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

[Naïve Old Fart 9,507]

I could watch THE BOYS FROM BRAZIL anytime - and it doesn't have to be Saturday.

[Bespin 8,480]

25 minutes ago, Richard said:

I could watch THE BOYS FROM BRAZIL anytime - and it doesn't have to be Saturday.

 

I already saw that movie, that's a gay porno.

[#SnowyVernalSpringsEternal 10,265]

No...

[Bespin 8,480]

I'm sure I already saw that movie!

 

🤔

[#SnowyVernalSpringsEternal 10,265]

I'm sure...

[Brundlefly 2,385]

3 hours ago, publicist said:

It's reflective enough. Given the fact that it was made for a large audience and had to function as a big expensive action picture it turned out remarkably well.

That is true. It is a great compromise between pleasing the masses and the cinephiles. But in the end it is still just a compromise. The Killing Fields comes to mind as an example that is by no means such a compromise.

 

3 hours ago, publicist said:

All of Schaffner's pictures after 'Islands in the Stream' and with some reservations, 'Boys from Brazil') are dogshit. Thank god Goldsmith only did Lionheart. 

I really wonder what happened.

[publicist 4,643]

13 minutes ago, Brundlefly said:

That is true. It is a great compromise between pleasing the masses and the cinephiles. But in the end it is still just a compromise. The Killing Fields comes to mind as an example that is by no means such a compromise.

 

And still it's a much less iconic picture. Big picture sensibilities are not altogether bad. And there are a handful of them, Papillon among them, i stand by.

[Brundlefly 2,385]

Just now, publicist said:

And still it's a much less iconic picture. Big picture sensibilities are not altogether bad. And there are a handful of them, Papillon among them, i stand by.

Well, it's less iconic, but it is the better film. That said, I still really like and enjoy Papillon. (The original, not the remake. Haha.)

 

Only an idiot would question the vailidity of the bold statement. I agree.

[publicist 4,643]

It certainly is a less-engineered film - which is better i leave the eye of the beholder to decide. Let's put it this way: i wouldn't shell out 12€ for a sunday matinee screening of 'The Killing Fields'.

[Naïve Old Fart 9,507]

39 minutes ago, Brundlefly said:

 

I really wonder what happened.

You mean "why didn't JG score the films in between?".

Scheduling conflicts. I'm sure that he would gave scored them, if he could have.

[JoeinAR 1,949]

6 hours ago, Richard said:

As a sequel, I far prefer DIE HARD WITH A VENGEANCE. It's packed with great lines, good action, and a great McClaine/Carver double-act.

I hate all Die Hards after 2.

[Brundlefly 2,385]

44 minutes ago, Richard said:

You mean "why didn't JG score the films in between?".

Scheduling conflicts. I'm sure that he would gave scored them, if he could have.

I'm refering to the quality of Schaffner's films.

[JoeinAR 1,949]

Came across the Amazing Spiderman. I love this movie. I love Horner's score. 

[Gruesome Son of a Bitch 6,488]

Psycho II

 

 

Just when you thought it was safe to go back in the Bates Motel. Norman Bates has come home and this time...he's in color! Thank God. The milk is fresh and the toasted cheese sandwiches are hot. Paired with a most unlikely young woman (Meg Tilly is obviously Asian but they expect us to believe she is the daughter of white people), Norman is harassed and driven back into madness despite basically doing all the right things and being a nice guy! 

 

This one is off the rails but unlike Psycho III, it's done with a bit of class. There is some gore and nudity that seems unnecessary. It's perhaps what Quentin Tarantino would call a hangout movie. Not much happens in terms of a plot; Most of the time is spent with Norman and Mary at the house as they bond. There are some effective kills and briefly some rather obvious charmingly dated prosthetics.

 

Goldsmith's Twilight Zone: The Movie-esque score is rather perfect. Dean Cundey's photography gives it that classic 80s cinematic universe look. The hairstyles are hilarious. I can't tell if Vera Miles is wearing a wig or why Meg Tilly has that helmet hair. It's like glued down so severely. Robert Loggia has next to nothing on top and insists on combing over his few strands. Even Perkins' hair has a fake look depending on the lighting.

