Last Seen Movie - The Latest Movie You Have Seen; ratings

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Mon Apr 29, 2019 8:04 am

Sky Giant (Lew Landers, 1938) 5/10

RKO studio programmer, set in a TWA flying school, has various thrilling aerial sequences. The on ground conflict is between the tough ex-Army trainer (Harry Carey Sr.), his rebellious assistant (Richard Dix) and his son (Chester Morris), also a pilot. The two men are also rivals for the same girl (Joan Fontaine). This B-film is one of the early films to depict attempts at mapping the Arctic route from California over the Arctic into Russia. A precussor to the many similar themed films in this genre replete with a crash landing somewhere in the Yukon territory as the two men struggle to survive through an icy landscape. Who gets the girl in the end is the main plot point. Both Dix and Morris were already past their A-list days while Fontaine was just two years away from Hitchcock and full fledged stardom.

Charming Sinners (Robert Milton, 1929). 4/10

Static comedy of manners about infidelity based on Somerset Maugham's play "The Country Wife" which saw great success on Broadway two years before with Ethel Barrymore as the star. As with most early talkies adapted from stage successes this was brought to the screen by Paramount for its contract star Ruth Chatterton who came from a successful stage background. And like all early talkies the film is basically a filmed play with the camera devoid of any movement as characters talk endlessly in drawing rooms. A doctor (an awfully stiff Clive Brook) is having an affair with his scheming patient (Mary Nolan). In order to teach him a lesson his wife (Ruth Chatterton), who is aware of the on-going sexual escapade, thinks about having a fling of her own with a former boyfriend (William Powell). The stars try to breathe life into the boring proceedings with Chatterton and Powell (still some years away from stardom) coming off best. Laura Hope Crews is funny as Chatterton's sophisticated mother who is aware of everyone's sex games.

The Laughing Lady (Victor Schertzinger, 1929). 4/10

Paramount seemed to keep pulling out old Ethel Barrymore stage hits to adapt for the screen for their top contract star Ruth Chatterton. Here she plays a lady who laughs each time she feels anxiety. Saved from drowning her saviour decides to crash her hotel room to make sexual advances. Caught by a maid the escapade causes a scandal, gets her thrown out of the hotel with her baby followed by her husband (who has a shrill mistress on the side) sue for divorce. His business lawyer (Clive Brook as stiff as ever) not only wrangles the divorce but also gets him custody of their child too. Seeking revenge on the lawyer the wife implicates him in a compromising position with herself causing another scandal. Absurd plot moves at a fast pace with Chatterton the sole reason to sit through this rare early talkie which was once thought lost.

Latter Days (C. Jay Cox, 2003) 2/10

An awkward romance between an L.A. party boy (Wes Ramsey) and a mormon missionary (Steve Sandvoss) starts off as a bet but this dismal so-called romantic film has a hackneyed feel to it. And it's certainly not helped by broad characterizations, stereotypical situations and amateurish acting by the two leads. For some reason Jacqueline Bisset, Mary Kay Place and Joseph Gordon-Leavit decided to accept totally disposable roles in this tacky and very boring film.

Prayers For Bobby (Russell Mulcahy, 2009) 7/10

The belief in and interpretation of religion comes very easily to the faithful. But the interpretations of the "words of God" were written by mortal men and were a reflection of the times they lived in. This film raises interesting questions about the importance of seeing religion and the words of the Holy Books (here the Old Testament) in context to the times we live in and makes a strong point about blind faith can sometimes be very dangerous. A family is devastated when a teenager (Ryan Kelley) commits suicide. He comes from a deeply religious family and his conflicted feelings about his sexuality put him at odds with his fanatically devout mother (Sigourney Weaver) who feels the wrath of God will not allow the family to be together in the hereafter because of her son's "aberration". Guilt for causing his mother grief, estrangement from his family and not being able to accept his own sexuality makes him jump off a bridge on a busy highway. The screenplay has all the typical tropes of a sentimental and melodramatic tv film but deep down the story resonates deeply about many religious thoughts some also not dealing solely about sexuality. Thoughtful true story that speaks about prejudice and the strong need for tolerance and acceptance even if the presentation tilts towards being a tad preachy. Weaver is very good as the woman who's faith is shaken up and goes from pillar to post to find answers to questions she realises should never have been cast in stone.

The Virginian (Victor Fleming, 1929) 5/10

Classic and successful early talkie was the first sound version based on the novel by Owen Wister. There had already been two silent versions with Dustin Farnum and Kenneth Harlan playing the title character and there would be a further two sound versions later with Joel MCrea and Bill Pullman along with a tv series with Doug McClure. Gary Cooper became a star with this first sound version as the laconic and good-natured cowboy in love with a school teacher (Mary Brian) and in conflict with a cattle rustler (Walter Huston). The archetypal plot now seems hackneyed as the tropes have been repeated ad nauseum in so many similar westerns. But the film is a fine showcase for Cooper as it was the start of his stardom in Hollywood which lasted well over 30 years.

Lady With a Past (Edward H. Griffith, 1932) 6/10

Amusing comedy with Constance Bennett in one of her typical roles. A vivacious but intellectual socialite (Constance Bennett) finds herself a pariah as all men shun her as they find her boring. On a trip to Paris she reinvents herself with the help of a penniless man (Ben Lyon) who pretends to be her gigolo and escorts her around town which finally attracts the attention of other men. When she spurns the attentions of a fortune hunter he kills himself causing a scandal which brings her yet more popularity. Back in New York she attracts the attention of the man she loved but who had always ignored her. Bennett underplays and is delightful throughout although its highly unbelievable that the plot has her continuously rejected by men when she is so obviously alluring throughout.

Three Faces East (Roy Del Ruth, 1930) 7/10

Exciting WWI spy thriller which was a percursor to Marlene Dietrich's "Dishonored" and Greta Garbo's "Mata Hari". Agent Z-1 (Constance Bennett), a german spy, is assigned to infiltrate the house of a British officer in the Admirality in London. Her assignment is to make contact with another spy who will give her further orders. The other spy is posing as the butler (Erich von Stroheim) and a cat and mouse game ensues with other house guests who suspect both of being spies. But all is not as it seems as alliances change, secrets in the house safe hold the key to Allied victory in Europe and identities of characters are revealed to be not whom they claim. Briskly paced film has the two leads in fine form as romance blooms, there is intrigue upon intrigue and nail biting suspense and double crosses. For an early talkie the camera is surprisingly not static. Ten years later the film was remade as "British Intelligence" with Boris Karloff and Margaret Lindsay.

Bed of Roses (Gregory La Cava, 1933) 8/10

Saucy, briskly paced pre-Code film is astonishingly very bold in presenting its female protagonist as sexually liberated. Of course the character is a prostitute (Constance Bennett), just out of prison, who immediately sets her sight on a rich man and steals from him. When caught she jumps into the river to escape getting caught and ends up meeting and falling in love with a barge owner (Joel McCrea). Since this is a pre-Code film their fairy-tale love story turns gritty and before the two come together she blackmails a rich publisher (John Halliday) into becoming her lover and getting a penthouse apartment in the bargain. The witty screenplay is full of sexual innuendo with Pert Kelton, as the hard boiled hooker friend, getting all the best lines. Bennett's natural classy demeanor is at odds with the low class character she plays here but still manages to wing it via her charming and very sexy presence. Very amusing film has a number of familiar faces - Franklin Pangborn, Jane Darwell - in small parts. McCrea and Bennett have great chemistry and make a good romantic pair.

