Last Seen Movie - The Latest Movie You Have Seen; ratings
I know a couple of people here prefer Part III to the first two. I wouldn't say that (although I love the first two and they don't), but I think it is underrated, with some great moments, and the final sequence at the Opera is every bit as good as the baptism sequence in the original.
Edited By dws1982 on 1249145532
Edited By dws1982 on 1249145532
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Public Enemies (2009) Michael Mann 5/10
Whirlwind (2007) Richard LeMay 5/10
The Pleasure Seekers (1964) Jean Negulesco 2/10
Lloyd of London (1936) Henry King 4/10
A Rage to Live (1965) Walter Grauman 2/10
Ca$h (2008) Eric Besnard 1/10
Whirlwind (2007) Richard LeMay 5/10
The Pleasure Seekers (1964) Jean Negulesco 2/10
Lloyd of London (1936) Henry King 4/10
A Rage to Live (1965) Walter Grauman 2/10
Ca$h (2008) Eric Besnard 1/10
"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)
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Roughly Speaking (1945) Michael Curtiz 7/10
Rosalind Russell shines in easy to take biography of spirited Louise Randall Pierson through two marriages and five children right up to the start of World War II. Jack Carson co-stars.
She Wouldn't Say Yes (1945) Alexander Hall 6/10
Late screwball comedy with a stellar Rosalind Russell as an independent psychiatrist pursued by cartoonist Lee Bowman with the aid of her father (Charles Winninger) and butler (Harry Davenport).
The Secret of Madame Blanche (1933) Charles Brabin 7/10
Irene Dunne gets to sing and dance and wear old age makeup all in the same movie, a close cousin of Madame X albeit with a happy ending. Phillips Holmes is her weak husband, Douglas Walton her spoiled son raised by mean grandfather Lionel Atwill.
Edited By Big Magilla on 1249105405
Rosalind Russell shines in easy to take biography of spirited Louise Randall Pierson through two marriages and five children right up to the start of World War II. Jack Carson co-stars.
She Wouldn't Say Yes (1945) Alexander Hall 6/10
Late screwball comedy with a stellar Rosalind Russell as an independent psychiatrist pursued by cartoonist Lee Bowman with the aid of her father (Charles Winninger) and butler (Harry Davenport).
The Secret of Madame Blanche (1933) Charles Brabin 7/10
Irene Dunne gets to sing and dance and wear old age makeup all in the same movie, a close cousin of Madame X albeit with a happy ending. Phillips Holmes is her weak husband, Douglas Walton her spoiled son raised by mean grandfather Lionel Atwill.
Edited By Big Magilla on 1249105405
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I'm not much of a Tashlin fan. Who's Minding the Store being the major acceptation. Though I am a Tuesday Weld fan I was disappointed with her in this. It is Terry-Thomas that takes centre stage in this though.Damien wrote:So little love for this wonderful, if admittedly minor, Tashlin? Hell, the scenes of the dachshund dealing with the dinosaur bone alone is worth an 8 out of 10.Precious Doll wrote:Bachelor Flat (1961) Frank Tashlin 4/10
Do young people today have any idea who Terry-Thomas is?
And Richard Beymer most we the 'gayest' straight actor in the history of cinema.
I doubt many younger people have seen much or any of Terry-Thomas' work. Lots of his better films have thankfully found their way to DVD.
"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)
So little love for this wonderful, if admittedly minor, Tashlin? Hell, the scenes of the dachshund dealing with the dinosaur bone alone is worth an 8 out of 10.Precious Doll wrote:Bachelor Flat (1961) Frank Tashlin 4/10
Do young people today have any idea who Terry-Thomas is?
"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
/Drugstore Cowboy/ (dir. Gus Van Sant) - 7/10
What a different a decade of life can make. Not to suggest that I've dealt in matters like this, but...
When I saw this film in my teens, I had no idea I was watching a noir. Maybe dreamy naturalism of Jesus' Son or the amped-up adrenaline rush of Trainspotting has ruined me a bit, but Drugstore Cowboy feels ever so slightly lacking now. It assumes an intimacy that I don't feel is truly realized. To call Drugstore Cowboy romanticized misses the point entirely. Drugstore Cowboy views this motley crew with a dreamy detachment that almost encourages play. Play that never comes. Van Sant & co-writer Yost fashion the trappings of a noir by way of archetype and construct. They don't realize that this crew is defined just as much through action as lack thereof. Dillon springs to life as their leader, but everyone else feels defined through the margins around him. He's a perennial schemer with little interest in anything beyond a quick fix and his early scenes feel clumsy. I seem to be alone in not being entirely compelled by his intriguing transplant from the 1940's streets of New York, almost Widmark-style "Sleep is for squares!" to 1970's Portland. It's an interesting performance that roots the film.
