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

[bollemanneke 3,367]

Tomorrow never dies.

 

Pretty good. Not sure we needed the whole prologue sequence and there’s a little too much action in the middle, but other than that, I enjoyed it. I needed some time to like Jonathan Pryce, but his character is so relevant today and Michelle Yeoh was great from the start. Pierce Brosnan was unexpectedly good in his emotional moments, but I don’t like him when he’s shouting descriptive information. Teri Hatcher was fine, though she fell way too quickly for Bond again, but Doctor Kaufman is hilarious. I also didn’t know they made English GPS voices with German accents.

The opening song will grow on me and it’s far better than that GoldenEye abomination. The closing song is fantastic. The score is excellent as well and it’s so satisfying to hear Bond’s themes being played by a brass section recorded with decent microphones.

 

[Gruesome Son of a Bitch 6,493]

[Matt C 456]

On 4/15/2020 at 11:24 PM, Þekþiþm said:

I adore Anna Faris. She reminds me of Goldie Hawn.

 

The Scary Movie franchise didn't give her much to do. It pegged her as the "funny blonde chick" casting trope that Cameron Diaz got stuck with.

 

But her comedic timing is on par with Goldie in her prime.

[Naïve Old Fart 9,680]

@bollemanneke, did you know that the closing song for TOMORROW NEVER DIES, was meant to be the opening song?

 

[bollemanneke 3,367]

Yes, I do now.

 

Birdman (or when you're too lazy to leave the room).

 

I first wanted to re-watch Indiana Jones 3, but my family insisted. I thought I wasn’t going to like it from the start because it had won so many Oscars, but what can you do? It’s not really bad, but it’s not great either. Or rather, I like the premise, but didn’t like the way it was told at all. The women were great and the title is weird.

Now, drumroll, please. The score is very original. Unfortunately, most of it is also annoying as hell, intrusive and totally inappropriate. The fact that this one won the Oscar when they could have voted for A Million Ways to Die in the West, How to Train Your Dragon 2 or Interstellar says everything I ever need to know about these stupid awards.

 

[Edmilson 7,592]

Birdman isn't bad, but Boyhood deserved the Best Picture Oscar that year.

 

6 minutes ago, bollemanneke said:

A Million Ways to Die in the West

 

Really? The Seth McFarlane wild west comedy? I'm curious to hear why you consider this film worthy of a Best Picture Oscar. I watched it years ago and I don't remember much, not even the jokes.

[bollemanneke 3,367]

I was referring to the score.

[KK 3,307]

9 minutes ago, bollemanneke said:

The fact that this one won the Oscar when they could have voted for A Million Ways to Die in the West, How to Train Your Dragon 2 or Interstellar says everything I ever need to know about these stupid awards.

 

 

Birdman wasn't nominated for Best Original score that year. Desplat walked away with his second Oscar for Grand Budapest Hotel.

 

Birdman is a very fine film that gets a lot of flack here because of its success during awards season.

[bollemanneke 3,367]

Oops, excuse me.

[Edmilson 7,592]

The score for Birdman was disqualified that year, due to the use of pre existing music, otherwise it would've been a serious contender. I remember that director Iñárritú was pissed due to that exclusion.

 

But Desplat's Oscar that year was well deserved, his score worked wonderfully on the movie.

[Marian Schedenig 8,240]

1 hour ago, KK said:

Birdman wasn't nominated for Best Original score that year. Desplat walked away with his second Oscar for Grand Budapest Hotel.

 

Deservedly so.

 

1 hour ago, KK said:

Birdman is a very fine film that gets a lot of flack here because of its success during awards season.

 

And I thought the score worked just fine. It's odd and jumpy and showy, like the film itself. They're actually doing it live to picture at the Wiener Konzerthaus next season (if things go back to normal in time).

[Naïve Old Fart 9,680]

I saw BIRDMAN at the cinema. I remember being impressed by it, but, over the intervening years, I've had no desire to revisit it. Its "one shot" technique (gimmick?) is the same reason that I will not watch 1917, but then, I like ROPE, and RUSSIAN ARK, so what do I know? 

