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What Is The Last Film You Watched? (Older Films)


Mr. Breathmask

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6 minutes ago, The Illustrious Jerry said:

@John now the profile pic? You're breaking my heart John.

 

you broke my heart.gif

 

5 minutes ago, Richard said:

BLADE RUNNER 2049 takes place in 2049. Does this mean that it's a "future film"?

 

Yes!

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Pride and Prejudice

A stupendous movie. Great acting, especially by Keira Knightley. The relationship is so fun to see unfold. A great story told Ina great movie. Four out of five.

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Planet Earth II:Grasslands

Stunning. The footage is unbelievable. I particualrily impressed at their filming of a water buffalo being attacked by lions. Like, what?!

Dunkirk

Its Christipher Nolan, right? Yep.

 

I am currently listening to the soundtrack to the first one, and I am renting Dunkirk. If you want to see reviews, check out my profile page in the coming weeks!

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Tinker Bell and the Great Fairy Rescue.

 

Okay, so I guess an explanation is first required as to why I watched this. I still couldn't watch Star Wars 8 with audio description, didn't feel like watching yet another James Bond or Star Trek movie, the TV guide was yet again a disaster and I just have a soft spot for orchestral scores, but more on that later. The movie is quite okay, although Lizzy's father was terrible, his voice work had 'just pay me already' written all over it. I really don't understand why kids' movies often attract the worst voice actors. Also, if the fairies can't interact with the humans, what's the point of holidaying on Earth?

Now, the score. I was hoping for a symphonic extravaganza and wasn't disappointed. It's been some time since I've really enjoyed a soundtrack. Nearly everything was just perfect, but what really took me by surprise is how memorable the fairy-magic theme is: five notes, five little notes... and I believed and was spellbound. It's definitely as memorable as Williams' identity for Tinker Bell, just a little more magical and optimistic and less playful. This was my first Joel McNeely score and I'm already looking forward to hearing more of him. I only didn't like the insertion of the songs: more magical score would have been much more welcome.

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watched The Black Hole having gotten it on DVD this weekend.

 

A dark, foreboding Disney film. Well, dark anyway. It has a fine John Barry score that elevates it above and beyond. Max Schell is on fine form. 

 

and The Flight of the Phoenix

 

shared with the book of being seen as frankly unremarkable but personally, a film I always like to watch. It's the cast more than anything (with only Hardy Kruger remaining now) -Stewart, Attenborough, Bannen, Finch, Kennedy, Borgnine etc but also the main title sequence, that stopstart freezeframing of the cast almost in sync with DeVol's music. 

 

 

 

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I rewatched The Theory of Everything, and I still think it's a considerably better film than The Imitation Game. I'm usually too lazy to write in depth here about films I've watched (which is why I mostly don't mention them at all), but I just typed this up on Facebook, so I might just as well post it here:

 

Both films seem to present themselves as biopics, and they were definitely compared a lot at the time of their release ("The Imitation Game" generally being rated much higher than "The Theory of Everything", as far as I noticed) - else why pitch them against each other at all.

"The Theory of Everything" is about the discovery and progression of Hawking's illness, and about his first marriage and how the two relate to each other. It's in fact a biopic of both Hawking and his first wife (not surprising, being based on her book) and while it only slightly touches on his scientific work, it does present its biographical story quite well (being "broadly true" according to Hawking himself), even considering that the conflicts between Hawking and his wife are apparenty somewhat sugarcoated (by herself in the second version of her book). There's a lot of pathos, but most of it seems genuine and in fact an obvious and necessary part of the story.

"The Imitation Game", on the other hand, isn't so much a biopic as a heroic war/spy tale. When I first saw it, I was actually impressed how much I hadn't known about Turing - only most of it wasn't true. Turing's major scientific contributions are barely mentioned (the Turing test), or not at all (the halting problem), although the film presents itself (unlike "The Theory of Everything" as being *about* Turing's work). Instead it focuses on a sensationalised and largely fictional account of Turing's contributions to cracking the Enigma (which in reality had been cracked before in an earlier version by the Poles) and supposed strategic military decisions which in reality he didn't have anything to do with, adding a spy subplot that didn't in fact relate to Turing either. As a Hollywoodised spy thriller it's nice enough, and I do like it, but as a story about one of the major computer scientists of the 20th century, it leaves a sour aftertaste.

Aside from that, both films are certainly well made, with fine casts (leading and supporting), although Eddie Redmayne is in a league of his own and I find Felicity Jones particularly strong as well (which of course doesn't diminish Benedict Cumberbatch's and Keira Knightley's performances). But while "The Theory of Everything" seems to me largely authentic in its aspirations, "The Imitation Game" as a spy thriller masquerading as a (not so) biopic ultimately strikes me as rather insincere. I definitely do object to it winning the Best Screenplay Oscar.

