What Is The Last Film You Watched?

[Delorean90 42]

I thought that shot with the note was great, but I found myself kind of disliking a shot that I shouldn't have, and that was the final one--and I'm sad to say I think that it's the music's fault. The shot itself is a superb example of using the lack of gory detail in an artistic and poetic way, but

that big major chord preceding the sound of the car hitting the Ghost just totally threw off the tone, IMO. It gave it the feel of dark comedy in a way. Maybe that's what Polanski was going for, but the beauty of that shot tragically having him killed offscreen and then the pages flying into the view before going to credits deserved better than that.

[Koray Savas 2,251]

Coraline

Didn't expect to like it so much. Great film, with an equally great score. Need to track that one down.

[Bryant Burnette 654]

Tonight, I am in a most uncomfortable position, film-wise. You see, I saw Shutter Island again. The crushing dissapointment I experienced the first time transformed into a fantastic time at the theater. I don't think this has ever happened to me before. I saw the movie once, was devastated by how much it didn't work for me. I wrote a review about just how devastated I was. Then, just by hearing about it and reading about it, I realized that I'd probably like it a lot more a second time. I ended up liking it even more than I thought I might. I'm fine with my initial take on it being out there- it was a serious-minded and thoughtful consideration of my first experience with the film. But I must say that Shutter Island is a fine film. I'm not sure where to place it in Scorsese's body of work any more than his previous film, and I don't think it all works conceptually, but I was thrilled by it this time.

It is the single best example of a film that needs to be seen twice, and not just to notice how you didn't pick up on certain things the first time. The first time, I was so wrapped up in the mechanics of the thing, that I couldn't buy most of the emotion. This time, the knowledge of how it ends starts paying off from the very first scene, and in every single scene that follows. The second time, it's a whole different film, and a damn good one at that. I feel bad about my initial take on it, but happy I could go through this discovery process.

Wow, I went from a 1-2 good-bad 2010 film ratio to a 3-1 in the course of two days! In hindsight, that's probably the best first quarter I can remember.

I had much the same reaction to Inglourious Basterds the first time I saw it, amongst others.

A better example might be Vertigo, which I first saw during a three-week class of Hitchcock I took in college. I was furious with the ending of that movie, and spent the better part of the summer thinking it was the worst movie I'd ever seen. Before too much longer, though, I went on a Hitchcock VHS-buying binge, and decided to give Vertigo another look. Immediately felt like an idiot, and it's now one of my two or three favorite Hitchcock movies, along with The Birds and Psycho.

As for Shutter Island, I need to make time to see it again before it's out of theatres. If nothing else, it'll help wash March -- with its 3D atrocities like Alice In Wonderland and Clash of the Titans -- out of my brain.

[A24 4,335]

Films can be different things on different days.

[Unlucky Bastard 7,782]

I think Vertigo is great, but it's too depressing for me to rank it among my favourite Hitch flicks like North by Northwest, Rear Window and To Catch a Thief.

[Morlock 11]

I thought that shot with the note was great, but I found myself kind of disliking a shot that I shouldn't have, and that was the final one--and I'm sad to say I think that it's the music's fault. The shot itself is a superb example of using the lack of gory detail in an artistic and poetic way, but

that big major chord preceding the sound of the car hitting the Ghost just totally threw off the tone, IMO. It gave it the feel of dark comedy in a way. Maybe that's what Polanski was going for, but the beauty of that shot tragically having him killed offscreen and then the pages flying into the view before going to credits deserved better than that.

I agree, the last shot didn't work for me at all. It wasn't as elegant, cynical or ironic as it was clearly supposed to be.

[Richard Penna 3,690]

Fantastic Mr Fox.

Strangely realistic yet a bit eccentric. It sort of captures the spirit of Dahl's story, but I had an audio adaptation as a young kid which scared the crap out of me during the digger scenes, and the film clearly doesn't try to achieve the same effect.

[QMM 4]

Forgot to mention that I saw Green Zone last week. Can't remember much about it other than Jason Isaacs is a great mercenary. Music didn't make much of an impression on me but I'm oddly curious to hear it again.

I like Greengrass, but meh.