[A24 4,363]

8 minutes ago, Naïve Old Fart said:

I saw BIRDMAN at the cinema. I remember being impressed by it, but, over the intervening years, I've had no desire to revisit it. 

 

Me neither, but not because of the one-shot approach. Heck, I don't even remember that it did that. 

[bollemanneke 3,367]

Birdman live? I guess people will pay for anything.

[Jurassic Shark 12,217]

Hey, at least it's not HanZ' minions.

[Sweeping Strings 2,394]

Takers/The Driver - a heist-themed double-bill, as it were. Takers isn't bad, but it's not got much on Walter Hill's late 70s slice of rubber-burning tyre-squealing enigmatic coolness.

[Naïve Old Fart 9,680]

1 hour ago, Sweeping Strings said:

Takers/The Driver - a heist-themed double-bill, as it were. Takers isn't bad, but it's not got much on Walter Hill's late 70s slice of rubber-burning tyre-squealing enigmatic coolness.

Sweep, I'm so glad that you like THE DRIVER. I've liked it ever since I saw it, at the cinema, on its release. It's one of the films that made me a fan of Bruce Dern.

[A24 4,363]

For me it was Coming Home of the same year.

 

[Naïve Old Fart 9,680]

Oh, yes, that's a good one. Dern is definitely the best thing about that. There was a whole slew of stuff just coming on to television, that I also watched: THEY SHOOT HORSES DON'T THEY; SILENT RUNNING; THE COWBOYS (boo, hiss!); THE KING OF MARVIN GARDENS; THE GREAT GATSBY, and, of course FAMILY PLOT, and BLACK SUNDAY, at the filcks.

[KK 3,307]

 

 

Funny Games

 

The danger with Haneke's films, I find, is that they can sometimes be drowned by the high-minded moralism that the director and his most devout fans preach. Something that kind of put me off Caché, despite its obvious merits. In truth however, Haneke is actually a brilliant technician. And when he puts his mind to a genre film, he does it with such ruthless precision that it's hard not to be affected by it. Funny Games is a brilliant thriller. Not enjoyable at the least, but piercingly effective in its design, whether it be a frustratingly tense conversation about eggs, or watching the security lights painstakingly flicker as a boy tries to escape his killer. Is it sadism? I don't know. But as a tongue-in-cheek portrait of a bourgeois family, completely undone by an intruding force of inexplicable evil, it works.

 

I was disappointed to learn that Haneke went on to pursue a shot-for-shot American remake. Feeble justifications aside, I just can't imagine this working in a major English picture starring Naomi Watts and Tim Roth. The raw performances of these unfamiliar faces and language help create enough distance from the material so that it doesn't come off as outlandishly cartoonish. I don't think seeing Watts put on a limp American accent while being beaten to a pulp would achieve that same effect. Oh well, don't think I'll be checking that out.

[Edmilson 7,592]

Videodrome

 

It certainly has some amazing visual effects and make-up. It's incredible that the movie looks as disturbing today as it was on the 80s. A truly technical achievement.

 

The story starts great as a conspiracy thriller, but it gets a little dull after the second half. Shore's score is so 80s synth that it becomes distracting. It didn't age well at all. Still, a decent film if you like "dark, disturbing and thought-provoking".

[Koray Savas 2,251]

7 hours ago, KK said:

 

 

Funny Games

 

The danger with Haneke's films, I find, is that they can sometimes be drowned by the high-minded moralism that the director and his most devout fans preach. Something that kind of put me off Caché, despite its obvious merits. In truth however, Haneke is actually a brilliant technician. And when he puts his mind to a genre film, he does it with such ruthless precision that it's hard not to be affected by it. Funny Games is a brilliant thriller. Not enjoyable at the least, but piercingly effective in its design, whether it be a frustratingly tense conversation about eggs, or watching the security lights painstakingly flicker as a boy tries to escape his killer. Is it sadism? I don't know. But as a tongue-in-cheek portrait of a bourgeois family, completely undone by an intruding force of inexplicable evil, it works.

