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

[filmmusic 1,841]

Ghostbusters

(from my newly purchased Bluray)

Last time I saw this film was on VHS recorded from TV, more than 18 years ago!

So, it was a revelation to watch this for the first time in widescreen, and HD of course.

Really classic and enjoyable, you know like "they don't make them like this anymore" and all..

I remembered many scenes (even some trivial ones like the landlady of the building they bought), but I didn't remember others (even important ones like Dana floating).

I particularly paid attention to the music too, which i loved of course.

Waiting for Christmas period, to watch the 2nd film..

edit: Now that I think of it, I don't remember at all the scene with Bill Murray at Dana's apartment, when she had been transformed.

I remember only him going in, and then telephoning his partners. (and i also remember that I thought they had done it, since it didn't show anything in between)

So, maybe that scene was cut on TV? In my country at least..

It was too important a scene to forget, especially with the "demon" voice! I would have remembered that, it would have been scary for a kid.

[EdwardHall 30]

Leonard Rosenman's score for "Star Trek IV: The Voyage Home" is a lot of fun. The overture sounds like it could be Christmas music. But then so does his RoboCop 2 overture from four years later. LOL.

[Wojo 2,453]

Oh yeah, Voyage Home and Search for Spock both feature ridiculous(ly awesome) scenes where they literally watch clips from the previous movie.

I also noticed that when Dr. Taylor picks up Kirk and Spock on the way back to San Francisco in her pickup truck, she's not wearing her seatbelt. I can understand Kirk not wearing his because he wouldn't know what one is (nobody in Star Trek lore wears a frikkin' seat belt once the Phoenix launched, it seems), and Spock wouldn't wear one because he's in the middle and the straps are probably shoved under the seat, but she should have one on. Bad form.

I do, however, love that Gillian drives a pickup truck because it's rough and sexy; the only reason it's even a pickup truck is for the bench seat so all three characters can sit together. They don't use the bed.

Leonard Rosenman's score for "Star Trek IV: The Voyage Home" is a lot of fun. The overture sounds like it could be Christmas music. But then so does his RoboCop 2 overture from four years later. LOL.

I agree that it's a lot of fun. I do enjoy the music that transitions from Courage's fanfare into the title splash. The music is used very sparingly throughout the picture, which I think works. While it would have been nice for Horner to finish the trilogy, the tone of the movie works with Rosenman's light, humorous offerings. I'm not familiar with RoboCop 2, though.

[Muad'Dib 1,802]

What can I say? I adored this film. Pure entertainment, but done in one of the classiest ways possible. In a a way I see as sort of a spiritual successor to Jaws, with quite the performance by Roy Scheider, playing his character in a very low-key way, but a special highglight being near the end when the camera zooms into a closeup of his face and I swear the expression he makes feels like you're staring right into his soul.

The story is quite simple: Three men from different countries end up being persecuted by the law or the mafia and have to escape from their respective countries to Colombia. There, an offer reaches them: Transporting six boxes of very delicate explosives through the impenetrable Colombian jungle. If they succeed, they'll have their tickets secured to a better life. If not, well... They're be torn to pieces.

The first half of the movie is quite particular because it has quite a lot of elements from documentary films, perfectly blended into the story. It's quite unusual to see this in what's essentially a blockbuster film. It takes its time to establish the characters, the motives, the personalities... But after that, when the actual travel of death begins, all hell breaks loose. In a way it reminded me of Deliverance, as slowly these men start losing their sanity to the ruthless nature of fate. It has you on the edge of your seat, the suspense scenes feel so real that you completely forget you're watching a movie. This was the 70's after all, in more than one way they were actually there -I'm sure there were some tricks involved, but it's still gripping. Simply fantastic.

9/10

[Jay 37,373]

The Hobbit: The Desolation of Smaug (Extended Edition)

I'll post more detailed and nerdy comments over in the thread for the film, but for this thread I figured I'd give a quick review.

