Last Movie you Watched?

Airplane!

laugh riot from its Airport ish start to its well...end. As always helped by those legends Messrs Bridges and Nielsen.

Absolute Power

a good film though not all too stellar. Still there was Hackman, Harris, Scott Glenn and of course Eastwood so it wasn't entirely painless. Could've done with a Schifrin score.

THE AVENGERS (1998, dir. Jeremiah Chechik)

Just dreadful. A tedious script mixed with miscast leads and flat, almost television-grade direction. Even the generally talented Joel McNeely turns in a generic, David Arnold-grade score. Deserves all the hate it gets.

bondfan06 wrote:

The Manchurian Candidate (1962) Dir: John Frankenheimer

I have to say at times it felt like a surreal film. This is meant, however, on multiple levels. While there are parts of the film (the dream sequences, particularly) where cross-cutting and juxtaposition create an uneven and jarring reality completely intentionally, it is the moments of lucidity that I often found most bizarre (particularly the ones involving Janet Leigh) was she controlling Sinatra or her character just badly wasted?

Laurence Harvey is fine as Raymond Shaw comes off as a stereotypical snobby asshole, complete with a British accent that is never explained, and for the first half of the film, it is hard to feel much but disdain for the guy. However, as the film goes on, his character garners more and more pathos, until, at the climax of the film where you feel sympathetic for him . Frank Sinatra as Ben Marco doesn't give a bad performance, exactly... it just wasn't all that great although his fight with Henry Silva was fun to watch.

Angela Lansbury is meticulously plays one of the most most despicable characters I've yet seen on film (at least, she was to me) we see that through her insatiable political ambition and her manipulative force of will, she had broken down Raymond's will long before the Commies ever got their hands on him. The hypocrisy of the character just makes her loathsome to my tastes, and it doesn't help that Lansbury gives a superb performance.

I like Sinatra in the film. As for Leigh, it's not explicit but I like to think she's up to no good. I think Frankenheimer said that wasn't the intent, but how can you explain lines like "I was one of the original Chinese workman who..." however the line goes. They took it right out of the book. And her number, ELdorado 5-9970 seems to me like the equivalent of the Shaw's control phrase.

Best Buy has the film on Blu-ray. I dunno. I was tempted. But I own the DVD anyway.

Arkadin wrote:

THE AVENGERS (1998, dir. Jeremiah Chechik)

Just dreadful. A tedious script mixed with miscast leads and flat, almost television-grade direction. Even the generally talented Joel McNeely turns in a generic, David Arnold-grade score. Deserves all the hate it gets.

I don't find Uma Thurman attractive. Just sayin'.

The Last Tango in Paris - I haven't seen much of Bertolucci apart from The Last Emperor and The Dreamers, so this was something new for me. What can I say... Brando is something else. I think his performance here isn't any less worthy than in The Godfather. How the girl managed to hold up so well opposite Brando I've no idea. This is one living film.

The White Tuxedo wrote:

bondfan06 wrote:

The Manchurian Candidate (1962) Dir: John Frankenheimer

I have to say at times it felt like a surreal film. This is meant, however, on multiple levels. While there are parts of the film (the dream sequences, particularly) where cross-cutting and juxtaposition create an uneven and jarring reality completely intentionally, it is the moments of lucidity that I often found most bizarre (particularly the ones involving Janet Leigh) was she controlling Sinatra or her character just badly wasted?

Laurence Harvey is fine as Raymond Shaw comes off as a stereotypical snobby asshole, complete with a British accent that is never explained, and for the first half of the film, it is hard to feel much but disdain for the guy. However, as the film goes on, his character garners more and more pathos, until, at the climax of the film where you feel sympathetic for him . Frank Sinatra as Ben Marco doesn't give a bad performance, exactly... it just wasn't all that great although his fight with Henry Silva was fun to watch.

Angela Lansbury is meticulously plays one of the most most despicable characters I've yet seen on film (at least, she was to me) we see that through her insatiable political ambition and her manipulative force of will, she had broken down Raymond's will long before the Commies ever got their hands on him. The hypocrisy of the character just makes her loathsome to my tastes, and it doesn't help that Lansbury gives a superb performance.

I like Sinatra in the film. As for Leigh, it's not explicit but I like to think she's up to no good. I think Frankenheimer said that wasn't the intent, but how can you explain lines like "I was one of the original Chinese workman who..." however the line goes. They took it right out of the book. And her number, ELdorado 5-9970 seems to me like the equivalent of the Shaw's control phrase.

It reminded me a lot of "Pennsylvania 6-5000" from THE GLEN MILLER STORY.

I should rewatch THE MANCHURIAN CANDIDATE again, but last time I kind of reached the stage beyond where I lost all tension and fear, fidning it instead just an incredibly hilarious satire of the Cold War. I think I just know the film too damn well - I mean, i like Raymond Shaw even at the beginning.

