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

[bruce marshall 1,315]

5 hours ago, Alexcremers said:

 

Which was actually realistic for royalty and high nobility. In the movie, it probably stands for illumination, peace and prosperity (instead of darkness, poverty and decay).

Chen is armorphobic..he should see a therapist.

 

M

[Chen G. 3,943]

5 hours ago, Alexcremers said:

Which was actually realistic for royalty and high nobility. In the movie, it probably stands for illumination, peace and prosperity (instead of darkness, poverty and decay).

 

Boorman divides the story into three periods: the primeval, savage period of Uther, when the land was divided, up until Arthur unites the land and forms Camelot. This period is characterized in part by the rough-looking, bulky armour and - because its supposed to be a time of legend - very heightened performances.

 

Next comes the "golden era" of Camelot, the opulence of which is indeed depicted at least partially through the gleaming armour. Then everything goes to hell, before the characters set things right again, albeit at the cost of Arthur's life. Its a neat concept, but because I'm not invested in the actual character stories being told, it amounts to little more than a novelty.

 

As for the historicity of shiny armour. Yes, kings could have their armour polished, but like some of the other features of the armour in Excalibur, what matters is that it looks ridiculous. Whether such armour actually existed is beside the point.

 

1 hour ago, Romão said:

At least Excalibur tries to be its own thing on all levels. A bit like Dune, actually. They are flawed and sometimes very inconsistent. But no one can say they play it safe.

 

I can't abide that argument. If I didn't enjoy the movie, I didn't enjoy the movie. Whether or not it was unique is of no consequence.

 

That isn't to say that there aren't things about the movie I enjoyed.

[Romão 2,274]

16 minutes ago, Chen G. said:

 

 

 

I can't abide that argument. If I didn't enjoy the movie, I didn't enjoy the movie. Whether or not it was unique is of no consequence.

 

That isn't to say that there aren't things about the movie I enjoyed.

 

 

It's not a argument, just that there's more to analyzing a movie beyond one's own enjoyment of lack thereof. We shouldn't disregard a movie wholesale because of a lack of enjoyment, nor should we praise all its components because we did enjoy it. Like I said, I find Excalibur to be a flawed film. That doesn't mean there's nothing to take from it, like yourself have said you have. And in the case of this particular movie, its atmosphere and feel is far more relevant to me than its dramatic shortcomings. A bit like Coppola's Dracula, although I find that one to be the superior work 

[Chen G. 3,943]

80% of that film’s “atmosphere” is Wagner doing Boorman’s job for him, as far as I’m concerned.

 

Just a hint of Siegfried’s Funeral March sets a tone like nothing else.

[bruce marshall 1,315]

Btw

Boorman was inspired by ONCE UPON...WEST.

Both films are about the passing of eras.

 

 

 

 

[Quintus 5,399]

I'd rather watch The Emerald Forest again anyway.

[publicist 4,643]

Or Hope & Glory.

[A24 4,326]

On 7/20/2020 at 7:47 PM, bruce marshall said:

 

Boorman was inspired by ONCE UPON...WEST.

 

 

And Game Of Thrones was most likely influenced by the adult tone of Excalibur. 

 

On 7/20/2020 at 6:56 PM, Chen G. said:

 

Boorman divides the story into three periods: the primeval, savage period of Uther, when the land was divided, up until Arthur unites the land and forms Camelot. This period is characterized in part by the rough-looking, bulky armour and - because its supposed to be a time of legend - very heightened performances.

 

Next comes the "golden era" of Camelot, the opulence of which is indeed depicted at least partially through the gleaming armour. Then everything goes to hell, before the characters set things right again, albeit at the cost of Arthur's life. Its a neat concept, but because I'm not invested in the actual character stories being told, it amounts to little more than a novelty.

 

As for the historicity of shiny armour. Yes, kings could have their armour polished, but like some of the other features of the armour in Excalibur, what matters is that it looks ridiculous. Whether such armour actually existed is beside the point.

 

 

You seem to know this movie inside out, Chen. Or is it because you're fascinated with the legend of King Arthur? 

