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

[A24 4,326]

8 minutes ago, Chen G. said:

 

Is it really that unusual, though? Its the go-to "look at how artsy my film is!" approach.

 

 

Mendes should have done the same with the score. The images go one way while the soundtrack goes the other way.

[Chen G. 3,943]

Yeah, I suppose so. Not a terribly succesful score, that one.

 

But its the one-take approach that's the main fault here. Mendes lists Children of Men as his influence, but there's a reason Children of Men isn't constructed as ONE long-take but as several.

[A24 4,326]

1 minute ago, Chen G. said:

But its the one-take approach that's the main fault here. 

 

It took me 10 minutes or so to adjust to it. However, the music kept bothering me till the very end.

 

To be honest, with Dunkirk, Nolan was less afraid of experimentation. Both narration and music were equally unusual.

[Chen G. 3,943]

1 minute ago, Alexcremers said:

It took me 10 minutes or so to adjust to it.

 

I adjusted to it, as well. It still wasn't the most effective way to cover this movie. Really, for a Mendes/Dickens film, the shots aren't terribly well-composed, because they're strung on this one-take notion.

[publicist 4,643]

The score was blockbuster-y and droning, but where did it bother, especially? All things considered, I liked the thing except for one or two preachy bits that felt like an 11-year old had written them. 

[Brundlefly 2,385]

42 minutes ago, Chen G. said:

 

Is it really that unusual, though? Its the go-to "look at how artsy my film is!" approach.

 

Reeks of Oscar-bait, especially since Sir Sam Mendes knew he wanted to shoot the thing like this before he even decided upon a story.

There is a new feature film shot in one take by students of the film university in Munich. It gets appreciation for its technical virtuosity, but every serious critic pans the shit out of this supposedly dreadfully bad movie with clunky acting, ridiculous dialogue and absolutely no character drawing. I haven't seen it, but it sounds like the classic "I-went-to-film-school-know-how-to-craft-a-movie-and-still-don't-have-any-intuition-or-talent"-film.

[Chen G. 3,943]

2 minutes ago, Brundlefly said:

I haven't seen it, but it sounds like the classic "I-went-to-film-school-know-how-to-craft-a-movie-and-still-don't-have-any-intuition-or-talent"-film.

 

You mean 1917? I mean, I don't want to come off too harsh: it is quite impressive, and it does often work. It just should not have been one (actually two) long take.

[publicist 4,643]

5 minutes ago, Brundlefly said:

There is a new feature film shot in one take by students of the film university in Munich. It gets appreciation for its technical virtuosity, but every serious critic pans the shit out of this supposedly dreadfully bad movie with clunky acting, ridiculous dialogue and absolutely no character drawing. I haven't seen it, but it sounds like the classic "I-went-to-film-school-know-how-to-craft-a-movie-and-still-don't-have-any-intuition-or-talent"-film.

 

A common, and right, criticism of the current school of American blockbuster directors is exactly that: lots of technique, but no POV or interesting insights, whatsoever. 

[Jurassic Shark 12,029]

7 minutes ago, Chen G. said:

 

You mean 1917? I mean, I don't want to come off too harsh: it is quite impressive, and it does often work. It just should not have been one (actually two) long take.

 

It's actually many short takes joined together.

[Chen G. 3,943]

Yeah, I mean in terms of how its made to appear to the audience. Its quite seamless, actually, but that doesn't mean it serves the story any better.

[Sweeping Strings 2,344]

This Is Spinal Tap/Goldmember/Hot Fuzz ... trying times call for a Saturday night comedy triple-bill.

Tap will always be brilliant, Goldmember is funny if a bit self-indulgent and Hot Fuzz is excellent (but I nodded off towards the end because I'm 49 and there'd been wine consumption).

[A24 4,326]

 

1 hour ago, Chen G. said:

 

Really, for a Mendes/Dickens film, the shots aren't terribly well-composed, because they're strung on this one-take notion.

