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


Mr. Breathmask

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Pócspetri (1983)

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A wonderfully disturbing and upsetting 3 hour documentary. The titular village in the very Northeast of the country was an unassuming, unremarkable place until 1948, when the local priest heated up the population against the socialisation of schools, and on a June evening, when they went to protest against it, the nonviolent mob turned into an incomprehensible mess, a policeman was killed and telephone lines were soon cut so no news can get out. The prosecution was swift and cruel: the priest was sentenced to death (later modified to prison for life) for inciting the people, another man for killing the policeman after taking his gun away (he was hanged on the day of the sentencing), multiple other people (the cable cutters) for years in prison. The village gained notoriety country-wide as cop killers, the socialisation of land and schools proceeded with greater force.

The film does start with a recording of the sentence to start you off, but afterward it's nothing but director Judit Ember in the village in 1982, talking to people, getting them to remember what really happened. None of it is scripted or really directed, it's all the informal testimonies of these honest, rural, real people - feeling a need to tell the tuth even if they may be reprosecuted for it. It features no narration, crutches for the viewer or a greater truth, just these pieces of memories from which you can slowly piece together the events (the bonus 1998 talk with the director helps a lot, too), and decades of repressed trauma coming back up. The cop died out of a complete accident, most probably had a faulty gun which he slammed on the ground to make noise, then it went off and shot him through the head. The heads of state saw this as a great opportunity to push socialisation and anti-religiousness, so the soon arriving State Defense Force beat the entire village (causing many to die, some to be crippled for life, all to be traumatised and somewhat socially stigmatised) to get false confessions, signatures from witnesses of made up charges, and most importantly a scapegoat who they can declare mudrerer and cruelly ceremoniously execute to make an example out of him in one of the first grand show trials. The "People's Republic" sacrificed a villageful of its mostly completely innocent people.

The film was banned until the democratic transformation in 1989, and the director fought and pushed the villagers she grew to know and whose trust she gained to fight for a retrial - which eventually happened in multiple rounds and everyone who got sentenced in the past got retroactively acquitted. The executed "Murderer", who, as it turns out, took the blame so none of his brothers had to be hurt anymore, got reburied in the village 2 years ago.

 

I'm very glad this 3 hour mammoth comes on 2 discs, I didn't have it in me to witness it all at once, it was too powerful seeing all those broken people bringing up their dark past. I'm certainly glad I saw it. I actually find it not dissimilar to the 20 years older 20 Hours (fictional, acted book adaptation), which is a film about a journalist travelling to a village, interviewing people, trying to piece together the history and family feuds from many conflicting and nonchronological accounts.

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Seven Years in Tibet (1997)

Just to confirm the allegations of it being nowhere near worthy of John Williams' magnum opus. I couldn't even hear the music in the film. Terribly treated, almost as poor a showing as Brad Pitt's accent and hair. David Thewlis, although just as miserable in his accent, provides some repose. 2 / 5

 

Superman III (1983)

Oh dear, oh dear. That was not good at all. 2 / 5

 

Stagecoach (1939)

As classic as they come. Very memorable characters! 5 / 5

 

Apollo 11 (2019)

A rewatch for me. Enlightening- one of the best documentaries I have ever seen, exceeding the limits of it's genre and soaring high above the rest in it's phenomenally restored footage and audio. Edited to perfection. Interesting to see how cinematic a lot of the actual footage ended up being. Essential viewing. 5 / 5

 

At Eternity's Gate (2018)

One of those perfect movies. I have so much to say after my second viewing, but I'll save that for the review forum at a later date. 5 / 5

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Four Weddings And a Funeral

Just okay.  I like a good "chick flick" more than most guys do, but this one, well, seemed just a bit too concerned with surface trappings for my liking.  You never really get to know who the characters are.  Solid performances, though.

3/4

 

After Hours

Rather interesting one.  A tad atypical for Scorsese, though he throws in plenty of camerawork and psychological stuff to make his presence behind the camera known.  Basic plot is that a bored everyman is thrust into the half comical, half dark and disturbing underworld of New York, which seems to be populated mostly by rather absurd misfits artists.  Not sure what the whole point is, whether the everyman will now love his "normal" life now or not.  His character does not grow as much as he gradually becomes confused, without much in the way of resolution.