[Quintus 5,399]

He went to Camelot theme park in Charnock Richard when he was nine.

[publicist 4,643]

He's one of the disciples of the one and only:

 

[Quintus 5,399]

Never watched that.

[Naïve Old Fart 9,498]

1 hour ago, Quintus said:

He went to Camelot theme park in Charnock Richard when he was nine.

Hee, hee. I stopped at Charnock Richard services, on my drive up to Scotland, eighteen months ago. Southampton to Charnock Richard, in four hours. Not bad.

 

 

55 minutes ago, Quintus said:

Never watched that.

You're not missing much.

[Chen G. 3,943]

6 hours ago, Alexcremers said:

You seem to know this movie inside out, Chen. Or is it because you're fascinated with the legend of King Arthur? 

Precisely.

 

I also became aware of it when I read Boorman was going to do The Lord of the Rings. Excalibur was a kind-of surrogate project, so it also holds a fascination for me on that level.

[Sweeping Strings 2,344]

Crimson Tide - when Tony Scott dialled back his music video sensibilities, he turned in some very good films. So it proves with this submarine suspenser, with Gene Hackman and Denzel Washington butting heads over whether an incomplete communication is an order to launch their nukes against Russian ultranationalist rebels whose actions indicate they are going to launch theirs against the US ... or an order not to.

The leads are in fine form and very solid support comes from George Dzunda, James Gandolfini and Viggo Mortensen.

[Quintus 5,399]

Who doesn't miss Gene Hackman in movies.

[SteveMc 2,674]

3 hours ago, Sweeping Strings said:

Crimson Tide - when Tony Scott dialled back his music video sensibilities, he turned in some very good films. So it proves with this submarine suspenser, with Gene Hackman and Denzel Washington butting heads over whether an incomplete communication is an order to launch their nukes against Russian ultranationalist rebels whose actions indicate they are going to launch theirs against the US ... or an order not to.

The leads are in fine form and very solid support comes from George Dzunda, James Gandolfini and Viggo Mortensen.

That's an underrated movie.  The script is quite impressive, with the racial tension between the lead characters both subtle yet well defined.  Definitely worth watching.    

[bruce marshall 1,315]

On 7/20/2020 at 10:50 AM, Quintus said:

I'd rather watch The Emerald Forest again anyway.

Excellent.

As is DELIVERANCE.

He hit the trifecta with those films.

Rest of his career never came close

[bruce marshall 1,315]

PANIC IN THE YEAR ZERO

nice companion to WOTW#

[Chen G. 3,943]

19 hours ago, bruce marshall said:

As is DELIVERANCE.

 

There's a recent review of Deliverance by Quentin Tarantino that's pretty much in-line with my thoughts on the movie.

 

There's no doubt Boorman knows his filmmaking. Like I said, I tend to like his dramas and thrillers much more than his deep-dives into genre. There's more than a modicum of truth in Mark Kermode's assertion that Boorman gives off a sense of contempt towards the genres he finds himself working in.

 

But, otherwise? Good filmmaker.

[A24 4,326]

On 7/20/2020 at 11:05 PM, Chen G. said:

 

I also became aware of it when I read Boorman was going to do The Lord of the Rings. Excalibur was a kind-of surrogate project, so it also holds a fascination for me on that level.

 

Would you like Peter Jackson to have a go at the King Arthur myth? I fear he would be colouring inside the lines too much.

 

But it will be better than:

 

[Chen G. 3,943]

1 minute ago, Alexcremers said:

Would you like Peter Jackson to have a go at the King Arthur myth?

 

Hmm, not really. I'm sure he has other films in other genres on his mind.

[A24 4,326]

Mel Gibson then?

[Chen G. 3,943]

He already made what's essentially a Scottish King Arthur movie. It literally ends with the sword in the stone!

[SteveMc 2,674]

Watched a few movies recently, can't be bothered to do full reviews, so here goes some summaries.

 

Short Term 12

Early appearance of some now familiar faces.  It's a kind of typical 2010s drama, checking most of the critical respect boxes.  Pretentious, but not overly so.  It's a movie that does nothing really wrong, but does not fully draw you in or offer any surprises.  A bit dull, even.  It's still a good movie, though.  

