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

[Reza]

The Wife (Björn Runge, 2018) 6/10

The long and happy married life between a successful writer (Jonathan Pryce) and his wife (Glenn Close) is gradually revealed to have long-gestating cracks. Simmering just below the surface of a well kept facade is a marriage of inequality, rampant infidelity, secrecy and deception all of which come to a head when the husband wins the Nobel prize for literature. Glenn Close gives a superbly controlled performance, using her expressive face, as the efficient and caring spouse who shows flashes of irritation with her husband who appears to be totally dependant on her. Flashbacks to their youth make clear the extent of her quiet suffering, enduring his infidelities through the years, while she puts up a brave front raising their two children. A reporter (Christian Slater who is appropriately slimy), threatning to write a tell-all biography of the author, is the catalyst which allows this ignored and put-upon wife to finally see her selfworth as an individual, one who has wasted her life in the shadows of a selfish and blowhard husband. Pryce is also good as the doddery old letch who appears to have a strong hold on his seemingly submissive wife. The screenplay introduces other characters - most prominently their son (Max Irons), a budding writer who desperately wants his father's appreciation - but fails to develop them instead concentrating on the tortured dynamics of the author and his wife. The third act twist in the plot can be seen coming way before the reveal allowing Close to finally confront her wayward husband as she unleashes with devastating ferocity years of suppressed anger. Could this finally be the film that wins Close the long elusive Oscar she has lost six times in the past? She has certainly been more flamboyant in a number of her previous film performances while in contrast she relies here entirely on a quiet stillness which adds just the right amount of gravitas to finally move her into the winner's circle.

[Reza]

Happy Together (Wong Kar-Wai, 1997) 10/10

From a director who is known for his swooningly romantic films comes this devastating story about the breakup of a relationship shot in an energetic and intense style. The film is visually eye popping, shot by the brilliant Christopher Doyle in stark black and white with the screen suddenly exploding for short periods into colour. The story is simple but full of anguish capturing the breakup of two lovers (played with bracing sexuality by Leslie Cheung and Tony Leung) who spend the whole time in intense turmoil. Both actors had not been told by the director that they would have to perform highly sexual scenes with each other as there was no proper script. Scenes were written as they shot the film. Two friends leave Hong Kong and arrive in far off Argentina and promptly breakup. Stranded and penniless in an alien country they reconcile sporadically but bitter fighting and indescretion on part of one causes turmoil leading to the disentegration of their relationship. Sad, angry and disturbing film accurately shows humans while in the depths of passion who deep down know all too well they are stuck in a relationship that is not only destructive but also deeply wounding for their soul. It is to Wong Kar-Wai's credit that he makes this gay couple seem totally universal. It could be a couple of any gender focusing on the raw emotions couples face when trapped in bad relationships. Extremely vivid and hypnotic film is an assault on the senses but also deeply moving in its depiction of a flawed couple in the throes of ecstacy as it perfectly captures their strong sense of loneliness and despair. A must-see.

[Reza]

La Ley del Deseo / Law of Desire (Pedro Almodovar, 1987) 6/10

Flamboyant but rather erratic film has the director's usual grotesque yet very human characters entwined in a mesh of sex and longing. The penchant to shock is evident in the film's opening as a young man is directed (in a film) to strip and masturbate as two men dub in sounds of ecstacy. The rest of the film doesn't quite match that opening although there are enough sex scenes and outrageous characters to keep you engaged. A gay film director (Eusebio Poncela) has a life full of angst - his lover has left him and desperate to be loved he writes himself letters with words he would like his lover to say to him. His transsexual sister (Carmen Maura) hates men, is an aspiring actress with oedipal issues who is babysitting their niece who has an incestuous desire for her gay Uncle. Into their lives comes a stalker (Antonio Banderas) who ingratiates himself sexually with the director, gets jealous of the man's obsession with his former lover whom he tracks down and murders. Grief stricken, the director loses his memory and when he regains his senses is horrified to find that his sister is now involved with the stalker which leads to a hostage situation followed by more sex. Almodovar's love for melodramatic soap operas is evident throughout this overbaked plot but has the perfect cast to compliment his vision. Carmen Maura is a delight as the complicated man/woman who has her own secret for changing her sex while Antonio Banderas gives a sexually no holds barred performance as the stalker with a nasty temperament who will do anything to get his man. Almodovar would attain mainstream success soon after this film later going on to make films equally outrageous but with a great deal of maturity at their core.