[Charlie Brigden 7]

DRAGONSLAYER. Jeez, what a weird film for a Disney. Actual sexuality (and boobs), commentary on organized religion, young maidens being eaten by dragon babies... far out. It's not great, it's far too long, the protagonist sucks, and there's not enough dragon (although the dragon is really cool). North's score sounds crazy, but it's dialled down so much you can barely hear it.

[Bryant Burnette 654]

Haven't seen Dragonslayer in years. I'm sure there'll be a remake any day now.

[A24 4,335]

Funny People: A comedy/drama about a few stand-up comedians. I really had a good time with it but the film is somewhat too long and it failed to truly flesh out the characters even despite its long running time. While not as good as Knocked Up or The 40 Year Old Virgin, it's still refreshing to see how Apatow is able to deliver a comedy without that typical Hollywood artificiality. That's why he remains one of the most interesting directors of comedies together with Alexander Payne. On a side note, Eric Bana, who also appears in the film, used to be a stand-up comedian too.

Alex

[Demondm810 399]

Clash of the Titans: Was some good cheesy fun. Ralph Fiennes is great. Music sucked though.

How to Train Your Dragon: Really liked it, music is great, could be Dreamworks best. (Either in front of, or behind Kung Fu Panda)

[Koray Savas 2,251]

Sherlock Holmes on Blu

It wasn't as entertaining as I remembered from the theater. Still, it's Guy Ritchie's best in a long while, and Zimmer's score is superb.

[JoeinAR 1,949]

perhaps you meant Guy Ritchie's least worst. He's in the wrong profession.

[Morlock 11]

Hey, even those with short attention spans and almost no intellectual curiosity need to work.

[A24 4,335]

Antichrist: It's not a movie that lets you understand everything from the first time. Therefore one needs to see it more than once (the long way) or you can read one of the presumably many analyses on the net (the quick way). For now, I have to think it's a modern adaptation of an exorsism or perhaps a battle between a demon and an angel. The problem is that this doesn't include the child. Anyway, during the movie I was wondering whether Lars Von Trier is a Tarkovsky fan and it was a pleasant surprise to see the question answered after the film was over.

Alex

[Morlock 11]

Antichrist: It's not a movie

Probably accurate. Seriously though, I think you're being a bit charitable. I don't believe there is a great deal conclusive to be understood. If you are stimulated or challenged or interested by the film, I suppose that multiple viewings would be rewarding. But I don't think there's a way to get to the bottom of it in any real way- I don't think that von Trier designed it as anything that can be conclusivly udnerstood on any concrete level. I've come up with several different interpetations, read a whole lot more, the most facetious of which struck me as every bit as likely as the most solemn one (Of the incredulous ones, Armond White's was most entertaining: "Antichrist’s only sign of wit is an early montage that parallels a child’s death, the parents’ orgasm and a washing machine. Inanity, thy name is von Trier.")

[King Mark 3,631]

Clash of the Titan. Entertaining I guess . Won't remember it by next week

How to Train your Dragon:Projector was not properly calibrated and I saw it in washed out shades of green tint .I couldn't complain because me and a friend sneaked in after Clash but I wonder why nobody else in the theater did. .Maybe they thought the movie had an "sepia look" to it? I noticed something was wrong with the colors in the Shrek trailer so it wasn't my imagination.The technical glitch prevented me from enjoying it

The Ghost Writer. This is a really well made movie. Great score too

She's out of my League..bleh

[Koray Savas 2,251]

X-Men Origins: Wolverine

Unbelievably bad. A 5-year old could write a better script, or at least one of equal quality.

[Bryant Burnette 654]

Anyway, during the movie I was wondering whether Lars Von Trier is a Tarkovsky fan and it was a pleasant surprise to see the question answered after the film was over.

That's the first thing I've heard about that movie that made me actually want to see it. Love me some Tarkovsky.

[A24 4,335]

Anyway, during the movie I was wondering whether Lars Von Trier is a Tarkovsky fan and it was a pleasant surprise to see the question answered after the film was over.

That's the first thing I've heard about that movie that made me actually want to see it. Love me some Tarkovsky.