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Both films are boring sentimental Lifetime-caliber biopics featuring A-list casts, solid performances and decent scores.

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Killer App

 

Oh my god, this was awful. Round about the same pseudo tech thriller production value of that Cybergeddon thing I saw years ago at a Norton Symantec event. The lead girl had facial expressions rivalling Emma Watson in GoF, and she's supposedly a member of MENSA.

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42 minutes ago, Richard said:

 

Watch out for that handbrake! :)

 

That's one of the best anti-adoption movie I ever saw.

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The girl with the dragon tattoo.

 

It was good, but not perfect. I found that the introduction to some characters, including Salander's, were executed rather hastily and her brief relationship with the journalist seemed forced. Also really don't understand why it was never explained why Martin needed all the Bible crap to kill his victims and one character in particular, Salander's second guardian, made a rather unreal impression on me too. I'm not saying I didn't feel for what happened to her (those scenes were terribly vivid), or that I don't believe such people exist, but this guy just went from good to bad to good too quickly. Finally, I don't understand why the whole money transfer thing at the end was necessary. And before I forget, the Scandinavian accents still annoy me. Speak English or Swedish, for heaven's sake. In other better news, Robin Wright was, of course, great.

The score was mostly unobtrusive, but really out of place, especially during the romantic scenes. Oh, orchestra, where art thou?

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The Mummy '17

 

Whenever a movie gets blasted by critics and audiences, I become curious and see it anyway just to know for myself. Who knows? It might have some redeeming quality that makes it worthwhile.

 

But not this.

 

It was so awful, I'm sure it was a Scientology curse. What the hell went wrong here? There's so much that makes no sense in this movie, I can't be bothered listing it all. This is League of Extraordinary Gentlemen bad, if not worse.

 

Side note, anyone else notice the Book of the Living cameo from the '99/'01 movies? Are they trying to hook onto those to be part of the so-called "Dark Universe" too? Time will never tell because apparently they're sending this "universe" to the Big Crunch where it belongs.

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Superman II

 

This is terrible. Richard Lester's direction is campier and his footage doesn't mesh well with Richard Donner's. Too much slapstick and I'm not a fan of the "magic amnesia kiss" that ends the film. I'm frankly surprised at how well received it is. And another thing, Ken Thorne's score sounds muddy -- like it was performed by a bad marching band.

 

For all of its roughness, I thought the Richard Donner cut a more satisfying sequel.

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51 minutes ago, Matt C said:

Superman II

 

This is terrible. Richard Lester's direction is campier and his footage doesn't mesh well with Richard Donner's. Too much slapstick and I'm not a fan of the "magic amnesia kiss" that ends the film. I'm frankly surprised at how well received it is. And another thing, Ken Thorne's score sounds muddy -- like it was performed by a bad marching band.

 

For all of its roughness, I thought the Richard Donner cut a more satisfying sequel.

 

The villains make it good. The Clark/Superman stuff in either cut is pretty lame. The Donner cut is another weird hodgepodge with the same friggin' ending as the first movie where he reverses time.

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I found the Donner Cut disappointing. And it could have been better if Donner didn't let his bruised ego dominate the project and instead allowed more Lester footage to fill obvious gaps in his edit. And some of the post-production work feels low rent, like some of the weird dubbing, awkward unfinished effects shots, the use of a screen test for a crucial moment, the crappy looking opening and end credits.

 

All that is fine if you just take it as an alternate "what if?", an assembly of unseen deleted footage to create an experience that eluded fans for 25 years. But some people make the mistake of treating it as a proper movie, when it really isn't.

 

Superman II was never going to feel finished from the moment Donner was sacked. The perfect edit doesnt exist, but I found the 80s TV cut at least found a balance. Lester just did what he was told.

 

I also become a bit alarmed when they release new Superman blu-ray boxsets and the theatrical version has been conspicuously omitted and replaced by the Donner Cut. What are they doing?

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1 hour ago, Philippe Roaché said:

 

The villains make it good. The Clark/Superman stuff in either cut is pretty lame. The Donner cut is another weird hodgepodge with the same friggin' ending as the first movie where he reverses time.

 

 

Most of the good villain footage was filmed by Donner. Even with the reused ending (and rougher feel due to the screen tests being used), it's still a better film than Lester's version.

 

Donner explains that one of the reasons they reused the ending is because they didn't like Lester's. He and Mankiewicz would've shot a different ending for the sequel back then had he not been fired.

