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


Mr. Breathmask

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Moon of the Wolf, a  1972 ABC Tuesday night film of the week. It stars David Janseen, Bradford Dillman, and Barbara Rush. Nifty little werewolf movie that scared this then 12 year old. It referred to a Loup Garou, french for werewolf. There were many decent films from that program such as they are. Of Course Duel being the most famous of the lot.

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12 hours ago, Horner's Dynamic Range said:

I was thinking of Suicide Squad. That was a real monster.

 

:pukeface:

 

Legit, and I'll say this again and again, this is one of the worst movies I've ever seen, and it was a lousy date, too. 

 

It's like Superman 64 in cinematic form.

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It was on the forefront of a movement along with BvS to ban critics and RottenTomatoes because they must be biased against DC.

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3 minutes ago, Stefancos said:

No one ever said they liked it, did they?

 

 

No, there are people who like Suicide Squad. The world is a big place.

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18 hours ago, Stefancos said:

BvS is a good film

The whole martha thing was so stupid.

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16 minutes ago, John said:

 

Fixed!

You have accused me of being overly critical. Let me have this one focusing on one over emphasis rather that the whole. Btw I don't  disagree. 

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Dirty Harry

 

Anyone else reckon films from the 70s were more vivid looking than they are today? The colours really pop out in this stylish looking action thriller. Great Clint movie and awesome villain. I remember in the 90s bragging at school that I'd just watched it and that got nothing but hysterical gasps from teachers, because I had no idea these sorts of movies were "forbidden" to kids. Hell I was forced to see a counselor because I loved the Friday the 13th movies. My parents weren't pleased about how I talked about them at school a lot.

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20 minutes ago, Norma's Corpse said:

Dirty Harry

 

Anyone else reckon films from the 70s were more vivid looking than they are today? The colours really pop out in this stylish looking action thriller. Great Clint movie and awesome villain. I remember in the 90s bragging at school that I'd just watched it and that got nothing but hysterical gasps from teachers, because I had no idea these sorts of movies were "forbidden" to kids. Hell I had to see a counselor because I loved the Friday the 13th movies. My parents weren't pleased about how I talked about them at school a lot.

 

I wanna say we talked about this movie a few months ago, so I don't want to repeat too much, but it's definitely a favorite of mine--and the first time I watched a sequel and thought, "Why does this exist? It tarnishes the original's ending!" (Clint Eastwood films were father-son bonding times)

 

One of Schifrin's most effective scores, if not No. 1. Really captures the psychological nuances of the character and situations, sometimes offering a "sympathetic" ear to Harry's struggles, but sometimes ambivalent if not judgmental towards some of his more abrasive actions (most notably the football stadium scene). 

 

And it's damn fun.

 

 

 

35 minutes ago, Norma's Corpse said:

Anyone else reckon films from the 70s were more vivid looking than they are today? The colours really pop out in this stylish looking action thriller

 

A lot of 70s films have this very stark, yet lively palette, and it's my favorite look in cinema's history.

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Despite Magnum Force contradicting Dirty Harry's ending, I have a soft spot for that trashy sequel. And The Enforcer almost takes the series in a more comedic direction similarly to Lethal Weapon 3. I haven't yet seen Sudden Impact and The Dead Pool.

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Just now, Norma's Corpse said:

The Dead Pool

 

It's fun, with Liam Neeson as a dick film director, but at that point Harry becomes a little bit of a self-parody,  with practically all the edge gone.

 

I'd recommend it at least once, over all.

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1 minute ago, Stefancos said:

It's also visually bland. 

 

Very much so, true. Bland is the best way to describe a good amount of things in the movie.

 

The score's not that good, to me, either, with a couple of nice moments in there.

 

Always fun when filmmakers decide to use San Francisco as a driving action setpiece, though .

 

 

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1 hour ago, Norma's Corpse said:

 

Anyone else reckon films from the 70s were more vivid looking than they are today? 

 

Absolutely. Vibrant colors are out of vogue, not only in movies but in photography as well.

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Psycho

 

Was playing in the Prince Charles cineme here in London.

Ive only seen it twice, on tv. Once in the 90's. And once maybe 10 years ago. I was surprised how much better it plays on a big screen.

 

This film is tight! A lot about the characters isn't said out loud, but suggested by body language, facial expressions, little pauses and intonations. I never picked this up before.

 

There a lot of scenes of people talking while hiding their real intention. I like that both Marion Crane and Norman lie in pretty much all the scenes they have with others in the film, and that they are both very bad liars, and have to keep lying despite already knowing tgey other person (the cop in Marion's case, and the used car salesman. Arbogast in Norman's)

 

The scene between Norman and Arbogast is tense, and despite already knowing how the film end you find yourself rooting for Norman.

 

Perkins gives the performance that made his career, and in some ways restricted it. It's a pitch perfect performance where he constantly shifts between boyish "aw shuks" and nervously sinister. From his first moment on there's just something "off" about him.

 

Janet Leigh modulates wonderfully between icey distance and empathetic warmth. Even though she's tired and on the run from the law she has dinner with Norman because he seems nice and awkward and lonely. The scenes between them brissle with nervousness as two people who have things to hide reveal a lot about themselves through seeming small talk.

 

Great camera work too! I love how Hitchcock misdirects the audience during the clean up scene by having the newspaper with the hidden money framed in the foreground in certain shots. Even though its no longer needed for the plot.

The shower scene is ofcourse the most famous sequence, studied and written about for decades now. But there and many other superbly done shots and sequences.

 

The scene with the psychiatrist is the only one that feels out of place. For a movie where so much is merely hinted at to suddenly have everything spelled out actually feels jarring.

 

The score is pretty good too!

 

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Hitchcock probably would have liked the cheeky ending with the police cars leaving and a camera pullback showing the house and the 'Vacancy' sign in the foreground. At least that's what i recall form one of those interview books.

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11 minutes ago, publicist said:

Hitchcock probably would have liked the cheeky ending with the police cars leaving and a camera pullback showing the house and the 'Vacancy' sign in the foreground. At least that's what i recall form one of those interview books.

 

Probably.

 

Ebert once suggested you could probably cut the psychiatrists speech after his first statement where he says that the Mother has taken over and go straight to the final scene. But in 1960 they probably felt they needed to explain everything.

 

It's the only blemish in a great film, imo.

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16 minutes ago, publicist said:

I noticed right away. The scene felt staged so awkwardly it was obvious it didn't want to be in the film.

 

It feels out of place, even the grandstanding performance of the actor. Oh well 

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Three Billboards Outside Ebbing, Missouri

 

Nice little character driven flick! If it was a plotty movie you were expecting, look elsewhere. Yee gudds, these people are insanely vulgar though. But anyhoo, I like the transformations some characters make though. Yeah, I didn't mind it.

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