Last Seen Movie - The Latest Movie You Have Seen; ratings
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anonymous1980
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Precious Doll
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Noodle (2007) Ayelet Menahemi 5/10
Sunshine Cleaning (2009) Christine Jeffs 4/10
Fanboys (2009) Kyle Newman 3/10
Welcome Home (2008) Jean-Xavier de Lestrade 4/10
Sunshine Cleaning (2009) Christine Jeffs 4/10
Fanboys (2009) Kyle Newman 3/10
Welcome Home (2008) Jean-Xavier de Lestrade 4/10
"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)
Chicago Overcoat (dir. Brian Caunter) - current cut 0/10. Previous cut 2.5/10
My writing partner and I were given two weeks to rewrite this copycat of The Departed, Casino, and Heat, and we learned some valuable lessons in writing dialogue that risks being not entirely literal. This movie is an incoherent disaster that some people have liked previous cuts of more than myself. The new cut will never sell and should never sell.
My writing partner and I were given two weeks to rewrite this copycat of The Departed, Casino, and Heat, and we learned some valuable lessons in writing dialogue that risks being not entirely literal. This movie is an incoherent disaster that some people have liked previous cuts of more than myself. The new cut will never sell and should never sell.
"How's the despair?"
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Big Magilla
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Incendiary (2008/US 2009) Sharon Maguire 7/10
I wasn't expecting much from Maguire's first film since Briget Jones' Diary, a film I didn't particularly care for, but wow!
Michelle Williams, whose last film, Wendy and Lucy, I found overpraised, really shines here as a London housewife whose bomb squad policeman husband and four year son are killed in a terrorist attack during a soccer match. The film is filled with one shock after another but ends on a hopeful note. Good support from Ewan McGregor as an investigative reporter and Matthew Macfadyen as a high ranking police official, both of whom are in love with the young widow.
Ratings for films I review in this week's DVD Report:
Waltz With Bashir 8/10
Lemon Tree 7/10
Hunger 9/10
The Baader Meinhof Complex 8/10
The International 5/10
Confessions of a Shopaholic 4/10
My Dinner With Andre 6/10
The Strange One 5/10
I wasn't expecting much from Maguire's first film since Briget Jones' Diary, a film I didn't particularly care for, but wow!
Michelle Williams, whose last film, Wendy and Lucy, I found overpraised, really shines here as a London housewife whose bomb squad policeman husband and four year son are killed in a terrorist attack during a soccer match. The film is filled with one shock after another but ends on a hopeful note. Good support from Ewan McGregor as an investigative reporter and Matthew Macfadyen as a high ranking police official, both of whom are in love with the young widow.
Ratings for films I review in this week's DVD Report:
Waltz With Bashir 8/10
Lemon Tree 7/10
Hunger 9/10
The Baader Meinhof Complex 8/10
The International 5/10
Confessions of a Shopaholic 4/10
My Dinner With Andre 6/10
The Strange One 5/10
It's a Great Feeling (David Butler, 1949) 3/10
Extremely silly film set in Hollywood made bearable by a parade of Warner Bros. stars in cameo appearances.....Edward G., Gary Cooper, Errol Flynn, Patricia Neal, Ronald Reagan, Jane Wyman, Eleanor Parker, Danny Kaye, Stdney Greenstreet, Joan Crawford and the directors Michael Curtiz, King Vidor and Raoul Walsh. The star of the film...Doris Day...looks positively hideous throughout in ugly costumes and makeup.
Edited By Reza on 1245770046
Extremely silly film set in Hollywood made bearable by a parade of Warner Bros. stars in cameo appearances.....Edward G., Gary Cooper, Errol Flynn, Patricia Neal, Ronald Reagan, Jane Wyman, Eleanor Parker, Danny Kaye, Stdney Greenstreet, Joan Crawford and the directors Michael Curtiz, King Vidor and Raoul Walsh. The star of the film...Doris Day...looks positively hideous throughout in ugly costumes and makeup.
Edited By Reza on 1245770046
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Precious Doll
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Nuts in May (1976) Mike Leigh 7/10
Roger Sloman and Alison Steadman are hilarious as a couple of basket weavers camping out for the week in the English countryside in this early Mike Leigh TV movie.
Fermat's Room (2007) Luis Piedrahita & Rodrigo Sopena 2/10
Over heated and silly film horror/thriller that is a rip off of the much better Canadian film Cube.
Time Limit (1957) Karl Malden 6/10
Standard army investigation drama helped by a terrific performance from the ever reliable Richard Widmark.
Were the World Mine (2008) Tom Gustafson 6/10
This feature film debut is inspired by Shakespeare's A Midsummer Nights Dream with a queer slant. It took a while for me to warm to this film but Gustafson weaves the narrative to a triumphant climax.
Passengers (2008) Rodrigo Garcia 1/10
A film is in alot of trouble when it's derivative of M. Night Shyamalan. I had this thing figured out in about 30 minutes and not a minute of it is convincing. Anne Hathway & Patrick Wilson deserve better.
Edited By Precious Doll on 1245760615
Roger Sloman and Alison Steadman are hilarious as a couple of basket weavers camping out for the week in the English countryside in this early Mike Leigh TV movie.
Fermat's Room (2007) Luis Piedrahita & Rodrigo Sopena 2/10
Over heated and silly film horror/thriller that is a rip off of the much better Canadian film Cube.
Time Limit (1957) Karl Malden 6/10
Standard army investigation drama helped by a terrific performance from the ever reliable Richard Widmark.