 

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Unforgettable

 

Mostly forgettable aside from Katherine Heigl's statuesque figure. But there's one scene that stuck out to me, and it's related to an observation I made last year about the representation and contrast between sex and masturbation in film. Rosario Dawson plays a good character and there's a scene where she has sex with her fiance, and it's intercut with a scene where Heigl, a duplicitous character with sinister motives, is masturbating while cybering with Dawson's abusive ex. It's just yet another example where American cinema loves to belt audiences over the head that sex is great, but only people with evil motives are shown playing with themselves. I don't know why, but the evidence is laid out across many other films. Also directed by Denise Di Novi, who produced some of Tim Burton's flicks in the early 90s.

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Lincoln - Another rewatch confirmed it as one of my top ten Spielberg film. Extradionary film, and Williams' score and Day-Lewis's performance helps immensely. Love it. - 10 / 10

On 3/18/2018 at 9:00 PM, The Illustrious Jerry said:

I don't think I'll ever really"come of age". Not until I die of course.

 

Most of us never really do, honestly. 

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Interstellar.

 

Well, that was amazing. I watched a romantic comedy with McConaughey last week and here, too, his accent kind of diminishes his character's credibility for me. Mackenzie Foy and Michael Caine were fantastic, though, and Foy in particular. On the negative side, there's too much science in it and I didn't understand half of it, but once you accept that, it's a rollercoaster from beginning to end. My brother is studying physics and assures me that you can't possibly travel back in time, only to the future. The message that Cooper sends to his dad in space where he literally says 'my wife says I should let you go so I'm letting you go' is just rushed and stupid and I would have liked Murph to be a little younger at the end. Other than that, great, great story.

Now, the score. I'm currently going through an anti-Zimmer phase for several reasons. First of all, I felt I already knew everything about this score before having heard one single note because the hype was, yet again, completely out-of-control. How many times did I hear that story about Nolan not telling Zimmer it was about space travel and how he only knew about the father-daughter thing and blah blah blah. Then I had the opportunity to hear Zimmer rape Interstellar at his live show with guitars, guitars and guitars (after all, the populace cannot be expected to listen to organs, can they?) Also, Zimmer's basic technique for tackling scenes bothers me: he sometimes has great ideas, but repeats them again and again and again without ever actually going anywhere with them. Now, this score undoubtedly has a few magnificent moments of stunning virtuosity and some quieter, emotional moments receive perfect, gentle piano music, but other such moments are scored insufficiently and it would all be so much more exciting if Zimmer sometimes went to another key. Having said all that, 90% of the music worked in the film and if Nolan refuses to let Zimmer watch his movies, I can't blame him for not composing music for individual moments.

I watched this movie using cheap headphones, but still some scenes sounded like earthquakes. What is it with today's movies and bass? Some of the low frequencies even distorted the dialogue and there were a few extreme volume changes too.

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Babette's Feast

 

It is truly one of the best films about food. It is low key and takes its time getting to the titular event, but Gabriel Axel does not disappoint with the food shots. Not only that, but the film really embodies the theme of food bringing people together and how Babette's dinner wins the conservative village goers over (especially the two spinster sisters). Really, it's a warm and humorous film, anchored by the marvelous Stephane Audran.

 

And you'll be hungry after finishing the movie, you might as well eat before watching it. 

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8 hours ago, bollemanneke said:

I watched this movie using cheap headphones, but still some scenes sounded like earthquakes. What is it with today's movies and bass? Some of the low frequencies even distorted the dialogue and there were a few extreme volume changes too.

 

This was the case even in the cinema. Nolan apparently had the sound mix favor sound effects over dialogue at a few points.

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I couldn't hear the dialogue in The Tree Of Life because of the loud music or other sounds. I still have to rewatch it but this time with subtitles.

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I watched the 1946 film The Stranger. It was slow and weird but entertaining. Orson Wells was a nice looking man then.

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Wonder Woman

 

I flippantly thought "I bet this isn't as good as everyone else said it is", but I enjoyed it a great deal. Not sure if I've seen this level of character development in a superhero recently. She's naive in the beginning, but has to learn the hard way the value of self sacrifice. And it's loaded with the perennial Judeo-Christian parallels, which I haven't seen so blatantly since the Donner Superman movies. Had some weight to it that I think has been lacking in this genre lately.

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A young boy, and a young girl are playing "doctors and nurses". He shows her his, and says "I bet you're jealous, because you haven't got one of these".

In reply, she shows him hers, and says "I've got one of these, and because of that, I can get as many of those, as I want" :lol:

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