I found this to be a definite improvement over the theatrical cut, in much the same way the LOTR films improved over their theatrical cuts (it's much more of an improvement than the first Hobbit film's EE was, which added as many good new scenes as it did ridiculous ones). The overall pace of the film is improved, and it now seems to be both more fun and more interesting. The character of Beorn who was cut down to one scene in the theatrical cut now gets to shine here, mysteries are set up and elaborated on much better, a character entirely cut from the theatrical cut - Thorin's father Thrain - appears and is pretty cool, and Lake-town especially ends up feeling much more expansive and detailed.

The major problems the film have still persist - some clunky exposition, strange ideas, and weird "stop and go" pacing with the music in major action scenes. But if you liked the film enough to want to watch it again, definitely be sure to check out this extended cut the second time around instead of the threatrical again. It's worth your time!

Interestingly, the last bit of "new" footage ends before Bilbo has even met Smaug, so the entire final third of the film offers nothing new.

[Quintus 5,399]

I prefer the theatrical versions of the LotR films.

[Not Mr. Big 4,639]

I prefer the extended cuts of FOTR and TTT but ROTK's extended cut nearly ruins the movie for me

[Wojo 2,453]

The EE cuts of TLOTR aren't long enough for me. If the movie finishes before I'm done reading the book, it's too short.

[Unlucky Bastard 7,782]

The extended cuts are too long and boring. Even the theatrical versions are too long.

[Quintus 5,399]

The theatrical of Return of the King certainly is, due to the way they handled the ending/s.

[Wojo 2,453]

Theatrical should have kept Saruman's death and excised the Grey Havens.

[Jay 37,373]

I'd be down for that.

[Dixon Hill 4,234]

Seriously?

Close Encounters of the Third Kind and Contact

Two sides of the same coin. One fantastical, one realistic. One intimate and atmospheric, one global and sprawling (perhaps a bit goofily so). One with some degree of emphasis on love, connection, family etc., one decidedly not concerned with that. One with a somewhat dated, syrupy theme, one with a modern musical masterwork as its score. Both great in their own ways. I'd rather take Ellie's trip than Roy's though.

[Quintus 5,399]

It's the arrangement which makes it syrupy in today's age, but the melody itself is still strong and potent.

[mrbellamy 6,291]

Theatrical should have kept Saruman's death and excised the Grey Havens.

[Dixon Hill 4,234]

It's the arrangement which makes it syrupy in today's age, but the melody itself is still strong and potent.

I don't disagree. But a cue like Good To Go kicks ass no matter what year it is.

[Marian Schedenig 8,210]

Theatrical should have kept Saruman's death and excised the Grey Havens.

If you had to adapt LOTR by throwing everything out and keeping just ONE single scene, the Grey Havens is what you'd have to keep.

[Unlucky Bastard 7,782]

Which film has the "dated" music?

[Dixon Hill 4,234]

Contact. Mainly just the theme.

[Glóin the Dark 1,222]

I find the death-of-Saruman scene in the film to be pretty shabby and awkward, actually. I don't know if this is because they'd decided to omit the scene from the short version for pacing reasons and thus didn't subject it to the same degree of finesse in post-production (and pick-up shooting) as they ordinarily would have, or whether they chose to omit it because it wasn't working very well (or some combination of the two). In any case, I think the film is better off without the scene in the form that it currently exists.

[KK 3,307]

That scene kicks ass! And has some really great music too!

[Glóin the Dark 1,222]

I'm not really a fan of the music for the scene either, I must confess.

[Jay 37,373]

Yea, the score is awesome

[KK 3,307]

You're killing me Gloin!

I love the twisted renditions of the themes, and that seething cluster for Saruman's fall.

[Jay 37,373]

yea those twisted renditions are really neat

[Incanus 5,715]