Law of the Tropics (Ray Enright, 1941) 6/10

From being the most highly paid star in Hollywood during the 1930s Constance Bennett's career ended up in B-movies during the 1940s. Still very beautiful she brings her charm to this breezy drama set on a rubber plantation on the Amazon. Running from the police she finds herself in a makeshift marriage to a foreman (Jeffrey Lynn) with whom she falls in love. Exotic (if fake) locations, a little intrigue, some corny comedy, a good supporting cast - the gorgeous dark-haired Argentine beauty, Mona Maris, is a standout as one of the other Company wives - and the attractive chemistry between Lynn and a mature Bennett make this a very pleasant time at the movies.

Crouching Tiger, Hidden Dragon (Ang Lee, 2000) 9/10

Ang Lee’s exhilarating film is much more than just a martial arts film. What is most unusual about it is the depth and poetry of the main plot which goes beyond its dazzling action sequences and has a swooning quality of romantic and even spiritual nature. The director uses breathless storytelling, ravishing romance and martial-arts miracles to sweep us into an epic adventure beyond our imagination which is what the magic of movies is supposed to achieve. During the 18th century Qing Dynasty a noble warrior (Chow Yun-Fat) wants to retire from his violent career and decides to present his late master’s sword, an exquisitely designed 400-year old blade known as the "Green Destiny", to the district governor. When the sword is suddenly stolen the warrior realizes that the thief might be the person who years before had murdered his master and decides to hunt him down and seek vengeance. Helping him on his mission is his deceased friend’s betrothed (Michelle Yeoh), a machete-wielding security officer, with whom he is in love. The lady also reciprocates his feelings but both, through a rigid sense of honour for the deceased, let their love for each other merely simmer. Thwarting them both is the headstrong teenage daughter (Zhang Ziyi) of the governor, in love with a desert bandit (Chang Chen), and her governess (Cheng Pei-Pei) who has trained her in special martial arts techniques. The hair-raising spectacular stunts were all performed by the actors themselves in scenes that resemble elegant ballet moves shot in rhythm to the soaring Oscar- winning music score by Tan Dun and the weeping solos performed by the world famous cellist Yo-Yo Ma. The film perfectly combines sensitive acting with a mature and richly textured story which is thoroughly fascinating and downright Shakespearean in its intrigue and deadly double-crosses. The film won 4 Oscars - for best foreign film, for its exquisite cinematography, original score and production design and was nominated for the screenplay, costume design, editing, original song ("A Love Before Time"), for Ang Lee's direction and for best Picture. Both lead actors became international stars after the success of this film.

Badla (Sujoy Ghosh, 2019) 6/10

Slick Bollywood remake of the spanish film, Oriol Paulo's "Contratiempo", is like an Agatha Christie whodunnit. The convoluted mystery is presented in a series of flashbacks seen from the perspective of different characters just like in Kurosawa's "Rashomon". A highly successful entrepreneur (Tapsee Panu) is found in a locked hotel room with the body of her murdered lover. She insists she is innocent and hires a famous lawyer (Amitabh Bachchan) to defend her. Nothing is as it seems with characters shifting alliances as truth and lies get mixed up and supporting characters - a missing teenager and his mother (Amrita Singh) - form an integral part of the murder-mystery. The screenplay tries to be a bit too clever with its twists and turns and with a few too many glaring potholes. Bachchan is mainly relegated to one set - the room where he interogates Panu - and the film is basically a battle of wits between their two characters with periodic flashbacks to the past. Amrita Singh manages to upstage both stars in a strong sympathetic role.

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Mon Apr 29, 2019 7:11 am

My last viewings for the next couple of weeks because I'm going on holidays to 'Wake in Fright' country and will spend my time on the internet (whenever I'm lucky enough to be getting internet access) or reading.

Tremors (2019) Jayro Bustamante 6/10
Sybil (2007) Joseph Sargent 4/10
My Masterpiece (2018) Gaston Duprat 6/10
Gloria Bell (2019) Sebastian Lelio 5/10
The Chaperone (2019) Michael Engler 5/10

Repeat viewings

Yankee Doodle Dandy (1942) Michael Curtiz 6/10
Mother (in B&W) (2009) Bong Joon-ho 9/10
The Damned Don't Cry (1950) Vincent Sherman 6/10
The River (1997) Tsai Ming-liang 9/10
Rebels of the Neon God (1992) Tsai Ming-liang 7/10
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Sun Apr 21, 2019 12:53 am

La Grande Guerra / The Great War (Mario Monicelli, 1959). 8/10

WWI on the Italian battle front as seen through the eyes of two cowards (Alberto Sordi & Vittorio Gassman) who try their best to avoid getting killed and ensuring they get through with minimum hard work as soldiers. Director Monicelli superbly combines comedy and tragedy with this ironic and poignant portrait of life in the trenches. Mixing comic slapstick with horrific scenes of battle the screenplay rings home the strong anti-war message about the futility of conflicts. Both Alberto Sordi and Vittorio Gassman give superb performances and there is a sharp cameo by Silvana Mangano (producer Dino De Laurentiis' wife) as a tough but sympathetic prostitute with whom Gassman has an amusing tryst. Many of the Italians on the crew later won major acclaim on the international cinema circuit - musician Nino Rota, cinematographer Giuseppe Ruttuno and costume designer Danilo Donati. The film was awarded the Golden Lion at the Venice film festival and was nominated for an Oscar.

La Bête Humaine (Jean Renoir, 1938) 10/10

Renoir's classic film from the golden age of french cinema is a precursor to forties noir. It is also one of the great train movies and one of the best murder melodramas. Loosely adapted from the novel by Emile Zola, Renoir brings the story to contemporary times setting it amongst the working class milieu which was unusual to see for the cinema-going public at the time. Jean Gabin was cast in the lead role of the tortured and anguished train engine driver which fit the actor like a glove. No actor could play a working class hero better than Gabin who was the top star-actor in France during the 1930s. The story revolves around a love triangle - a jealous station master (Fernand Ledoux) kills the much older lover of his coquettish wife (Simone Simon) on the Paris to Le Havre train. A witness to the crime is the engine driver (Jean Gabin) who, besotted by the woman, says nothing to the police. They soon start a torrid affair and he is urged by the woman to kill her husband. When he fails to do it she dumps him and goes after another man. The film's celebrated bleak ending mirrors the upcoming events in Europe which would soon devolve into WWII. Both Gabin and Simon are at the top of their game as they disappear into their roles creating sexual sparks. The stunning cinematography by Curt Courant adds to the moody atmosphere of the plot. One of the all-time great films and a must-see.

La Marie du port (Marcel Carné, 1950) 4/10

This second rate Carné is based on a Georges Simenon novel that does not involve murder making it much ado about nothing. A middle-aged man (Jean Gabin), in a live-in relationship with a young woman (Blanchett Brunoy), falls for her even younger sister (Nicole Courcel). Or is she the one making moves on the old man? Boring film is not helped by two stiff and bland leading ladies although Gabin is good as the distinguished creep with his roving eye perpetually on young girls. Carné's best work was all behind him and nothing here resembles any of his classics from the past although there is good location work shot in Cherbourg. Disappointing film.

