Last Seen Movie - The Latest Movie You Have Seen; ratings
Crash is a mixed bag, and when it's bad its truly awful. But still it's a better film than several other Best Picture winners over the last decade: American Beauty, Gladiator, A Beautiful Mind, No Country For Old Men.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
--Sabin wrote:I'm human, but I still think [Crash] might be better than A Beautiful Mind.
Oh, it most definitely is. A Beautiful Mind is so mind-numbingly boring and awful it's hard to settle on just the right adjective. Jennifer Connelly should give her Oscar to Maggie Smith, too.
Edited By Big Magilla on 1241577754
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
--Big Magilla wrote:A Touch of Class was a huge hit in 1973, but it appealed more to older audiences of the day who liked those titillating comedies where the characters flirted with having sex outside of marriage but didn't actually have it.
Adjusted for inflation, A Touch of Class grossed around $40 million, which, I suspect, made it the Four Weddings and a Funeral of its day and is pretty good for a British romantic comedy.
Edited By Big Magilla on 1241577763
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
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Big Magilla
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Big Magilla
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The Crash threads are still around, though they may take some digging to find.
My recollection is that the film was modestly liked by those who had seen it before it started winning awards. Its surprise Oscar win over Brokeback Mountain erupted in outright hostility that has still not calmed down. The most hated Oscar winners around here, though, are Braveheart and A Beautiful Mind with Gladiator and Crash probably not far behind.
A Touch of Class was a huge hit in 1973, but it appealed more to older audiences of the day who liked those titillating comedies where the characters flirted with having sex outside of marriage but didn't actually have it.
My recollection is that the film was modestly liked by those who had seen it before it started winning awards. Its surprise Oscar win over Brokeback Mountain erupted in outright hostility that has still not calmed down. The most hated Oscar winners around here, though, are Braveheart and A Beautiful Mind with Gladiator and Crash probably not far behind.
A Touch of Class was a huge hit in 1973, but it appealed more to older audiences of the day who liked those titillating comedies where the characters flirted with having sex outside of marriage but didn't actually have it.
--Reza wrote:--mlrg wrote:A Touch of Class (Melvin Frank) 1973
5/10
How was this movie received back in 1973?
Well for starters it was nominated for 4 Oscars including Best Picture so obviously it was rather well received.
Crash received 6 nominations three years ago... Was it well received around here?
Edited By Big Magilla on 1241577783
A Touch of Class (Melvin Frank) 1973
5/10
After reading so much about this movie recently here, I decided to see it (as I'm also trying to see all oscar nominated acting performances since 1970).
My expectations were very low. In fact it's not a great film but not as bas ad I was expecting. The screenplay is rather dull and tremendously dated. Glenda Jackson is good as always. George Segal is very annoying.
How was this movie received back in 1973?
5/10
After reading so much about this movie recently here, I decided to see it (as I'm also trying to see all oscar nominated acting performances since 1970).
My expectations were very low. In fact it's not a great film but not as bas ad I was expecting. The screenplay is rather dull and tremendously dated. Glenda Jackson is good as always. George Segal is very annoying.
How was this movie received back in 1973?
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Big Magilla
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One Potato, Two Potato (Larry Peerce, 1964) 8/10
Dated, but still powerful film of inter-racial couple being sued for custody of the wife's child by her former husband. Terrific performances by Barbara Barrie and Bernie Hamilton as the couple, Richard Mulligan as the former husband, Harry Bellaver as the judge and Robert Earl Jones and legendary Broadway star Vinnette Carroll as Hamilton's parents.
Someone should write a sequel for Barrie, the only player still alive. Felicity Huffman could play her now grown daughter.
Edited By Big Magilla on 1241577823
Dated, but still powerful film of inter-racial couple being sued for custody of the wife's child by her former husband. Terrific performances by Barbara Barrie and Bernie Hamilton as the couple, Richard Mulligan as the former husband, Harry Bellaver as the judge and Robert Earl Jones and legendary Broadway star Vinnette Carroll as Hamilton's parents.
Someone should write a sequel for Barrie, the only player still alive. Felicity Huffman could play her now grown daughter.
Edited By Big Magilla on 1241577823
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Big Magilla
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Love Actually (Richard Curtis, 2003) 6/10
Romantic comedy with several bright spots, most of them involving Hugh Grant as the new British Prime Minister and Emma Thompson as his sister with the husband (Alan Rickman) with the roving eye. The vignettes involving Liam Neesom as a new widower take on a renewed poignancy as the scenes with his now motherless son (Thomas Sangster) foreshadow his own future.