Then I must warn you, Bryant, there are two sides to this movie. The tone is emotionally very close to Tarkovsky but the explicit gore is not.

Of the incredulous ones, Armond White's was most entertaining: "Antichrist’s only sign of wit is an early montage that parallels a child’s death, the parents’ orgasm and a washing machine. Inanity, thy name is von Trier.")

That Prologue was more Zack Snyder than Tarkovsky.

Alex

[Naïve Old Fart 9,533]

DRAGONSLAYER. Jeez, what a weird film for a Disney. Actual sexuality (and boobs), commentary on organized religion, young maidens being eaten by dragon babies... far out. It's not great, it's far too long, the protagonist sucks, and there's not enough dragon (although the dragon is really cool). North's score sounds crazy, but it's dialled down so much you can barely hear it.

...and Ian McDairmid as the Kentucky Fried priest. Verminthrax is the best realised dragon on film, ever.

[Koray Savas 2,251]

The Thomas Crown Affair

A very underrated film IMO. This is the McTiernan remake. The music is just so weird and inconsistent that it's amazing. Apparently Michel Legrand's score for the original is the same way, so in that sense, Bill Conti did a good job. Nice piano passages, random jazz parts, with interesting almost techno-like beats for the opening heist, and the best use of Nina Simone's "Sinnerman" that I've ever seen.

Brosnan and Russo are great on-screen together.

[JoeinAR 1,949]

Hey, even those with short attention spans and almost no intellectual curiosity need to work.

that's why there is video games.

[A24 4,335]

Snatch :

Alex

[Morlock 11]

Be careful, lest Roger Ebert and the estate of Gene Siskel sue you.

Morlock- who likes Snatch, particularly for Pitt's performance

[Wojo 2,453]

Mmmmm, snatch...

[QMM 4]

Pierrot le Fou

No idea what to make of this besides the fact that it looks amazing.

[Koray Savas 2,251]

John Carpenter's The Thing

Why can't they make horror movies like this anymore? It's better than ever before in stunning Blu.

(500) Days Of Summer

One of the better films from last year. I'm looking forward to whatever Marc Webb does next, even if it's the Spider-Man reboot.

[Bryant Burnette 654]

Ah, yes, The Thing. John Carpenter's best movie; Kurt Russel's best movie; one of the best horror movies ever made; one of the best special-effects movies ever made; one of the best remakes ever made.

A true classic in every sense of the word.

The upcoming prequel would be something I'd want to plot terrorist activities against if not for the involvement of Ronald D. Moore. With him, I'll at least entertain the notion that it might not suck. Maybe he'll enlist Bear McCreary to do the score.

[A24 4,335]

I haven't finished it yet but Remember When* from season 6 (part deux) of The Sopranos is another highlight of the series.

*Tony and Paulie decide to head south to lay low when the heat turns up in Jersey. Tony grows frustrated with Paulie and begins to question his loyalty and reliability while Junior rediscovers some of his old passion when he sets up a poker game amongst his fellow patients. (Wikipedia)

The House Of Sand: It wasn't bad but I fell asleep. Reason: The constant sound of wind.

Alex

[Morlock 11]

Pierrot le Fou

No idea what to make of this besides the fact that it looks amazing.

I kinda loved it, though I don't remember exactly why. One of the first Godards I really got into.

Petulia (1968). What a load of rubbish. A bunch of Godardian BS that isn't really about anything in any interesting way.

Howard's End (1992). Might not be shocking, but I could not connect with this, one of Alex's favorite film.

[A24 4,335]

Howard's End (1992). Might not be shocking, but I could not connect with this, one of Alex's favorite film.

Oh, yes, Howards End has a firm place in my list of greatest movies.

[Morlock 11]

I was really taken for a ride by it. I found it utterly weird. I liked it, but only on a micro level (particular scenes and performances). The way it introduced characters, the pacing, the story focus...I never got engaged in Thompson and Hopkins' characters. I don't know, I didn't connect with the Merchant Ivory sensibility nearly as much as I did in Remains of the Day, and found its observations on class less compelling than both House of Mirth and Age of Innocense.