3/4

 

Rushmore

The first Wes Anderson film that I can say I really enjoyed.  Max is a unique take on the Ferris Bueller prototype, and, despite being a pain, remains sympathetic and eventually demonstrates growth as a character.  Camerawork and editing are delicious.  Performances are compelling.  I like how Anderson does not shy away from showing the kind of darker or unexpected sides to the characters.  The ending ties things maybe too neatly together, but Anderson was young and hopeful, so he can be forgiven for that.  Plus watching the movie was a fun exercise in recognizing Houston area locations and objects.

3.5/4

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1 minute ago, SteveMc said:

Four Weddings And a Funeral

Just okay.  I like a good "chick flick" more than most guys do, but this one, well, seemed just a bit too concerned with surface trappings for my liking.  You never really get to know who the characters are.  Solid performances, though.

 

You can never really know a Brit.

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Just now, Jurassic Shark said:

You can never really know a Brit.

Well, at least tell us what they studied, what their jobs are!  Going to weddings is not really a profession, now is it?

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1 hour ago, Jurassic Shark said:

 

You can never really know a Brit.

:o Oi!

 

1 hour ago, Stefancos said:

That much is certain!

:o Oi!!

 

@SteveMc, AFTER HOURS is one of Scorsese's more interesting films. I like Griffin Dunne, in it. It's a failure, but it's a failure that's worth seeing.

 

FOUR WEDDINGS AND A FUNERAL, on the other hand, is almost cinematic perfection. There're no explosions, no

car-chases, no special effects, just people talking. One doesn't need to know who the characters are; one can guess from their individual situations. It's a quintessentially English film, and a modern classic.

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Licence to Kill

 

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Bond goes rogue and sets out for sweet revenge against a drug cartel. This one is supremely dark and disturbing in the best way and easily the most extreme 007 flick in that regard. Dalton is so incredibly badass as he picks off the bad guys in a series of very satisfying brutal kills. It's kinda like James Bond meets Scarface.

 

The supporting babes are certainly eye candy, though the performances are questionable. The rest of the cast is memorable with slimy bastard villains, although Sanchez somehow can be weirdly charming. It's not personal for him, it's business. For Bond, it is personal and yet still business even if his licence to kill has been revoked. This is great writing. Even Q shows up in a memorable recurring bit role assisting Bond while on leave. It's awesome!

 

There is a particularly great finale with semi trucks that is one of the best in the series. Michael Kamen's score is absolutely stellar. Despite a decidedly dreadful tone (this one builds up a massive amount of suspense with guys being fed to sharks, burned alive, exploded and such), it still retains a fun sense of adventure somehow. I guess you're just so involved with the good guys who are put through some awful shit in the first act that you're right there with Bond in wanting to exact revenge and take these fuckers down. And boy, does he ever.

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Red Eye

 

A fun, quick, compact little thriller. Rachel McAdams's character is smart and resourceful, while Cillian Murphy's villain is a bit smarter than the usual bad guy. I wish Wes Craven had done more of these movies, rather than being pigeonholed as just a horror director.

 

Beltrami's score feels like an extension of his Scream scores, helping keep the tension high.

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Help! I need the advice of JWfan.

I'm about to watch the THE GODFATHER trilogy, and I'm in a right old quandary. Do I watch I, II, and III, as released, or do I watch it in chronological order? What are the advantages of each option?

Please help.

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33 minutes ago, Stefancos said:

I know Coppola released a chronological version of Godfather 1 and 2 in the 70's.

 

I think there are several cuts of this chronological version.

 

I saw a part of one of them, which I didn't find nearly as interesting as watching the films, individually. Its an interesting experiment, to be sure, but like you said, the whole point of The Godfather Part II is where the two storylines are paralleled and where they differ. That much is robbed of the audience in the TV cut.

 

Those cuts have additional scenes added, though. I think one of them is 9:40 hours long, while still lacking one or two scenes that are present in other cuts.

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This is different.

 

The TV cuts of the Godfather are in chronological order within the internal chronology of the story (suzhet). Interesting to watch if you know the film (to the point that I'm kind of tempted to see such a cut of The Lord of the Rings, which also uses a lot of flashbacks) but not really as engaging.

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