Rate The Last Movie You Saw

The Devil Wears Prada follows Andy Sachs (Anne Hathaway), a young, aspiring journalist who finds herself working as a personal assistant to Miranda Priestly (Meryl Streep), the ruthless editor-in-chief of Runway magazine. Despite her lack of interest in fashion, Andy wants to use the opportunity as a stepping stone for her career, but finds herself instead sucked into the excessive demands of Priestly and subsequently, the glamorous lifestyle of the fashion industry.

The main draw here is Streep, and her interactions with Hathaway's character. Streep was nominated for an Academy Award, and deservedly so. Her performance shies away from turning Priestly into a straight-forward villainess by adding several layers to her, along with other details that are on the script, and others that seem to be more of Streep's choices as an actress. Meanwhile, Hathaway perfectly portrays her character's descent (or ascent?) into this world in a way that's convincing and believable, despite being predictable.

Grade:


Full review on my Movie Loot

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Rumours (2024)
Apocalyptic, weird, clever, deadpan absurdity set during a G7 conference. Cate Blanchett gets to show off her dry, comedic chops, delivering her lines with straight faced sincerity that makes it all the funnier. But all the performers are in top form, and the satirical script is a hoot, and spooky, and melodramatic, and gross, as well as political and stupidly human - these prattling leaders with their foibles are utterly hopeless in a crisis, but they talk a good game. It's mostly bullshit ("Canada too fast for Germany, what does it mean?") still, it sounds important and inspiring, but yeah... mostly a lot of B.S.

Mars Express (2023)
Cerebral, mind blowing, sci-fi crime story. Its inspirations are evident (from cyberpunk to noir), yet it still came off fresh, distinct - Loved the animation. I am gob smacked.

December 3, 2024

BONHOEFFER (Todd Komarnicki / 2024)

December 10, 2024

RED ONE (Jake Kasdan / 2024)

Bonhoeffer was pretty good. It's based on the true story of Dietrich Bonhoeffer, a German pastor and theologian who led a resistance to the Nazis' takeover of the church in Germany. A rather compelling tale, with Jonas Dassler turning in a very good performance in the title role. If I understand correctly, the film takes a good many liberties with the facts. The tagline for the movie is: Pastor. Spy. Assassin. But in real life Dassler had very little involvement in any attempts to assassinate Adolf Hitler, and he certainly didn't fit the third label. (To be fair, he's not actually depicted killing anybody in the film.) To sum up, Bonhoeffer makes for good drama, and it's certainly a respectable biopic. But as you watch it, you sort of get the feeling that it's the kind of film where the cracks and flaws in the personalities of real-life figures are perhaps... not necessarily whitewashed, but you feel like these people are perhaps a little too prim and noble and clean-cut. In other words, a good movie about a worthy subject, but one you feel at best only pays lip service to ambiguity. I personally like my biopics a little messier, however genuinely virtuous the subject. However, I respect the fact that when the subject is Nazi Germany and the Holocaust, moral clarity may inevitably win out over shades of gray.

Red One was a movie I didn't really hold out much hope for. When I saw the trailer, it struck me as just a tad silly, an action / fantasy / comedy about Santa Claus getting kidnapped, starring Dwayne Johnson as Callum Drift, Santa's head of security. But, crazy as it may sound, we may actually have a minor holiday classic on our hands here! The story really is kind of inspirational in its own cracked way. Apparently, Santa's operation at the North Pole is part of this crazy clandestine, high-tech operation which is part of a larger organization called M.O.R.A. (Mythological Oversight and Restoration Authority). J.K. Simmons plays the supernaturally-gifted, well-maintained and physically fit Saint Nick (and we learn that the man has an aversion to macaroon cookies). Chris Evans plays a bounty hunter / computer hacker / absent father named Jack O'Malley who is responsible for the abduction of Santa, and has to help Callum retrieve him in order to save Christmas, reconnect with his son Dylan... and get himself off of Santa's "Naughty List"! The abductor is an evil witch by the name of Gryla (Kiernan Shipka) who is committed to punishing the naughty, and somehow Krampus is involved in the goings on. I dunno... I sort of expected it to be worse, but I think this is an example of diminished expectations resulting in a rather pleasant surprise. (The director is Jake Kasdan, son of Lawrence. I'm thinking the apple didn't fall too far from the tree here.) Tie this one together with the recent The Best Christmas Pageant Ever as surprise holiday sleepers.