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Sun Apr 21, 2019 12:52 am

La Bandera (Julian Duvivier, 1935) 6/10
Le quai des brumes / Port of Shadows (Marcel Carné, 1938) 9/10
The Mystery of Mr. X (Edgar Selvyn, 1934) 6/10
The Hour of 13 (Harold French, 1952) 5/10


Shazam! (David F. Sandberg, 2019) 5/10

Fitfully amusing film, with a stale smell of deja vu, is strictly for kids. A streetwise 14-year old orphan boy is given powers by an ancient wizard (Djimon Hounsou) and each time he yells "Shazam" he transforms into a reluctant superhero. The silly comic elements of the screenplay are lifted straight from the film "Big" which had a kid trapped in the body of an adult played by Tom Hanks. There is even an homage to that film with a scene involving a giant piano across which the hero runs recalling the delightful moment when Hanks and Robert Loggia play "chopsticks" on the giant piano keys with their feet. Shazam (played as an adult by Zachary Levi - he is incredibly bad with zero comic timing) is faced by a deadly nemesis (played by Mark Strong although I spent the entire movie thinking it was Stanley Tucci) who, rejected by the wizard, took on the powers of the seven deadly sins. The kid and his (diverse) foster siblings all rise to the occasion and take on the evil scientist. All the scenes with the young kids are wonderful and amusing but the film tanks whenever the adult superhero appears. As with all such films there is a hideously long, sleep inducing action packed finale with everyone pummelling each other with nary a scratch. Apparently Shazam and Captain Marvel were once upon a time one and the same hero until later the latter name was given to a female superhero with a franchise of her own. There are now so many superheroes flying about in movies that it's hard to keep track of them all. Still waiting for that long promised solo film on Black Widow.

Captain Marvel (Anna Boden & Ryan Flack, 2019) 3/10

There was an uproar amongst fans of this genre in Pakistan when the film failed to get a release last month. Was it banned? No it wasn't. Maybe it was because the country was in the midst of a 2-3 day mini war with India or it had something to do with theatres not paying Disney for past films. Anyway fans were bereft but I was secretly pleased that I would not have to sit through it. However, it suddenly turned up 10 days ago and I was told to see it as this superhero was going to play a major role in saving the Universe in next weekend's release "Avengers: Endgame", the sequel to "Avengers: Infinity War", a film I hated intensely although was very happy to see many superheroes getting killed off. I guess nobody died after all and which will be revealed next week. To set the stage for that we get an introduction here to yet another flying superhero just in time for her to save everyone's ass in next week's film. Air Force pilot Carol Danvers (Brie Larson who seems to be riding an Oscar curse by appearing in a bunch of B-films and a tête-à-tête with the mighty Kong ever since she won that award) crashes her experimental plane, is whisked away to a far-off planet (these scenes look suspiciously like rejects from some old "Star Trek" movie with Klingon-type creatures (apparently Ben Mendelsohn is buried under tons of makeup as one such creature) and trained under the leadership of her mentor (an older but still dapper Jude Law). Escaping back to earth, with her memory returning in fits and starts, she takes on the mantle of Captain Marvel (her costume is designed by a cute little African-American child - Hollywood's de rigueur injection of diversity) in order to solve the mystery of her past which appears to collide with her present life. The first third of this film is sleep inducingly slow (took a mini nap), the middle section is exciting as she realises she was used as a pawn in a much larger plan involving a galactic war between two alien races while the last section is the usual nonsense with everyone slamming into each other without any damage to skin, clothes or hair. Larson is stiff througout, merely going through the motions, while Annette Bening makes an absurd almost tongue in cheek appearance. Surving this feminist, but very boring film, is an amusing Samuel L. Jackson - digitally de-aged - as Nick Fury in full-on quip mode and a cat called Goose who manages to wreak hilarious havoc. I'm now mentally preparing myself for the "Avengers" onslaught next week as I've already been roped in to be the designated driver just as I was with both this film AND "Shazam!" today.

Nuit et brouillard / Night and Fog (Alain Resnais, 1955) 7/10

Chilling documentary was one of the first to deal with the Holocaust. The film uses black and white newsreels to show the death camps, the trains that transported jews from all over Europe and the dead bodies in graphic detail. Resnais intercuts these horrific scenes with shots of the camps as they were left after the liberation. All these scenes, shot in glaring colour, depict the vast serene countryside and the abandoned ghost-like Auschwitz death camp surrounded by rusted wire. These scenes of chilling tranquility raise the disturbing question of "why". Why did this inhumanity take place, who was responsible and why did people turn their faces away without anyone making a noise? These questions still haunt as the memory of it all lives on.

Jigsaw (Fletcher Markle, 1949). 2/10

Lifeless noir is badly paced with a confusing screenplay. Assistant D.A. (Franchot Tone) tries to solve two murders and discovers the answer lies with certain people in high society. Jean Wallace is the hysterical lounge singer who comes in his way. The film's only bit of interest - unnecessary cameo appearances by Henry Fonda, Marlene Dietrich, John Garfield, Everett Sloane, Burgess Meredith and Marsha Hunt. Lousy film.

The Turning Point (Herbert Ross, 1977) 8/10

After a two-year dearth of good roles for women in American cinema, the year 1977 was welcomed and celebrated with a number of films that had important parts for leading actresses. This film was one of the many that year with not one but two great female parts. Herbert Ross encountered many problems along the way taking ten years to bring this project to the screen. His original choice for the two main roles were Audrey Hepburn as the star ballerina and Grace Kelly as the former dancer who gives up her career for marriage and kids. Princess Grace was not allowed to return to the screen and the casting switched to Doris Day and Joanne Woodward which also didn't pan out. Hepburn always regretted not getting the part as she had started her career as a dancer. Arthur Laurents' screenplay, set in the world of ballet, is a soap opera with often trite dialogue but has many soaring moments during the dance sequences. A former dancer (Shirley MacLaine), who years before gave up her career to raise a family, reunites with an old friend and rival (Anne Bancroft) who is the star performer with a major ballet company. Initial delight soon turns to long simmering recriminations, jealousy and regrets as both friends lash out at each other. One regrets not having pursued her career while the other, approaching middle age and nearing the end of her career as a lead, regrets not having a husband and kids. The catalyst is the housewife's young daughter (Lesley Browne), also a dancer, who joins the company as part of the chorus and eventually rises to play the lead opposite the charismatic but womanizing Russian star (Mikhail Baryshnikov) with whom she has an affair. The film's explosive showdown between the two older women is an all-out cat-fight as they berate each other followed by hitting and slapping. Both Bancroft and MacLaine are superb as they tear into their parts recalling the era of old Hollywood studios that created great parts for stars like Garbo, Davis, Crawford, Stanwyck and Dietrich. Both Baryshnikov and Browne, in their screen debuts, are of course better dancers than actors. All the dance sequences - there are excerpts from more than a dozen ballets - are superbly, if rather hurriedly, staged with Baryshnikov breathtakingly electric during his solos. Old fashioned film recycles old material which often gets maudlin and sentimental but the funny, tense and touching relationship between the two stars makes it all work. Martha Scott scores in a small part as the acerbic grand old lady of the ballet company. The film holds the record (along with "The Color Purple") for the most nominations (11) without winning a single Oscar.

Dumbo (Tim Burton, 2019) 6/10

Charming but not great live-action remake of the 1941 Disney classic animated film. Burton overwhelms the film with his typical dark whimsy as outsized characters - played by star actors in over-the-top fashion - compete with the incredibly cute new-born elephant with huge freaky ears. The film also reunites Burton's former "Caped Crusader" and the "Penguin" - a scruffy but pompous circus owner (Danny DeVito) is struggling to maintain his motley group of acts when one of his elephants gives birth to a baby with huge floppy ears much to his disgust. The two kids of the returning one-armed WWI veteran (Colin Farrell) - a former stunt horse rider - discover that the baby elephant (dubbed "Dumbo") can fly while flapping its giant ears. He soon becomes a part of an act at the circus drawing the attention of a greedy (and evil) impresario (Michael Keaton) who moves the circus to his Xanadu-like playland where he hopes to cash in on Dumbo's act. His mistress (Eva Green), who flies on the trapeze, becomes part of the act with the elephant while flying on his back. There is a noisy action packed finale set amongst a massive set which Burton creates as an art-deco monstrosity dispensing with his usual obsession with all things gothic. The film is hit and miss but soars whenever the adorable computer-generated baby elephant is on screen as the screenplay piles on anguish when baby is separated from its mother. Colleen Atwood's stunning costume designs stand out and the film recycles the classic Oscar nominated song, "Baby Mine", from the original film. Watch the 1941 version as it is the real deal.