3/4

 

Paths of Glory

Masterful.  Scintillating performances.  Outstanding mise-en-scene.  Every detail has purpose.  A must-see.  Is the ending just a tad over the top, though?  Commendable as a concession of hope and humanity coming at the end of a rather bleak view of the two, but perhaps silent remorse would have served better than the humming and tears?

4/4

 

Force 10 From Navarone     

Decent movie.  Harrison Ford is a bit stiff and Robert Shaw is a little bored, but it is a fun watch regardless.  

 

3/4

 

[Brundlefly 2,385]

1 hour ago, SteveMc said:

Paths of Glory

Masterful.  Scintillating performances.  Outstanding mise-en-scene.  Every detail has purpose.  A must-see.  Is the ending just a tad over the top, though?  Commendable as a concession of hope and humanity coming at the end of a rather bleak view of the two, but perhaps silent remorse would have served better than the humming and tears?

4/4

The execution scene and the preceding scenes in jail give me the creeps. The film evokes a chillingly high measure of empathy, when the accused are facing their death sentence.

[Holko 9,499]

Princess Mononoke

 

From the score to the sound design, pacing, visuals, animation, characters, themes... what a masterpiece.

[bruce marshall 1,315]

33 minutes ago, Holko said:

Princess Mononoke

 

From the score to the sound design, pacing, visuals, animation, characters, themes... what a masterpiece.

Agreed.

A rare instance of adult animation#

[Sweeping Strings 2,344]

Batman ('89) - Phoenix's depressed wannabe stand-up is all very well ... but give me Nicholson's scenery-chewing, wisecracking homicidal maniac Joker instead any day of the week. The man's clearly having a ball, and it shows.

Keaton is playful, slightly ironic and a little crazy as Bruce Wayne and stoically heroic as Bats, Basinger brings welcome glamour as Vicki Vale, Jack Palance brings old-school class as crime boss Grissom, the supporting cast is rounded out by the likes of Pat Hingle and Billy Dee Williams, Danny Elfman's score is stirring and Prince's songs bring the funk, and Anton Furst's Gotham is a stunning Blade Runner-esque achievement (not forgetting Derek Meddings' modelwork).

An absolute triumph of a superhero blockbuster.

[A24 4,326]

27 minutes ago, Sweeping Strings said:

... and Anton Furst's Gotham is a stunning Blade Runner-esque achievement (not forgetting Derek Meddings' modelwork).
 

 

Little bit of trivia, Blade Runner got very close of being named Gotham City but they couldn't get the rights.

[Naïve Old Fart 9,498]

2 hours ago, Sweeping Strings said:

Batman ('89) - Phoenix's depressed wannabe stand-up is all very well ... but give me Nicholson's scenery-chewing, wisecracking homicidal maniac Joker instead any day of the week. The man's clearly having a ball, and it shows.

Keaton is playful, slightly ironic and a little crazy as Bruce Wayne and stoically heroic as Bats, Basinger brings welcome glamour as Vicki Vale, Jack Palance brings old-school class as crime boss Grissom, the supporting cast is rounded out by the likes of Pat Hingle and Billy Dee Williams, Danny Elfman's score is stirring and Prince's songs bring the funk, and Anton Furst's Gotham is a stunning Blade Runner-esque achievement (not forgetting Derek Meddings' modelwork).

An absolute triumph of a superhero blockbuster.

Geez, Sweep, I can't believe that you forgot to mention Michael Gough?!

[Sweeping Strings 2,344]

'I have no desire to spend what time I have left burying old friends ... or their sons'. 

An oversight on my part, Gough is marvellous. Michael Caine in the Nolan trilogy is great too, and Sean Pertwee was fun as a younger, tougher Alfred in the Gotham TV show.

[bruce marshall 1,315]

COLOSSUS OF NY

Only reason I watched this is because of the Van Cleave score- recently purchased from FSM

 

NOT BAD.