 

I was disappointed to learn that Haneke went on to pursue a shot-for-shot American remake. Feeble justifications aside, I just can't imagine this working in a major English picture starring Naomi Watts and Tim Roth. The raw performances of these unfamiliar faces and language help create enough distance from the material so that it doesn't come off as outlandishly cartoonish. I don't think seeing Watts put on a limp American accent while being beaten to a pulp would achieve that same effect. Oh well, don't think I'll be checking that out.

I’ve only seen the US remake and thought it was brilliantly disturbing. Fantastic film. 

[Unlucky Bastard 7,782]

How the hell was the boss bad guy able to rewind time? Like wtf

[Edmilson 7,592]

Didn't like that one. Too dark and too disturbing for me. 

[Unlucky Bastard 7,782]

Home invasion films usually aren't pleasant.

[A24 4,363]

It's the first movie that I know of where the drama isn't entertaining. Only seen the US version.

 

[KK 3,307]

4 hours ago, Koray Savas said:

I’ve only seen the US remake and thought it was brilliantly disturbing. Fantastic film. 

 

I think just the idea of its creation rubs me the wrong way. Other than maybe a self-indulgent technical exercise for Haneke, what's the point? 

 

On 4/18/2020 at 7:46 PM, Marian Schedenig said:

And I thought the score worked just fine. It's odd and jumpy and showy, like the film itself. They're actually doing it live to picture at the Wiener Konzerthaus next season (if things go back to normal in time).

 

Drumming aside, don't remember too much about the score really, other than it working fine in context. I just remember being both amused and horrified at Adams' Klinghoffer material being used as gerneric blockbuster underscore for the finale.

[Sweeping Strings 2,394]

7 hours ago, Þekþiþm said:

How the hell was the boss bad guy able to rewind time? Like wtf

 

Rogue Time Lord?  

[John 2,032]

The Spider-Man trilogy 

The first two installments are classics for a reason; very stylish and self aware films that are often silly but have a lot of heart to them. Revisiting Spider-Man 2, I was impressed at how deftly the quieter, more emotional moments were handled. There’s a lot of great action in both, and it’s pretty clear how influential these films are in the landscape of modern superhero cinema. 

 

The third film is largely a mess and not very satisfying but there are some aspects that are enjoyable. The character of Sandman is portrayed well and definitely a highlight here. 
 

The Irishman 

 

Enjoyed this one a lot. This definitely felt like Scorsese returning to his roots; the subject material feels very familiar but that’s not a bad thing. It’s similar in some ways to Goodfellas and Casino, but it feels much more meditative in tone, like a contemplation of the end of an era. De Niro, Pesci, and Pacino give memorable and nuanced performances, and Scorsese’s direction is stylish and compelling. The period settings look gorgeous and the cinematography is typically great. The final 40 minutes are pretty powerful filmmaking. 

 

**** and 1/2 out of *****

 

Knives Out

 

A clever and fun take on the classic murder mystery. Great ensemble cast, with Ana de Armas and Daniel Craig being the standouts; both are very watchable screen presences. It’s not especially subtle at times, but it’s well crafted and took some unexpected turns I appreciated. Well worth your time. 
 

**** out of *****

[Naïve Old Fart 9,680]

What was the last film I watched?

A seminal mid-80s "teen" comedy, that can be enjoyed, by anyone, at almost any age. It's, also, one of the best films of the 80s.

Period.

Starting with a sharp, witty, and well-observed script, this film has pitch-perfect performances, by all the principals. Throw in some nifty side roles, sharp editing with nary a shot that outstays its welcome, a killer sound/songtrack, and confident, but unobtrusive, cinematography, and direction, and you've got 105-odd minutes of great cinema, that still surprises and delights almost 35 years later. Watching it, I felt like I was being reunited with a long-lost friend.

'Tis a pity about the car, though 

 

*****/*****

[Unlucky Bastard 7,782]

5 minutes ago, Naïve Old Fart said:

What was the last film I watched?

A seminal mid-80s "teen" comedy, that can be enjoyed, by anyone, at almost any age. It's, also, one of the best films of the 80s.