 

I'm not a fan of the revelation at the end of the movie, which Psychos III and IV both retconned. Still, it goes without saying this one comes highly recommended.

[JoeinAR 1,949]

I love the ending. Love the Hitchcock cameo.

[Wojo 2,453]

4 hours ago, JoeinAR said:

I hate all Die Hards after 2.

 

I want to wear John McClane's sign from 3 for Halloween so I can get famous on the Yahoo News and Twitter. 

[JoeinAR 1,949]

Suicidal are we?

[Gruesome Son of a Bitch 6,488]

[publicist 4,643]

6 hours ago, Horner's Dynamic Range said:

Dean Cundey's photography gives it that classic 80s cinematic universe look.

 

Is there a recent version not pan & scan?

[Brundlefly 2,385]

7 hours ago, Horner's Dynamic Range said:

Psycho II

 

Just when you thought it was safe to go back in the Bates Motel. Norman Bates has come home and this time...he's in color! Thank God. The milk is fresh and the toasted cheese sandwiches are hot. Paired with a most unlikely young woman (Meg Tilly is obviously Asian but they expect us to believe she is the daughter of white people), Norman is harassed and driven back into madness despite basically doing all the right things and being a nice guy! 

 

This one is off the rails but unlike Psycho III, it's done with a bit of class. There is some gore and nudity that seems unnecessary. It's perhaps what Quentin Tarantino would call a hangout movie. Not much happens in terms of a plot; Most of the time is spent with Norman and Mary at the house as they bond. There are some effective kills and briefly some rather obvious charmingly dated prosthetics.

 

Goldsmith's Twilight Zone: The Movie-esque score is rather perfect. Dean Cundey's photography gives it that classic 80s cinematic universe look. The hairstyles are hilarious. I can't tell if Vera Miles is wearing a wig or why Meg Tilly has that helmet hair. It's like glued down so severely. Robert Loggia has next to nothing on top and insists on combing over his few strands. Even Perkins' hair has a fake look depending on the lighting.

 

I'm not a fan of the revelation at the end of the movie, which Psychos III and IV both retconned. Still, it goes without saying this one comes highly recommended.

One would assume that the sequel of a Hitcock masterpiece that comes 20 years later is going to be trash (especially when you see the name of the film composer in the credits), but that is not the case here. Truly an interesting movie.

 

The score has a brilliant main theme that I prefer over Herrman's approach, but the complete score drags quite a bit. Not a masterpiece, but still a good and emotionally intense score.

[A24 4,326]

 

7 hours ago, Horner's Dynamic Range said:

Dean Cundey's photography gives it that classic 80s cinematic universe look.

 

The '80s cinematic universe look that took into account that films (due to the huge success of home video) were more and more being discovered and viewed on a tiny TV screen and therefore actors were filmed in true TV style, meaning, much more closer (close-ups without surroundings) than was customary in the '70s, for example. TV dramatically changed the look of film in the '80s.

[#SnowyVernalSpringsEternal 10,265]

6 minutes ago, Brundlefly said:

One would assume that the prequel of a Hitcock masterpiece that comes 20 years later is going to be trash (especially when you see the name of the film composer in the credits), but that is not the case here. Truly an interesting movie.

 

You mean sequel?

[Brundlefly 2,385]

11 minutes ago, Stefancos said:

You mean sequel?

Yep.

[JoeinAR 1,949]

I found Psycho II to be a worthy sequel. JG's score was energetic and appropriate. It was a marvelous time when basically JW and JG were golden.

[SteveMc 2,674]

Okay, so I'm behind with my reporting.  Gonna take it a few films at a time.