 

I dunno about that, I was visually impressed on several occasions: The whole deserted muddy battlefield scene, the crashing plane/barn scene, the town inferno, ... Again, it's the music that failed to impress. Other than that, I didn't care for the overly humanistic 'woman with baby in cellar' or 'the brother' scenes. It's obvious its purpose is to touch the heart of the public but it's a cheap way of doing that. 

 

[Chen G. 3,943]

I liked the woman with the baby, specifically that bit of the Jumblies. The singing soldier later in the film felt closer to emotional manipulation, but it all worked fine.

 

Quote

I dunno about that, I was visually impressed on several occasions: The whole deserted muddy battlefield scene, the crashing plane/barn scene, the town inferno

 

Oh, its beautiful. But in terms of shots that help the tell the story - y'know, cinema - the only one I can really remember is a two-shot from behind before the two leads go over the top. That's the one shot - the only one from memory - that made me feel in their shoes through the framing.

 

A Deakins/Mendes collaboration should have way more shots that do that sort of thing, but alas...

[A24 4,326]

Just now, Chen G. said:

I liked the woman with the baby.

 

I knew it! 

 

6 minutes ago, Chen G. said:

Oh, its beautiful. But in terms of shots that help the tell the story 

 

Well, it's my provisional opinion that it's the music and partly the story itself that sabotaged the story.

[Chen G. 3,943]

The story is...okay. It suffers from the fact that it played second fiddle to the technique.

 

Again, Mendes first decided he wanted to do a film in one shot, and then decided on the subject matter. That tells you all you need to know about his priorities. I guess he really, really wanted another gilded statuette.

 

3 minutes ago, Alexcremers said:

I knew it! 

 

That's my jam.

[Brundlefly 2,385]

1 hour ago, Chen G. said:

You mean 1917?

I was referring to the German student's film. 1917 is an impressive work. The one take is not entirely necessary, I agree with that. Besides that the music was a bit annoying.

[A24 4,326]

23 minutes ago, Chen G. said:

The story is...okay. It suffers from the fact that it played second fiddle to the technique.

 

Well, I can easily point out the scenes I didn't like, or identify when the music is working counterproductive, but I never felt this scene or that moment would have been so much better with conventional editing. Yes, it was distracting the first 10 minutes but after that I mostly forgot about the technique (was reminded of it again when everything turn pitch black).

[Brundlefly 2,385]

1 hour ago, publicist said:

A common, and right, criticism of the current school of American blockbuster directors is exactly that: lots of technique, but no POV or interesting insights, whatsoever. 

The best premise/prospect of becoming a great and memorable director is getting refused from several film schools. Approved by film history.

[A24 4,326]

1 hour ago, publicist said:

 

 lots of technique, but no POV or interesting insights, whatsoever. 

 

Are you talking about movie directors or John Williams? 

 

 

 

[publicist 4,643]

11 minutes ago, Alexcremers said:

Are you talking about movie directors or John Williams? 

 

I blame the often conventional solutions Williams comes up with on his directors mostly. We have seen time and time again that a stimulating collaborator like Cuaron or Stone get great results out of him. 

[Matt C 452]

Species II

 

Even for a B-movie, this is god awful. Natasha Henstridge looks ravishing but that's about it. The script makes little sense, half the scenes are laugh out loud funny, but this is one steaming pile. 

 

Howling II had more entertainment value.

[Romão 2,274]

15 hours ago, Gruesome Son of a Bitch said:

Batman Forever

 

 

Delivering big once again on the spectacle after a comparatively lowkey return of Batman in the previous flick, which was apparently too weird for Warner Brothers. That didn't stop them from slapping the guy onto practically all conceivable paraphernalia in '92. This time around, it's still weird, but it's far more marketable with a hip all-star cast whose big names fly all around the screen during the opening credits, a diverse tie-in soundtrack album with something for everybody, a friendly circus that doesn't kidnap and murder children and less women being brutally shot. We swapped our plastic McDonald's tumblers for glass mugs. Sounds like a recipe for success.

