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For the past year or so, I haven't been able to get into films as much as I used to. But I'm trying to remedy that by going through the MoFo checklists and re-watching some of the classics.

All Quiet on the Western Front
(1930)


Citizen Kane (1941)


Paths of Glory
(1957)


All Quiet on the Western Front was the only film I hadn't seen before. I was impressed at the scale of it considering the year it was made, but it's epic scope was a bit exhausting for me. Though I definitely see it's significance as an important film classic.

It was only my second viewing for both Kane and Paths of Glory. It's been years since I saw them both too. I still think they're two of the best achievements in film I've ever seen.
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True Grit -


First time watching it since the midnight showing, and I liked it about the same. Another great film from the Coen Brothers, other than A Serious Man, they've been on a role lately. The scenery is just gorgeous to look at, as it is with most westerns. I still have to see the original, though.




there's a frog in my snake oil
La Belle et La Bête
Jean Cocteau, 1946

Hexplain? Looks good (in a 'Dorothy gets well-dressed lion' kinda way )

*Please apply said question to said other films too *

*Minus the civil bestiality. And flying monkeys.*
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I'm not old, you're just 12.
X-Men First Class - Best X-Men film ever. It's one of the only ones that actually feels like the X-men from the comics. I liked the Bryan Singer ones, but compared to this new film, they're clunky and seem like the work of someone who's never read a comic...ever. I hope that they continue with this new series, it's fantastic, especially the actor who plays Magneto. Intense performance.
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Humpday
(directed by Lynn Shelton, 2009)
Two straight guys decide to make an artistic porno film where they have sex with each other.

They ended up not having sex with each other. Yawnfest.



planet news's Avatar
Registered User
I actually liked it. I thought it addressed some nice issues about how straight people behave when confronted with homosexuality and how true straightness is always in some sense a minimal acknowledgement of homosexuality, not a repression of it.
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In fairness, I didn't give the movie my fullest attention, thus the reason I didn't post a full blown review in my review thread, but I thought I attended to it enough to give it a three star rating. Something about it still wasn't captivating enough.



will.15's Avatar
Semper Fooey
I wouldn't watch that movie on a bet.









I would watch this movie:
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Midnight in Paris -
+

I was going to type up a full review for it, but I was being lazy. I had a chance to catch this in theaters today and it was quite good. I wasn't really that excited about seeing it, so I can't say it lived up to my expectations, but it really surprised me. I loved all the classic author references - they made me chuckle. It just really makes me wanna go visit Paris, which I'm sure I'll get to one day.




Bright light. Bright light. Uh oh.
This is the first movie I ever got Sarah to rate since she watched it at USC before its release. She gave it a 7/10 and told me how it's impossible to tell what the plot even is from the trailer and ads.
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I wanted to see Midnight in Paris last night, but the person accompanying me wanted to go see Super 8. In the end, Netflix and Humpday won.



This is the first movie I ever got Sarah to rate since she watched it at USC before its release. She gave it a 7/10 and told me how it's impossible to tell what the plot even is from the trailer and ads.
Yeah, I haven't watched the trailer in awhile, but I do remember the trailer making it seem like something completely different.



Bright light. Bright light. Uh oh.
True Grit (Coen Bros., 2010)
+



I want to compare this exemplary flick to the John Wayne version. I actually give both versions the same rating although I thought that for awhile I might give this one a slightly higher rating. Let me tell you what I think of these two flicks which really aren't all that different if you're actually paying attention. I will admit that I've seen the Wayne version about 10 times so I basically have that one memorized and sometimes it's not described very accurately at that. For example, this flick is rated PG-13 and I don't think it's any more violent or profane than John Wayne's G-rated version. In Wayne's version you actually see Dennis Hopper's fingers fly off the knife. It tells you more about the era and the evolution of the MPAA than anything else.



This version has a terrific performance by Hailee Steinfeld and Matt Damon is much better than Glen Campbell as Shia's great-great-great grandfather. However, I think that Robert Duvall, Jeff Corey, Dennis Hopper and General Sterling Price are better than Josh Brolin, Barry Pepper and whoever the hell else they had here. Even the guy playing the Strother Martin role was obviously doing an imitation of Strother and it wasn't nearly as good. (Sorry, Holds.) Next, we get to the lead Rooster Cogburn. Bridges is very good. I thought he may have been trying to do Don Corleone, but then Josh Brolin sounded like he was too! But there's no way in hell that anyone who doesn't believe that John Wayne is such a Duck (from Unforgiven) won't think that Wayne is better than Bridges. I mean, Bridges, in my opinion, is better than his year-earlier Academy Award-winning performance, but he still ain't no John Wayne, and the people who think that Wayne did not give a performance as Rooster are in pure denial.



Other changes worth noting include the fact that the the intro to Matty was different, the intro to LeBeouf was different, the ending was completely transposed. What happened to LeBeouf seems to happen to Rooster, what happens to other characters seems to happen to Mattie, and thus perhaps it may seem less sentimental, but I don't really think it is. Steinfeld is excellent but the fact that she isn't there at the end of the film and is played by her older self seems to rob the character and the film of some of its emotional power. Unlike many others, I've always enjoyed Kim Darby in the original. Of course, it's a bookend and the opening bookend is also quite different than the original flick.



Something else I want to say is that Lucien Ballard's cinematography in the original is gorgeous and full of green trees, meadows, blue water and other very colorful locations. The Coens have Roger Deakins as DP but his pallette almost seems to rival what he did in Fargo. All the greens have turned grey, there is very little water and snow pops up in more than one scene. Apparently this is meant to highlight a difference in seasons and the fact that Arkansas and the Indian Nation just aren't that ripe and luscious as they seemed in the original which was admittedly shot further west than the story was set. There are quite a few other scenes which are different in this newer flick but I'll get to those later if anybody even cares. It's a solid movie, but with such a great plot, I'm not sure how it couldn't be. I'll try to come back and add some more later because although about 85% is the same, it's interesting and/or weird the small part which is different. Did Bridges steal Marlon Brando's Kleenex from The Godfather? Was Bridges' right eye covered because he's somehow left-wing while John Wayne's left eye was covered because he was super right-wing? I have no idea, but it's a thought. Irrelevant to two very good movies, but a thought.



I have the new True Grit. I will probably be watching it soon. I have never seen the original, though. Good review.



planet news's Avatar
Registered User
Nice comparison, Mark. I never really have opinions on "those kinds" of performances. Neither seems very distinctive to me, but that's my inattention. Didn't pick up Don Corleone at all either....

Of course, it's a bookend and the opening bookend is also quite different than the original flick.
Yeah, it was pretty much stripped down to a single shot and voiceover. That is interesting that the Coens felt they could take more liberties at the ends of the film while much of the middle is almost shot-by-shot.

Funny speculations about the eye patch.



The Draughtsman’s Contract (1982, Greenaway)


I FINALLY saw this last weekend and I was blown away by it. At first, The Draughtsman’s Contract might seem inaccessible due to the highly pompous dialogue and the fact that you’re thrown in some kind of party setting without really knowing the context. After the first 15 minutes however, everything is put into perspective and you can truly begin to enjoy the seminal achievement that is The Draughtsman’s Contract. This is a social satire with some of the sharpest, wittiest dialogue you’ll ever have heard on a big or small screen; a murder mystery on par with some of the greatest told in cinematic history, and an exploration of late 17th century aristocratic life. And then I haven't even begun to talk about the multi-layered character of The Draughtsman's Contract.

All of this is wrapped in a stunning visual package, with some of the most beautiful countryside imagery. The level of detail put into the costumes and haughty behavior of the actors is nothing short of exquisite and Michael Nyman’s score is fabulous. Moreover, this is a film that will most certainly reward multiple viewings. There’s no way you can fully grasp all the details and symbolism put into the dialogues and surroundings on first, second or even third viewing.

Having read all this, it will come as no surprise that I regard The Draughtsman’s Contract to be a bonafide masterpiece. I think it’s not only Greenaway’s best film, but one of the best films of the 80s. If you ever get the chance to watch this, do it. You won’t regret it.



Team America: World Police (2004, Parker)
Pubescent persiflage of Jerry Bruckheimer films, mixed with satire and some penis jokes.


Thelma & Louise (1991, Ridley Scott)
Well-paced road movie with some nice cinematography, good dialogue and solid performances.
+


Rudy (1993, Anspaugh)
Good sports movie about the classic underdog and how he has to endure to eventually get what he wants, only with a slight twist here. I liked how the whole story was built up, as you really come to feel for Rudy. A lot of attention is spent on how Rudy has to juggle so many activities and works his butt off just to chase that one dream of his. It’s a bit too sentimental at times, but in the end, I couldn’t help cheering for the kid.


The Ice Storm (1997, Lee)
Relationship drama about free love, hypocrisy, and desperateness in the 70s. A fairly somber film with some solid performances and great cinematography.
+



In Search of a Midnight Kiss (2007, Holdridge)
Sweet, funny, clever gem of a romcom. It’s an irresistible ode to L.A. and screwball comedies.


Django (1966, Corbucci)


Spaghetti western with a simplistic, but well-paced story, some laughs and good directing from Corbucci. It’s no Sergio Leone, but this is bloody entertaining too.


The Mosquito Coast (1986, Weir)
Harrison Ford excels in his role, but the all-around solid performances and beautiful cinematography can’t disguise the fact that the story is drawn-out.
+


Tehilim (2007, Nadjari)
Intimate, sensitive Jewish family drama about love, faith and hope, with a little TOO much stress on faith and rather annoying wild camera movements


The Italian Job (1969, Collinson)
Supremely entertaining caper flick that is evenly paced, contains great performances (Caine is exquisite), witty dialogues and beautiful cinematorgraphy.
+



Homo Faber (1991; Schlöndorff)
Philosophical artflick that nearly collapses under its weight. A lighter tone would’ve been most welcome.
+


Videodrome (1983, Cronenburg)
Hmm, early on, you’re kind of searching for the point of what is being shown and as a result, you can’t really relate to the story or characters. Also, it was a bit too weird for my taste. I’m sure there are some messages hidden in this film somewhere, but they flew right past me, because I couldn’t get into it.


A Perfect Murder (1998, Davis)
Inferior remake of Hitchcock’s classic Dial M For Murder. I like the seemingly simplistic set-up and evolution of the story, the solid performances (Michael Douglas is very good) and the pace. However, there do seem to be some plot flaws and the ending wasn’t to my liking.


And some more:

Red River (1948, Hawks & Rosson):
(would’ve been higher if it weren’t for the anti-climactic ending)

Scarecrow(1973, Schatzberg):

The Spiral Staircase(Siodmak, 1945):
+ (I’ve yet to see a Siodmak I’m not fond of)

Ride The Pink Horse (Montgomery, 1947):
+
Antonio Das Mortes (1969, Rocha):

Atlantic City (1980, Malle):
+

Romance & Cigarettes (2005, Turturro):
(underappreciated and underwatched)

The Conversation (1974, Coppola):



I should watch The Ice Storm again. I can't remember if I even finished it the first/last time I started watching it (in '06 or '07). I recently bought it but it's been sitting on a shelf.