 

The Book Thief (2013)   The raw material here is good, very good.  Which makes the end product all the more disappointing.  Themes of love, reading/writing, the mystical appeal of books, Antisemitism, politics, honor, humanity, hunger, cost of war for all sides, all just touched upon lightly and inoffensively.  the movie has no bite.  I guess this is to be expected when you have a Downton Abbey alumni directing, trying to imitate War Horse Spielberg without his cinematic skill.  The Book Thief just is not cinematic enough.  There are positives, though.  The cinematography can be striking, if a bit sappy at times.  Sophie Nelisse is fantastic as the title character.  She acts with her eyes, which really is the best way to do it.  It is hard to fake the inner understanding that enables it.  Rush is pretty good too.  Would have been really interesting to see what they could do with are more decisive script.  The "Death" character was poorly used.  He does not fit at all, really.  He needs to be more than a narrator.  Would have been better had he been actually interacting on screen, invisible to all but us, staring directly at us from time to time.  

Then there is the film's best feature, the score.  I think it is fantastic.  Still, one wonders how Williams would have approached things differently had the film been a little more weighty.  In a sense, that is the film Williams scored.  When I listen to the score, I tend to just focus on the music, or let the music suggest a very different movie all together.      

 

All told, it is still an enjoyable movie, rather touching, even, if you let it work on the level it intends.  But, one cannot forgive such a tame use of the source material and cast, especially Nelisse.

2.5/4  

[Naïve Old Fart 9,507]

You're right, Steve; the score is definitely the best thing about this film...that, and Roger Allam.

I quite liked the German blonde boy. Too bad he got blown up. Ah, well. As we say on Earth: c'est la vie.

[SteveMc 2,674]

Ben-Hur (1959)

Obviously a true classic.  In one sense the movie can be considered "dated."  It is, after all, a 50s era Hollywood epic.  It is a given that the movie is going to be long, perhaps too long, the acting sometimes stiff, the staging often static.  This is a particular style of filmmaking and not everyone will appreciate it in the same way.  But, the craft here cannot be denied.  This is an epic, all caps.  The resources and talents here gathered are rather stunning, if nothing else a monument to what can be accomplished when desire for profit and desire to fulfill a vision come together in unity.  For this union to succeed, you need someone at the head, and William Wyler is just such a director.  He brings things together will skill, and not without a certain wit.  Four sequences in particular, that of Christ giving water to Judah on the way to the galleys, the rowing of the galley slaves, and, of course, the chariot race, and Messala's death remain some of the greatest ever put to film.  The screenplay should also be given credit, as it can be quite intelligent. Boyd is absolutely fantastic as Messala.  And, of course, the music is sublime.  Rozsa's score is both massive in scope and personal in feeling.  I consider it the greatest of all film scores, and an important work in the classical canon. 

The film is a work of power and significance, and it is no wonder that many, myself included, have a great personal emotional response to it.

4/4

 

[JoeinAR 1,949]

18 minutes ago, Steve McQueen said:

Ben-Hur (1959)

Obviously a true classic.  In one sense the movie can be considered "dated."  It is, after all, a 50s era Hollywood epic.  It is a given that the movie is going to be long, perhaps too long, the acting sometimes stiff, the staging often static.  This is a particular style of filmmaking and not everyone will appreciate it in the same way.  But, the craft here cannot be denied.  This is an epic, all caps.  The resources and talents here gathered are rather stunning, if nothing else a monument to what can be accomplished when desire for profit and desire to fulfill a vision come together in unity.  For this union to succeed, you need someone at the head, and William Wyler is just such a director.  He brings things together will skill, and not without a certain wit.  Four sequences in particular, that of Christ giving water to Judah on the way to the galleys, the rowing of the galley slaves, and, of course, the chariot race, and Messala's death remain some of the greatest ever put to film.  The screenplay should also be given credit, as it can be quite intelligent. Boyd is absolutely fantastic as Messala.  And, of course, the music is sublime.  Rozsa's score is both massive in scope and personal in feeling.  I consider it the greatest of all film scores, and an important work in the classical canon. 

The film is a work of power and significance, and it is no wonder that many, myself included, have a great personal emotional response to it.

4/4

 

I still get tears in my eye at the miracle of the crucifixion. 

Its also the best looking Bluray out there.