Rear Window: I find this film both highly charming memento of the era and a dazzlingly put together directorial work. It is a simple concept but offers such wide range of interpretations, food for thought and just pure Hitchcockian entertainment and has the same playfully humorous element that also graced North By Northwest which balanced so well with the suspense which is built slowly but surely to its peak. James Stewart is in his classic everyman mode and Grace Kelly is a great foil to his worldly photographer as the urbanite Lisa who in the end meets the man's quite high expectations and reveals her inner adventurer which solidifies their relationship. The leads have excellent chemistry and their playful banter with the numerous undercurrents of uncertainty and personal issues flows very naturally as they try to settle the situation of their relationship and uncover whether or not the neighbour has committed a murder. Raymond Burr as Thorwald has to be credited for his strong performance although he has to project most of it without a line of dialogue and across a whole inner courtyard of the block of apartment buildings as he is so often seen as a mere vision through a window. As I said it is a simple idea but in the hands of Hitchcock is really comes together visually, technically and storywise. It is pure cinema and entertainment and makes no secret of it from the very theatrical opening to the final image. Franz Waxman's jukebox jazz and eclectic collection of songs from the period that emanate from radios and apartments create a perfect mood for the film and Hitch even works the song Lisa into the narrative in a fun way.

[Unlucky Bastard 7,782]

Contact. Mainly just the theme.

Uh huh. It's just so 1997.

[Glóin the Dark 1,222]

I've just listened to the audio track [edit: of Saruman's death scene] to refresh my memory of it. I agree that there's some interesting stuff there (even in the second half, which is where my main gripes with the track are), but overall it has a bit of a meandering form which makes the eventual climax rather underwhelming for me. The same goes for the actual scene in the film (to my memory, though I don't think I've watched it for years).

Ideally, if Saruman's death must come shortly after his defeat, I'd rather have seen The Two Towers designed in such a way as to accommodate it as a climax...

[Incanus 5,715]

I've just listened to the audio track [edit: of Saruman's death scene] to refresh my memory of it. I agree that there's some interesting stuff there (even in the second half, which is where my main gripes with the track are), but overall it has a bit of a meandering form which makes the eventual climax rather underwhelming for me. The same goes for the actual scene in the film (to my memory, though I don't think I've watched it for years).

Ideally, if Saruman's death must come shortly after his defeat, I'd rather have seen The Two Towers designed in such a way as to accommodate it as a climax...

I agree with Jay and KK on the music. Very operatic, very brooding and the leads to a great finale. The scene itself is a bit on the weak side writing-wise with fireballs and all but I actually somehow felt Saruman's end in the film gave a nice homage to the Scouring of the Shire even though PJ wanted his gore moment for him. The whole Palantír subplot is a bit stretched when they want to make it another obstacle/mystery of where Sauron will strike his big blow but its not terrible as such.

[Faleel 5,359]

I like the overall melancholical sound/mood of the cue.

[Incanus 5,715]

I like the overall melancholical sound/mood of the cue.

And most of all Christopher Lee gets his big exit scene.

[KK 3,307]

And I like that little "gore" moment. Seemed like quite a befitting end for the great Christopher Lee!

[Incanus 5,715]

And I like that little "gore" moment. Seemed like quite a befitting end for the great Christopher Lee!

PJ obviously liked to give him the Hammer horror movie ending.

[Glóin the Dark 1,222]

Ah well...looks as though I'm the sole party-pooper, as usual!

[DreamTheater 131]

The Way (2010) director Emilio Estevez, starring Martin Sheen, Emilio Estevez, Deborah Kara Unger

Really fine film starring father and son (though only in a minor part) when Sheen learns of his estranged son's death while on a pilgrimage. He instead decides to continue the journey his son began in order to learn what made them drift apart and he meets all sorts of quirky people along the way. This dramatic tale has some great character moments (often funny ones). 9/10

Strange Days (1995) director Kathryn Bigelow, starring Ralph Fiennes, Angela Bassett, Juliette Lewis

James Cameron written and produced film about a society gone to shit, violence and crime everywhere, and Fiennes making a living dealing in black market recordings that simulate experiences for the participant. When he watches a clip that involves a murder committed by policemen, his life is in danger. Angela Bassett really rocks in this film. 7.5/10

In a World (2013) director Lake Bell, starring Lake Bell, Fred Melamed

Delightful indie film that tells the story of a young woman wanting to break through in the male-dominated world of trailer voice-over work. She is however overshadowed by her experienced father not ready to retire yet and even willing to steal a job from her. Lake Bell wrote and helmed this cool film and manages to become very likable as she fights for her right to shine. Or at least her voice. 7.5/10

[BloodBoal 7,538]

[Sharkissimo 1,973]

I find the death-of-Saruman scene in the film to be pretty shabby and awkward, actually.

