, but not a great one.

6/10

Ride the Eagle -

This is an upbeat yet slight comedy starring Jake Johnson - who also wrote the screenplay - as Leif, who is underemployed, leisure-seeking; in short, not far removed from Matthew McConaughey's public persona (with much less to show for it, however). After his estranged mother (Susan Sarandon) dies, he receives her video will, which contains tasks he must complete before he can inherit her Yosemite cabin. Johnson is likeable in the role, as is the supporting cast, which like Sarandon includes always-welcome faces. J.K. Simmons plays Carl, a fellow cabin dweller, D'Arcy Carden plays Leif's old flame Audrey, and then there's Luis Fernandez-Gil, who is the standout as Leif's fussy bandmate Gorka. I also like the movie's depiction of Yosemite, which - while not hard to do - accentuates the park's natural beauty while providing just the right peaceful and therapeutic vibes the story requires. The movie also shifts tones between serious and funny in a deft and mature way. There's not a whole lot to it, though: when it ended, I had a slightly empty, "that's it?" reaction. Also, the lessons Leif learns, while valuable, are a tad clichéd and the payoff is not as satisfying as it should be since Leif isn't all that interesting or developed of a character. I'm still glad I watched it, especially since positivity and optimism are in short supply lately. The movie was filmed during the pandemic, and as someone whose only getaways in the last couple years have also been in cabins and rental houses, it shows. It has more of a reason to exist than other such movies, though (I'm looking at you, Locked Down).

Beckett (2021)

This was okay, nothing more, it leant on other films a bit too much and failed to make it's own mark. The action was really good I thought and John David Washington really shines. Just a shame it's so derivative.

A Hard Day's Night -

I may be a little biased because I like The Beatles, but as it stands this is definitely a good movie. It wasn't perfect, but there were some genuinely funny comedic bits, and it was very charming. (And of course, the music is good.)

Who Framed Roger Rabbit -

I've seen bits and pieces of this over the years and only just now watched it from beginning to end, and yeah, it's a good movie. I can't imagine the work that must've went into making this. Still, it's not entirely my cup of tea, but I still like it quite a bit.

All That Jazz -

This is a re-watch. I really, really like this movie. It's (kind of) like a musical biopic, but written and directed by the subject, and (interestingly) very self-criticizing. Roy Schneider is great in the lead role, and the music and choreography are fantastic. It's not something I can just put on anytime, however, as it can be a bit draining. It's still a fantastic movie in my eyes, and I'll be looking forward to my next re-watch.

Masterpiece. Glad you also loved it!

I think my wife and I walked out of this.
But I think it was because it was mis-marketed. It's a much quirkier film than the studio was trying to sell it as and we just weren't prepared or in the mood.
I've been meaning to give it another go, I may follow your rec and do so.

Never gets old for me.
Watched it again recently and, despite the effects now looking pretty dated, we still just found it utterly enthralling.

I have seen the original but not this one, I am wondering if it ends the way the original did or if, given the time and The Duke, they flinched. Might have to check it out and see.

I watched this '48 version but not the original '36 one but just read the synopsis for that one on Wikipedia and no it doesn't end the same way at all. That version sounds pretty good. A lot darker. I need to watch it.

I liked it, not like a great movie but certainly a good one and yes, darker.

Yeah, it's weird. And also it's (deliberately?) fractured and has some strange pacing and beats. Again, not a great film. But just something that was goofy and ridiculous in a moment where that was what I needed. Go in with tempered expectations and just enjoy what you can.

Watership Down follows a group of rabbits as they flee from human "advance" in order to establish a new warren. The group is led by Hazel (John Hurt) and his younger brother Fiver (Richard Briers), who foresees the destruction of their current warren, inspiring them to leave. In the way, they encounters numerous obstacles, from various animals trying to hunt them to other rabbits attempting to enslave them. But what the rabbits have in their favor is their cunning.

But beyond its symbolism, the film manages to be engaging and thrilling as you find yourself invested in the fate of this group of rabbits. For the 1970s, the animation is great, and the voice-over work is very effective. There are instances where the pace is a bit off and the story meanders a bit, especially as it transitions from the second to the third act, but nothing that detracts much from it all. These rabbits are still full of tricks.

Grade:


Full review on my Movie Loot

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The book is really something. Highly recommended.