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

Hustler
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Postby Hustler » Wed Jan 07, 2009 7:48 pm

The Pope´s Toilet (2007) (Uruguay/Brazil/France) 9/10 Poverty and its strong relationship with broken dreams. A gem.

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Postby Sabin » Tue Jan 06, 2009 9:15 pm

Speed Racer (dir. Andy & Laura Wachowski) - 3.5/10

This is bad. Bad, bad, bad. The cinematic equivalent of shaking keys in front of a baby's face.

BUT....

There is something so fucktastically astonishing about the utter artifice in every frame of Speed Racer. It is emotionally disconnected and boring as any piece of shit you're likely to see this year but on the same note it's so campy and up its own ass as much as any Matrix movie. The difference is that the first Matrix movie while derivative and self-important as it was was one of the strangest flukiest success stories of the past decade. The Wachowski Brothers were clearly revealed as being as pretentious and inept as any other hack storytellers with their next two features. Speed Racer is a different kind of horrible than those two movies. It has no reason to exist in any capacity and takes place in a cross between an acid trip and a sugar rush.

Along with 300, it is the Death of Cinema but its self-importance is far too hysterical to loathe.




Edited By Sabin on 1231294940
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Postby Precious Doll » Tue Jan 06, 2009 7:14 am

Sinai Field Mission (1978) Frederick Wiseman 4/10

Dull, dull, dull.

Buchanan Rides Alone (1958) Budd Boetticher 6/10

Heroes for Sale (1933) William Wellman 6/10

Enjoyable film with Aline McMahon the standout in the cast.

Valerie and Her Week of Wonders (1970) Jaromil Jires 7/10

Beautifully made surreal Czech film with effortlessly moves from one striking image to the next.

Nightfall (1956) Jacques Tourneur & The Sniper (1952) Edware Dmytryk both 6/10

If Hollywood would make films like these rather then the bloated and half baked thrillers they churn out nowadays. Sure these are a little silly but they're lean and reasonably well acted and move at a cracking pass. They effortlessly do want they are meant to do, entertain and engage.




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Postby Sabin » Tue Jan 06, 2009 3:17 am

Changeling - 5/10

Not a good movie but a good story. Clint Eastwood was the wrong choice for this film. His manner of stripping down doesn't lend itself well to melodramatic sensationalism of this calibre.


The Wrestler - 8.5/10

Loved it. Bold choices elevate behavioral script. Some off-moments but pretty awesome.
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Postby Bog » Tue Jan 06, 2009 1:26 am

Broken English (Zoe Cassavetes)- 6/10

Parker Posey is understated magnificence, deserving of a recommendation.

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Postby barrybrooks8 » Tue Jan 06, 2009 1:06 am

Love Songs 7/10
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Postby Sabin » Mon Jan 05, 2009 5:07 pm

I don't know what to say about Boarding Gate. It's very dull in parts and Madsen in particular is very bad but the film has some very entertaining tonal shifts and really picks up as it goes along. I had a lot of fun and there are lots of choices I responded to especially in one small sequence featuring man and woman writhing lifelessly on the ground in two very different ways. Both those in the film and the filmmakers substitute one person from another. It starts very difficult for me but it picked up strongly. Probably a 6 if not a little higher. The more I think about it, the more I really like it in spite of what I don't like about it. The show-stopping S&M visit between Argento and Madsen was rather tortuous.



Edited By Sabin on 1231193442
"If you are marching with white nationalists, you are by definition not a very nice person. If Malala Yousafzai had taken part in that rally, you'd have to say 'Okay, I guess Malala sucks now.'" ~ John Oliver

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Postby OscarGuy » Mon Jan 05, 2009 11:08 am

The Visitor is an engaging film, but I think Richard Jenkins is only good, not great like others would say.

I however did love Let the Right One In...it's a far more realistic vampire tale than any I've seen recently. It drains out the fantasy elements and makes it a story of loneliness and survival. It explores adolescence in an entirely new and evocative way.
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rain Bard
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Postby rain Bard » Mon Jan 05, 2009 10:22 am

I'm not so sure remorse motivated her actions either. It might be an interesting discussion, but obviously spoilerific. What I will say is that I suspect there will be Academy members who share my take, if not necessarily for the same reasons, and will have no problem voting her as support thanks to it.

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Postby Big Magilla » Mon Jan 05, 2009 7:39 am

The remorse was in her actions, not in her words. She remained tight-lipped and stoic in her demeanor.
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rain Bard
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Postby rain Bard » Mon Jan 05, 2009 3:14 am

I don't want to get into spoilers either (should we move this to a dedicated thread?), but though I of course agree that she has "taken steps to 'learn' something" I saw no convincing signs of remorse over what she did to Michael or anyone else. At least not watching the film; I have not read the book which may go into more detail on this.

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Postby Big Magilla » Sun Jan 04, 2009 10:26 pm

I don't want to go into spoilers, but I think Winslet's character changes in more ways than that. She says before the trial she never thought about the past. She may say that it doesn't matter what she thinks, it doesn't matter what she feels, the dead are still dead, but she does show remorse in what to her is a very meaningful way.
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Postby Penelope » Sun Jan 04, 2009 10:10 pm

rainBard, I'd argue that Winslet's character does change: by the end of the film, she has taken steps to "learn" something and recognizes the pain she has caused to Michael.
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Postby Reza » Sun Jan 04, 2009 9:59 pm

Bog wrote:
Reza wrote:Slumdog Millionaire (Danny Boyle, 2008) 9/10

A winner all the way.

Ugh...painful to read

LOL

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rain Bard
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Postby rain Bard » Sun Jan 04, 2009 8:17 pm

I saw it recently and would agree with you on the 'category fraud' issue, Magilla. It's arguable either way- not only because she's not on screen for long sections, but because the film is structured so that the only character experiencing the kind of change that screenwriting coaches insist be at the heart of a successful script, is the Kross/Fiennes role.

It may be that a timer would reveal that Winslet is on screen more often than either Kross or Fiennes (though I'd bet on Kross, personally) but her character is peripheral to the Michael character in practically every scene.

On the whole I don't think I liked it nearly as much as you though. Snap judgment would have me rate it 5/10 or so. I'm not sure the right overall approach was taken with this very tricky material. And the late scene with Lena Olin was particularly problematic for me.


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