And I love that doctor - Yen Lo. What a chief.

"next you'll be lending out money with interest!"

I always found THE MANCHURIAN CANDIDATE to be warm and inviting. I must have issues.

The Curse of Frankenstein (1957; dir. Terence Fisher)

I liked it. I wasn't bowled over, but I liked it. Cushing and Lee are great. Lots of stiff acting from everybody else (though Hazel Court was hot), but those two were great.

Shame Netflix doesn't stock THE REVENGE OF FRANKENSTEIN.

Taking the Frankenheimer thread further, though I wasnt spurred by our discussion - rather TCM's having an "earth day marathon" of films that shook the world. I saw a little bit of this on TV, but since I missed the start I went to my DVD of...



Seven Days In May (1964) Dir. John Frankenheimer

Twas my favourite shot of the film, glad I could find the image.

I see the relationship between this film and THE MANCHURIAN CANDIDATE to be akin to the relationship between Preminger's ANATOMY OF A MURDER and ADVISE & CONSENT. Now as you will know, both MANCHURIAN and ANATOMY are almost my 2 favourite film of all time, and both were followed up with more ambitious poductions that directly targeted the US political system. These follow-ups are both packed with bigger names and bigger casts, slicker movements and a great deal of polish, but in both cases I prefer the former. Why? Maybe its because I've seen them more (ADVISE & CONSENT I've seen only once, and this was a second watch). But also they've got a more raw power in their smaller scope, their less is more.

Not to say this is in anyway a disappointment. This is a fantastically intelligent concoction from some of the top names of the era. Firstly, its adapted by Rod Serling, who's writing on PATTERNS impressed me greatly, and I really want to see REQUIEM FOR A HEAVYWEIGHT (I'm prepared to bite the bullet and buy it, despite it apparently being truncated). Secondly, its directed by John Frankenheimer, one of my very favourites, and I love his style. And its got an amazing cast - led by arguably the two best actors of the era in Burt Lancaster and Kirk Douglas, a fellow legend in Fredric March, the requisite beauty who's sufficiently aged to hang out with politicians and generals (A&C had Gene Tierney, this one's got Ava Gardner, typically playing a woman who cant hold her drinks) and some of the best character actors around in Marty Balsam, Edmond O'Brien, Whit Bissell, George MacReady and Hugh Marlowe. Its one hell of a mix. And its quite satisfying too. :)

The Swimmer (1968) Dir. Frank Perry

I love films which rip the underside out of suburbia, but as this went on, it progressively left me cold. Burt plays a suburban everyman who appears a total winner - he's got friends, he lives in wealthy Connecticut, he's got a loving family at home, and even into his mid 50s he's still built like a 30 year old, having left all of his old mates behind - and indeed, many reveiws I've read say this film is partly a vanity pic for Burt, as he spends the whole time in just a pair of bathers, and into his mid 50s, hes a fine specimen. But back to the plot - he's living the dream, and life's so stylish and easy he's going to swim home from a friends place, going through each backyard and swimming into their pool.

What appears a dream is unravelled to become a complete and total nightmare. He's alone, he's poor, his wife is gone, his daughters ridicule him behind his back, and he cant even remember when he last saw people - which isnt totally explained when you think back on it. Its episodic by nature with each backyard and thats where it kind of starts to tire when its trying to really hit home (even if it is only 90 minutes) - the offbeat style and Lancaster's slight inversion of his dominant persona (particularly towards women) also slightly wane as we go along; and its no real shock to find this got a review on the website "366 Wierd Movies".

The Man From Laramie (1955)



I'm a bit ashamed to say that this is the first Mann-Stewart Western I've seen. But thankfully it did convince me to start looking for them more.

8/10


Anthony Mann Countdown:
1. The Man From Laramie (1955)
2. El Cid (1961)
3. Man of the West (1958)
4. The Heroes of Telemark (1965)

Arthur Kennedy is god. And happily enough, he's also in BEND OF THE RIVER.



The Hospital (1971) Dir. Arthur Hiller

A typcially Paddy Chayefsky mix of social issues and farcical black comedy (Oscar winning script too), this slightly batty hospital saga concerns Doctor George C. Scott - a middle class doctor living an "impotent" life: marriage is dead, his children have devolved into anarchic hell, he drinks, has suicidal thoughts and works in the most shambolic bloody hospital the world's ever seen. A patient's daughter (the ever lovely Diana Rigg) offers hope and salvation in a batty sort of way, unfortunately her comatose father is nothing but and is rampaging around the hospital killing doctors. Good lord. Somehow it all holds together in rather darkly humourous fashion and you get a fun 100 minutes.