Kelly Lynch and Heather Graham do what they can around him but there's so little to define them outside of Dillon that they can't stay afloat. James LeGros is the true MVP, finding just the right notes in a performance that seems to consist largely of finding innovative ways to end his sentences with "..., Bob?" Drugstore Cowboy comes up a little short by way of foundation in the beginning and by way of conflict in the end. There is an uncluttered resignation to Bob that feels underutilized, a lack of comedy and development. Were I to view this film in 1989, I might feel differently and ask myself who this young, talented filmmaker is. Right now, I'm a little mystified that so many of (what I perceive to be) slights escaped their periphery.
BTW - it's still very good.
What a different a decade of life can make. Not to suggest that I've dealt in matters like this, but...
When I saw this film in my teens, I had no idea I was watching a noir. Maybe dreamy naturalism of Jesus' Son or the amped-up adrenaline rush of Trainspotting has ruined me a bit, but Drugstore Cowboy feels ever so slightly lacking now. It assumes an intimacy that I don't feel is truly realized. To call Drugstore Cowboy romanticized misses the point entirely. Drugstore Cowboy views this motley crew with a dreamy detachment that almost encourages play. Play that never comes. Van Sant & co-writer Yost fashion the trappings of a noir by way of archetype and construct. They don't realize that this crew is defined just as much through action as lack thereof. Dillon springs to life as their leader, but everyone else feels defined through the margins around him. He's a perennial schemer with little interest in anything beyond a quick fix and his early scenes feel clumsy. I seem to be alone in not being entirely compelled by his intriguing transplant from the 1940's streets of New York, almost Widmark-style "Sleep is for squares!" to 1970's Portland. It's an interesting performance that roots the film.
Kelly Lynch and Heather Graham do what they can around him but there's so little to define them outside of Dillon that they can't stay afloat. James LeGros is the true MVP, finding just the right notes in a performance that seems to consist largely of finding innovative ways to end his sentences with "..., Bob?" Drugstore Cowboy comes up a little short by way of foundation in the beginning and by way of conflict in the end. There is an uncluttered resignation to Bob that feels underutilized, a lack of comedy and development. Were I to view this film in 1989, I might feel differently and ask myself who this young, talented filmmaker is. Right now, I'm a little mystified that so many of (what I perceive to be) slights escaped their periphery.
BTW - it's still very good.
"How's the despair?"
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Bachelor Flat (1961) Frank Tashlin 4/10
The Pursuit of Happiness (1971) Robert Mulligan 4/10
Quick Millions (1931) Rowland Brown 6/10
Big City (1937) Frank Borzage 5/10
The Proud and the Profane (1956) George Seaton 3/10
Manhattan Merry-Go-Round (1937) Charles Reisner 4/10
Red Cliff (2008) John Woo 1/10
I've only seen the 149 minute 'international' version of the film. I believe the original Chinese version is broken into two parts each running 2 hours.
The version I saw clearly had missing chunks of subplot and what is left is a bunch of overlong fighting sequences with I'm sure more deaths by sword that minutes in the running time. A soulless bore.
The Pursuit of Happiness (1971) Robert Mulligan 4/10
Quick Millions (1931) Rowland Brown 6/10
Big City (1937) Frank Borzage 5/10
The Proud and the Profane (1956) George Seaton 3/10
Manhattan Merry-Go-Round (1937) Charles Reisner 4/10
Red Cliff (2008) John Woo 1/10
I've only seen the 149 minute 'international' version of the film. I believe the original Chinese version is broken into two parts each running 2 hours.
The version I saw clearly had missing chunks of subplot and what is left is a bunch of overlong fighting sequences with I'm sure more deaths by sword that minutes in the running time. A soulless bore.
"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)
Birds of America (Lucas) - 2/10
About the dullest fucking thing. As uninspired as any film I've ever seen. Poor Hilary Swank. She really is the least castable actress on the planet.
The Great Buck Howard (McGinley) - 6/10
Sweet, old-fashioned film features John Malkovich in an enjoyably batshit performance. Film starts strong, hedges best for short story corniness. I'm fine with it.
Still digesting Summer Hours. Knocked for a loop but mulling it over.
About the dullest fucking thing. As uninspired as any film I've ever seen. Poor Hilary Swank. She really is the least castable actress on the planet.
The Great Buck Howard (McGinley) - 6/10
Sweet, old-fashioned film features John Malkovich in an enjoyably batshit performance. Film starts strong, hedges best for short story corniness. I'm fine with it.
Still digesting Summer Hours. Knocked for a loop but mulling it over.
"How's the despair?"