Were the World Mine (2008) Tom Gustafson 6/10
This feature film debut is inspired by Shakespeare's A Midsummer Nights Dream with a queer slant. It took a while for me to warm to this film but Gustafson weaves the narrative to a triumphant climax.
Passengers (2008) Rodrigo Garcia 1/10
A film is in alot of trouble when it's derivative of M. Night Shyamalan. I had this thing figured out in about 30 minutes and not a minute of it is convincing. Anne Hathway & Patrick Wilson deserve better.
Edited By Precious Doll on 1245760615
"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)
The Edge of Heaven (2007; Fatih Akin) 8/10
Deeply moving (if leisurely paced) melodrama of love, death and forgiveness. A very haunting film, with a marvelously complex script and a terrific cast.
Deeply moving (if leisurely paced) melodrama of love, death and forgiveness. A very haunting film, with a marvelously complex script and a terrific cast.
"...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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Mister Tee
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Another oldie finally caught up to: Avanti!, one of my few remaining Billy Wlders (Spirit of St. Louis and the dread Buddy Buddy remain outstanding).
I know there was some discussion of the film a while back, but I can't seem to locate it. My thoughts: I'm glad I didn't see this when it opened, Christmas of '72. At the time it was widely viewed as hopelessly retro, a sign Wilder (like many of his contemporaries) just couldn't keep up with the post-Bonnie and Clyde changes in film taste despite feints in that direction (like a "whoever wanted to see that?" Jack Lemmon nude scene). Given my own immersion in that 70s culture -- and the film's chronological emergence between Cabaret/The Godfather/Deliverance on one side, Last Tango/American Graffiti/Mean Streets on the other -- I'd likely have felt the same dismissiveness toward it.
Now that I'm older and less inclined to snap dismissals, I feel a bit of affection for the film. Not to say it's anything like top-grade Wilder -- the man had already begun to broaden his comedy and lose his touch throughout the 60s, and the source material here is the sort of boulevard comedy that was lower-register Wilder even when done better (as Sabrina, or One, Two, Three). The whole thing shows its three-act Broadway origins, and the attempts to hip-icize it -- the casual references to Kissinger and State Department skulldggery -- feel horribly strained. And Lemmon was beginning to display that irritating, Nixon-era kvetch persona which dominated his roles from Save the Tiger through most of the rest of the decade.
In spite of all this -- maybe just because the standards for such harmless comedies has deteriorated so much over the years since -- I found myself appreciating the classicism of the plot construction. I found Clive Revill's performance as the hotel manager greatly engaging. And I found Juliet Mills enchanting enough that I believed the just-enough romantic chemistry. (Though who in their right mind thought this actress could be realistically called "fat ass"? Her nude scene evoked much the opposite from me; I'd have jumped her bones in a second)
So, all tolled, against my better judgment, I rather enjoyed the film, if in a totally minor way. Do I dare risk Buddy Buddy?
I know there was some discussion of the film a while back, but I can't seem to locate it. My thoughts: I'm glad I didn't see this when it opened, Christmas of '72. At the time it was widely viewed as hopelessly retro, a sign Wilder (like many of his contemporaries) just couldn't keep up with the post-Bonnie and Clyde changes in film taste despite feints in that direction (like a "whoever wanted to see that?" Jack Lemmon nude scene). Given my own immersion in that 70s culture -- and the film's chronological emergence between Cabaret/The Godfather/Deliverance on one side, Last Tango/American Graffiti/Mean Streets on the other -- I'd likely have felt the same dismissiveness toward it.
Now that I'm older and less inclined to snap dismissals, I feel a bit of affection for the film. Not to say it's anything like top-grade Wilder -- the man had already begun to broaden his comedy and lose his touch throughout the 60s, and the source material here is the sort of boulevard comedy that was lower-register Wilder even when done better (as Sabrina, or One, Two, Three). The whole thing shows its three-act Broadway origins, and the attempts to hip-icize it -- the casual references to Kissinger and State Department skulldggery -- feel horribly strained. And Lemmon was beginning to display that irritating, Nixon-era kvetch persona which dominated his roles from Save the Tiger through most of the rest of the decade.
In spite of all this -- maybe just because the standards for such harmless comedies has deteriorated so much over the years since -- I found myself appreciating the classicism of the plot construction. I found Clive Revill's performance as the hotel manager greatly engaging. And I found Juliet Mills enchanting enough that I believed the just-enough romantic chemistry. (Though who in their right mind thought this actress could be realistically called "fat ass"? Her nude scene evoked much the opposite from me; I'd have jumped her bones in a second)
So, all tolled, against my better judgment, I rather enjoyed the film, if in a totally minor way. Do I dare risk Buddy Buddy?
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Big Magilla
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Stewart's daughter was played by Lauri Peters, the original Liesl in Broadway's The Sound of Music. She was Jon Voight's first wife from 1962 to 1967.rudeboy wrote:Yes, that line got me!Big Magilla wrote:I love Mr. Hobbs Takes a Vacation. It's silly, but contains one of my all-time favorite movie lines, Jimmy Stewart's "How about a little son on the beach?" which his his housekeeper misinterprets as "son of a bitch" still a no-no in 1962.
Nice little film, although ridiculously overstretched - and the out of place scene with Fabian and Stewart's daughter singing in the pizza restaurand was just bizarre. Still, it had some great moments - John McGiver treaching Stewart the best way to walk when birdwatching is a wonderful scene.