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"Well, it's what people know about themselves inside that makes 'em afraid" - Clint Eastwood as The Stranger, High Plains Drifter (1973)

"I'll let you be in my dream if I can be in yours" - Bob Dylan, Talkin' World War III Blues (1963)

This afternoon I watched Batman Under the Red Hood. Now this one is awesome. The other two animated Batman films I watched were good. I really loved this one though. I loved the characterization in this one, and the story was exciting and well done. Right now I herald Under the Red Hood as one of my favorite Batman movies, although that's in the immediate effects of having just watched it. We'll see what happens when the newness wears off. These animated Batman movies are way better than the live-action ones.

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I destroyed the dastardly dairy dame! I made mad milk maid mulch!

I hate insomnia. Oh yeah. Last year I had four cases of it, and each time it lasted three months.

I've seen both versions of 3:10 to Yuma, and I believe the 2007 version is the better of the two. For one its production values are a lot higher. The original is messy in spots. Also the remake has a few more fleshed-out scenes than the original. The original is good too. It just feels a mite sloppy on occasion.

I liked seeing Crowe in a villainous role. I thought that was cool. Overall I dig the movie. I think you like it more than I do though. It's a great film and I love the character conflict between Bale and Crowe.

As much as I love both versions of 3:10 to Yuma, I actually have a slight preference for the 1957 Delmer Daves original with Glenn Ford and Van Heflin. And the main reason there is that incredible theme song written by composer George Duning, with lyrics from Ned Washington, sung by none other than Frankie Laine. I must admit, ever since I first saw Mel Brooks' Blazing Saddles from 1974, I've kind of had a hard time taking Frankie Laine seriously. Take the theme from the 1957 Gunfight at the O.K. Corral, for instance: "Boot Hill, Boot Hill / So cold, so still..." But the main title song from the 1957 3:10 to Yuma is absolutely gorgeous, moving and haunting... and it's the one time I don't laugh at Frankie Laine!

I understand the difficulty. Blazing Saddles shines some interesting lights. And yeah there's naught wrong with preferring the original film. It's not like either version is bad. I just prefer the remake, if ever so slightly. I remember the original's ending being a mite disappointing compared to the remake's. I think that's one reason I prefer the remake. Going with either version is a solid choice of viewing.

El Dorado (Howard Hawks / 1966)
Rio Lobo (Howard Hawks / 1970)

Being a big fan of Howard Hawks' classic Westerns Red River (1948) and Rio Bravo (1959), both starring John Wayne, I was rather keen on getting the other two Hawks / Wayne Westerns, El Dorado and Rio Lobo. Neither of these films ranks quite up there with those two earlier films, but El Dorado is extremely entertaining in its own right, and Robert Mitchum is just terrific as the drunk sheriff J.P. Harrah. (The scene where Wayne whacks Mitchum over the head with a frying pan, sending him cross-eyed and collapsing, is hilarious.) Rio Lobo is the weakest of the Hawks / Wayne Westerns (and it was actually Hawks' swansong), but it's still pretty good in its own right. The opening train heist of the payroll train by Confederate soldiers is just excellent, and the rest of the film has sort of a hard act to follow. (The opening titles showing the acoustic guitar playing the main theme is classic, as well.)



No Country for Old Men (Joel Coen - Ethan Coen / 2007)

I already had the original Blu-ray edition, but if Criterion's putting it out, you just have to double-dip, right? I watched some of the extras on the Blu-ray disc last night, but I have yet to see it in 4K UHD. I hope it looks good...

