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The Sullivans (1944)
The early scenes with the characters as children were fun to watch. I especially enjoyed the fight the boys got into. It looked like they just let them loose on the set. The story inspired Saving Private Ryan which was one of the reasons I wanted to take a look at it.
The early scenes with the characters as children were fun to watch. I especially enjoyed the fight the boys got into. It looked like they just let them loose on the set. The story inspired Saving Private Ryan which was one of the reasons I wanted to take a look at it.
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Saw Guardians of the Galaxy 2 at the cinema today. Pretty good; probably not quite as good as the first but still pretty solid for the most part, and still the only series within these endless comic book movies I find particularly appealing. Kurt Russell was great, and I was happy to see Karen Gillan getting a bigger role too (and even some quasi-redemption for her character as well). Entertaining.
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Portrait of Jennie (1948)
This really is a visually stunning film and a wonderfully told love story. Joseph Cotton and Jennifer Jones are both great and the film benefits from a great ending.
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Too weird to live, and too rare to die.
Too weird to live, and too rare to die.
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The Train (1964)
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A normal man? For me, a normal man is one who turns his head to see a beautiful woman's bottom. The point is not just to turn your head. There are five or six reasons. And he is glad to find people who are like him, his equals. That's why he likes crowded beaches, football, the bar downtown...
A normal man? For me, a normal man is one who turns his head to see a beautiful woman's bottom. The point is not just to turn your head. There are five or six reasons. And he is glad to find people who are like him, his equals. That's why he likes crowded beaches, football, the bar downtown...
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"Win it All"
Funny, slightly tense and well written romantic comedy drama about a gambling addict and a blossoming path to recovery with one dangerous roadblock.
Funny, slightly tense and well written romantic comedy drama about a gambling addict and a blossoming path to recovery with one dangerous roadblock.
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Glad to hear that; I saw it pop up on Netflix, and I like Jake Johnson, but since I hadn't heard about it before I was assuming it wouldn't be that good. I'll probably give it a go now. Thanks. 
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Crack in the World (Marton, 1965)
The disaster doesn't really serve a purpose except to underline Dr. Sarason's hubris which pushes his fiance into the arms of another man. It's small potatoes for such a big spectacle. You could point to nuclear anxieties as the driving force behind the film, but it doesn't really engage with those fears in any meaningful way. Albeit shallow, it's an entertaining precursor to the disaster films of my lifetime. The pace is brisk, and the set pieces are charming.
The Lodger (Brahm, 1944)
A thriller which heavily telegraphs every move that it makes. Laird Cregar isn't given the most subtle role to work with, but unraveling the inner psyche of his character is what kept my attention. Most of the picture, including the entire opening half hour, consists of dreamlike night scenes which provide a rich atmosphere of dread. It's rather by the numbers, but I am interested in seeing some of the other adaptations of the source material, Alfred Hitchcock's in particular.
The Lodger: A Story of the London Fog (Hitchcock, 1927)
They say this is the one where Hitchcock found his vision. It's certainly a treat to see him work in the silent medium which so often pushed directors to pursue creative visuals to convey information. Hitchcock manages to throw you for a narrative loop while distilling some emotive fervor that I hadn't witnessed from him before. It's actually reignited my interest in him as a director.
I watched the 2012 restoration featuring Nitin Sawhney's score performed by the London Symphony Orchestra. While it was a bit overpowering at times, and the lyrical segments were jarring, I can't say I've ever been so affected by a score to a silent film. Of course, I'm still rather underexposed to the era, but I'm interested to compare this interpretation to newly scored 2k restoration that Criterion will be releasing in June.
The disaster doesn't really serve a purpose except to underline Dr. Sarason's hubris which pushes his fiance into the arms of another man. It's small potatoes for such a big spectacle. You could point to nuclear anxieties as the driving force behind the film, but it doesn't really engage with those fears in any meaningful way. Albeit shallow, it's an entertaining precursor to the disaster films of my lifetime. The pace is brisk, and the set pieces are charming.
The Lodger (Brahm, 1944)
A thriller which heavily telegraphs every move that it makes. Laird Cregar isn't given the most subtle role to work with, but unraveling the inner psyche of his character is what kept my attention. Most of the picture, including the entire opening half hour, consists of dreamlike night scenes which provide a rich atmosphere of dread. It's rather by the numbers, but I am interested in seeing some of the other adaptations of the source material, Alfred Hitchcock's in particular.
The Lodger: A Story of the London Fog (Hitchcock, 1927)
They say this is the one where Hitchcock found his vision. It's certainly a treat to see him work in the silent medium which so often pushed directors to pursue creative visuals to convey information. Hitchcock manages to throw you for a narrative loop while distilling some emotive fervor that I hadn't witnessed from him before. It's actually reignited my interest in him as a director.
I watched the 2012 restoration featuring Nitin Sawhney's score performed by the London Symphony Orchestra. While it was a bit overpowering at times, and the lyrical segments were jarring, I can't say I've ever been so affected by a score to a silent film. Of course, I'm still rather underexposed to the era, but I'm interested to compare this interpretation to newly scored 2k restoration that Criterion will be releasing in June.
Manchester by the Sea (2016)
Even with a rewatch this is still expert, elegant filmmaking... that editing, that acting, I love it.
- If you missed my thorough Cinema Review, you can read that right here.
Even with a rewatch this is still expert, elegant filmmaking... that editing, that acting, I love it.
- If you missed my thorough Cinema Review, you can read that right here.
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/watching movies for mark f/
MovieMeditation's Cinema Reviews // Film Diary 2015 // Letterboxd Profile // MovieMeditation's Top 50 Horror
/watching movies for mark f/
MovieMeditation's Cinema Reviews // Film Diary 2015 // Letterboxd Profile // MovieMeditation's Top 50 Horror
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King Kong (1933)
I never knew how much action there was. Once Kong is introduced, it's constant chaos and destruction.
I never knew how much action there was. Once Kong is introduced, it's constant chaos and destruction.
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Predictable but fun as hell. Some flaws but whatever.
I'm not a fan of movies with messages of racism or any other kind of **** like this but, yeah, I definitely liked this movie!
WARNING: "Get Out" spoilers below
Better than Moonlight in my opinion! : ) I hated so much every mot****ker in this film that in the end I was like "YEAAHH KILL THIS MOT********RS!! hehe
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Predictable but fun as hell. Some flaws but whatever.
I'm not a fan of movies with messages of racism or any other kind of **** like this but, yeah, I definitely liked this movie!
WARNING: "Get Out" spoilers below
Better than Moonlight in my opinion! : ) I hated so much every mot****ker in this film that in the end I was like "YEAAHH KILL THIS MOT********RS!! hehe