 

[Holko 9,499]

Angi Vera (1978)

 

After speaking up about the poor sanitary conditions and the moneyhungriness of the doctors at an annual meeting at her hospital workplace in the pate 40s, early 50s, the titular young war-orphaned cleaning maid gets sent to a communist ideological edication camp. She falls in love with a teacher, but after a while learns to give up her sense of justice, pretend to make friends with people she dislikes and say what she suspects will be politically correct to say instead of what she really thinks/feels to get ahead in this system. A major standout scene is the "self-criticism" meeting where the students (of both genders and various ages) get derided one by one in front of the rest by a committee. Another woman, a side character who we already learnt has roots in communism and isn't afraid to speak her mind, stands up against this inhumanity the same way Vera stood up against the hospital conditions in the first scene - but when it's her turn Vera exposes and writes off her secret affair to look better. In the final scene we see the fruits of this: she's well-dressed, riding in a car with the informer woman she pretended to like to her new journalist job, and they pass that side character dressed up in the winter carrying heavy wood, unrecogniseable. A slow, subtle work about the perverseness of the industrialisation of ideology, it's a wonder this got made when and where it did, but I'm glad it did.

[bollemanneke 3,337]

Skyfall.

 

That… was pretty interesting. I basically loved everything up until the moment the villain had that overly lengthy conversation with Bond. They could have made a perfect movie if they had trimmed some of his scenes, but once he had escaped, it was rollercoaster part two. Glad to finally see the back of Judi Dench and I’m beginning to see a pattern in the non-Voldemort characters Ralph Fiennes plays (not complaining, though). Naomie Harris needed a few scenes to grow on me and although I still think I prefer Samantha Bond in the role, she’ll be a fine replacement. Sévérine and Albert Finney didn’t disappoint either and I just love Ben Whishaw.

I’ve always been curious to hear how Thomas Newman would tackle Bond and although I’ve heard lots of good things about his scores, I never expected to be so pleasantly surprised, that is until he was asked to rehash Zimmer’s Batman material and there’s also an unintentional Jurassic Park theme cameo. I even loved the song and its orchestrations. Turns out all I needed was a good long break from Adele’s ‘we could have had it all!’

 

[Not Mr. Big 4,639]

X-Men 2

Stodgy and boring.  Brett Ratner was a godsend to this franchise

[Unlucky Bastard 7,782]

That series didn't get good until X-Men Origins: Wolverine.

[A24 4,326]

Funny! 10 years ago people thought X-Men 2 is probably the best comic book movie ever. So what changed? Have people's taste changed again? Not fast enough? It doesn't utilize the latest computer technology? It isn't Dark Phoenix?! 

[bruce marshall 1,315]

Just now, AC1 said:

Funny! 10 years ago people thought X-Men 2 is probably the best comic book movie ever. So what changed? Have people's taste changed again? Not fast enough? It doesn't utilize the latest computer technology? It isn't Dark Phoenix?! 

I liked it. Ottman's score is his best.

The first two were really good. Then it went downhill, fast😞

[Not Mr. Big 4,639]

Singer's direction is just so bland and lifeless.  The script wrestles with some interesting themes but it never comes to life.

It's also really boring.

[Unlucky Bastard 7,782]

You'd think for a flamboyant gay man, the direction would be a lot more dynamic and interesting.

[bruce marshall 1,315]

39 minutes ago, PuhgreÞiviÞm said:

You'd think for a flamboyant gay man, the direction would be a lot more dynamic and interesting.

Whaddya want- another BATMAN AND ROBIN?

[Unlucky Bastard 7,782]

17 minutes ago, bruce marshall said:

Whaddya want- another BATMAN AND ROBIN?

 

Yes!

[bruce marshall 1,315]

2 minutes ago, PuhgreÞiviÞm said:

 

Yes!

You diseased maniac!

[Quintus 5,399]

5 hours ago, Not Mr. Big said:

X-Men 2

Stodgy and boring.  Brett Ratner was a godsend to this franchise

 

Snooty critics slated his third instalment at the time, but when you look at it now, it's the X-Men movie which most feels like a Marvel flick.

