Last Movie You Watched? Mark 9

Fairbairn-Sykes wrote:

The only House of Usher movie I've ever seen was Epstein's, in a Film History class. Fascinating and sort've kindred to VAMPYR and LA BELLE ET LA BETE but not as good as those, I think. It was a little all over the place and I had trouble staying awake during it.

You should see the Corman/Price version. Corman took a lot of care with his Poe features, and the best of them are brilliant examples of expressionistic horror.

THE WORLD'S END (2013, dir. Edgar Wright)

Wright is still the best comedy director around. I can't say THE WORLD'S END is the best of his films, but it's still a lot of fun.

Just watched Frank Borzage's Moonrise. This must be the darkest Hollywood film produced during the golden age. It's relentless. Not a shock that it found expression at a minor studio like Republic. Just as powerful and beautiful as his late silent and early sound masterworks, which gives hope that his late career contains more treasures on par with Street Angel, Lucky Star, A Farewell to Arms, and Man's Castle. It differs from those films in important ways, notably in its interest in a man's personal demons over his relationship with a woman, but it's unmistakably Borzagian.

Salomé wrote:

Thieves' Highway must be one of the final movies of Dassin's Hollywood career.
I believe his blacklisting occurred in the early 1950s?

I believe it happened during the production of Night and the City in 1950. Sad that he couldn't keep doing what he was doing, but I doubt he'd have been able to make a film like Rififi, with such a long heist sequence, in Hollywood anyway.

Harmsway wrote:

Not yet. It's been a bit slow, since I'm trying to buy the films rather than simply rent them. Lang's FURY is next up on my to-see list, but I'll definitely add MAN HUNT.

Understandable. Hope you enjoy it when you get to it!

CITY HALL (1996, directed by Harold Becker). A convoluted, talky and essentially rather inert politcal drama with more than a nodding acquaintance with cliché, this film is nonetheless saved by strong individual scenes, good performances (Pacino, as usual, is terrific) and a fine eye (and ear) for New York City detail.

Santa wrote:

Salomé wrote:

I found "Bridesmaids" to be surprisingly lowest common denominator in some of its comedic choices (especially the bit of toilet humor during the fitting... :shock: ).

Yep. I have the sense of humour of a 12 year old boy.

I hope that's all you share with a 12 year old boy.

Salomé wrote:

I found "Bridesmaids" to be surprisingly lowest common denominator in some of its comedic choices (especially the bit of toilet humor during the fitting... :shock: ).

So?

BRIDESMAIDS is simply low-brow humor. That doesn't make it a bad thing, as there are plenty of great low-brow humor films that have been made like WAYNE'S WORLD and ANCHORMAN, both I enjoy very much. I don't think BRIDESMAIDS is one of the greats, but I can't deny it has its moments mainly because of the camaraderie among the cast and delivery. I was even surprised by Kristen Wiig, who I found unfunny on SNL.

Jack Wade wrote:

Salomé wrote:

I found "Bridesmaids" to be surprisingly lowest common denominator in some of its comedic choices (especially the bit of toilet humor during the fitting... :shock: ).

So?

Based on word of mouth and many good reviews, I had far higher expectations for it.

Loomis wrote:

CITY HALL (1996, directed by Harold Becker). A convoluted, talky and essentially rather inert politcal drama with more than a nodding acquaintance with cliché, this film is nonetheless saved by strong individual scenes, good performances (Pacino, as usual, is terrific) and a fine eye (and ear) for New York City detail.

Speaking of Pacino, I just revisited...


LOOKING FOR RICHARD (1996, dir. Al Pacino)

Al Pacino's pseudo-documentary about staging RICHARD III owes a lot to Welles' masterful F FOR FAKE, both conceptually and stylistically. Pacino, like Welles, is a magnetic presence, capable of centering the entire film. His Richard III is dark, savage, vicious. But as this documentary film becomes more and more a straight film version of Shakespeare's play, this take on the play becomes too monotonous. In its best moments, it channels the raw power and spiritual conflict at the heart of Shakespeare's play, but also manages to be pretty exhausting. But, perhaps because it's an actor running the show, every moment from the play becomes a meaty, intense, bombastic interaction (all scored with overbearing choir and orchestra by Howard Shore), and it's just too much.

Still, this provides welcome contrast to the Olivier and McKellen/Loncraine adaptations.

Carry On Sergeant

still a laugh and far removed from how the series progressed and ended up. Kenny Connor is a personal favourite, Bob Monkhouse as well and Williams. Of course Hartnell is superb even if it's a familiar role (going right back to The Way Ahead if not before) and the ending is quite touching in a way.

Scott of the Antarctic

when men were men and Antarctica was largely unknown still. Haunting and beautiful music by Vaughan-Williams. Ol' Kenny More in an early role which was largely cut back on Mills' say-so.

Last Command

Doesn't quite get going until the final battle and felt quite disappointing as a consequence.

Star Trek IV The Voyage Home

birthday tradition in a way.

The Conjuring - this doesn't do anything terribly new with the haunted house/demonic possession thing, but it's atmospherically creepy with well-worked scares.

School for Scoundrels

needless to say this is the original and needless to add, it's a blast. Chiefly aided by the rotter incarnate Terry-Thomas who oozes with every utterance, every growl and flicker of face clashing nicely with Ian Carmichael -the poor shower who just can't win in life.
ALmost forgotten in this is Alistair Sim who does enough with what he has and is charming right down to his breaking of the fourth wall at the end:
"What can I do but apologise ladies and gentlemen...?"

Notable mention to Messrs Price and Jones as typical used car salesmen (the car lot is now, suitably, a Hyuandi dealership -Harrow) and Miss Hattie Jacques.




"You gorgeous creature."

'School for Scoundrels' is one of my favourite British comedies and was directed by Ealing alumni Robert Hamer of 'Kind Hearts and Coronets' fame. As you say, Hilly, Dennis Price's turn as an odious conman is one to savour - back then, used car salesmen were about as popular as MPs, bankers, estate agents and journalists are today. I wonder whether Hamer got Price the gig - Price had a prominent role in 'Kind Hearts'.

I imagine Hamer gave Price the role as a favour of sorts. It's at least the third film Price did with Carmichael, following on from Private's Progress and I'm Alright, Jack.

Then again folk tended to work with each other many times. Price did odious fairly well, even brought some of it to his short-spin on the Navy Lark.

EDIT- googling around found Carmichael & Price again in Double Bunk. I'll find that one day though I'm still trying to re-find Kenneth More's Next to no Time.

Waterloo Road

our boy Johnny Mills goes AWOL to sort out his domestics in South London. Seems his missus Tilly has been hooking up with a draft-dodging, black markeeter spiv type Stewart Granger. Takes a while for Mills to catch up with Granger during which we encounter the almost seedy side of wartime London -AWOL Canadian soldiers, the 'element' and all the rest. The climatic fistfight during a raid is both violent and unintentionally funny (I refer to the classic pulling down of a coat's sleeves over your opponent's arms before smashing him in the face).

Somehow you don't think of Mills as a physical actor, the kind to go toe to toe with someone but yet...somehow you do. