Movie Tab II

Fiddler On The Roof (1971)

Who doesn't love a fiddler? It's nice to watch a film about Jewish people that isn't about the Holocaust, although there are some obvious parallels. In turn-of-the-century Ukraine, milkman Tevye (Topol) tries to find husbands for his eldest daughter. However Tzeital (Rosalind Harris) has her own choice; her childhood sweetheart Motel (Leonard Frey). Tevye reluctantly gives in but this is small potatoes compared to the next daughter. When his third daughter marries outside the faith and the threat of the Russians becomes more real, Tevye will have to leave his beloved 'tradition' behind.


Fiddler really has all the elements of a classic musical: marriage; a family in crisis; a changing political landscape; a small community. Similar to The Sound of Music but for those who thought that was too saccharine, Fiddler is sentimental and old-fashioned whilst avoiding anything saccharine. Although the Jewish community here is persecuted, director Norman Jewison does a great job of conveying their spirited optimism against the face of adversity. The strength of this film is how it captures a way of life that is no more. Even if you aren't Jewish, the simple values and traditions of small communities will strike a chord with anyone. There's a warm humour and affection towards the simpleness of the village's old ways of life without being patronising or Disneyfying.


Some people might think that there aren't enough of the Russians but I think it's far more effective that like the persecutors in The Sound of Music and Cabaret, they loom on the horizon. We can fill in the gaps with our own cultural knowledge. By including too much of the Russians, I think it would undermine the charm of the musical. You can't really give them a song, can you?


And the songs really are a bunch of classics: Tradition; Matchmaker; If I Were A Rich Man; Sunrise, Sunset; Miracle of Miracles. There's also some nice quieter ones in the second act such as Far From The Home I Love.


Fiddler is just under three hours long, complete with an intermission and entr'acte, though no exit music. It's perhaps the last example of an old-fashioned Hollywood musical. Though other musicals would follow, the style and sentiment of Fiddler is with the classics.

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You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never. (The Red Shoes, 1948)

Woody Allen in The Front

Recent Watches:
Ausust: Osage County (John Wells, 2013)-
Some Like it Hot (Wilder, 1959)-
Pariah (Dee Rees,2011)- -
Tabloid (Morris, 2010) [DOCUMENTARY] -
Antichrist (Lars Von Trier, 2009) [REWATCH]-
The Front (Ritt, 1976)-
The Last White Knight (Saltzman, 2012) [DOCUMENTARY]-
Duck Soup (McCarey, 1933) [REWATCH]- +

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The two documentaries in this set are very different. Tabloid is the story of Joyce McKinney, the beauty queen "rapist", and she personally is interviewed in the film. While the incident is peculiar, the film tends to be more of a character study, and what happened after the incident really isn't that eye catching. While it's well made and sometimes entertaining, it's unimportant and unmoving. The weakest Morris film I've seen thus far.

The second, Last White Knight, is hardly known, but important. The director personally interviews the KKK member who assaulted him years earlier, back when the director was an activist. While a ton of scumbags are interviewed, there's plenty of light and respect for opposing view points to be taught here. Also Morgan Freeman has a small interview in this.


Saltzman "reunites" with his assaulter

Pariah is a lesbian drama set in the bronx, and is a huge let down. I've watched the trailer maybe 50 times-mainly for the beautiful music mixing- before actually watching the movie. I was expecting some class but didn't receive any until the traditional but pleasing ending. It's worth a one time watch if the subject matter interests you, but I will not return to this movie.

But I still hold that it has a great trailer


Perhaps Blue is the Warmest Color will be more up my path.

The Front stars Woody Allen (not written or directed by) as a front for blacklisted writers. I didn't find much funny with this movie, and often the story is bland. Woody Allens characters moral transitions, while important for the film, happened to quickly. He does have great chemistry with screen partner Zero Mostel though. The film really did win me over with the ending, and the charming credits. Shows the issues with blacklisting, and the industry during the red scare.

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wut.

Oops, I was copying my August: Osage County Ratign and editing it and forgot to do so on my favorite, edited

High Noon-Fred Zinnemann

Now this is a film that likes to get right down to it.



At only 90 minutes, High Noon is extremely economic with its runtime. The basic plot of the film is a Marshall by the name of Will Kane on his wedding day overhears extremely bad news.A vicious criminal he once arrested is coming back in a few hours to get revenge. He has ample time to leave with his bride, but he decides to stay and protect his town. The tension builds and builds throughout this film, and reaches a boiling point in the film's stunning climax. The acting is superb, especially by it's lead Gary Cooper. Plus the film is wonderfully filmed to go along with it's fantastic script. I was glued to my seat, its just one of those films that grabs you immediately. This is easily one of the finest Westerns I've ever seen. Highly recommended film.



Vampyr-Carl Theodore Dreyer


Impressive for the time and I do respect it's place in history but it's not all that compelling now. It is able to cast a solid atmosphere of dread and horror, but other than that it isn't anything particularly memorable. Worth a viewing considering the meager runtime of 70 minutes but I don't see myself revisiting it again.



The Tenant-Roman Polanski
+

I am a huge fan of Polanski. Chinatown, The Pianist and Rosemary's Baby are all favorites of mine. I am quite disappointed with this effort however, but it's far from terrible. I think the film is able to cast a solid atmosphere, and it can be quite creepy at times. Its claustrophobic, paranoid and I love it's rather ambiguous nature. It doesn't spoonfeed the viewer answers, and I adore when films leave some room for interpretation. My main criticism is the Roman Polanski's atrocious acting. He really should just stick to being behind the camera. I mean it would be fine if it was just a Tarantino'esque cameo but Polanski is laughable as the film's main character. The film can be unintentionally hilarious at times because of Polanski's inconsistent acting.The film reaches a peak of hilarity when Polanski dresses up as a woman, I was actually starting to tear up a bit. Plus the film takes way too long to get into, there are scenes that are of literally no significance whatsoever. There's quite a bit of padding and filler.

I still like the film though, especially after reading some fan interpretations and theories related to the film's plot. Not a crowning achievement in any regard, and an awkward effort but worth a watch if you are looking for a solid, if flawed thriller.




The Texas Chainsaw Massacre-Tobe Hooper


Worth viewing just to see Leatherface do this.



The Virgin Spring-Ingmar Bergman
+

Just another cheerful Bergman flick,rather tame compared to some of his other film. This time it only deals with rape,murder and the absence of God.



The Grapes of Wrath-John Ford
+

Really good film that has aged extremely well. It's gorgeously photographed, very well-acted and the themes it deals with are timeless and just as relevant as ever. It's not as heavy-handed as one might assume, and I feel it's a truthful depiction of what it must have been like to live during The Great Depression.



The Elephant Man-David Lynch
+

I totally didn't cry when watching this.



Alright maybe just a tad bit.

The cinematography for The Grapes of Wrath was by Gregg "Citizen Kane" Toland, who did plenty of other evocative work in his all-too-short life. He did this the same year as Wrath.

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

I am not Simone Choule! Hilarious indeed. Have you noticed how the film doesn't really work as a psychological thriller because it's really messed up, but it's not a dark comedy either. It doesn't even know what it is. A self-parody, perhaps.

Wow. Only for The Public Enemy. I've still not seen Nine Queens. It appears it's now been 14 years that I've wanted to see that.

BTW, were you a fan of the Veronica Mars tv show or this just a random viewing?

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5-time MoFo Award winner.

I've seen The Public Enemy about 10 times. It's got some highlights (such as the famous part I posted), but I've always thought the same of it. It should be seen by film lovers though. My daughter was a fan of "Veronica Mars", so she got me to watch it. I watched Four Queens' American remake - Criminal - first and thought it was pretty good and a half hour shorter.

Paris, Texas (1984)

Really beautiful to look at, with heartfelt performances. Perhaps a bit longer than it should be, but still very good. Would have made my 80s list had I seen it before.

Kramer vs. Kramer (1979)

And here's a film that will definitely make my 70s list. Dustin Hoffman is just terrific here. A film that couldn't have been executed better, if you ask me.

Butch Cassidy and the Sundance Kid (1969)

Classic western with good chemistry between the two leads. Robert Redford totally looks like Brad Pitt in this movie.

Pan's Labyrinth (2006)

I had no idea it was going to be as dark as it was. Also, it has one of the most frightening villains I've seen in a while.

Frozen (2013)

Full of cliches, but beautifully animated and at times pretty funny thanks to Olaf the snowman.

Network (1976)

It's carefully structured and expertly acted, as is to be expected by Sidney Lumet, but just not my cup of tea I guess. Had some scenes that I really liked, but there were plenty of scenes and dialogues that I just didn't enjoy/care about.

District 9 (2009)

Decent sci-fi. Easily better than last year's Elysium, by the same director. And definitely not for the squeamish.

Земля [Earth] (1930) -
Арсенал [Arsenal] (1929) -



<Guap mode on>
Tarkovsky loved these movies, so it's natural these are masterpieces.
<Guap mode off>

Now that Tarkovsky loved Earth actually does mean something to me and helps to understand the visible bounds between cinematical inspirations. Dovzhenko is a Soviet cinema pioneer and obviously his films were supposed to be and were propaganda, but I'd rather compare him to avangard Dziga Vertov than arguably the most known Sergei Eisenstein. Under the propaganda flare there's a whole new world of poetic maestry full of symbolism and visual majesty.



It shouldn't be anything new that Tarkovsky loved Dovzhenko as their films are very alike. Earth and Arsenal abandon the idea of linear easy-to-follow plot to show ostensibly incoherent events thanks to the montage build on juxtaposition and extreme face close-ups. The result resembles a more poetic Vertov.



Both Earth and Arsenal were made as propaganda films to encourage Ukrainian peasants to collectivize their land and join Ukraine to USSR, but thanks to Dovzhenko's skills became something more. The unstoppable turn of events occurs as when a man dies, child is born and when the cruel man flogs a horse, shortly after that the peasant collapses. The Earth ends with the image of apples in the rain. One of the most visually striking and spoiler-free endings of all time!

魔法少女まどか☆マギカ [Puella Magi Madoka Magica] (2011) -


Now that's what I call a titillating rifle!

I wanted to write fake impressions and rate it one star to see Guap's reaction, but then thought of possible consequences of him writing the longest post MoFo ever seen and creating the biggest pean in the name of anime and little magical girls the world has ever witnessed. Naturally, it would be fun to see him trolled, but at the same time it would bring a lot of confusion and anger to other users of these forums. So. thinking about their, and also Guap's, mental health I abandoned the idea.

Guaporense is a weird dude. His favourite anime have little girls in them and he glorifies PMMM whenever possible, which led me and some MoFos into thinking that he works as the advertiser for PMMM's publisher. After seeing the twelve episode TV series version of the anime I sort of got why he is so excited, but there's a thin line between excitement and zeal to scream out loudly: "This is the best movie ever!!!".


Hump you very much!

Needless to say, I eventually fell for Guaporense's charm and watched the thing. The length allows it to create a really good story and interesting world (worlds?) of ordinary girls turning into magical witch-fighters. Don't let the cute visuals deceive you. PMMM is dark, heavy, even sinister psychological drama. It's got amazing twists, great sub-plots, lesbian references, Faustian theme and a lot of moral dilammas protagonists have to face. The idea of a world within a world and therefore different animation style for the 'other' world is really beautiful and creates a trippy atmosphere. The mind-tuggling time episode is really nice, but I felt like the ending, although really good, is too much. It's like trying to be metaphysical too much.

And in that final hour of revelation, when the universe is being recreated, the very spirit of anime magic ejaculates from the screen and metaphysical power should embrace my cinephile heart I'm staring at Madoka's boobies and wondering why doesn't she have nipples on them. DAFUQ.


Yeah, the protagonist even wanted to design her costume and made a drawing of it in her notebook. xD

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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.

Yeah, yeah, yeah, but what did you think about On the Air????!!!!!

Completely forgot about it and it doesn't mean anything good. I thought it was the worst thing Lynch directed* and rate it

It's like you take Twin Peaks and take away all the dark atmosphere. It's got its moments, namely at the end of the 7th episode, but for the most time (mainly episodes 3 and 4 I could hardly stand) it's nothing special.

PS: It was comedy elements why I didn't rate Twin Peaks 4.5 stars.
PS2: I wonder what's funny for me besides Nicolas Cage with fake teeth.
* Am still to see Dune.

Drats. I was hoping you would love it like I do. You may find Dune hilarious though.

Men in Black III (2012) - Barry Sonnenfeld
Don't remember anything about it, which is probably not a great sign, but I was entertained at the time ...

Key of Life (2012) - Kenji Uchida
Very funny Japanese identity switch movie with a nice love story running underneath.

Amour (2012) - Michael Haneke
Haneke is quickly becoming one of my favourite directors. This is a very touching story about an elderly couple dealing with the issues that come with old age.

The Swimmer (1968) - Frank Perry
Very good multi-layered Burt Lancaster movie. +

Love Story (1970) - Arthur Hiller
Not a great film but watchable. Ryan O'Neal is pretty bad for most of it but as the role gets more difficult he actually gets better. I've probably rated it too high but the very last shot is beautiful and haunting and it gave me a positive lasting memory of the film. +

Jason X (2002) - James Isaac
This was a weird experience - after watching 9 (mostly awful) Jason movies I sat here after this had finished thinking ... "I really enjoyed that". I laughed a lot through this and I'm giving the movie credit for the jokes being intentional. It's not a sci-fi/horror movie - it's a comedy. What else could it be once you see uber-Jason?

Ice Age: Dawn of the Dinosaurs
Entertaining I guess but a pretty cynical money grab. The story was very average and they clearly only had enough stuff for about an hour so filled the movie with irrelevant scenes. Can't say I didn't enjoy parts of it though. -

Watchmen (2009) - Zack Snyder
I feel as though I'm constantly impressed with Snyder's "vision" ... but less so with the actual output. I liked 300 and Dawn of the Dead and this was decent but it was an overly long movie about a bunch of characters I just didn't care about.

Tango And Cash - I don't think I'd seen this since it came out and I think I feel pretty much like I did then. I like this film until the last third. Before then, it's an enjoyable 80's action movie, with the odd nod of self-deprecation here and there, along with a few self-knowing lines. Then, in the last third, it's as if they discovered they had $10m more in their effects budget than they thought they did, so just threw away the script and put in explosions everywhere and the biggest vehicles they could find. All of which feels like it's from a different film and creates a huge anti-climax to an, otherwise, decent film. Oh, there's also that cheesy high five ending which, were the film going out on a high, might've worked but, as it is, leaves me cringing.

My Week With Marilyn - There's nothing wrong with this film at all... Except its story feels more like an anecdote. I'm sure it means everything to the teller and the feelings will last for the rest of their life, but you don't get any of that, you just get the story and the story is.

"I met Marilyn Monroe once when I was young. We became friends and I spent a week with her. Listening to her, being with her and getting to know the real her. The people around her weren't always very nice, but it was wonderful. I'll never forget it."

They tell that story over 90 minutes, but I never once got the impression of what it felt like, which, surely, is the heart of the story. Otherwise, it really is just that brief paragraph. I'd also like the mention Michelle Williams performance, which was the main reason I watched the film, because I remember how her portrayal of Marilyn was constantly well reviewed when this was released. I found her performance like the film. She does nothing wrong, but if all Marilyn was was the way she looked, spoke and/or acted, then there'd be dozens of Monroe's and she herself, wouldn't have been anything special. It's not William's fault. She's a good actress. But she's not a movie star and she certainly doesn't have whatever it was that Marilyn did. Therefore, she fails, but it's not anyone's fault.

Live And Let Die + - I don't usually do plus or minus ratings, I usually make myself decide, but this really does need to fall between the two, for me. Although I've seen it a few times, and parts of it many times, I don't think I'd sat and watched it start to finish since my early teens. I'd forgotten, or hadn't noticed before, just how influenced it is by the Blaxploitation films of its time. Anyway, it' s Bond doing what Bond does. It's Roger Moore and, therefore, it's enjoyable Bond, for me and the only one I watch and this is, probably, my second favourite Bond film, after The Spy Who Loved Me but before The Man With The Golden Gun (which is on later today, if you're in the UK). That's pretty much it. I still like it. Jane Seymour is still incredible to look at and that boat chase still goes on far too long.