The Little Foxes (William Wyler) - 9/10
Bette Davis was fantastic.
Last Seen Movie - The Latest Movie You Have Seen; ratings
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anonymous1980
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Sissi (1955; Ernst Marischka) 7/10
Young Princess Elisabeth (Romy Schneider) of Bavaria falls in love with Emperor Franz Josef (Karlheinz Böhm) of Austria, though he was supposed to marry her sister. The art direction, costumes and, especially, Schneider's charm carry the film. First in a trilogy about the Empress.
Young Princess Elisabeth (Romy Schneider) of Bavaria falls in love with Emperor Franz Josef (Karlheinz Böhm) of Austria, though he was supposed to marry her sister. The art direction, costumes and, especially, Schneider's charm carry the film. First in a trilogy about the Empress.
"...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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Precious Doll
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Religulous (2008) Larry Charles 7/10
Paper Heart (2009) Nicholas Jasenovec 4/10
Up (2009) Pete Docter & Bob Peterson 7/10
The Accidental Husband (2008) Griffin Dunne 3/10
Star Witness (1931) William Wellman 5/10
O'Horten (2007) Bent Hamer 7/10
Paper Heart (2009) Nicholas Jasenovec 4/10
Up (2009) Pete Docter & Bob Peterson 7/10
The Accidental Husband (2008) Griffin Dunne 3/10
Star Witness (1931) William Wellman 5/10
O'Horten (2007) Bent Hamer 7/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
RocknRolla (2008; Guy Ritchie) 6/10
A lot of splashy attitude amid a confusing plot, but entertaining to a degree.
A lot of splashy attitude amid a confusing plot, but entertaining to a degree.
"...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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Precious Doll
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Delta (2008) Kornel Mundruczo 6/10
Ten Gentlemen from West Point (1942) Henry Hathaway 4/10
A Thousand an One Nights (1945) Alfred E. Green 4/10
Valentino: The Last Emperor (2009) Matt Tyrnauer 6/10
One in a Million (1936) Sidney Lanfield 2/10
The Happening (1967) Elliot Silverstein 1/10
$9.99 (2008) Tatia Rosenthal 4/10
Career (1959) Joseph Anthony 4/10
There Goes My Heart (1938) Norman McLeod 5/10
Edited By Precious Doll on 1253696834
Ten Gentlemen from West Point (1942) Henry Hathaway 4/10
A Thousand an One Nights (1945) Alfred E. Green 4/10
Valentino: The Last Emperor (2009) Matt Tyrnauer 6/10
One in a Million (1936) Sidney Lanfield 2/10
The Happening (1967) Elliot Silverstein 1/10
$9.99 (2008) Tatia Rosenthal 4/10
Career (1959) Joseph Anthony 4/10
There Goes My Heart (1938) Norman McLeod 5/10
Edited By Precious Doll on 1253696834
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Man On A Tightrope (Elia Kazan, 1953)
6/10
This is Kazan's forgotten film -- about a circus escaping from the Soviet controlled Czechoslavakia, and it's actually one of his better pictures. Some striking imagery (especially overhead shots emphasizing the impotency of the characters), outstanding Iron Curtain ambience and, because of its straight-ahead anti-Soviet agitprop, a much more coherent testimonial as to why Kazan ratted than On The Waterfront. And Kazan drew an excellent performance out of the usually phlegmatic Fredric March. And interesting casting of right-wing weasel Adolphe Menjou as a Communist bureaucrat. Still, it seems like all so much bullshit.
As early 50s circus movies made by odious men and featuring Gloria Grahame go, it's much better than The Greatest Show On Earth.
Edited By Damien on 1253688332
6/10
This is Kazan's forgotten film -- about a circus escaping from the Soviet controlled Czechoslavakia, and it's actually one of his better pictures. Some striking imagery (especially overhead shots emphasizing the impotency of the characters), outstanding Iron Curtain ambience and, because of its straight-ahead anti-Soviet agitprop, a much more coherent testimonial as to why Kazan ratted than On The Waterfront. And Kazan drew an excellent performance out of the usually phlegmatic Fredric March. And interesting casting of right-wing weasel Adolphe Menjou as a Communist bureaucrat. Still, it seems like all so much bullshit.
As early 50s circus movies made by odious men and featuring Gloria Grahame go, it's much better than The Greatest Show On Earth.
Edited By Damien on 1253688332
"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
Bright Star (Jane Campion) - 6.5/10
Glorious imagery and the middle passage is absolutely intoxicating. Campion has amazing ideas but they're gilding something a little too polite.
Jennifer's Body (Kasuma) - 5.5/10
Yes. Just one point down from the Campion. Doesn't work as one movie. Almost works as a lot of them. A LOT of them. And I admire that.
Glorious imagery and the middle passage is absolutely intoxicating. Campion has amazing ideas but they're gilding something a little too polite.
Jennifer's Body (Kasuma) - 5.5/10
Yes. Just one point down from the Campion. Doesn't work as one movie. Almost works as a lot of them. A LOT of them. And I admire that.
"How's the despair?"
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anonymous1980
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anonymous1980
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Ali: Fear Eats the Soul (1974; Rainer Werner Fassbinder) 8/10
Loosely inspired by Douglas Sirk's All That Heaven Allows (1955), Fassbinder's film--about an older woman (a wonderful Brigitte Mira) who falls for a much younger Moroccan man (El Hedi ben Salem), and their relationship causes much angst and prejudice--is more didactic and suffers from a wooden performance by the leading man, but it's a dazzling visual masterpiece.
Loosely inspired by Douglas Sirk's All That Heaven Allows (1955), Fassbinder's film--about an older woman (a wonderful Brigitte Mira) who falls for a much younger Moroccan man (El Hedi ben Salem), and their relationship causes much angst and prejudice--is more didactic and suffers from a wooden performance by the leading man, but it's a dazzling visual masterpiece.
"...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
The Last Laugh (1924; F.W. Murnau) 8.5/10
An elderly doorman (Emil Jannings) at a posh hotel is demoted to bathroom attendant, an event that crushes his pride and soul. Despite some melodrama and a forced-upon-the-director tack-on ending, the film is dazzling: brilliantly directed and magnificently photographed by Karl Freund.
An elderly doorman (Emil Jannings) at a posh hotel is demoted to bathroom attendant, an event that crushes his pride and soul. Despite some melodrama and a forced-upon-the-director tack-on ending, the film is dazzling: brilliantly directed and magnificently photographed by Karl Freund.
"...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