That's what makes it pure Peter Jackson. As the films went on, they became less Tolkein and more Jackson.

To quote a wise man on another forum:

Everything about Jackson's take on Tolkien is encapsulated--for me, at least--in one of the opening moments of Fellowship: Sauron saunters out on the battlefield for his grand entrance and begins comically batting soldiers around in a big effects display. That sort of goofy moment--silly and over-the-top and grand--is quintessential Peter Jackson, and each of his Tolkien adaptations have yielded more and more to Jackson's own impulses.

[Marian Schedenig 8,210]

Contact. Mainly just the theme.

Just because it's somewhat reminiscent of the love theme from The Adventures of Robin Hood?

[Dixon Hill 4,234]

Nah I don't know, I just don't like the shape of the melody. It's not even "dated" I guess. Just doesn't work for me.

[Marian Schedenig 8,210]

Contact. Mainly just the theme.

Just because it's somewhat reminiscent of the love theme from The Adventures of Robin Hood?

And I like that little "gore" moment. Seemed like quite a befitting end for the great Christopher Lee!

It's just too much. The spikey wheel affair shows the same lack of restraint that sadly is all over the Hobbit films.

[Sharkissimo 1,973]

Two sides of the same coin. One fantastical, one realistic. One intimate and atmospheric, one global and sprawling (perhaps a bit goofily so). One with some degree of emphasis on love, connection, family etc., one decidedly not concerned with that. One with a somewhat dated, syrupy theme, one with a modern musical masterwork as its score.

For me, CE3K is the more realistic one - finale excepted. It has that American New Wave naturalistic vibe in the family scenes, Roy's breakdown, the cover-up, the escape etc. No one does suburban, middle-American dysfunction better than Spielberg.

[Quintus 5,399]

It's the arrangement which makes it syrupy in today's age, but the melody itself is still strong and potent.

I don't disagree. But a cue like Good To Go kicks ass no matter what year it is.

I like Silvestri, but I'd rather listen to CE3K than this.

[Naïve Old Fart 9,552]

I find the key-change when J.R. Hadden says "maybe not out, but certainly being handed your hat" spine-tingling!

It's possibly the best bit of scoring I have heard AS do - along with the "Indian" fight music from "The Abyss".

[Dixon Hill 4,234]

Yeah all of the material during Hadden's scenes is very nicely ambiguous and unique.

[DreamTheater 131]

Contact may well be my favourite film by Zemeckis and Silvestri's score is inspired and appropriate.

[filmmusic 1,841]

Contact may well be my favourite film by Zemeckis and Silvestri's score is inspired and appropriate.

Favourite Zemeckis:

Who Framed Roger Rabbit

And then the Back to the Future trilogy

[Gruesome Son of a Bitch 6,488]

My favorite Disney films are Who Framed Roger Rabbit, Return to Oz, The Rocketeer and Dick Tracy. I don't know, just an FYI!

Anyway, I watched Titan A.E. I saw this movie on opening day with like 4 other people in the theater. I enjoyed it then and I enjoy it now. It's not a particularly remarkable film, but it is an hour and a half of entertaining sci-fi. Cool visuals (scenes of Kale flying the ship through the nebula and the ice field are visually impressive and exhilarating to this day), a rag tag band with killer voice work (especially Nathan Lane!), neat aliens and awesomely dated year 2000 soundtrack. I remember watching it and thinking, "this is how The Phantom Menace should have been." I agree with my younger self.

[Naïve Old Fart 9,552]

Contact may well be my favourite film by Zemeckis and Silvestri's score is inspired and appropriate.

[nightscape94 965]

Contact may well be my favourite film by Zemeckis and Silvestri's score is inspired and appropriate.

:thumbup:

[Marian Schedenig 8,210]

I always found the Contact score a bit more "Hollywood romantic" (instead of "science romantic" like Sagan's own works, if you get my meaning) and less mysterious than I would have liked it to be. But it's still a nice score. And after all, the film is also considerably toned down for Hollywood compared to the book. But even then it's remarkable and essential viewing.