Autumn Leaves (1956) Dir. Robert Aldrich

Darker, Aldrichian take on a Sirk-lite melodrama. The first 50 minutes is a sweet tale of two lonely people finding love, as spinster Joan Crawford (still taking brave roles and looking good in a bathing suit into her 50s) meets young soldier Cliff Robertson, and despite her protestations that the age barrier is too much, they eventually marry. And then some shit starts hitting the fan. Turns out Robertson lied about a lot of things - his war record, his father being alive, and that he was previously married. But thats not all, it progressively grows into quite a schizophrenic state. And his father (Lorne Greene) and ex-wife (Vera Miles) turn up, having apparently shacked up (thats a step Aldrich would take and not Sirk) and wanting some property that Robertson's apparently got, not that he's got much clue about it. After a few snaps, in which he breaks Crawford's hand by throwing a typewriter at her, she eventually gives in and has him committed, then we're wondering whether he'll love her again on the other side (Spolier alert: he does! what a surprise). Fun, soapy stuff, but the real reason to watch is Robertson - you wont forget him getting dragged off to the mental institute. Kicking and screaming indeed.

Mr. Trevelyan wrote:

The Man From Laramie (1955)



I'm a bit ashamed to say that this is the first Mann-Stewart Western I've seen. But thankfully it did convince me to start looking for them more.

8/10

My favorite is the Alaskan-set The Far Country(1955).

Mr. Trevelyan wrote:

Anthony Mann Countdown:
1. The Man From Laramie (1955)
2. El Cid (1961)
3. Man of the West (1958)
4. The Heroes of Telemark (1965)

El Cid is far and away my favorite of Mann's. I've seen that one more times than any of his others.

colly wrote:

Arthur Kennedy is god. And happily enough, he's also in BEND OF THE RIVER.



The Hospital (1971) Dir. Arthur Hiller

A typcially Paddy Chayefsky mix of social issues and farcical black comedy (Oscar winning script too), this slightly batty hospital saga concerns Doctor George C. Scott - a middle class doctor living an "impotent" life: marriage is dead, his children have devolved into anarchic hell, he drinks, has suicidal thoughts and works in the most shambolic bloody hospital the world's ever seen. A patient's daughter (the ever lovely Diana Rigg) offers hope and salvation in a batty sort of way, unfortunately her comatose father is nothing but and is rampaging around the hospital killing doctors. Good lord. Somehow it all holds together in rather darkly humourous fashion and you get a fun 100 minutes.

That's one I have thought of seeing. It's on Netflix Instant, and the combo of Scott and Rigg sounded interesting. It even has Roberts Blossom.

As for the Mann, I might go with BEND OF THE RIVER. I'm not sure.

Prince Kamal Khan wrote:

Mr. Trevelyan wrote:

Anthony Mann Countdown:
1. The Man From Laramie (1955)
2. El Cid (1961)
3. Man of the West (1958)
4. The Heroes of Telemark (1965)

El Cid is far and away my favorite of Mann's. I've seen that one more times than any of his others.

I have seen it only once, and I thought it was OK but little bit long-winded. I probably need a rewatch.

I've had Bend of the River and Mann of the West sitting around for ages. May watch one tonight, in fact.

THE WOMAN IN THE WINDOW Fritz Lang, 1944

Another cracking piece of cinema from Lang, probably just a notch below Scarlet Street and M. The three primaries are all as good as in Scarlet Street and Lang's mastery of the thriller is just as sharp. The only thing I found at fault was that it wasn't as, I dunno, interesting as Scarlet Street. That film, like Sternberg's The Devil is a Woman, has some very strange attitudes coarsing through it, and that same magic that comes with something a little more confessional. This one was more of a standard thriller - an excellent one, but not as singular.

The Prestige

Very good film, well written and directed. I suspected the Fallon character right from the beginning (the make-up is too obvious), and around the beginning of the last third of the film I knew who he actually was, but this did not spoil the enjoyment.
There is no other reasonable explanation than that Tesla's machine actually works, which makes me have to accept a fantastical element, but even this I can deal with.
The dramatic, interpersonal elements are well presented, as are the clues. I am not sure what to make of the very last shot; I hope it is not supposed to suggest yet another answer to the questions raised.
As with MEMENTO, this is not perfectly understandable on first viewing (no matter what people claim after secretively wading through the IMDb FAQs :roll: ), but MEMENTO gives even less (hints to) answers.
Anyways, I am happy with all of the aspects of this film. If only Nolan's Batflicks were anywhere near as intelligent and pleasing as is this one.

The Informant!

not too bad, even witty and bewildering in spots. Matt Damon is surprisingly good, even Scott Bakula (dodgy hair and all) wasn't too bad with lies upon lies, deception etc spilling as the film progresses. The score by Hamlisch is jaunty with enough Bond-esque sounds to do an Austin Powers score. Might just be me but though set in the 90's hairstyles, clothes and whatnot seem 70's/80's. Right.