@The Thomas Crown Affair. I am very fond of the remake, which is quite superior to the original. I don't think the score is nearly as weird and inconsistant as you put it, Koray...most of it is rather organic to Conti's tone (including the Nina Simone), with a couple of glaringly different tracks. The use of Sinnerman is indeed thrilling, probably one of my favorite uses of a song in a film (and, again, it sounds very much like an extension of Conti's tone for the film).

[Datameister 2,043]

Just saw Clash of the Titans. Big fat "MEH" from me. Something about the story was just not engaging at all for me...and I can never really connect with Sam Worthington, either. I thought the Medusa and Kraken designs were quite good, and Liam Neeson is just generally fun to watch. Oh, and Ramin Djawadi's score certainly didn't bring any new stylistic elements to the table, of course, though the main action theme was catchy in an unabashedly MV-ish sort of way.

The 3D was interesting - this was my first time watching a film that'd been converted to 3D instead of being shot in it. At first, I was quite impressed. Looked pretty seamless. Then I started noticing minor issues around the edges...you know, the side of a person's face would drop back into the background, or distant trees wouldn't have quite the right depth. Stuff like that. Not that it's easy to fix those things...it's amazing that the technique produces results this good. But for now, I don't think the conversion is worth it. Either shoot the film in 3D or live with it in 2D.

And in either case, PLEASE get rid of lens flares, both real and artificial ones. They're so distracting in 3D. Since the whole point of 3D is to more closely simulate the human eyes' viewpoint, it doesn't make sense to include things that are only associated with cameras. And you lose no matter whether the film was shot in 3D or 2D: if the film was shot in 3D, the flare kinda jumps out at you in a really distracting way, and if it was shot in 2D, the flare just flattens itself against whatever object it's superimposed on. Which is particularly bad when the flare passes over a foreground object and then the sky, for instance.

[A24 4,335]

I found it utterly weird.

You found Howards End to be utterly weird? How strange.

[Bryant Burnette 654]

I haven't finished it yet but Remember When* from season 6 (part deux) of The Sopranos is another highlight of the series.

It really is. There's a marvelous sense of danger in the episode; you really feel -- even on repeat viewings -- that Tony might decide to kill Paulie.

Season six caught crap from some people. Those people are nuts; it's great stuff, and if it's moderately less great than what came before it, well, so what?

Oh, yes, Howards End has a firm place in my list of greatest movies.

I like that one okay, but I love The Remains of the Day (not that they have much to do with each other).

[A24 4,335]

It really is. There's a marvelous sense of danger in the episode; you really feel -- even on repeat viewings -- that Tony might decide to kill Paulie.

There was a funny yet alarming moment when Paulie was staring at the shore when the boat took off. But the best thing about this episode was Junior. I thought it was almost shocking to see a whole different person behind the eyes of uncle Junior, depending on what medication he was on. I would've given an Emmy for his performance. Amazing actor!

[Morlock 11]

I found it utterly weird.

You found Howards End to be utterly weird? How strange.

It took me far too long to get what it was about. Is it purely a class film? A moral tale? A love story? It started out as one, then changed to another (Hopkins wrestling with his guilt over burning his wife's note), then to another, than reverted back, without a clear through-line. The film resonated with many, so I'm obviously missing something...but it played utterly weird, especially given my expectations based on Remains of the Day, which is crystal clear from begining to end.

[A24 4,335]

I like that one okay, but I love The Remains of the Day (not that they have much to do with each other).

I love Remains Of The Day too but I believe Howards End is a much richer film, operating on more different levels.

[Morlock 11]

Yes. I, unfortunately, could not see the connections between the levels. I was honestly expecting to love the film.

[A24 4,335]

It's not a love story. It's a richly atmospheric piece that transports me to the era it describes. There are a lot of themes. Perhaps more importantly than class struggle is its theme of inner and outer self, which is of all times. It's one of the few movies I know that don't deteriorate after repeated viewing. I liked Remains Of The Day very much upon the first time, but each time I watch it, I like it a little bit less.

[Bryant Burnette 654]

There was a funny yet alarming moment when Paulie was staring at the shore when the boat took off. But the best thing about this episode was Junior. I thought it was almost shocking to see a whole different person behind the eyes of uncle Junior, depending on what medication he was on. I would've given an Emmy for his performance. Amazing actor!