[Holko 9,499]

As a non-religious person the miracle itself is the one element of the script I dislike - Judah finally being at peace due to this strange man's words and Christ's blood being washed away into the earth signifying a major change are a fantastic way of ending the film on their own, which could be supported nicely by the two women also finally accepting their fate and dying calmly and happily in peace. To me personally, the miraculous healing and them coming back in the end for a 10 second ending where all laugh happily almost feel tacked on.

[publicist 4,643]

The movie is over after Messala dies.

[Holko 9,499]

It would be if it was A Tale of Ben-Hur.

[publicist 4,643]

It would be if the filmmakers had their say (Wyler was bored with the miracles).

[The Illustrious Jerry 3,356]

The Post

The Post, albeit a forced Oscar bait flick (Tom Hanks, Meryl Streep, Steven Spielberg and the obvious x factor John Williams), still passes as a meagerly entertaining film about the leaks of government secrets regarding involvement in Vietnam. It's the race of the news, who reports what and who gets the story out first. It's a dangerous business, and the film comes at an interesting time in media-government relations. While Hanks and Streep are known stars, neither of their performances were quite riveting enough to suffice for the whole movie. Maybe their collaboration has direct results on their effectiveness on screens. Did the big names weigh down the film? Just some questions. Especially after watching Bridge of Spies, the simple-putting of The Post is nothing too special. Like with BoS, Spielberg's handiwork is noticeable, but either because of how much of a cliche it's become to cinema or simply because the amount of his witty quips, in a sense, the magnitude of his involvement is not as much as in, per se, his more fantastical films.

 

As for the score, which is always something I enjoy to note, I am particularly intrigued by Williams style here. There's a huge focus on the strings, and in the sessions video he mentions how he tried to capture the frantic pace of an office full of clattering typewriters. The music suits the film without problem.

 

RATING: **  and a half * out of *****

CONSENSUAL STATEMENT: "Never really hits the mark." -Jerry

[JoeinAR 1,949]

The miracle is of Juddahs mother and sister. Jesus taking the sword from his hand is wonderful and not at all a surprise and nothing to laugh at. That is Christianity at its core.

[SteveMc 2,674]

3 minutes ago, Holko said:

As a non-religious person the miracle itself is the one element of the script I dislike - Judah finally being at peace due to this strange man's words and Christ's blood being washed away into the earth signifying a major change are a fantastic way of ending the film on their own, which could be supported nicely by the two women also finally accepting their fate and dying calmly and happily in peace. To me personally, the miraculous healing and them coming back in the end for a 10 second ending where all laugh happily almost feel tacked on.

Words, blood, and water, and healing together.  Reminds strongly of some concepts of baptism.  Too good to be true, perhaps, but necessary in "A Tale of the Christ."  

 

1 minute ago, publicist said:

It would be if the filmmakers had their say (Wyler was bored with the miracles).

But, then, the movie would end with Ben-Hur at a loss, empty, save for futile rage and bitterness.  The arc of his character needed the sword to fall from his hand, from him to understand the world was not just about him.  The irony was not lost on Wyler, but he did have a pretty good grasp on Christian principles and implemented them quite effectively. 

[publicist 4,643]

Be that as it may, the whole final third drags (as does the love story) and there are surely better ways to signify Christ's presence (as noted above).

[Trent B 337]

So I watched only parts of the Harry Potter movies when they first came out and I simply could NOT get into them at the time.

 

Last night the wife and I watched the first one all the way through and I actually enjoyed it.

 

I think now that I'm older I'll be able to like stuff like this.  Where I was younger it just seemed boring to me.  So we'll be doing a Harry Potter marathon.

[SteveMc 2,674]

Just now, publicist said:

Be that as it may, the whole final third drags (as does the love story) and there are surely better ways to signify Christ's presence (as noted above).

I agree that things could have been more taut, dramatic in the third act.  After the high of the chariot race, it does feel a little anticlimactic.  But, to me, Wyler provides adequate and proper resolution to the themes and characters by the end.     

[JoeinAR 1,949]

1 minute ago, publicist said:

Be that as it may, the whole final third drags (as does the love story) and there are surely better ways to signify Christ's presence (as noted above).