I'll omit my River Plate summary as it'll dwell on Anthony Quayle during the battle: "Give them the lot!" & "Take that you beast!"

Rewatched The Bourne Supremacy. Somewhat to my surprise it didn't impress me as much as on previous viewings. Right now, I'd say The Bourne Identity is the superior film - less flashy and lower budget ergo more human.

The White Tuxedo wrote:

As for the Mann, I might go with BEND OF THE RIVER. I'm not sure.

HJackson wrote:

I've had Bend of the River and Mann of the West sitting around for ages. May watch one tonight, in fact.

Dare I say you should both start with WINCHESTER '73 (I did), but they're all solid enough. :)

A.I. ARTIFICIAL INTELLIGENCE (2001)

I really like it ... apart from the ending. It just doesn't fit the rest of the film. Classic Spielberg sentimentality tacked on to a film that is hardly sentimental.

Shouldve quoted this earlier but..

HJackson wrote:

THE WOMAN IN THE WINDOW Fritz Lang, 1944

Another cracking piece of cinema from Lang, probably just a notch below Scarlet Street and M. The three primaries are all as good as in Scarlet Street and Lang's mastery of the thriller is just as sharp. The only thing I found at fault was that it wasn't as, I dunno, interesting as Scarlet Street. That film, like Sternberg's The Devil is a Woman, has some very strange attitudes coarsing through it, and that same magic that comes with something a little more confessional. This one was more of a standard thriller - an excellent one, but not as singular.

..I love how the ending goes all WIZARD OF OZ. It's strange enough that it actually works.

Jack Wade wrote:

A.I. ARTIFICIAL INTELLIGENCE (2001)

I really like it ... apart from the ending. It just doesn't fit the rest of the film. Classic Spielberg sentimentality tacked on to a film that is hardly sentimental.

The ending is hardly sentimental. It's incredibly bleak, a kindly lie that David is meant to accept and the audience is meant to challenge. (And, FWIW, it's Kubrick's ending. Spielberg followed Kubrick's ideas on this section of the film almost word for word.) I'll go as far as saying that the ending, with all its rich ambiguities and complexities actually makes the film. Without it, the conversation the film seeks to engage in lies largely under-developed.

Jack Wade wrote:

A.I. ARTIFICIAL INTELLIGENCE (2001)

I really like it ... apart from the ending. It just doesn't fit the rest of the film. Classic Spielberg sentimentality tacked on to a film that is hardly sentimental.

That coda is crucial to the story's heart, and is one of the most sincerely touching sequences Spielberg's ever filmed. Genuine childhood longing, not fake schmaltz. Remove it, and the film has no resolution.

Arkadin wrote:

Jack Wade wrote:

A.I. ARTIFICIAL INTELLIGENCE (2001)

I really like it ... apart from the ending. It just doesn't fit the rest of the film. Classic Spielberg sentimentality tacked on to a film that is hardly sentimental.

The ending is hardly sentimental. It's incredibly bleak, a kindly lie that David is meant to accept and the audience is meant to challenge. (And, FWIW, it's Kubrick's ending. Spielberg followed Kubrick's ideas on this section of the film almost word for word.) I'll go as far as saying that the ending, with all its rich ambiguities and complexities actually makes the film. Without it, the conversation the film seeks to engage in lies largely under-developed.

Maybe I should rephrase. Giving David the chance to see his mother again was the sentimental part. I think they could have gotten away with finding another way to give David a happy resolution. As it stands, the film's resolution seemed a little gimmicky (luckily Teddy and David managed to freeze for 2,000 years and hold on to that hair) and just didn't fit as well for me as I would have liked.

I dunno. It just seems like a weird juxtaposition to a film that, up to that point, felt as cold and calculating as a Spielberg-directed Kubrick story could be. It's a film about robots, for Christ's sake. :D

I'm actually surprised to learn it was Kubrick's ending. I would have expected something a little less "crowd-pleasing," though that's probably not the best phrase to describe it.

I don't hate it. I just think it's easy to say it has Spielberg's fingerprints all over it, even if it was Kubrick's idea.

Quote :

I dunno. It just seems like a weird juxtaposition to a film that, up to that point, felt as cold and calculating as a Kubrick story could as directed by Spielberg. It's a film about robots, for Christ's sake.

I don't really see that. There's Spielberg's humane touch throughout the film. Especially in the first act, with David's disastrous upcoming. In a musical sense, that ending you dislike is the final recapitulation of that theme. But like Harms says, it's also fairly unambiguous. Yes he's with his mother, but it's only for one final day. What will lies beyond?

This along with the ending of MUNICH, are by far Spielberg's most challenging.