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Post by Martin Stett on Nov 4, 2019 13:48:34 GMT
The Magnificent Ambersons (1942) -- A pretty great melodrama, anchored by Welles's great use of set design and cinematography to make the whole thing a suffocating experience. But that ending is terrible and even if that isn't what Welles wanted, it's what we've got. I have to dock a point for that disastrous coda. 7/10
Lucky Number Slevin (2006) -- For the first two acts, this is a traditional screwball comedy with the trappings of the modern day twisty crime picture. AND IT IS GLORIOUS. Hartnett is enjoyable in the Cary Grant role, Lucy Liu is surprisingly hilarious as the Katharine Hepburn character, and the dialogue is some of the funniest wordplay I've seen in a modern movie. Unfortunately, it gets very VERY generic and predictable in the final act, trying to ape something like The Usual Suspects when it was a superior movie on its own merits. That aping really drags down the ending and the movie as a whole. 7/10
Multiple Maniacs (1970) -- Well... I got what was advertised. 1/10
Children of Men (2006 rewatch) -- As soulless as I remembered it, but the production design is pretty spectacular. 4/10
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Post by mhynson27 on Nov 4, 2019 15:59:40 GMT
Spider-Man: Far From Home (re-watch)
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Post by themoviesinner on Nov 4, 2019 16:08:40 GMT
Casino (1995) (Rewatch) - 6/10 Kingdom (2019) - 7/10 L.A. Confidential (1997) (Rewatch) - 7.5/10 Masquerade Hotel (2019) - 7/10 Luce (2019) - 7/10 Killing (2018) - 7.5/10 Cure (1997) - 7/10
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Post by TerryMontana on Nov 4, 2019 17:20:07 GMT
Reasonable Doubt Scarecrow (R) Escare Plan (R) The Intouchables (R) Terminator: Dark Fate
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Post by Tommen_Saperstein on Nov 4, 2019 17:57:56 GMT
Daughters of Darkness (1971) - 8.5/10
Blood and Black Lace (1964) - 7/10
Chasing Sleep (2000) - 7.5/10
The Cat O' Nine Tails (1971) - 7/10
Successive Slidings of Pleasure (1974) - 8/10
Parents (1989) - 7/10
Sleepaway Camp (1983) - 8/10
Suspiria (1977) (FINALLY, and it was definitely worth the wait) - 9/10 _____________________________________ November
The Bostonians (1984) - 6/10
Woyzeck (1979) - 6.5/10
The Emigrants (1971) - 8/10
had to cram a lot in the last couple days of October to reach my goal, but I got it done. Overall a fantastic month, and a fantastic last few days.
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Post by JangoB on Nov 5, 2019 16:11:57 GMT
Metropolis - It's been a while since I watched a silent movie and I decided to start over with a proper classic which has been one of my biggest cinematic blindspots for years. It's a pretty wonderful experience. The boundary-pushing visuals are just awe-inspiring and the thematic content of it is as fresh and vital as it must've been back in 1927. People these days like to praise the bejesus out of some flicks because they hit the zeitgeist points but pretty much all of those points have already been made in movies like this many many moons ago. For instance, "Parasite" is getting so much praise for its treatment of the capitalism issue and for its depiction of the divide between the rich and the poor...and here I was, watching "Metropolis" and realizing that it explored all the same topics almost a century ago with none of the complexity lost. For me personally the film is not quite a masterpiece becuase some of the story turns felt a little convoluted but it definitely is a fascinating experience and a stone-cold classic for a reason.
Häxan - Didn't expect the film to be as much of a literal lecture on the subject of witches as it was, but that was a rather peculiar thing in and of itself. It's incredible how bold it feels for an early 1920s release and yet that sense of freedom is actually something that is quite prevalent and admirable about silent films. I wasn't fully engrossed in the episodic flow of the movie but it was certainly a worthy watch.
The Last of the Mohicans - REWATCH. Excellent in its realism and certain bleakness, really well made and overall very strong. I do feel that the romance angle is the weakest one in the film since it seems to come out of nowhere and doesn't feel properly developed but hey, it still provides some powerful moments along the way.
Pennies from Heaven - Pretty peculiar, to say the least. I don't consider Herbert Ross an interesting filmmaker but this film definitely stands out from the crowd. A rather pessimistic storyline is juxtaposed with the flamboyance of the old-fashioned musical numbers and the constant contrast between the two makes for a weird and unusual viewing. Not to mention that the protagonist played by Steve Martin is a total creep and an asshole all the way through. And yet the musical within him does sing its song. The story itself is kind of predictable and doesn't feel too original but the film's central concept is enough to make it memorable.
The Golden Glove - As with "Henry: Portrait of a Serial Killer" I am left with a question of why the director felt the movie was worth making - for the simple desire to make his own version of a horror film? To simply shock the audiences? Whatever the answer may be, I feel that the movie does accomplish its goal of creating a relentlessly ugly atmosphere and of showing the repulsive maniac and his actions in the most grotesque way possible. Now, whether that goal is something to admire or not is a whole other deal. I'm not really into those kinds of movies. But I guess I gotta give kudos to Fatih Akin to really sticking by his idea of total ugliness. It's a pretty vile film. The makeup effects are awesome though!
The Fabulous Baker Boys - A fairly standard story but the film works because of how well the character interactions are done. The main trio is great - the dynamic between the Bridges bros is terrific in the first place, and then Pfeiffer is just this shining light between the two. I didn't realize how well she did during that year's awards season. Although I think the best performance of the movie may be Beau Bridges.
Bedknobs and Broomsticks - This ain't "Mary Poppins" despite being made by pretty much the same team and playing out in a similar way (including an overlong animated sequence). But it's still pretty good fun. If you wanna see a Disney film in which a witch kicks some Nazi ass with the help of magic, give it a go.
The Awful Truth - Even though Leo McCarey felt that he won his Best Director Oscar for the wrong film that year, I feel that this achievement was quite deserving in its own right, especially in terms of how he worked with improvisation and basically made up a lot of the movie on the spot. I found it really enjoyable and funny, and with a tremendous cast in which Cary Grant stood out to me in particular (and of course he wasn't the one to be nominated for it that year).
Dances with Wolves - REWATCH. The definition of an intimate epic. A magnificent film full of glorious vistas and epic setpieces, and yet one which feels truly devoted to exploring its characters, their surroundings, their gradually building friendship and the thorough depiction of their way of life. Even the romance, which in a lesser movie might've felt perfunctory, is perfectly, patiently developed and makes absolute sense even contextually. Costner took a real gamble with this project during the height of his popularity and boy, did he make one hell of a great movie. And also a movie that is way smarter and deeper than must've been expected from him.
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Post by therealcomicman117 on Nov 6, 2019 18:30:19 GMT
Night of the Creeps - 8 / 10 End of Days - 7 / 10 The Lighthouse - 9.5 / 10 The Weather Man - 7.5 / 10
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