[Reza]

The Fast Lady (Ken Annakin, 1963) 4/10

A naive Scotsman (Stanley Baxter) buys a sportscar to impress a girl (Julie Christie), daughter of a haughty aristocrat (James Robertson Justice) who hates him. Leslie Phillips is amusing as a womanizing cad who sells him the car and is competition for the girl's affections. Extremely silly farce with flat jokes but a good cast of British character actors and the luscious Julie Christie before she became a star.

[Big Magilla]

Finally caught up with Hereditary.

It's better than some I've seen, but critics who compare it to Rosemary's Baby and The Exorcist don't know what they're talking about.

Why some critics still have Toni Collette on their short lists for Best Actress, I have no idea. She works hard, but that's what she collected a paycheck for. It's not an award-worthy performance.

[ITALIANO]

(doesn't help when the drag queens look more appealing than the leading lady)

[Reza]

A Star is Born (Bradley Cooper, 2018) 3/10

Does the world really need yet another remake of this old chestnut? After all there have been versions of this story in 1932, 1937, 1954, 1973 (Bollywood) and 1976. Not sure about the world but Hollywood certainly needs another version because it knows that nobody amongst the avid movie goers today is familiar with old movies so there is a good chance the film will bring in bucks. And it has. What's more of a surprise is that the critics are acting as if this is not a remake but more like the "second coming". This movie is strictly old wine in a new bottle. If you want to remake a film for the umpteenth time at least don't be lazy and instead come up with some different angle. What we have here is the exact same schtick- cute (if straggly beards are your thing) alcoholic famous singer (Bradley Cooper) on the skids sees ugly duckling (Lady Gaga) singing in a drag club (doesn't help when the drag queens look more appealing than the leading lady), becomes instantly infatuated by her charisma and vocal talent (although Gaga is seen singing an extremely lousy rendition of "La vie en rose"), dates her, promotes her on stage and helps to create her into a singing sensation. Marriage quickly follows along with insecurity bringing on pangs of jealousy for his now very successful wife while his own star is on the wane. Bland songs, slow pacing and the wooden acting of Lady Gaga only make you want to run and catch the version with Judy Garland. Hell, even the Streisand version was better than this mess. Cooper is not bad but he seems to be copying Sam Elliott who, along with his guttural voice, is also in the film playing his older brother with whom he has a fraught filled relationship. Won't ask anyone to skip this film. By all means watch it but DO also check out the older versions as well to see why this one is such a bore in comparison.

[Reza]

to the ludicrous take on old ladies called Book Club that to my horror I've discovered some little old ladies actually like.

Ludicrous? Yes, the plot certainly is. But where else can you see so many famous female stars together on screen? That's the reason why some have liked it.

So many older actresses, like many of their male counterparts, don't know how to play "old". Like Fonda, Keaton and Steenburgen in the film, they behave as though they were thirty or forty years younger, able to entice any man, older or younger. Only Candice Bergen looks and acts like a woman comfortable in her own shoes in the film.

But that was the whole point in the film. There are many ageing women out there who act like young women in heat trying to recapture their youth. I know many women who are like that.

[Big Magilla]

to the ludicrous take on old ladies called Book Club that to my horror I've discovered some little old ladies actually like.

Ludicrous? Yes, the plot certainly is. But where else can you see so many famous female stars together on screen? That's the reason why some have liked it.

