Movies: Last Movie You Watched and Rate It | Part#: Some High Number

nameless1

Registered User
Apr 29, 2009
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I'm not sure what you mean.

In the 30s, 50s, and maybe even the 70s, that ending where Cooper's Jackson Maine kills himself so that he does not drag down his wife's career is believable. It is a different time, and people think celebrities are perfect, so any scandal can sink a star's career. I will even believe it if the story is set in India, since that is a very conservative country.

However, in this day and age, Jackson Maine will not kill himself, because it is just not necessary. The whole PR team would portray GaGa's character as a loving wife who is by her husband's side no matter what, and that will just get her more sympathy and support. In fact, they will know in real time, because of twitter, so they will always be in front of public opinion.
 
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ORRFForever

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Oct 29, 2018
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In the 30s, 50s, and maybe even the 70s, that ending where Cooper's Jackson Maine kills himself so that he does not drag down his wife's career is believable. It is a different time, and people think celebrities are perfect, so any scandal can sink a star's career. I will even believe it if the story is set in India, since that is a very conservative country.

However, in this day and age, Jackson Maine will not kill himself, because it is just not necessary. The whole PR team would portray GaGa's character as a loving wife who is by her husband's side no matter what, and that will just get her more sympathy and support. In fact, they will know in real time, because of twitter, so they will always be in front of public opinion.
Fair enough. Me... I bought it and enjoyed the movie.

Note : I had NOT seen any of the previous versions of the movie.
 

kihei

McEnroe: The older I get, the better I used to be.
Jun 14, 2006
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That could be because those who paid to see it in the theater were predisposed to liking it and those who waited to see it almost for free at home weren't. Where you see a movie can affect how much you like or dislike it, but I, personally, am not convinced that it can determine whether you like it at all or not.
I think in some cases the size of the screen could alter whether a person liked or disliked a particular film. For many films, the difference is obvious in terms of magnitude alone, think 2001: A Space Odyssey; Gravity; Dunkirk; The Assassin; about a dozen Zhang Yimou movies, and on and on. But even more intimate films benefit as well. Any movie with good cinematography, imaginative mise en scene, a powerful story, intense emotions is more impressive and/or involving on a big screen. Which isn't surprising as film is first and foremost a visual medium. Though smaller screens are better than nothing, movies are meant for big screens.
 

Osprey

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Feb 18, 2005
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I think in some cases the size of the screen could alter whether a person liked or disliked a particular film. For many films, the difference is obvious in terms of magnitude alone, think 2001: A Space Odyssey; Gravity; Dunkirk; The Assassin; about a dozen Zhang Yimou movies, and on and on. But even more intimate films benefit as well. Any movie with good cinematography, imaginative mise en scene, a powerful story, intense emotions is more impressive and/or involving on a big screen. Which isn't surprising as film is first and foremost a visual medium. Though smaller screens are better than nothing, movies are meant for big screens.

I don't disagree. I acknowledged that films benefit from big screens and surround sound. In other words, the venue can affect how much you liked a film. I doubt only that the degree can be so large that it determines whether you liked it or not. If I didn't like a film at home and someone were to tell me that I would've had the complete opposite evaluation if I'd seen it in the theater, I'd be a tiny bit insulted because it would imply that I don't know my own tastes and that they have less weight in my judgment than the circumstances of the viewing. If there's no trusting of our critical eyes because they can be overruled by circumstances, then reviews become less trustworthy for those intending to watch them under different circumstances (ex. at home if the reviews were of theater viewings).
 

McDeepika

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Aug 14, 2004
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The Rider - 8.5/10

I really loved this film. It's about a young rodeo star who suffers a serious head injury which prevents him from being able to ride. Brady Jandreau, a real-life rider plays himself and his real father and sister do the same. I don't know if it is easy "playing yourself" but they all did a remarkable job. Highly recommend this.
 
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Osprey

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Feb 18, 2005
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Allied (2016) - 6/10 (Liked it)

Brad Pitt and Marion Cotillard play spies in love during WWII in this Robert Zemeckis-directed thriller. It's very much like Casablanca in its styling, locations (half of it even takes place in Casablanca) and blend of suspense and romance. The first 40 minutes are dreadfully slow and boring as it establishes the spies' romance, but it picks up after that and is engaging the rest of the way. It's let down some by Pitt's very wooden performance (show some charm and emotion; your character is supposed to be in love) and by Zemeckis employing CGI to cut down on location filming, but Cotillard picks up some of Pitt's slack and the film still has a classic feel overall. It very much felt like a throwback to old Hollywood films (like Casablanca) in which there was a leading man and a leading woman caught between love and conflict. They say that Hollywood doesn't make movies like it used to, but this felt like an honest attempt and it mostly succeeded. For that, I liked it.
 
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PK Cronin

Bailey Fan Club Prez
Feb 11, 2013
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Needs to be seen on the big screen and in Surround Sound. That's how I saw it and I loved it. Everyone I know who saw it on the small screen found it disappointing.