It never drags for me and they seemingly accidental encounters are the perfect way.

[publicist 4,643]

You probably enjoy Kings of Kings, too.

[Chen G. 3,944]

25 minutes ago, publicist said:

The movie is over after Messala dies.

 

I know I don't say this often but THANK YOU, Publicist.

 

Had the cruxifiction been more tightly knit into Ben Hur's life, the whole retelling of it wouldn't feel so redundant. But it doesn't, and hence it does.

 

Still one of the better of the 50s epics, though.

[JoeinAR 1,949]

I do. I Love grand epics and I am a religious person. It appeals to me 

[Brundlefly 2,385]

Are you talking about the last hour, after the chariot race, that could be entirely cut?

[JoeinAR 1,949]

Just now, Chen G. said:

 

I know I don't say this often but THANK YOU, Publicist.

 

Had the cruxifiction been more tightly knit into Ben Hur's life, the whole retelling of it wouldn't feel so redundant. But it doesn't, and hence it does.

 

Still one of the better of the 50s epics, though.

How does it feel redundant. Is there a secret prior crucifixion sequence. How many ways can you tell the tale of a character who is not a friend or acquaintance of the protagonist? It really would have felt odd if Jesus, Masala and Hur had grown up as friends.

Just now, Brundlefly said:

Are you talking about the last hour, after the chariot race, that could be entirely cut?

No it could not. It is essential 

[SteveMc 2,674]

1 minute ago, Chen G. said:

Had the cruxifiction been more tightly knit into Ben Hur's life, the whole retelling of it wouldn't feel so redundant. But it doesn't, and hence it does.

 

Still one of the better of the 50s epics, though.

It is about as tight as it can get, Chen. In the film, the idea is that Jesus gave Judah water and strength, and a measure of peace.   Then, at the Crucifixion, Judah was given, again, strength and direction, and a great deal of peace, even before he knew his family was healed.  

 

2 minutes ago, Brundlefly said:

Are you talking about the last hour, after the chariot race, that could be entirely cut?

 Ben-Hur's arc was not over yet.  That which he thought would give him peace and resolution did not.  He was actually farther from it than before.  Classic end of second act stuff.  His arc was yet incomplete.     

[Chen G. 3,944]

5 minutes ago, JoeinAR said:

It really would have felt odd if Jesus, Masala and Hur had grown up as friends.

 

It can be achieved in other ways, too.

[publicist 4,643]

4 minutes ago, JoeinAR said:

I do. I Love grand epics and I am a religious person. It appeals to me 

 

At least is isn't as leaden as the The Greatest Story Ever Told. I mean, it's shite but it got the Rózsa (the sole reason i watched all of them, even Sodom & Gomorrah) and the miracles were rather imaginatively done. The main problem with those movies is that they are too much of a compromise. The filmmakers are afraid to offend anyone and what results is often abysmal, not so much in single scenes but the cumulative effect.

[Marian Schedenig 8,177]

23 minutes ago, The Illustrious Jerry said:

While Hanks and Streep are known stars, neither of their performances were quite riveting enough to suffice for the whole movie.

 

I thought Streep was brilliant. While the movie seemed just solid and nothing more to me, Austria's arguably most prominent journalist had high praise for it, so perhaps there's more depth if you're sufficiently invested in the subject matter.

[JoeinAR 1,949]

Just now, Chen G. said:

It can be achieved in other ways, too.

No. It is idiotic to think it could be left off. This isn't the tale of Satan. It is the tale of Christ. To end the film on hate would be the opposite of the message in the film. 

[SteveMc 2,674]

2 minutes ago, Chen G. said:

It can be achieved in other ways, too.

What is the it?  

What better example of nonviolence and humility than someone suffering unjustly for a true cause?

2 minutes ago, publicist said:

The main problem with those movies is that they are too much of a compromise. The filmmakers are afraid to offend anyone and what results is often abysmal, not so much in single scenes but the cumulative effect.

This is true.  It is also true of today's religious epics, the superhero movies.