 

For being the biggest movie of '95, it holds up as an entertaining enough funny book flick. There are some real wild visuals in this one, a lot more fun, even human conversation accessible for the straights. The blondie female lead in this one (Nicole Kidman has never looked better) isn't oppressed, pushed out of a window by her boss and/or having a psychotic episode. She's the most normal one! She has a thing for Bats and Val Kilmer suits up, only occasionally looking badass in the suit. Hey, Joel. Can you tell him to scowl once in a while? Look remotely intimidating? Keaton was better.

 

Jim Carrey is a convincing psychopath. He steals every scene, of course. Tommy Lee Jones' performance is bookended by his best scenes. Most of it is comprised of yelling, laughing and making weird noises. I think he's great casting, to be honest. Who else is in this? Oh, that's right. The kid from the Disney Three Musketeers is Robin. I like the scene where he goes on an adventure in the Giger-inspired Batmobile with fins that flap around, tries to pick up hookers and then rescues a 90s babe in double denim from a neon street gang. It's unrelated to Riddler and Two Face and it's just kinda cool to see the streets of Gotham overrun by these punkers who scatter once Batman arrives. Audiences would do the same for the following entry in the series.

 

it is very silly, but the cinematography and the score are absolutely top notch. And believe or not, Val Kilmer is my favorite Batman/Bruce Wayne. I'd love seeing tackling better material with the character back then

[Gruesome Son of a Bitch 6,488]

He's alright.

[Matt C 452]

Species

 

This is better than the sequels it’s spawned, but it’s still a low grade B movie. Natasha Henstridge (again) looks ravishing, especially since she spends a quarter of the movie nude or partially dressed. The supporting cast is fine for what it is (especially Alfred Molina and Ben Kingsley) but the schlock brings down Christopher Young’s propulsive score.

[Unlucky Bastard 7,782]

You watched Part 2 before you watched Part 1?

[Matt C 452]

6 minutes ago, Þekþiþm said:

You watched Part 2 before you watched Part 1?

When I was 11, yes. We were subscribed to Showtime then and so I got a quick taste. 

[KK 3,307]

 

The Double Life of Veronique

 

It's easy to dismiss this kind of thing. Barebones "plot", meandering characters and subplots and vague flirtations with the "esoteric". And yet, when you arrive at the end, it all works. It might not have the staggering confidence of Tarkovsky in how it handles sensation, but there is a great deal of feeling nonetheless. Largely in part to Kieslowski's excellent subject, the gorgeous Irene Jacob and the beautifully evocative colours that are captured on lens. Everything feels so utterly delicate and otherworldly. As an Americanized audience, one might be scratching one's head at a narrative through-line, or poke "holes" in its plot, but even then, you can't deny the film's images work over you as you follow Jacobs' antics. I would still argue that other filmmakers have fared better in tackling this kind of idea of "spiritual" interconnectedness, but I'll take this over another Cloud Atlas. Preisner's score, in typical Polish operatic-galore, is another great asset to the film.

[Naïve Old Fart 9,497]

Well said, @KK.

I, also, like this film.

[A24 4,326]

Even though I have them on DVD, it's been a while since I've watched those Kieslowski movies. I remember thinking they were leaning heavily towards the emotionally sombre and was therefore pleasantly surprised that one of the Trois Couleurs movies formed an exception to that. Don't remember which one though. I think it was the final instalment: Trois Couleurs: Rouge. I kind of like them but I wasn't a Kieslowski convert, like so many others were.

[Sweeping Strings 2,344]

Executive Decision - mid-90s action-thriller with intelligence analyst Kurt Russell swept up in the attempt to regain control of a hijacked-by-terrorists (led by Poirot himself, David Suchet) passenger plane (with the intention of wiping out the Eastern Seaboard via their onboard nerve-toxin bomb).

Solidly entertaining with the likes of Halle Berry, Oliver Platt and Steven Seagal (in what amounts to an extended cameo) also amongst the cast.

[filmmusic 1,823]

2 hours ago, Naïve Old Fart said:

Well said, @KK.

I, also, like this film.

Yeah, me too. I have the Criterion bluray.

I prefer it over  The Three Colors trilogy.