Indiana Jones and the Kingdom of the Crystal Skull (Steven Spielberg, 2008) 4/10

Weak entry in the Indiana Jones franchise has its moments but too often devolves into absolute nonsense when the screenplay brings on beings from outer space - Spielberg needs to put that wretched "ET" to rest. The return of Karen Allen is a welcome sight and, like Bond, Indy too gets married. There is also an important familial revelation played by Shia LaBeouf who tries to come off as Brando in "The Wild One" with switchblade intact. Oh yes, there are the obligatory Brit sidekicks (both Sean Connery and Denholm Elliott are given tribute by way of a farewell look-in) played by John Hurt and Ray Winstone who aid and/or cause hindrance. Cate Blanchett has a hoot playing an over-the-top campy villain - Stalin's Ukrainian scientist-floozie - complete with hilariously bad accent and wearing a severe bob â la Louise Brooks. The plot, involving a skull made of crystal, has everyone mentioned above converge in Peru where all the action takes place with booby trapped temples, locals giving chase with poisoned darts, the Russian Commies being a nuisance (the film is set during the 1950s so America's "Red Scare" gets a reboot) leading to an explosive climax smelling of deja vu. Let's hope that the long-promised next installment is better. Ford manages to sail through all this with his charm intact.

Gorilla at Large (Harmon Jones, 1954). 6/10

Taut mystery-thriller-noir has a tongue-in-cheek screenplay which the great cast play with straight faces. When a series of murders take place at a carnival, suspicion falls on the playground Barker (Cameron Mitchell), the owner (Raymond Burr), the star gorilla and its handler. Two cops (Lee J. Cobb & Lee Marvin) try to solve the mystery. Slinky Anne Bancroft (during the B-movie phase of her screen career) is the sexy trapeze artist wife of Burr who uses the gorilla as part of her act. This is clearly a tacky B-film, shot in stunning technicolor, which the game cast manage to give life to. Filmed in 3-D.

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Sat Apr 20, 2019 11:49 pm

Galveston (2018) Melanie Laurent 4/10
The White Reindeer (1952) Erik Blomberg 6/10
Petra (2018) Jaime Rosales 6/10
The Quietud (2018) Pablo Trapero 4/10
One Cut of the Dead (2017) Shin'ichirô Ueda 6/10
Carmen & Lola (2018) Arantxa Echevarria 6/10

Repeat viewings

Humoresque (1947) Jean Negulesco 7/10
Memories of Murder (2003) Joon-ho Bong 8/10
The Little Foxes (1941) William Wyler 7/10
A Tree Grows in Brooklyn (1945) Elia Kazan 7/10
Mia Madre (2015) Nanni Moretti 7/10
Only God Forgives (2013) Nicolas Winding Refn 1/10
Lourdes (2009) Jessica Hausner 7/10
David Copperfield (1935) George Cukor 7/10
Deep Impact (1998) Mimi Leder 6/10
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Sun Apr 14, 2019 3:13 am

The ABC Murders (Alex Gabassi, 2018) 8/10

Fans have been up in arms with the casting of American actor John Malkovich as Agatha Christie's famous detective Hercule Poirot. Yes, Malkovich is totally wrong for the part - he is bald, has a goatee and his french accent is absurd as it comes and often goes as he slips into a Brit accent alternating with an American one - but the actor grows into the role as this 3-part BBC remake swiftly moves along. It's not so much this actor's presence but more Christie's riveting plot that makes this version such a successful adaptation. The story is set in England during the 1930s with fascism on the rise and rampant racism and distrust against all foreigners which makes Poirot, a Belgian, an easy target while also making this plot point an obvious reference to modern-day Brexit. The main plot of the book is faithfully followed but with some glaring changes, one of which involves Poirot's past and the reason why he turned detective in pursuit of murderers. A cat-and-mouse game ensues when Poirot receives mysterious typed letters in which the writer indicates that there will be murders. Each victim and place of murder will be according to the alphabet with the murderer signing himself off as ABC. The murder victims are - Alice bludgeoned in a tobacco shop in Andover, Betty a flirtatious waitress strangled by a stocking in Brexhill and Sir Carmichael hit on the head and beheaded by a spade in Churston. Next to each victim is found an ABC railway guide. Poirot's old companion Inspector Jap is dead and the new cop (Rupert Grint - one of the kids from the Harry Potter movies now all grown up) does not trust the old detective. The screenplay points an obvious finger at a stocking salesman who happened to have visited each of the victims but this is Christie after all so there is a strong chance that a number of other characters could well be the murderer too. The film has loads of atmosphere - superbly shot in hues of browns and yellows - with superb production design depicting a dreary pre-war foreboding backdrop. There is nothing quaint here about the english countryside or small towns. Graphic violence and sexual situations also turned off many fans of Christie but it all adds colour hitting home the fact that murder is not pretty to look at. The Poirot we see here is not the familiar fussy detective as portrayed on screen in the past by the likes of Albert Finney, Peter Ustinov, David Suchet or Kenneth Branagh. The detective we get instead is guilt ridden, depressed and angsty with a tragic past which is revealed in horrific detail. Malkovich is quite spectacular as the dour detective wrestling with his inner demons. An interesting interpretation and a compelling murder-mystery well worth a watch.

The Whole Town's Talking (John Ford, 1935) 9/10

Edward G. Robinson is very funny spoofing his own typecast image as a gangster. The deft screenplay and Ford's playful direction makes perfect use of the actor's menacing screen persona giving us two distinct personalities for the price of one and in turn shows us his untapped comic talent. A meek clerk (Edward G. Robinson), secretly in love with his vivacious colleague (Jean Arthur), goes about his daily business at work. He is horrified to discover that he resembles a vicious gangster who is on the lam with the police on the lookout for him. When the gangster (also played by Robinson) turns up in his apartment pandemonium ensues as the mixup results in farcical situations. Robinson takes both roles and runs with it easily providing the contrast in the two distinct characters. Delicious-voiced Jean Arthur matches him every step of the way as the hard boiled, sarcastic dame who is amused by the turn of events and finds herself enjoying the meek man's attentions. The film was instrumental in getting Robinson out of his career doldrums and helped re-establishing him as one of Hollywood's top stars. A great cast of supporting actors (both Donald Meek and Etienne Girardot are standouts) seem like refugees from a Frank Capra film. Great fun.

Proof of Life (Taylor Hackford, 2000) 5/10

Kidnapping drama set in an exotic locale - the film was shot in Equador which passes off for a fictional Latin American country. The film is now more famous for the off-screen liaison that started between the two leads during the shoot. Hackford cut a graphic sex scene from the final print either to downplay the fact which eventually resulted in Meg Ryan's divorce, a year later, from Dennis Quaid or because the two stars totally lack screen chemistry. More likely the latter. An engineer (David Morse), working on a dam, is kidnapped by revolutionaries who hold him for ransom. His wife (Meg Ryan), who is nursing their troubled marriage, is helped by a mercenary (Russell Crowe), who with the help of a comrade (David Caruso) tries to retrieve the kidnapped man. The film cross cuts between the mercenary and his methods, the wife's guilt and emotional confusion and the husband holding up to the horrors of dealing with his captors. The Crowe-Ryan romance ambles along with suppressed emotions - a look here, a kiss there - showing in their body language but luckily it doesn't come in the way of the thriller aspects of which unfortunately there are few until the action-packed finale. Coming off better are Pamela Reed as the outspoken sister of the victim and Gottfried John as another prisoner who feigns being a crazy missionary.

