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Mr. Breathmask

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

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22 hours ago, Chen G. said:

Also, GoldenEye is a golden standard for action filmmaking. That cold opening!


Ir's one of those 007 pre-credit sequences that you could show somebody who'd never seen Bond before and they would get the gist totally ... there's action, some stealthy 'spycraft', flippant humour, a hair's-breadth escape, the destruction of a facility and cheerfully outrageous stunts. The only thing he doesn't do is have sex.    

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5 hours ago, Gruesome Son of a Bitch said:

I preferred the Moore and Dalton ones back then, but still liked the new ones with the guy from Mrs. Doubtfire.

 

God rest his soul.

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3 hours ago, Sweeping Strings said:

It's one of those 007 pre-credit sequences

 

Not "one of". "The".

 

Since Bond, opening you film with an attention-grabbing action sequence had become something of a usual practice - MI films and Indiana Jones films do it constantly, as do most Avengers, Middle Earth and Star Wars films - but if I were to point a filmmaker to a textbook example to study on how to do that sort of thing, I'd probably point them to GoldenEye.

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I just rewatched this last week!

I'm still not sure if 006 betrayed 007 before the mission.

Did the General actually shot him or was it a fake out to make 007 think he was dead. Were the Ruzskies tipped off by 006?

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Batman Returns - can't be too many superhero summer blockbusters that begin with a 'freak' baby in a crib being flung into a river by its parents ... at Christmas.

But so it is with this, in which Tim Burton does enough on the expected action and spectacle front to keep the WB 'suits' happy to allow him to indulge his 'gallery of grotesques' approach more than in the first film, with Michelle Pfeiffer and Danny DeVito (possibly having even more fun than Jack Nicholson) as Catwoman and The Penguin, and not forgetting Christopher Walken as crooked Gotham businessman Max Schreck (named after the actor who played Nosferatu in the classic silent vampire movie).

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That bit I put about keeping WB happy; I'd forgotten about the diminished box-office returns, parental backlash against BR containing 'inappropriate content' for their precious little darlings ... and by extension, McDs scrapping their Happy Meal tie-in. 

Cue Schumacher, Kilmer, Clooney, O'Donnell etc and a move back towards 60s camp.   

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Stir Crazy + Coming To America ... one of the leads in the first (Richard Pryor) 'blazed the trail' for the lead in the second (Eddie Murphy), I guess you could say.

Suspect both films had more impact in their day, but still a decent amount of chuckles to be gleaned from both.

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Screen-Shot-2020-07-21-at-1-44-06-AM.png

 

The Square

 

Cannes darling Ruben Östlund's followup to the compelling Force Majeure. This is a much broader canvas he's playing with here, though perhaps less focused. It juggles with plenty of ideas around the uber-liberal contemporary art world and some of its absurdist hypocritical rhetoric. It's ambitious, but a little unwieldy. It's handsomely shot and has some outrageously hilarious moments. But a tighter edit could probably add more bite to its satire.

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I recorded The Square recently from the UK's Film 4 channel, haven't gotten around to watching it yet. I liked the sound of it (the pretension, hypocrisy etc of the contemporary art world surely makes it a ripe satirical target) whilst also wondering about its 2-and-a-half-hour running time ... that's long for a comedy.  

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22 hours ago, Koray Savas said:

No thoughts?

 

It's a nice social drama that reminded me of the movies of Mike Leigh. Characters are made of flesh and blood, the level of drama isn't pushed too high, and despite the main character's self-destruct mode, the movie doesn't shy away from humor. Casey Affleck owns the part. Image quality of the Blu-ray is pretty good. 7/10

 

x-6-1200x798.jpg

 

 

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2 hours ago, AC1 said:

It's a nice social drama that reminded me of the movies of Mike Leigh. Characters are made of flesh and blood, the level of drama isn't pushed too high, and despite the main character's self-destruct mode, the movie doesn't shy away from humor. Casey Affleck owns the part. Image quality of the Blu-ray is pretty good. 7/10

 

I liked it very much, and that's in part because I was expecting a real downer of a film but ended up actually enjoying it. Despite its subject matter, there was something rather beautiful about it. Lovely score, too.

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50 minutes ago, KK said:

Screen-Shot-2020-07-27-at-3-48-43-PM.png

 

The Last Black Man in San Francisco

 

Sumptuously shot, Talbot's San Francisco odyssey plays like a series of vignettes and stories of individuals and community displaced by the gentrification of the city. The core premise is a good one, based on the lead actor's own story and brought to life by an affecting performance. But as these Sundance favourites tend to do, it meanders a bit. Still, it's a confidently directed drama, following the Barry Jenkins tradition of bringing life to rich Black stories. 

 

Oh and the film is scored as sumptuously as it's shot. Mosseri's lovely woodwind and string writing and the Nyman needle-drops add a lot to the film's personality.

NYMAN isn't in the score.

Wish this was on CD.

Best score of 2019!

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12 minutes ago, Marian Schedenig said:

 

 Lovely score, too.

 

I only remember the classical music. Was there an original score too?

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1 hour ago, KK said:

The Last Black Man in San Francisco

Loved the hell out of this one- easily one of the best of last year! So vibrant and unique, a rich story told with a lot of heart. Fails and Majors give great performances, and Mosseri's score is so complimentary to the images Talbot provides.

 

Hard to believe it's a directorial debut because it's delivered with the talent and charisma of a longtime great, although I suppose there is a sense of freshness that permeates through it all which I found to be remarkably refreshing. From what I understand Talbot is developing a trilogy of San Fransisco stories, which could bear some interesting results, and while I would like to see him branch out, I will still keep my eye on his work in the years to come. Hopefully Mosseri will be a frequent partner.

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2 hours ago, bruce marshall said:

NYMAN isn't in the score.

Wish this was on CD.

Best score of 2019!

 

Nyman's Musique à Grande Vitesse is used for the opening sequence of the film:

 

 

And it's also obviously served as temp track for some of Mosseri's score:

 

1 hour ago, The Illustrious Jerry said:

Hopefully Mosseri will be a frequent partner.

 

I have no doubt that Mosseri is going to become an indie film darling. He has exactly the kind of fresh voice that filmmakers are starved for.

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It's an acronym of the thread title and I think the OF in brackets might be for 'Or Films'. 

I seem to remember Richard/NOF previously stating his dislike of the Nolan Batmans, so him watching 2 of them again is curious.   

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20 hours ago, Marian Schedenig said:

 

 

 

Must have been very subtle, like the cinematography. The classical music was attention-grabbing though.

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5 hours ago, Sweeping Strings said:

I seem to remember Richard/NOF previously stating his dislike of the Nolan Batmans, so him watching 2 of them again is curious.   

Yes, well, I honestly have no idea why I decided to watch them. I will say that, although I think that they are both pompous, overblown, up-their-own-arses POS, Heath Ledger is quite superb, and completely deserved the Oscar. To qoute some CD liner notes, he's: "an island of class, in a sea of dross".

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