LaraQ
Badass
English Rose
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Post by LaraQ on Feb 1, 2020 21:28:55 GMT
Color Out of Space.A surprising excellent Nic Cage film.It's visually stunning,the cast are solid,Cage obviously goes big,but in a funny way.In short,it's a really,really good genre movie.8/10
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Post by Mattsby on Feb 1, 2020 22:09:13 GMT
Hollow Triumph (1948) aka The Scar. 6/10 "It's a bitter little world." Pretty good assumed-identity noir, starring Paul Henreid & Joan Bennett, with a load of fatal irony and great visuals by John Alton (he did Raw Deal the same year) - I love his two-shots, putting the foreground actor a little too close to the camera, and his use of shadows, like the pic above, do ya think he'll make it out of this alive? There are not one but two pasts boxing him in. Also, even for a noir, there is a staggering amount of smoking in this!
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Deleted
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Post by Deleted on Feb 2, 2020 4:01:32 GMT
Rewatched Tag, and even though I think I’m the biggest Sono fan on this forum (though Moviesinner might be) I was somehow underrating this before...by a lot. Considerably more of an extremely emotional experience the second time around, and it hit me pretty hard the first time. Bumping this to a strong 9/10, maybe even a 10.
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Post by pacinoyes on Feb 2, 2020 8:23:01 GMT
Black Tuesday (1954) - ~6.5+/ 10 I don't think I ever saw this whole thing before but it will clearly remind you of many crime films - Desperate Hours/Key Largo/Petrified Forest - with Edward G. Robinson in pretty wonderful form. He is maybe more immediately unappealing as a character than I can recall ever seeing him - this would be a great double feature with (the better) Love Me Or Leave Me which shows his peer Cagney in much the same way playing off things we've seen and still getting much mileage out of it. The supporting cast lets this movie down for me (Peter Graves and Jean Parker) - not only aren't they near Robinson's equal - they are colorless themselves - and so much of the drama seems formulaic. Still if you come across it, worth a watch for EGR alone.
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Post by evilbliss on Feb 2, 2020 11:11:22 GMT
'Little Women' (2019)
Expectations were standard and ended up LOVING every second of it! Greta Gerwig was robbed of a nomination, specially when this movie was even better than 'Lady Bird' in my opinion. I generally don't like to the extreme heart-warming fluffy movies but this one is special. I was never bored and never wanted it to end. Superior to the original '94 version. One of my favs from 2019 and if Greta doesn't win Adapted Screenplay I'm gonna break the TV.
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lee
Junior Member
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Post by lee on Feb 2, 2020 14:21:07 GMT
Guilty of Romance - 7 or 8/10 can't decide yet.
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Post by Mattsby on Feb 2, 2020 19:05:58 GMT
Goodbye Again (1961) 7-7.5/10 “Stop it. You’re acting.” Ingrid says to a crying Perkins after disciplining him more like a child who won’t get up for school than a lover who wants nothing but her. This is a very good and nuanced love-triangle drama. There's Ingrid’s tension between what she wants and what she’s willing to ignore and the shame and looming awareness of her aging - Yves’ casual ego and his checked resentment against the younger Perkins who is so goofily in love it must be the first time. Perkins - who in this Psycho follow-up perf won Best Actor at Cannes - has the slackness of someone young and entitled and the forwardness of inexperience and is surprisingly charming here at times too. A lot of Paris locations are used and there are some lovely touches - we don’t only get a shot of Perkins and Ingrid hugging in the rain, but also a shot of Perkins seeing a painting of a queen in the window behind them. Some surprising elements - how openly the movie suggests sex, the pervasive social function of alcohol, and the heartbreaking ending note...
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Post by Mattsby on Feb 2, 2020 19:32:40 GMT
His Days Are Numbered (1962) 7.5 or more. That poster makes the film look merry though it's anything but. This is a bleak, keen pic by Elio Petri who shoots this with a lot of handheld camera and observantly captured peripherals, recalling neorealism or even documentary; the clever, jump-cut editing recalls the nouvelle vague and underlines the theme of transience. Plot follows Cesar an aging plumber who witnesses the death of someone his own age which galvanizes him to rejig his life and question the meaning of existence. The brilliance is how Petri peppers his journey with Italy's lower-rung social struggling and Cesar's friends who are unenthused with his epiphanies as they are still laboring, still part of the working class Cesar has abandoned for an anticipated yet unlikely happiness. The solitary, haunting final shot is chilling...