The Manchurian Candidate (1962) - John Frankenheimer: 8/10

The theatrical! Though I would like to see the other two versions one day (redux and final cut).

Love this character.

I've seen both versions as well. I liked most of the original but absolute hated the ending. It completely ruined the movie for me, whereas the 2007 version is my all time favorite Western. It does help though that I'm a big Crowe fan.

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Mifune plays a similar character in Sanjuro what came out a year after Yojimbo. It's pretty good too. I actually got Yojimbo and Sanjuro in a duo pack some years back as part of a Kurosawa-laden birthday gift haul. I think the others were Ikiru, Seven Samurai, and Ran. The only one I don't still have is Ran because I upgraded to a Blu-ray, so I still have the movie, just not the same edition.

Anyway I've always enjoyed Kurosawa's period pieces, as well as his contemporary films. Hm I just enjoy his repertoire. He's an excellent filmmaker.

I remember the ending feeling abrupt more than anything. It didn't feel as well concluded as the remake. I did like it overall. I just thought it could have been tighter in spots. It has been a while since I watched either version so my memory of them isn't perfect. Is it weird I kind of want to rewatch the remake now? I remember liking it though it has been a while.

I thought I'd add this; being a Crowe fan makes sense to me. He's a pretty good actor. I don't like every movie I've seen him do, though usually if the movie he does is poor it isn't his fault. I remember someone mentioning the Master & Commander novels some months back, and how it's a shame they didn't adapt more of them to movie what with the promise of Far Side of the World being there without much to show for it.

The Fallen Idol (1948)

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[ J ] - [ S ] - [ F ]

La Chimera (2023)
For some reason I've never fully connected with Alice Rohrwacher films, I don't dislike them, but... -shrug-

However, this one clicked, maybe because it's a little more somber, though there is humor and her usual eccentrics. Acting was solid, especially enjoyed seeing Isabella Rossellini in a small role. And I liked the little nod to Fellini (specifically, "Roma") - Italy still loves Fellini, you still see modern directors paying homage to him, and that's sweet, I think.

Bottle Rocket -

Wes Anderson's feature debut is a funny riff on Mean Streets that recalls the old joke, "how do you make God laugh? Make a plan." As misguided as old pals Anthony and Dignan are in theirs to stick it to the man, Anderson and crew manage to make them empathetic. Who would want to end up as a stuffed shirt bully like their would-be getaway driver's brother, Future Man, anyway? When their plan falls apart - I mean, how could anyone, not just Anthony, resist falling in love with Lumi Cavazos' charming maid, Inez - Anthony's dilemma of wanting to move on while maintaining his friendship is never not real...well, as real as it can be in Anderson's heightened version of reality. The soundtrack notwithstanding, his style is actually not as overt as it is in, say, The Grand Budapest Hotel. What we do get, though, reminded me of why I keep coming back to him from everything that happens during one hilariously disastrous heist to anything James Caan's eccentric landscaping lothario does. While it's a shame that Caan and Anderson did not work again, it's tempered by the fact that Bill Murray, who took up the slack by excelling in similar roles, never stopped working with him. As for just as frequent collaborator Owen Wilson, this movie would not work without him as Dignan.

This movie successfully reminds us, for better or worse, that even a life plan with as many contingencies as the one in Dignan's notebook is subject to change. It also reminds us that the few of us who are able to stick to their plans are not the kind of people who deserve to be so lucky. It is an impressive debut, but I would not put it on my short list of favorite Wes Andersons. Your mileage may vary on Luke Wilson, who I found to be a presence vacuum. Also, despite what trademark Anderson quirk we do get, I would not, unlike pretty much every other movie of his, describe the whole product as original. I still consider it a great movie, not to mention another reason why 1996 deserves to be called "the year of the independent film " If you need one more incentive, I'll add that Owen Wilson debuts his signature "wow" here.

Ugh. Both very lame.

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I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.