On the Basis of Sex (Mimi Leder, 2018) 7/10

Interesting film from the historic perspective. Ruth Bader Ginsburg (Felicity Jones) - woman, jewish wife, mother and hard headed lawyer worked towards advancing gender equality and women's rights. From the start she faced an uphill battle dealing with rampant discrimination at Harvard Law School (where she was one of nine women in a class of 500) during the 1950s and all the way upto the 1970s and beyond. Winning five out of six gender discrimination cases she charted a strategic course in her plan to gradually get the courts to end inequality in many areas of the law. She is supported by her astoundingly modern egalitarian husband, Martin Ginsburg (Armie Hammer), at home. He later became a taxation law expert but while at Harvard, a year ahead in class to his wife, is diagnosed with testicular cancer and while he is home recovering and looking after their infant daughter she attends his lectures along with her own in order to keep his education going. Ginsburg eventually went on to be appointed to the U.S. Supreme Court but this film focuses on two key elements - her relationship with her husband and the one case they argued together which proved to be a landmark in outlawing discrimination "on the basis of sex". The word "sex" was substituted with "gender" so as not to ruffle male judges in court. Sam Waterston is testy as the sexist Harvard dean who encounters her later again when the case goes to trial. A story about a remarkable woman who brought a distinct change in the law allowing women many rights long denied to them.

From Here to Eternity (Fred Zinnemann, 1953) 9/10

James Jones' mammoth 860 page novel, set in Hawaii on the eve of the WWII Japanese attack on Pearl Harbour, was brought to the screen sanitized due to censorship (the screenplay downplays the bawdy vulgarity, the anti semitism and the indictment of army brass depicted in the book) but is held together by an all-star cast enveloped in a plot screaming of soap opera. The melodrama plays at full throttle and is given life by the superb actors, of whom the two leading ladies were cast against type to great effect. The screenplay focuses on a group of dysfunctional characters on an army base who during off-duty hours manage to generate heat by taking their testosterone levels sky high with physical "activities" of the rough and sexual in bars, on the street, in the stockade, at the local brothel and in the surf - the film's most celebrated sequence that still packs a punch as two lovers are seen in an erotic embrace lying on a beach as the waves crash over their entwined bodies. The story revolves around two major characters whose lives, caught up in ecstacy, pain and anguish, drastically change by the time the Japanese attack takes place. A tough sergeant (Burt Lancaster) gets involved in an affair with the unhappy nymphomaniac wife (Deborah Kerr) of his incompetent base commander and finds himself miserable not only because he realises that the forbidden romance is doomed but also because it comes in the way of his army career. The other protagonist is a boxing-champ-cum-bugle-player (Montgomery Clift) who refuses to box for the Company and is cruelly ragged mercilessly by his fellow officers. He finds solace in a tender romantic relationship with a prostitute (Donna Reed) who is biding time before returning to the mainland to settle down with a rich husband she hopes to catch. His only other friend is the hot headed, hard drinking but lovable private - the scrawny "wop" (Frank Sinatra) who gets into a major conflict with the vicious sergeant (Ernest Borgnine) in charge of the stockade. The film is capped by a superb staging of the attack on the base at Pearl Harbour. Both Sinatra (making a spectacular comeback after being washed up as an actor/singer - the story of how he got the role has become part of Hollywood lore) and the heartbreaking Reed won well deserved Oscars as did the film, the screenplay, Burnett Guffey's cinematography, the sound design and editing. Lancaster, Clift, Kerr, the film's costumes and score were all nominated. Superb old fashioned cinema that still packs a punch

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Sun Apr 14, 2019 12:25 am

Dumbo (2019) Tim Burton 4/10
Never Steady, Never Still (2018) Kathleen Hepburn 4/10
Bumblebee (2018) Travis Knight 5/10
The Aftermath (2019) James Kent 4/10
Edgar G. Ulmer: The Man Off-Screen (2004) Michael Palm 6/10
Naples in Veils (2017) Farzan Ozpetek 7/10
Piercing (2019) Nicolas Pesce 1/10
White Boy Rick (2018) Yann Demange 4/10

Repeat viewings

Advise and Consent (1962) Otto Preminger 8/10
Coming Home (1978) Hal Ashby 10/10
Crime and Punishment (1935) Josef von Sterberg 6/10
Shampoo (1975) Hal Ashby 8/10
Detour (1945) Edgar G. Ulmer 10/10
Once Upon a Time in America (1984) Sergio Leone 6/10
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Tue Apr 09, 2019 2:33 am

Reza wrote:Advise and Consent (Otto Preminger, 1962) 8/10

Riveting political film based on the Pulitzer prize winning potboiler by Alan Drury. Preminger overcomes the stagy premise by shooting the film in widescreen (shot in crisp black and white by Sam Leavitt) and uses extraordinary mise-en-scene for dramatic effect. The film is acted to perfection by a superb cast of big stars. The political machination at the heart of the story has a universal sting and is still relevant today which the witty screenplay puts forth with a savage thrust. The ailing President (Franchot Tone) of the United States nominates a liberal academic (Henry Fonda) to become Secretary of State. This sets off a fiery reaction with Senators taking sides and using people as pawns for their own gain. The candidate has skeletons in his closet but the President insists he remain. Going after him tooth and nail is a curmudgeonly Senator from the South (Charles Laughton who is superbly slimy in his last film role) while strongly siding with the candidate is the President's right-hand man (Walter Pidgeon) whose job it is to push his agenda through Congress. The amazing supporting cast each get their moment to shine - Burgess Meredith as a dim-witted witness against the candidate, Lew Ayres as the ignored Vice President, George Grizzard as an ambitious right-winger who goes tooth and nail after a junior senator (Don Murray) involving blackmail which ends in tragedy, Peter Lawford as a JFK-like womanizer who is disgusted by the hypocricy in play and the welcome return of elegant Gene Tierney who was lured out of retirement by Preminger to play a socialite. Some of the plot points (the Red-Scare trappings and the gay subtext) seem rather quaint but seeing it from the perspective of that period it comes off as potent melodrama and this remains one of the best films about Washington. Frank Sinatra is heard singing on the juke box in the brief sequence set in a gay bar which was a first in an American film and raised eyebrows at the time.



Funnily enough I rewatched Advise and Consent for the first time in years on Sunday night. Goodness it holds up so well.
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Mon Apr 08, 2019 4:58 am

Salam - The First ****** Nobel Laureate (Anand Kamalakar & Zakir Thavar, 2018) 9/10

Tragic story about a man who spent his life being loyal to his country but was time and again reviled, used, rejected and labeled a heretic by the very country he was born and grew up in. Mohammad Abdus Salam was a Pakistani theoretical physicist who shared the 1979 Nobel Prize in Physics for his contribution to the electroweak unification theory. He was the first Pakistani to receive a Nobel Prize in science and the second from an Islamic country to receive any Nobel prize. The documentary showcases this genius who came from a humble background in Jhang in Pakistan from where he rose in the field of academia to reach Cambridge University on full scholarship where he studied mathematics and physics. Later he worked for the government and was influential in playing a significant role in Pakistan's development in nuclear energy for peaceful purposes. The film is also about a man whose life journey involved two distinct worlds which he managed to keep apart with ease - "one of science and religion, modernity and tradition and obscurity and celebrity". What proved his downfall was the draconian laws made in Pakistan against the "Muslims" from the Ahmadiya faith to which he belonged. Persecution and violence against this religious sect drove him away from Pakistan. He visited a few times but came back for good after he died and was buried in his beloved country which had rejected him for most of his life. Today this great man is all but forgotten in a country that should be celebrating one of its true heroes. Instead due to ignorance, extremism and religious intolerance the country has decided to sacrifice the existence of a man who celebrated knowledge and achieved what few ever can. Highly emotional film raises questions on the sad state of affairs in the world where intolerance continues unbated and humans violently pit themselves one against the other in a bid to prove superior through sheer malice and ignorance.