I can assure you that it wasn't a screen issue. The story was bland and wasn't really interesting. They focused on a few different people that weren't really developed, chose an awkward non-linear timeline to show things, and it didn't capture the magnitude well because they focused on the one small vessel and one plane so much. Also, where were the French? Where were the baddies? They tell you that they're surrounded and you see some planes dropping bombs, that's about it. They did a very poor job providing the suspense and tension that should go along with a story like that. Just really mediocre I thought. Didn't mind the acting in it, and it is visually appealing.
 

kihei

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Jun 14, 2006
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Widows
(2018) Directed by Steve McQueen 7A (very good; accessible)

Director Steve McQueen working on a genre film seems like a waste of talent, but though Widows is a female heist movie it could not bear less resemblance to Oceans 8, or any of the other Oceans movie, if it tried. Three women, all married to crooks who collectively died in a botched robbery in which the stolen money was also destroyed, have been informed in no uncertain terms by some very violent, unscrupulous men that they are now responsible for returning the money, and if they don't, they will die horrible deaths. Unlike just about any other heist movie you can name, what follows in neither played for laughs nor for standard-issue plot twists. An awful lot is going on in this movie in terms or race, political corruption and power dynamics. Viola Davis, as the reluctant leader of the pack, is superb, giving one of her best performances (which is high praise given how consistent she is from movie to movie). She is supported by an exceptional cast that includes Liam Neeson, Michelle Rodriquez, Colin Farrell, Elizabeth Debicki, Daniel Kaluuya, and Robert Duval, all of whom get a chance to shine. In fact, McQueen effortlessly juggles all the balls in the air, and what results is easily one of Hollywood's most entertaining heist movies in years.
 
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Elvis P

Got brass ... in pocket
Dec 10, 2007
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I'm looking for it here, but I'd like to see kihei do a review of Orson Welles' last film The other side of the wind. It was finished by another director and is showing on Netflix.

I thought your review of Widows is a little short.
 

kihei

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I'm looking for it here, but I'd like to see kihei do a review of Orson Welles' last film The other side of the wind. It was finished by another director and is showing on Netflix.

I thought your review of Widows is a little short.
I review The Other Side of the Wind one page back, #554. As for Widows, I couldn't think of anything else pertinent to say about it. It is a very good and well directed entertainment film, which I recognize, but it's not the sort of movie that I can evince much enthusiasm about. From my perspective, it is the equivalent of a really well made ballpoint pen--efficient, the parts fit together appropriately, not messy, and easy to use. But even with the good ones, I don't tend to remember ballpoint pens much.
 
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kihei

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filmworker-4.jpg


Filmworker
(2018) Directed by Tony Zierra 7A (documentary)

Anybody with even the slightest interest in Stanley Kubrick should watch Filmworker. You have never likely heard of Leon Vitali, though you may have seen him. He played Ryan O'Neal's bitter step-son in Barry Lyndon. After that sizeable, pivotal role, he was much in demand as an actor. But he abandoned his career to work with Kubrick, tackling virtually any assignment Kubrick could dream up and he dreamed up thousands of them. Vitali scouted locations, cast actors, prepared actors, worked in all technical fields, became responsible for looking after prints, restored prints, often frame by frame, wrote publicity releases, helped to prepare and ship negatives, and looked after Kubrick's many and frequent miscellaneous demands--in short, Vitali worked on every aspect imaginable concerning Kubrick's films. He simply became an apostle of Kubrick's, and, after the great director's death, looked after his legacy as much as it was in his power to do so. He did this because he idolized Kubrick's work, even more so after acting in Barry Lyndon. In effect he dedicated his life to helping the director make movies the way Kubrick wanted to make them. The director, with his obsessive attention to detail, was anything but an easy man to work for--in fact he could be hell. Yet Vitali remained by his side and indispensable to him right up until his death. While this movie deals with Kubrick's personality and the power of film making, it is also a utterly absorbing story of one man's life-long self-sacrifice. The documentary raises some interesting questions? Is Vitali a masochist of epic proportions? Is his commitment to another man's work even healthy? Or is Vitali a genuinely selfless man who has made a contribution to film that is impossible to quantify? He seems like a sane, likeable guy, looking perhaps a bit like a former Rolling Stones roadie in his dotage, but someone with no regrets at all about the choices that he has made in life. While his family members don't see it quite the same way, judging from the vast number of film actors and technicians interviewed in this documentary, Vitali's Herculean efforts on Kubrick's behalf are seen as incredibly important contributions to the art of film. These people don't know why he did it or how he did it, but all are certainly glad that he did it.

Available on Netflix
 
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Desdichado93

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Jan 7, 2012
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Fantastic Beasts: The Crimes of Grindelwald

Saw it yesterday. IMO it was pretty mediocre, maybe 5/10. Not much of interests happened.
Pretty thin script which they tried, but failed, to cover up for with special effects.

There are 5 movies planned in this series but I can't see how they are going to be able to stretch this series to 5 movies.
 

nameless1

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Apr 29, 2009
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Le Trou is possibly the best prison film I have ever seen. This is Jacque Becker's last film, and it is quite possibly his best.
 