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lee
Junior Member
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Post by lee on Feb 2, 2020 21:13:39 GMT
Walkabout - 9/10
Those sunset shots are so gorgeous, probably the best I've seen them done.
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Post by Longtallsally on Feb 2, 2020 21:34:24 GMT
Rear Window (re-watch) - 8/10
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Post by Tommen_Saperstein on Feb 2, 2020 21:51:41 GMT
Walkabout - 9/10 Those sunset shots are so gorgeous, probably the best I've seen them done. Nic Roeg's cinematography is always gorgeous and John Barry's score for this was among his best, and that ending!! Beautiful
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Deleted
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Post by Deleted on Feb 2, 2020 22:20:55 GMT
Guilty of Romance - 7 or 8/10 can't decide yet. Definitely my least favorite from Sono - the only one of the 12+ I've seen from him that I'm not overly enthusiastic about - but it still executes some twisted ideas really smoothly and there's some haunting imagery that's hard to forget. You a fan of him?
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lee
Junior Member
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Post by lee on Feb 3, 2020 4:28:41 GMT
Guilty of Romance - 7 or 8/10 can't decide yet. Definitely my least favorite from Sono - the only one of the 12+ I've seen from him that I'm not overly enthusiastic about - but it still executes some twisted ideas really smoothly and there's some haunting imagery that's hard to forget. You a fan of him? Yeah, I'm not really sure what to think of the film yet. It has some really good stuff in it and some bad as well. Def liked the 3 main lead story arc, very well acted. Especially the chick who played Mitsuko. And I've only started exploring his filmography recently but I'm liking what I'm seeing so far. His style is cool.
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Post by pacinoyes on Feb 3, 2020 11:19:53 GMT
Where Danger Lives (1950) - 6.5+/10 - re-watch but it's been a whileInteresting noir directed by John Farrow (Mia's dad) this is a strange picture in set-up and execution - Robert Mitchum, cast against type as a gentle, young Doctor is at his laconic best here and Faith Domergue (who?) is not up to the acting task as the femme fatale. There is a scene here near the start where Mitchum walks out on her (and Claude Rains) which is so gloriously Mitchum in its off the cuff, shrugging his shoulders manner you half expect him to say "Baby I don't care" here too and the last 1/3rd is trippy and visually almost like David Lynch.........for 1950 anyway.
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Post by jimmalone on Feb 3, 2020 12:55:07 GMT
La fille du puisatier (1940, Marcel Pagnol)
Wonderful written underseen classic. Great performance by Raimu. Around 8/10.
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Post by stabcaesar on Feb 3, 2020 15:30:32 GMT
Uncut Gems - Another living proof that no matter how lame a film is, as long as you put enough fucks in the script, people would love it.
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Post by Sharbs on Feb 3, 2020 19:50:51 GMT
Hail Satan? is cool
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Post by Mattsby on Feb 3, 2020 20:47:17 GMT
Elena and Her Men (1956) - soft 7/10 Brightly made and beautiful to look at. Ingrid, a quicksilver wonder here in a French-speaking role, slings around a Bastille Day crowd like a pinball, drinks too much wine, and accepts marriage offers as soon as she sheds ‘em. It's an alright romantic farce from Jean Renoir, taking on some of the comic busyness of his masterful Rules of the Game. I kept thinking this movie looked like it was fun to make - but its overcrowdedness and political plot a bit too often takes the stage from its star. As Ebert asked in his review, "Was there ever a more sensuous actress in the movies?"
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Post by pacinoyes on Feb 4, 2020 0:27:34 GMT
Hard Lessons (1986) re-watch ~6/10 on Netflix Well-intentioned, formulaic TV movie about a school principal (Denzel Washington) before he made a bigger mark in film - the next year he gets an Oscar nod. Washington is the best thing about this - it's blandly directed and unevenly cast in the supporting roles. He's at his most effective simply listening - whether to his students or in a gently sad breakup scene. Lots of little moments that are nice but not substantial or weighty - it's merely pleasant. The most baffling part of this film is the score by jazz great Herbie Hancock which is cheesy AND insanely intrusive.