Man on a Tightrope (Elia Kazan, 1953) 8/10

Rarely revived film by Kazan which was a further paeen to his detestable role as an informer to the HUAC the year before. A blatant anticommunist propaganda piece has far too many potholes in the script but also has many fascinating moments. The clown-manager (Fredric March) of a Czech circus is way in over his head with assorted crises in his life. His angry and flighty daughter (Terry Moore) is in love with the untrustworthy lion tamer (Cameron Mitchell), his much younger wife (Gloria Grahame) is unhappy, thinks he is a coward and threatening to leave him, the Czech secret police head (Adolphe Menjou) is upset with him for not introducing communist credo into his clown act, a rival circus owner (Robert Beatty) is gunning for him and there is a spy amongst his troupers. The film's exciting climax involves the entire circus defecting into Austria in broad daylight. The film's highlight is the expressionistic lighting throughout giving the film a strong european flavour despite its Hollywood trappings. Kazan superbly shoots a sensuous love scene between Mitchell and Moore as they drift down a flowing river, bodies entwined and lips locked in a passionate embrace. Sadly sultry Gloria Grahame is wasted in a shockingly underwritten part which is very strange considering she was coming off a string of hits including an Oscar win the year before. The film is based on real life events in 1950 when the Brumbach Circus escaped from East to West Germany.

Advise and Consent (Otto Preminger, 1962) 8/10

Riveting political film based on the Pulitzer prize winning potboiler by Alan Drury. Preminger overcomes the stagy premise by shooting the film in widescreen (shot in crisp black and white by Sam Leavitt) and uses extraordinary mise-en-scene for dramatic effect. The film is acted to perfection by a superb cast of big stars. The political machination at the heart of the story has a universal sting and is still relevant today which the witty screenplay puts forth with a savage thrust. The ailing President (Franchot Tone) of the United States nominates a liberal academic (Henry Fonda) to become Secretary of State. This sets off a fiery reaction with Senators taking sides and using people as pawns for their own gain. The candidate has skeletons in his closet but the President insists he remain. Going after him tooth and nail is a curmudgeonly Senator from the South (Charles Laughton who is superbly slimy in his last film role) while strongly siding with the candidate is the President's right-hand man (Walter Pidgeon) whose job it is to push his agenda through Congress. The amazing supporting cast each get their moment to shine - Burgess Meredith as a dim-witted witness against the candidate, Lew Ayres as the ignored Vice President, George Grizzard as an ambitious right-winger who goes tooth and nail after a junior senator (Don Murray) involving blackmail which ends in tragedy, Peter Lawford as a JFK-like womanizer who is disgusted by the hypocricy in play and the welcome return of elegant Gene Tierney who was lured out of retirement by Preminger to play a socialite. Some of the plot points (the Red-Scare trappings and the gay subtext) seem rather quaint but seeing it from the perspective of that period it comes off as potent melodrama and this remains one of the best films about Washington. Frank Sinatra is heard singing on the juke box in the brief sequence set in a gay bar which was a first in an American film and raised eyebrows at the time.

Last Train From Bombay (Fred F. Sears, 1952) 3/10

Shoddy, low budget grade-C adventure potboiler set in India although filmed on the backlot in Hollywood. An American diplomat (Jon Hall) gets in over his head by trying to stop terrorists from blowing up a train which is carrying a Maharaja and his daughter and thus preventing a civil war from breaking out. The inconsistent screenplay, full of potholes, is an excuse for Hall to get involved in one skirmish after another as he is beaten up relentlessly along the way but manages to get away from the police who think he is a murderer. Stiffly acted film is an amateur mess.

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Mon Apr 08, 2019 4:58 am

Isn't it Romantic (Todd Strauss-Schulson, 2019) 1/10

EXTREMELY flimsy and unfunny comedy makes fun of the well known tropes of romantic comedies. It also allows the "large" Australian comic actress, Rain Wilson, an opportunity to play a leading lady. Hating the unnatural world of cinematic rom-coms she, after getting hit in the head, suddenly finds herself "trapped in a f*****g PG-13 romantic comedy" full of clichés. A hunk (Liam Hemsworth) falls for her, she gets to wear Julia Roberts' sexy red dress from "Pretty Woman", her adoring mousey colleague (frequent co-star Adam Devine) is poached on by a sexy vamp (Priyanka Chopra) and her testy neighbour (Brandon Scott Jones) turns up as her gay BFF - the actor is in full offensive mode overdoing the mincing act. There are endless scenes of karaoke, doves flying, a clean New York that does not smell of shit and bushels of flowers and cupcakes. Poor Wilson tries and tries but can't muster up even a weak giggle in response to her antics. Instead of this mess I would rather sit through an actual rom-com starring Priyanka Chopra. Skip this lousy film.

Insurance Investigator (George Blair, 1951) 4/10

Low budget Republic Studio film noir. An insurance investigator (Richard Denning) suspects that the death of a businessman, who has taken out a double indemnity policy, may have been murder. With the help of the man's daughter (Audrey Long) he plans to expose the mystery that involves gambling debts, a double cross, murder, kidnapping and also romance. Strictly a B-feature with stoic Denning giving it a go.

Under the Gun (Ted Tetzlaff, 1951) 5/10

Rather boring prison-noir, is somewhat redeemed by Richard Conte playing once again a dispicable crook. A mobster (Richard Conte) kills a man in cold blood and his girlfriend (Audrey Totter), a torch singer, collapses on the witness stand and implicates him. Sentenced to a 20-year jail term at a Florida prison farm, he immediately starts planning his escape leading to a deadly conclusion. Most of the film is set at the farm and comes to a standstill despite introducing some interesting characters played memorably by a great supporting cast - the relentless sheriff (John McIntire), the sleazy defence attorney (Shepperd Strudwick), a guard (Royal Dano) an old convict (Sam Jaffe). Conte's presence and performance remain memorable right to the end.

Cry of the City (Robert Siodmak, 1948) 9/10

Siodmak's hard-boiled noir uses expressionistic lighting, is short on sarcastic witticisms in the Raymond Chandler mode, moves along at a measured pace with lengthy conversations between characters but has wonderful gritty atmosphere and a strong sense of time and place. Superb New York location work along with an emphasis on vivid characters make this one of the most underrated film noirs. A notorious crook (Richard Conte) shot up with bullets after killing a cop is at death's door in a hospital. The cop (Victor Mature) on the case is his childhood friend and urges him to confess to a jewellery robbery which the prisoner denies having committed. When he escapes from the hospital the police give chase searching for a mysterious woman (Debra Pagett) who had briefly visited him at the hospital and questioning his family, friends and other suspects - a disappointed mother, a proud cocky younger brother, a crooked lawyer, a former flame (Shelley Winters), a doctor who helped him and a tough woman (a superb Hope Emerson) who may be involved in the case. There are two superb set pieces which Siodmak directs with great skill - the suspenseful escape from the hospital and a brutal shoot-out and stabbing. The Italian-American characters in this film are just as memorably drawn as the ones in the films of both Scorsese and Coppola which is amazing considering Siodmak was a German emigré unlike the other two who grew up with such characters around them.

Hollywood Story (William Castle, 1951) 8/10

Loosely based on the 1922 unsolved murder case of silent film director William Desmond Taylor and Hollywood's renewed interest in silent films and stars after Billy Wilder's hit "Sunset Boulevard" the previous year. A New York based film producer (Richard Conte) arrives in Hollywood to make his first film. By chance he comes across the story of an unsolved murder case of a film director who was mysteriously shot dead in 1929. This is a straight forward whodunnit as assorted people suddenly emerge from the past intent on trying to disuade the project from being made - the dead man's former leading lady whose daughter (Julia Adams) arrives insisting that the project will open up the scandal again and ruin her mother, a shifty producer (Fred Clark), a screenwriter (Henry Hull), the cop (Richard Egan) on the case and a former leading man (Paul Kavanagh) who guards a secret. This superb film has great atmosphere as it revists the silent era via shooting on the lot that was Charlie Chaplin's studio, cameo appearances by former silent stars (Francis X. Bushman, William Farnum, Betty Blythe, Helen Gibson, Elmo Lincoln, Joel McCrea) and striking old memorabilia. Conte, always an interesting and tough actor, holds the story together with pretty Adams providing good support as the love interest.