Puck

Ninja
Jun 10, 2003
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filmworker-4.jpg


Filmworker
(2018) Directed by Tony Zierra 7A (documentary)
This reminds me of another Kubrick retrospective documentary "S is for Stanley". It's about his personal chauffeur and assistant, Emilio D'Alessandro. We might have discussed this last year. I think Stanley was OCD (obsessive-compulsive).

Also on Netflix.

S Is for Stanley - Wikipedia

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kihei

McEnroe: The older I get, the better I used to be.
Jun 14, 2006
42,775
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Elis
(2018) Directed by Hugo Prata 3A (bad movie; accessible)

Being a huge fan of Brazilian music, I felt duty bound to pick up this biographical account of the late Elis Regina, one of the most revered singers in Brazilian history. Elis basically rushes through Regina's turbulent life as though it had a train to catch. Very little context is provided in terms of time or place and what interest Elis musters is totally generated by Andreia Horta's committed performance. While I have never been that taken by her music, which is very middle of the road by Brazilian standards, there is no denying that Regina has a remarkable voice and sang with great verve and passion. But for a lot of reasons, she also had a very complicated life and the movie never ventures beneath the surface of her story. How a concert that she was more or less forced to perform by the then Brazilian military dictatorship changed her musical perspective, radicalizing her in the process, is documented in a single weak scene that does little to show the tyranny that Brazilian artists were under in the 70s and 80s. Regina certainly deserved more than this bland, generic approach. Ultimately, Elis is the biopick version of a quickie, rushed and unsatisfying, one of those biopicks that would have been better off never seeing the light of day.

subtitles
 

Arizonan God

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Jan 30, 2010
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Toronto members, the TIFF Lightbox is playing ROMA starting Nov 29th, and in 70mm on Dec 14th. I believe it’s the only theatre in Canada it will be screening
 
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kihei

McEnroe: The older I get, the better I used to be.
Jun 14, 2006
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Green Book
(2018) Directed by Peter Farrelly 4A (below average; accessible)

Green Book is about a paisan (Viggo Mortensen) from the Bronx, with, initially, anything but an enlightened attitude toward race, who takes a job chauffeuring a black, classically trained jazz musician (Mahershala Ali) on a concert tour that includes several stops in the Deep South. If you can't figure out where this one goes from there, you just haven't seen enough movies. On a superficial level, Green Book might resemble a role-reversal version of Driving Miss Daisy in which the white guy is the chauffeur and the black guy is the passenger. Actually, I found a much closer resemblance between Green Book and In the Heat of the Night in which we have a refined, intelligent black cop from Philly and a red neck of a sheriff from Mississippi who find a way to get along and solve a murder at the same time. Though there is no murder in Green Book, the approach to race is exactly the same though more than half a century has passed since In the Heat of the Night was released. To wit, the more both races get to know one another, the more we discover our common humanity, the more we realize that racism is evil. So we end up with a mixture of comedy and drama that paints race relations in the same simplistic terms that we experience half a century ago. Not that this isn't an entertaining movie--Mortensen, who looks like he put on forty pounds for the role, and Ali have a tremendous chemistry and a marvelous time with their characters. From moment to moment I enjoyed this movie--but its feel-good, often humorous approach to race relations just seems dated and inappropriate in an era when powerful people who should know better are attempting to normalize racist attitudes. A movie attempting to champion the same empty platitudes of the past is hard to see as anything but a cop out of the present.
 
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Nalens Oga

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Jan 5, 2010
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Canada
Oslo, August 31st (2011) - 7/10

Strong first half but it becomes forgettable as soon as we get into scenes with awkward parties and montages. It's a good film when it's serious even if it over-dramatizes so it's a bit frustrating that it breaks that rhythm with club music and random support characters coming in and doing nothing. The shots of Norway are nice, the style is what people would call 'assured film-making' but I'd disagree as he fails to hit the proper ending and is as unsure of what he wants as his protagonist (who was a good, sympathetic character that did a solid job of encapsulating the feeling of detachment from normal life).
 

Puck

Ninja
Jun 10, 2003
10,771
418
Ottawa
The Ballad of Buster Scruggs, Directed by the Coen Brothers, 7.5+

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A collection of six short stories wrapped in Coen Brothers' style dark humour. I never know what to expect from the Coens. I like many of their films and have disliked some. This one goes in the like column. Aside from the Western motif, I guess the recurring theme in this film is about looking death in the eye. It's on Netflix now, I'd recommend you give it a look, this one might get an Oscar nomination for Best Screenplay...and this definitely would play better on the big screen than Netflix (good cinematography, the brothers put some work into this).
 
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ORRFForever

Registered User
Oct 29, 2018
18,468
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Cam [2018] : (* Currently on Netflix *)

As per wiki...

"A young camgirl discovers that she’s inexplicably been replaced on her site with an exact replica of herself."

***

Fun, spooky premise. And, as long as you don't expect an ending/payoff/explanation that makes sense, you can sit back, enjoy, and let the movie creep you out.

Low expectations are a must for all Blumhouse productions. Cam is no exception.

7/10

Movie Trailer :
 
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