So many older actresses, like many of their male counterparts, don't know how to play "old". Like Fonda, Keaton and Steenburgen in the film, they behave as though they were thirty or forty years younger, able to entice any man, older or younger. Only Candice Bergen looks and acts like a woman comfortable in her own shoes in the film.

On the male side, I don't know how good their films are because I haven't seen them but judging by the trailers of their films, Clint Eastwood in The Mule looks and acts like a man of his age would given his situation in real life. Robert Redford, however, in a similar role in The Old Man and the Gun looks like he thinks he's still the cool guy who got Fonda in Barefoot in the Park and Streisand in The Way We Were with just a smile.

[Reza]

to the ludicrous take on old ladies called Book Club that to my horror I've discovered some little old ladies actually like.

Ludicrous? Yes, the plot certainly is. But where else can you see so many famous female stars together on screen? That's the reason why some have liked it.

[ITALIANO]

I I still haven't seen the latest version of A Star Is Born.

.

Even now, I could tell you exactly the reaction each member of this board will have to that movie. Those who will love it, those who will basically like it, those who will hate it... It's like a Rorschach test on our attitude to today's movies.

[Big Magilla]

I still haven't brought myself to see Hereditary.

There are some good movies out there, but they are not necessarily the ones the critics are going gaga over (no pun intended - I still haven't seen the latest version of A Star Is Born.

Film horror isn't confined just to horror films. It runs the gamut from the smug middle-school "comedy" Eighth Grade to the ludicrous take on old ladies called Book Club that to my horror I've discovered some little old ladies actually like.

[ITALIANO]

The Insult (Ziad Doueiri, 2017) 8/10

Needless to say, the Americans on this board quickly rejected this movie and its subtle (though powerful) implications - but then I am not even sure they know where (or what) Lebanon is
They like Hereditary though

Which Americans? I loved it, thought it was the best of last year's Oscar nominees for Best Foreign Language Film, better than A Fantastic Woman and Loveless and eons better than The Sqaure. I haven't seen On Body and Soul.

Not you, of course, Big Magilla. But then you didn't even love Hereditary I hope

[Big Magilla]

The Insult (Ziad Doueiri, 2017) 8/10

Needless to say, the Americans on this board quickly rejected this movie and its subtle (though powerful) implications - but then I am not even sure they know where (or what) Lebanon is
They like Hereditary though

Which Americans? I loved it, thought it was the best of last year's Oscar nominees for Best Foreign Language Film, better than A Fantastic Woman and Loveless and eons better than The Sqaure. I haven't seen On Body and Soul.

[ITALIANO]

The Insult (Ziad Doueiri, 2017) 8/10

Powerful if heavy handed film, inspired by the Lebanese Civil War, speaks a universal truth about humans who, in the absence of a sense of closure, are unable to control their political hatred and prejudice which continues to grow and fester in their souls. The story, set in Beirut, could apply to any neighborhood of the globe dealing with prejudice and hatred. A minor altercation between two men - a Christian and a Palestinian refugee - escalates gradually from a single slur (the "insult") to a physical assault to more heated words involving racial prejudice which result in two heated court sessions. The matter then moves from physical skirmishes between people attending the trial to outright riots in the streets of Beirut. The high profile trial becomes less about the insult and bodily injury and more about a nation in the grip of a deep rooted morass gestating within like a festering wound which erupts time and again with violence. The film's pat ending may be too simplistic which implores to move on and find a way to make mutually respectable peace and not allow wounds to fester but it still manages to provide good drama and an important message nonetheless. The film also shows the positive and modern emergence of empowered womanhood in the mainly patriarchal Middle East. The film was nominated for an Oscar, the first from Lebanon.

Needless to say, the Americans on this board quickly rejected this movie and its subtle (though powerful) implications - but then I am not even sure they know where (or what) Lebanon is
They like Hereditary though