 

* * *

 

Fail-Safe (1964)

"American planes are sent to deliver a nuclear attack on Moscow, but it's a mistake due to an electrical malfunction. Can all-out war be averted?"

 

In the beginning I was bored a bit but thought to give it a chance till the end since it's so highly regarded.

The second hour was quite suspenseful with the action taking place in only 2-3 rooms.

Highly recommended!

 

 

 

3 minutes ago, Sweeping Strings said:

Executive Decision

Wow!!!! I honestly have it in line to watch it tonight! Talk about coincidence!

[Naïve Old Fart 9,497]

1 hour ago, Sweeping Strings said:

Executive Decision - mid-90s action-thriller with intelligence analyst Kurt Russell swept up in the attempt to regain control of a hijacked-by-terrorists (led by Poirot himself, David Suchet) passenger plane (with the intention of wiping out the Eastern Seaboard via their onboard nerve-toxin bomb).

Solidly entertaining with the likes of Halle Berry, Oliver Platt and Steven Seagal (in what amounts to an extended cameo) also amongst the cast.

Stuart Baird never proved his worth, as a director (although I like NEMESIS), but, boy could he edit?!

[KK 3,307]

3 hours ago, Alexcremers said:

Even though I have them on DVD, it's been a while since I've watched those Kieslowski movies. I remember thinking they were leaning heavily towards the emotionally sombre and was therefore pleasantly surprised that one of the Trois Couleurs movies formed an exception to that. Don't remember which one though. I think it was the final instalment: Trois Couleurs: Rouge. I kind of like them but I wasn't a Kieslowski convert, like so many others were.

I’ll be visiting Trois Couleurs and Dekalog soon. I liked Veronique but it remains to be seen if I’m a devotee or not.

[Naïve Old Fart 9,497]

Oh, my user!

@KK, THE DEKALOG is amazing!

[Glóin the Dark 1,218]

A Short Film about Killing (the feature-length version of one of the episodes of Dekalog) is brilliant. It might be the best film I don't like.

[Naïve Old Fart 9,497]

Tru, dat. It's uncompromising, and brutal, but utterly brilliant.

[KK 3,307]

The Criterion Channel has that! So will check it out!

[mrbellamy 6,272]

9 hours ago, Alexcremers said:

Even though I have them on DVD, it's been a while since I've watched those Kieslowski movies. I remember thinking they were leaning heavily towards the emotionally sombre and was therefore pleasantly surprised that one of the Trois Couleurs movies formed an exception to that. Don't remember which one though. I think it was the final instalment: Trois Couleurs: Rouge. I kind of like them but I wasn't a Kieslowski convert, like so many others were.

 

White is the more comedic one. Blue is my fave.

 

Dekalog is one of the best things I’ve ever watched.

[Marian Schedenig 8,173]

15 hours ago, KK said:

The Double Life of Veronique

 

It's easy to dismiss this kind of thing. Barebones "plot", meandering characters and subplots and vague flirtations with the "esoteric". And yet, when you arrive at the end, it all works. It might not have the staggering confidence of Tarkovsky in how it handles sensation, but there is a great deal of feeling nonetheless. Largely in part to Kieslowski's excellent subject, the gorgeous Irene Jacob and the beautifully evocative colours that are captured on lens. Everything feels so utterly delicate and otherworldly. As an Americanized audience, one might be scratching one's head at a narrative through-line, or poke "holes" in its plot, but even then, you can't deny the film's images work over you as you follow Jacobs' antics. I would still argue that other filmmakers have fared better in tackling this kind of idea of "spiritual" interconnectedness, but I'll take this over another Cloud Atlas. Preisner's score, in typical Polish operatic-galore, is another great asset to the film.

 

I wasn't fully convinced by the "plot", or rather, there was something about the narrative that bothered me at the time (I should revisit it at some point). But aside from that the direction, cinematography, Jacob's performance, and Preisner's score all come together to create a fascinating atmosphere.