Also with Bill Nighy, Laura Linney, Colin Firth, Keira Knightley, Chiwitel Ejiofor, Andrew Lincoln, Rowan Atkinson, Billy Bob Thornton as a Clintonesque U.S. President and many more.
Romantic comedy with several bright spots, most of them involving Hugh Grant as the new British Prime Minister and Emma Thompson as his sister with the husband (Alan Rickman) with the roving eye. The vignettes involving Liam Neesom as a new widower take on a renewed poignancy as the scenes with his now motherless son (Thomas Sangster) foreshadow his own future.
Also with Bill Nighy, Laura Linney, Colin Firth, Keira Knightley, Chiwitel Ejiofor, Andrew Lincoln, Rowan Atkinson, Billy Bob Thornton as a Clintonesque U.S. President and many more.
Kissing on the Mouth (dir. Joe Swanberg) - 3/10
High rating for a film that could have essentially been fifteen minutes. This is my first Swanberg and I'm interested in how he does things. He is a profoundly minor individual who captures the "truth" of his situation in lieu of any kind of real insight. There is an interesting film to be had in post-relationship trysts but this isn't it. It has nothing to say outside of obviously being inspired by real events. He deserves some kind of praise for eliciting very natural performances from his cast and for getting this girl to fuck on-screen...and also for the sex appearing effortlessly intertwined into the narrative as well. It's not forced at all. Kate Winterich's persona is one not too-often seen on film and it warrants a better film.
Ultimately though, Swanberg's method of persuasion is far more major than his film. This movie is a vignette and not a terribly elegant one at that. It starts with fucking and ends with getting fucked, the story will doubtlessly go on and that's all Swanberg wants to do. I admire that it got made in this capacity but it's a shame that Swanberg didn't push for a stronger narrative. It's essentially a first act.
I'm to watch LOL and Hannah Takes the Stairs within a few days.
High rating for a film that could have essentially been fifteen minutes. This is my first Swanberg and I'm interested in how he does things. He is a profoundly minor individual who captures the "truth" of his situation in lieu of any kind of real insight. There is an interesting film to be had in post-relationship trysts but this isn't it. It has nothing to say outside of obviously being inspired by real events. He deserves some kind of praise for eliciting very natural performances from his cast and for getting this girl to fuck on-screen...and also for the sex appearing effortlessly intertwined into the narrative as well. It's not forced at all. Kate Winterich's persona is one not too-often seen on film and it warrants a better film.
Ultimately though, Swanberg's method of persuasion is far more major than his film. This movie is a vignette and not a terribly elegant one at that. It starts with fucking and ends with getting fucked, the story will doubtlessly go on and that's all Swanberg wants to do. I admire that it got made in this capacity but it's a shame that Swanberg didn't push for a stronger narrative. It's essentially a first act.
I'm to watch LOL and Hannah Takes the Stairs within a few days.
"How's the despair?"
The Candidate (Michael Ritchie) - 6.5/10
Ritchie directs like a campaign. It damns the surfaces but I see little else there in this film. Treatise: politics are superficial. This is a film "about", not about. It offers no hope, and today no real insight, although for the times I'd imagine it was pretty astonishing. Part of me admires the lack of artifice and its simplicity, its sharpness, its boldness. Yet for all its sharpness and boldness, I find that entertaining and not insanely illuminating. That they derive an entire narrative from Redford's soul in crisis only to result in a minor and very amusing breakdown is fairly commendable in that it takes so long for him to turn around. The final words: "What do we do now?" A thesis of amusing hopelessness to which the film offers little illumination...which is the point.
Certainly fun and I want to know if Peter Boyle was touted for a nomination at all, but easy prophecy.
Ritchie directs like a campaign. It damns the surfaces but I see little else there in this film. Treatise: politics are superficial. This is a film "about", not about. It offers no hope, and today no real insight, although for the times I'd imagine it was pretty astonishing. Part of me admires the lack of artifice and its simplicity, its sharpness, its boldness. Yet for all its sharpness and boldness, I find that entertaining and not insanely illuminating. That they derive an entire narrative from Redford's soul in crisis only to result in a minor and very amusing breakdown is fairly commendable in that it takes so long for him to turn around. The final words: "What do we do now?" A thesis of amusing hopelessness to which the film offers little illumination...which is the point.
Certainly fun and I want to know if Peter Boyle was touted for a nomination at all, but easy prophecy.
"How's the despair?"