Period.

Starting with a sharp, witty, and well-observed script, this film has pitch-perfect performances, by all the principals. Throw in some nifty side roles, sharp editing with nary a shot that outstays its welcome, a killer sound/songtrack, and confident, but unobtrusive, cinematography, and direction, and you've got 105-odd minutes of great cinema, that still surprises and delights almost 35 years later. Watching it, I felt like I was being reunited with a long-lost friend.

'Tis a pity about the car, though 

 

*****/*****

 

???

[Naïve Old Fart 9,680]

The clues are there, Jerry 

[A24 4,363]

6 minutes ago, Naïve Old Fart said:

What was the last film I watched?

 

 

The Sure Thing. 

[Holko 9,593]

10 minutes ago, Naïve Old Fart said:

What was the last film I watched?

A seminal mid-80s "teen" comedy, that can be enjoyed, by anyone, at almost any age. It's, also, one of the best films of the 80s.

Period.

Starting with a sharp, witty, and well-observed script, this film has pitch-perfect performances, by all the principals. Throw in some nifty side roles, sharp editing with nary a shot that outstays its welcome, a killer sound/songtrack, and confident, but unobtrusive, cinematography, and direction, and you've got 105-odd minutes of great cinema, that still surprises and delights almost 35 years later. Watching it, I felt like I was being reunited with a long-lost friend.

'Tis a pity about the car, though 

 

*****/*****

Yeah I rewatched it a week ago too. Maybe some dated and not great elements abut the ending but what an impeccable movie otherwise!

[Naïve Old Fart 9,680]

5 minutes ago, Alexcremers said:

The Sure Thing. 

(makes buzzer noise) Thank you for playing! 

[Romão 2,276]

Ferris Bueller, I reckon

[Naïve Old Fart 9,680]

4 minutes ago, Holko said:

Maybe some dated and not great elements abut the ending...

Really? There's someone you should talk to 

 

 

 

 

Just now, Romão said:

Ferris Bueller, I reckon

We have a winner! 

[Unlucky Bastard 7,782]

I thought it might have been St Elmo's Fire or something. 

[Naïve Old Fart 9,680]

Right ballpark area, but no Havanan.

[Holko 9,593]

8 minutes ago, Naïve Old Fart said:

We have a winner! 

Oh. I retract it then.

[Naïve Old Fart 9,680]

Please don't. It's your opinion, Holko, and you have a right to express it...unless, of course, you are talking about another film.

[SteveMc 2,674]

3 hours ago, Naïve Old Fart said:

What was the last film I watched?

A seminal mid-80s "teen" comedy, that can be enjoyed, by anyone, at almost any age. It's, also, one of the best films of the 80s.

Period.

Starting with a sharp, witty, and well-observed script, this film has pitch-perfect performances, by all the principals. Throw in some nifty side roles, sharp editing with nary a shot that outstays its welcome, a killer sound/songtrack, and confident, but unobtrusive, cinematography, and direction, and you've got 105-odd minutes of great cinema, that still surprises and delights almost 35 years later. Watching it, I felt like I was being reunited with a long-lost friend.

'Tis a pity about the car, though 

 

*****/*****

Most of this could also apply to The Breakfast Club, I'd wager.  

[Naïve Old Fart 9,680]

Yeah...except the car.

[Holko 9,593]

Yeah I was semi-sure it was BTTF.

[Naïve Old Fart 9,680]

Ah, yes! I can see why.

[Marian Schedenig 8,240]

What's wrong with modifying a Delorean?

[Gruesome Son of a Bitch 6,493]

It demonstrates precisely how time travel can be misused and why the time machine must be destroyed...after we straighten all of this out. 

[A24 4,363]

8 hours ago, Holko said:

Yeah I was semi-sure it was BTTF.

 

Don't worry, most JWFaners would have bet on The Goonies. 

[Sweeping Strings 2,394]

13 hours ago, Holko said:

Yeah I was semi-sure it was BTTF.

Me too! 

[A24 4,363]

 

Often more silly than funny. Written and produced by Damon Lindelof. 5/10