The Girl From Missouri (Jack Conway & Sam Wood, 1934) 6/10

Due to the sudden enforcement of the production code with strict censorship on all things sexual the Harlow character here gets a bit of a twist. Instead of playing the usual man-hungry floozie she plays here the same character but with an interesting twist. She is now still a man-hungry gold digger but one who is saving her virginity in exchange for the conjugal ring. She goes after a rich dirty old man (Lionel Barrymore) but attracts the attention of his debonair son (Feanchot Tone) who falls in love with her. She battles it out with him refusing diamonds and his relentless efforts to get into her pants. Harlow is great fun - her buddy Patsy Kelly, who makes no bones about bedding any and all men, is even better - managing to take on both father and son with a few tricks up her sleeves as she suffers going to jail on false charges drummed up by the old man. Typical 1930s fluff with snappy dialogue to boot.

The Money Trap (Burt Kennedy, 1965) 8/10

Gritty neo-noir with an excellent cast that was unfortunately relegated on double bills when it first came out. It was also the last of five screen teamings between Glenn Ford and Rita Hayworth albeit for the first time she is billed below him. A cop (Glenn Ford) and his partner (Ricardo Montalban) turn crooked when a break-in robbery attempt is made at the house of a rich doctor (Joseph Cotten) who kills the intruder. The case is closed when the doctor says that the safe that was being robbed was empty and nothing was stolen. The dead man's wife (Rita Hayworth), a former beauty but now a ravaged alcoholic waitress, turns out to be the cop's former flame. Discovering that his rich socialite wife (Elke Sommer), off whom he has been living the good life, no longer has more money the cop decides to investigate the doctor and the attempted robbery further. The outcome turns deadly for all concerned in true noir fashion. The film's highlight are the brief scenes with Hayworth, who at 47, looks much older than her co-star - the results of a rough life and alcohol. She is riveting and gives possibly her best dramatic performance. In contrast Ford underacts, Montalban overacts and sexy Elke Sommer is merely around as lush scenery. Former blacklisted writer Walter Bernstein wrote the screenplay for this twisted tale about greed and it's fatal repercussions.

The Glass Wall (Maxwell Shane, 1953) 8/10

Unusual shots of Manhattan streets and its glimmering neon sign boards along with Joseph Biroc's moody noir-like cinematography keep this chase film moving along at a brisk pace. A Hungarian concentration camp escapee (Vittorio Gassman in his Hollywood debut) is refused entry at the port in New York after he stows away on a shipload of displaced persons. The law won't allow him to disembark unless he can get someone to vouch for him. His only contact is a clarinet player whom he saved during the war in Europe but he has no clue about his surname or address. In desperation he jumps ship and goes in search of him through the clubs of New York with the police giving chase. He is helped by a down-on-her-luck petty thief (Gloria Grahame). The film's amazing climax is set during the early hours of the morning inside the empty United Nations building with its facade of windows making it seem like a glass wall - the first and only time a film crew was allowed to shoot inside until 52 years later in 2005 when the shoot of Sydney Pollack's "The Interpreter" (with Sean Penn & Nicole Kidman) was allowed access inside. Vittorio Gassman, with his matinée idol looks, is superb as the hapless but determined fugitive and is given able support by Gloria Grahame as the sympathetic sultry blonde.

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Sat Apr 06, 2019 11:59 pm

Hal (2018) Amy Scott 7/10
Who You Think I Am (2019) Safy Nebbou 7/10
Juanita (2019) Clark Johnson 4/10
High Life (2019) Claire Denis 4/10

Repeat viewings

The Life of Emile Zola (1937) William Dieterle 7/10
The Turning Point (1977) Herbert Ross 6/10
Harold and Maude (1971) Hal Ashby 7/10
Japon (2002) Carlos Reygadas 9/10
Wanda (1971) Barbara Loden 7/10
Being There (1979) Hal Ashby 10/10
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Tue Apr 02, 2019 1:06 pm

Mrs Wilson (Richard Laxton, 2018) 8/10

Powerful, intricately paced 3-part BBC drama is a jigsaw puzzle that slowly reveals the life of a man (Ian Glenn) who has led a life of mystery shrouded in lies. When he dies his grieving widow (Ruth Wilson) is confronted by another woman claiming to be his wife. The disbelieving widow starts retracing their life from the time they first met during the war when they both worked for MI6. The hunt for the truth offers more shocks when a second woman (Keeley Hawes) is discovered to have been in a relationship with her husband. Disturbing revelations by her husband's two handlers during the war, one in London (Fiona Shaw) and another (Anupam Kher) in Lahore, India offer an insight into the man which involved betrayal at the hands of the Secret Service, lies and skeletons in his closet which are of epic proportions. What is fascinating about the story is that it is based on fact and the actress Ruth Wilson plays her real-life grandmother in the film. Sumptuous production covers, in flashbacks, the war years in London during the blitz and the 1960s during the present. Wilson is superb as the wife and mother who begins to question the past 20-years of her life as each new discovery about the man she loved keeps getting more and more bizzare. It is a touching performance of great sadness. The film's last moments prove that sometimes good can even come from lies with its strong message about the importance of not losing hope.

The Happy Ending (Richard Brooks, 1969) 6/10

Old fashioned women's film straight out of the 1940s & 1950s. A dissatisfied woman (Jean Simmons) takes to drink, attempts suicide and decides to run out on her husband (John Forsythe) and daughter by taking a trip to the Bahamas to sort out her mind. Plodding but incisive drama which Richard Brooks wrote for his then wife, Jean Simmons, and was based on their own faltering marriage highlighting his wife's problems with alcohol. The screenplay also touches on issues of aging, plastic surgery and the need to be thin and attractive to hold on to a man. The film is replete with clichés including dreamy 1960s style suffering as the leading character is shown in montages of walking or sitting in a bar as a hit tune (“What Are You Doing the Rest of Your Life?”) plays in the background. Simmons looks lovely and is photographed by the great Conrad Hall. For her performance she was nominated for an Oscar. Also very good are Nanette Fabray as her sympathetic maid/companion, Teresa Wright as her mother and Shirley Jones (who shockingly has a near nude scene) as a college friend who has spent her life being a mistress to various men the latest one (Lloyd Bridges) who may actually propose. Coming at a revolutionary time in cinema history the film and its subject seem archaic and completely out of place but as a film that deals specifically about issues related to women it was rare as such films were no longer being made - television would jump on this bandwagon during the next decade. Worth watching to see Jean Simmons in one of her last leading roles of some substance.

A Dog's Way Home (Charles Martin Smith, 2019) 7/10

There is nothing new here as the film basically recycles the main plot of the old MGM classic "Lassie Come Home" and adds a variation or two. However, any film about a dog has to have heart and this film has plenty of it as it wrings tears through its moments of drama and comedy. In Denver a stray pit bull pup (voiced by Bryce Dallas Howard) is taken in by a young man (Jonah Hauer-King) and his mom (Ashley Judd) but are forced to send the dog to New Mexico to abide by their city rule which says that this particular breed is not allowed in the city limits. The screenplay throws in every canine movie cliché during the dog's arduous journey back to its master. Chased by a pack of coyotes, getting buried under an avalanche, surviving two snowy winters in the mountains, befriending a CGI cougar, finding temporary shelter with a gay couple and a homeless man (Edward James Olmos) the dog's highly improbable journey is melodramatic like a Bollywood film. For all doggy lovers a must watch.