I think that the power of the Paulie plotline comes from is that Tony, when they get on that boat, has not yet made up his mind as to whether or not he's going to kill Paulie. That's how I took it, at least. It could also be that he plans all along to kill him, but has a change of heart at the last second. Or, possibly, he has no intention whatsoever of killing him, but knows Paulie will make the connection and thereby know how serious he is about keeping his big mouth shut from that point forward.

It's ambiguous, but the great thing about it is that no matter which way you look at it, it works from both a story standpoint and a thematic standpoint. (There will be at least one other very important instance of that type of ambiguity before the series ends, too.)

As for Junior, yeah, he was a great character. Earlier in the season, the scene in which he shot Tony was one of the few times when watching television that I was so surprised by something that it literally made me gasp. His storyline over the course of the rest of the season was extremely well-done. I was particularly taken with the episode co-starring Ken Leung in which Corrado temporarily reasserts a sense of personal power by starting a "high-stakes" card game in the mental ward.

Chianese certainly deserved an Emmy for his work on the show, but then again, so many of the supporting players probably deserved awards they never got. Their consolation prize is that their work will be seen and treasured for decades to come.

[A24 4,335]

Chianese certainly deserved an Emmy for his work on the show, but then again, so many of the supporting players probably deserved awards they never got.

I know, I always keep asking myself, where did they find these 'characters'?! Tony Sirico (Paulie) is a very illustrative example. Then there's Bobby or Vito ... Is the best talent working in television these days?!

So Bryant, now that I only have a few more episodes of The Sopranos ahead of me, and since you're the only HBO fan besides me around these parts, what else is there? I've seen Rome, Deadwood, Carnivale, The Sopranos, The Wire (a must-see if you haven't already seen it). I've also seen the first season of Six Feet Under and Big Love. I like the former better but I'm not really sure if I should continue with its other seasons. I'm also faithfully following The Tudors and Mad Men but let's not talk about the competition. Is there a new show from HBO that I should be aware of?

Alex

[Morlock 11]

Well, David Simon's Treme is starting. Sounds like it could be good (post-Katrina New Orleans, lots of music in it).

I don't think it's accurate to say that the best talent is working in tv these days...but certainly TV gives an unparalleled platform for actors. Many of the of The Sopranos cast can only play one character. But on TV, they have the opportunity to play that character and have the time to lend it amazing depth and humor. No matter how many films they do, non great part on a great tv show can ever will ever come close to matching the characterization they are allowed to do over several episodes and seasons. That is true of the limited actors as well as the great ones. No one from The Sopranos or The Wire will ever get a better role. Ian McShane certainly isn't going to find anything as good as Swearengen.

[A24 4,335]

Ah, David Simon ... I didn't know about Treme. Could be interesting. Did you see that mini-series Generation Kill, Morlock? Is it any good? I know Simon worked on that one too.

... but certainly TV gives an unparalleled platform for actors.

That's probably the reason why I think that film as a medium needs to concentrate on other things. If I want to see characters and acting, I rather watch something made by HBO. Like yesterday I watched that movie called Monster with Charlize Theron? Well, I prefer watching an episode of The Sopranos or The Wire.

[Morlock 11]

Well, it doesn't help that Monster is not a particularly good movie. Far too much of it is hinged on shock and makeup.

I liked Generation Kill. It didn't strike a particularly strong chord (I remember characters, but not what actually happened), but I'd say it's is worth checking out, especially given it's relative brevity. I've been meaning to say it again, now that I've seen The Wire, and am attuned to Simon's sensibility.

Youtube has a trailer for Treme, as well as a short

with Simon about it.

[mahler3 478]

REALLY looking forward to this, after just recently finishing S5 of The Wire, I was blown away and just want to start watching it all over again.

- Tim

[Quintus 5,399]

I liked Remains Of The Day very much upon the first time, but each time I watch it, I like it a little bit less.

Well then... why not just stop watchin' it?

[A24 4,335]

Youtube has a trailer for Treme,

I'm already hooked!

See, that guy from The Wire is now playing in Treme! Who said these TV actors can only play one character, huh?

Alex