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Post by jimmalone on Feb 4, 2020 12:43:42 GMT
Rewatched To Kill a Mockingbird (1962, Robert Mulligan) yesterday. Certainly one of the most beautiful films ever made. Of the four other films of Robert Mulligan I've seen none has impressed me, but still he delivered such a masterpiece. By doing what? Not (too) much. And that's the key. He keeps as close to the novel as possible, includes many of the work's most beautiful lines as Scouts voice of the off and let this story, it's characters and it's dialogues do the talk, as well as having Gregory Peck as Atticus Finch, who is absolutely perfect in every moment of the film. Also has one of the most simple, beautiful and fitting scores of the 60s. 10/10
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Post by Johnny_Hellzapoppin on Feb 4, 2020 13:38:34 GMT
JudyBiopics are a strange kettle of fish. They typically tend to end up as solid films, well made and acted, but ultimately forgettable. That is exactly what I expected from Judy, however it ended up being a very good film. It did its very best to tie where Garland was in her life to how she got to that point, while skipping about 30 years in the middle; and I reckon it mostly pulled it off.
Obviously this film lives and breathes on Renée Zellweger, who is fantastic in the role and I'll be delighted to see her win on Sunday; as while I haven't seen Erivo, she is the best of the nominees at a canter. The academy may have screwed the pooch in supporting this year, but they've knocked it out of the park with their lead winners. Whether it's in her moments of flashy performances, raw anger or quiet sadness, Zellweger hits every beat like the talent she is. This is no imitation, it is a performance and a fitting tribute. It's tiresome how many actors as real people win Oscars, but if ever one was thoroughly deserved, this is it. Also, props to the make-up team for their work being an achievement and not a distraction.
8/10
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Post by isabelaolive on Feb 4, 2020 15:26:20 GMT
Midnight Cowboy: This movie was full of surprises. One of them was discovering that the protagonist of the film is Jon Voight, first because i always thought that Hoffman was the protagonist of the film. Second, I have seen several films with Voigh after he was old, but this was the first film I watched with him where he is still young. I hardly recognized him. Not only was it the first film I watched with him as young, I also found out that he is the father of Angelina Jolie (I always knew she was the daughter of some famous actor, but I had no idea it was Voight).
Anyway, the film was quite different from what I expected. I decided to watch this film as part of a personal project, where I intend to watch some LGBT + themed films considered essential and for some reason I thought 'Midnight Cowboy' was a gay romance, like Brokeback Mountain, about a couple who leave the countryside to try life in the big city since Texas is very homophobic and they end up having to prostitute themselves. In the end it was more of a drama about companionship and the "American dream", of course, the film still counts as a lgbt + film since it addresses sexuality, loneliness, closeted people, etc.
7/10
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Post by TerryMontana on Feb 4, 2020 16:19:16 GMT
1917
I saw it yesterday and I believe it's one of the year's best, though not in my top-5. A Good script and acting, excellent directing and sound and AMAZING photography. Definitely the best I've seen in 2019 movies and a totally worthy Oscar winner.
I have to point out I'm not a big fan of war films, so I'll give it a 7.5-8/10 but I can understand why people love it and tbh I won't mind at all if/when it wins BP in a few days.
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Post by Mattsby on Feb 5, 2020 1:15:01 GMT
“He was a perfect gentleman.” “How come? Something wrong with him?” Ride the High Country (1962) - 8/10, loved it, probably among my fav Westerns. Sam Peckinpah, 30something at the time, directs this like an old pro, with such a clear vision and control, it's something to see. Takes up an unexpected narrative and shapes out some real feeling. It sort of can be seen as a cap to the traditional Western or the start of the revisionist, tragic Western. Either way it's great. Like Joel McCrea's ventilated boots, the worn-out can be adjusted. Like the handcuffed Randolph Scott fumbling a cup of coffee, some adjustments can't come too soon. The Old West as distracted - the first lines are "Get out of the street!" to make way for the amusement show. And degenerated - like the drunken, rabid men of the mining camp or the violently biblical father of Marietta Hartley who's shocked pale by the sheer difference of the world and her dreams of it. Shout-out Viced for reminding me every few months to give this a chance!
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Nikan
Based
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Post by Nikan on Feb 5, 2020 15:58:39 GMT
Velvet Goldmine (1998) - One of Haynes more attractive films with a soundtrack that has no right to be this good! Probably makes a good double feature with Performance (1970).
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