Driftwood (Allan Dwan, 1947) 6/10

A cute orphan (Natalie Wood), a Bible spouting preacher (H.B. Warner), a collie dog that survives a plane crash and a tick virus epidemic in danger of infecting a small town are the main ingredients of this melodramatic screenplay. The town doctor (Dean Jagger) and his fiancée (Ruth Warrick) try to race against time to save the life of the child not knowing that the dog holds a secret. Low budget Republic studio film has drama, comedy (courtesy of tart-tongued Charlotte Greenwood and Margaret Hamilton) and a fine cast including Walter Brennan as a grumbling and bumbling old coot. Wood, an absolute scene stealer, gives a remarkably assured performance and there are enough bizzare moments - the collie is taken to court and is accused by the town creep (Jerome Cowan) of having bitten his son who is the town bully. The film is superbly shot by the great John Alton just before he worked on a slew of magnificent B-noirs.

Overlord (Julius Avery, 2018) 8/10

Sometimes schlock that gets scathing reviews can turn out to be a real crowd pleaser. A hybrid WWII flick laced with Nazisploitation shtick surrounded by lashings of zombie tropes. On the eve of the Allied invasion of France a small group of American paratroopers are assigned to reach a small french village and destroy a Nazi radio tower on top of a church. When their plane is hit in the air the five surviving members of the group manage to reach the village. Aided by a local french woman they discover the Nazis maintain an experimental lab inside their compound which creates super humans from dead bodies. It becomes a race against time to destroy the tower and the lab while fending off the soldiers and their evil Nazi commander who has turned into an invincible zombie. The film has scenes of bone crunching violence - shootings, stabbings, decapitations, torn apart limbs - all in gory detail. Extremely entertaining film with suspense and horror entwined to create an unusual war film where you root for the soldiers to get the Nazi bastards at any cost and preferably with as much violence as it takes.

Zombieland (Ruben Fleischer, 2009) 5/10

Corny fitfully amusing zombie flick plays strictly for laughs. Zombies have taken over America and a nerdy survivor (Jesse Eisenberg) is trying to go from Texas to Ohio in order to reach his parents. He runs across a redneck yahoo cowboy (Woody Harrelson) in a SUV and the two decide to travel together. Enroute they are conned by two seemingly helpless sisters (Emma Stone & Abigail Breslin) who take off with the vehicle but later the four join up again on a road trip to L.A. The nerd gets the hots for the older sister, the cowboy is searching for Hostess Twinkies and the girls want to go visit an amusement park. Along the way they encounter an unfunny Bill Murray making a cameo appearance while the four shoot up hordes of dumb zombies. This silly film comes alive thanks to the hilarious Harrelson who has a hoot of a time bashing up zombies, cracking corny jokes and getting high on weed. Shallow film surprisingly got good reviews and was a success at the boxoffice courtesy of the young popcorn crowd that rule the roost at cinemas today. The four actors will soon appear in a sequel which promises more of the same lowbrow comedy keeping the cash registers ringing during another summer at the movies.

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Sat Mar 30, 2019 11:22 pm

Captain Marvel (2019) Anna Boden & Ryan Fleck 4/10
Blaze (2018) Ethan Hawke 2/10
Triple Frontier (2019) J. C. Chandor 3/10
Us (2019) Jordan Peele 2/10
An Elephant Sitting Still (2018) Bo Hu 6/10

Repeat viewings

The Razor's Edge (1946) Edmund Goulding 5/10
Ragtime (1981) Milos Forman 8/10
A Matter of Life and Death (1946) Michaell Powell & Emeric Pressburger 8/10
A Letter to Three Wives (1949) Joseph L. Mankiewicz 6/10
United States of Love (2016) Tomasz Wasilewski 8/10
Earthquake (1974) Mark Robson 4/10
Pinky (1949) Elia Kazan 6/10
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Reza » Tue Mar 26, 2019 6:50 am

Condor (Andrew McCarthy, Lawrence Trilling, Kari Skogland & Jason Smilovic, 2018) 8/10

"The War on Islam" gets recycled as the basis for the main plot with Hajj as the backdrop in this ten-part series based on the classic 1975 political thriller by Sydney Pollack, "Three Days of the Condor", starring Robert Redford and Faye Dunaway. That film's basic premise is used here while weaving into it the world's current "bad guys" du jour - Muslim terrorists. Hollywood likes to throw in villains depending on who scares the United States the most at any given point in time. Once upon a time Red China and the Russians were the go-to for star villains. Today it's muslims who need to be put down as recent world events testify to that absurd, vulgar and downright demeaning naivety that exists about Muslims and Islam. Putting aside that thought this is still a riveting series full of old fashioned suspense keeping you on the edge of your seat as it unfolds. An analyst (Max Irons) with a conscience - he is the "good guy" because he does not believe all Muslims are terrorists :lol: , and working for the CIA creates a logarithm that can identify possible terrorists. When the covert department he works for is attacked and his 11 colleagues murdered he goes on the run trying to discover who the killers are and tries to prevent a diabolical plan that would annihilate the world using the plague virus (although it's a bacteria that causes the plague). An eclectic and superb cast play assorted people helping and abetting the young analyst - William Hurt as his boss, the return of Brendan Fraser, cast against type, as a disturbed bad guy, Mira Sorvino as a tart tongued CIA agent in charge of the operation to bring in the analyst, Leem Lubany as a cold blooded nymphomaniac assassin and Katherine Cunningham in the Faye Dunaway part of the love interest/hostage. Max Irons - son of Jeremy Irons & Sinead Cusack - is a rather bland leading man but as the series progresses he comes into his own. The dense plot does a terrific job of slowly unspooling things you need to know before it gets intense. Worth a watch.

The Widow (Oliver Blackburn & Samuel Donovan, 2019) 8/10

Kate Beckinsale finally rises above most of the crap she has appeared in and gives an excellent performance in this 8-part miniseries. Although someone needs to tell this actor that she has ruined her beautiful face through unnecessary botox. Three years after her husband is killed in a plane crash a grieving widow suddenly sees an image of a man on tv who she is convinced is the deceased man. So begins this mystery-thriller that never lets up right to the end. Using flashbacks the story covers the lives of all the main characters who are interlinked to the mystery surrounding the crash of a plane in the Congo. Links to an NGO, the Military, a mine in the heart of the jungle are all part of a mystery that lead to exposure of deep secrets and hidden truths which end in violence and death. The superb location work gives the film added depth with scenes shot in Wales, Rotterdam and South Africa (which substituted for the Congo).

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Re: Last Seen Movie - The Latest Movie You Have Seen; ratings

Postby Precious Doll » Sun Mar 24, 2019 2:02 am

Hotel Mumbai (2019) Anthony Maras 6/10
Family Photo (2018) Cecilia Rouaud 4/10
Guy (2018) Alex Lutz 6/10
The Owl's Legacy (1990) Chris Marker 5/10
The House That Jack Built (2018) Lars von Trier 7/10
The Night Eats the World (2018) Dominique Rocher 2/10
Rose (2019) Rod McCall 2/10
Destroyer (2018) Karyn Kusama 2/10
An Impossible Love (2018) Catherine Corsini 5/10

Repeat viewings

The Day After (1983) Nicholas Meyer 6/10
The Favourite (2018) Yorgos Lanthimos 9/10
The Truth (1960) Henri-Georges Clouzot 7/10
Tyrannosaur (2011) Paddy Considine 7/10
Larceny, Inc. (1942) Lloyd Bacon 6/10
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One


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