[A24 4,326]

I vividly remember people used to say the first X-Men was boring. However, like the first Hellboy, I thought it had a more cynical, almost punky attitude. It didn't worship its own characters, but treated them as how the world saw them, as a bunch of hideous low-lives. Maybe that's the problem? The second one was more melodramatic and I suppose that's why people (JWFaners) preferred it because it was more 'emotional'. 

[Edmilson 7,392]

But that's how the movies directed by that pedophile are: dull, lifeless, boring, stodgy, etc. I don't know how those utterly tedious flicks managed to have that much success with critics and at the box office. 

 

A terrible director and also a sex criminal. It's inexplicable why this man had a career this long.

[Unlucky Bastard 7,782]

3 minutes ago, Edmilson said:

But that's how the movies directed by that pedophile are: dull, lifeless, boring, stodgy, etc. I don't know how those utterly tedious flicks managed to have that much success with critics and at the box office. 

 

A terrible director and also a sex criminal. It's inexplicable why this man had a career this long.

 

Was Powder like that too?

[Edmilson 7,392]

I haven't seen it, nor I intend to.

 

The type of crime commited by people like Singer utterly disgusts me.

[Unlucky Bastard 7,782]

Since he hasn't been proven guilty in court, isn't this defamation?

[Quintus 5,399]

I sat and watched Back to the Future 1&2 with my kids a few weeks ago, and I've been listening to score highlights (including the lesser reminisced songs) and rewatching select scenes from the first film and thinking about them a lot ever since (isn't Netflix awesome for this!). This movie is perhaps the quintessential Hollywood blockbuster of the 80s.

 

Everyone remembers Fox and Lloyd, who are perfectly cast, but it is Crispin Glover who, now that I'm older, impresses me most. I think he's absolutely brilliant in this. It is a great shame of the trilogy that he had a falling out with the producers and so they didn't capitalise on his part in the sequels as much as they might have done; they'd have arguably been much stronger with his genius comedic presence involved.

 

The whole third act of the movie is so skilfully constructed, it's up there with E.T. and Star Wars as far as rousing cinematic finales go. The Enchantment Under the Sea dance being such an offbeat setting for a science fiction film, yet combined with the beautifully performed Earth Angel on the soundtrack, it all culminates in what I think is one of those rare transcendental moments of pure movie magic, as Lorraine and George first kiss and the strings soar in synch with the svelte vocals, a fast fading Marty suddenly springing back to life. A scene so heavily dependent on the effectiveness of the musical soundtrack, it simply couldn't have come together in a more satisfying and memorable marriage of sound and images. Just to get the editing right in such a climatic and genuinely romantic moment, we're prone to taking such craft for granted, but the precision required to pull it off would have been significant. It's little moments like these (not as common in movies as people may think) which are urgent reminders of the importance of really great spotting and soundtracking in films.

 

Which leads onto Silvestri's stellar work on the climax proper ('It's Been Educational'), as the Doc underlines one last time to Marty (and the audience) exactly what the plan is to get him back to 1985. This snares heavy cue is just so terrific, the way it propels the ticking clock suspense forward all while acting as emotional soundtrack for great farewells between two unlikely friends who love each other - amongst the whirling chaos of the brewing storm and shouting exposition it is easy to forget the big science fiction themes of time travel and technological revolution playing out in the background. This is where I had the realisation of the extent of Silvestri's brilliance on BTTF when he approached its musical style. Like John Williams did in the farewell climax of E.T.; the BTTF composer's sound is big and larger than life, it is epic - these are little characters caught up in big world changing events, and the underscore captures it all, every nuance, big and small, of what is taking place. It enhances the human emotions the characters feel and the thunderous horns punctuate the great advances being made. To me, this is other level scoring work, and it's what can make really thoughtful scoring so magnificently impactful. 

 

Snappy dialogue, effortless comedy, romance, bromance, adventure, suspense... it's easy to take for granted that Back to the Future has it all.

 

So anyway, have we ever had a thread which celebrates and debates score moments where the music seems to behave so profoundly as to make a scene transcend the 'normal' level of regular films?