 

10 hours ago, Alexcremers said:

Even though I have them on DVD, it's been a while since I've watched those Kieslowski movies. I remember thinking they were leaning heavily towards the emotionally sombre and was therefore pleasantly surprised that one of the Trois Couleurs movies formed an exception to that. Don't remember which one though. I think it was the final instalment: Trois Couleurs: Rouge. I kind of like them but I wasn't a Kieslowski convert, like so many others were.

 

I remember finding the three parts were uneven compared to each other (they're obviously all meant to be distinctively different, but I also like some distinctively more than others), but I loved the third one.

[Jurassic Shark 12,029]

Blue is the best, both film and score.

[Naïve Old Fart 9,497]

What's the Trois Couleurs film with the woman in the swimming pool? I like that one 

[SteveMc 2,674]

 

Exposed/Daughter of God (2016)

Two versions of the same movie here starring Ana De Armas and Keanu Reeves directed by first timer Gee Malick Linton.  The first is the officially released version, which got very poor reviews.  But, it's not that bad, but not particularly good either.  Clearly a hack job in the editing room, and the ending is rushed and confused, but it remains watchable enough.  A lot of the poor reviews probably stemmed from the fact that the studio sold the movie as a thriller with Reeves as the lead, when, in reality, it is a watered down psychological crime drama centering on Armas.  

Daughter of God is the director's cut, and this one is clearly a psychological crime drama starring Armas.  Reviews of this one commented that Reeves was barely in it, but that's not true, he's in it plenty.  It's just that the movie does a better job of integrating his investigation with Armas's story.  The opening half or so is pretty good, interesting even, but too many subplots are setup and their resolutions seem unfocused and cluttered.  The movie begins to sag under its own weight and seriousness, with the recurring voice-over parable sort of thing not doing it any favors. The ending is, unlike the released version, too drawn out.  The whole thing needs streamlining   Armas's performance is the strong point, and this version really showcases it.

Exposed 2/4

Daughter of God 2.5/4   

[mrbellamy 6,272]

18 minutes ago, Naïve Old Fart said:

What's the Trois Couleurs film with the woman in the swimming pool? I like that one 

 

Blue! Water is blue  Like White is the one that’s all in winter.

[Marian Schedenig 8,173]

42 minutes ago, mrbellamy said:

Water is blue  

 

Since when?

[Jurassic Shark 12,029]

10 minutes ago, Marian Schedenig said:

 

Since when?

 

52 minutes ago.

[Glóin the Dark 1,218]

1 hour ago, mrbellamy said:

Water is blue.

 

21 minutes ago, Marian Schedenig said:

Since when?

 

[Matt C 452]

Muppets Most Wanted

 

It's fun. Not the best Muppet movie, but it's inoffensive and silly. Needed more of Tina Fey's Nadya and less of Ricky Gervais's Dominic Badguy. And could've done without the Miss Piggy/Celine Dion duet.

[KK 3,307]

 

The Piano

 

You know, I've been avoiding this film like the plague for many years now. I've been enamoured by Nyman's score, but was afraid of the potentially schmaltzy melodrama it accompanies. Because you know, the film has a reputation. And popular "romantic" films with a log-line like this one's couldn't possibly rise above Oscar-bait drivel, right? But it popped up, so I finally decided to give it a go, and I was pleasantly surprised. One, it's ridiculous how God-smackingly beautiful it all is. Gorgeously framed eye-candy (all those trees!). Second, Hunter speaks volumes through her face and body. Once the film veers away from traditional period romance tropes into more voyeuristic territory, there are all sorts of delicious little enigmas that reveal themselves. And Nyman's score, contrary to what I expected, does indeed help elevate the material, rather than sink it into sentimentality. Cliché as it may be to admit it, there is definitely a haunting quality that lingers to its final frame. It's a shame Campion didn't have the balls to cut out Ada's bookend monologues though. It does a disservice to the enigma of this woman. Her silence just tells us so much more.

[Unlucky Bastard 7,782]

Harvey Keitel only has a little doodle.

[A24 4,326]

It used to be one of my mother's favorite movies. I watched it in theaters at the time. And even though it was surrounded by hype (everyone and his brother was drooling over that piano music), I liked it anyway.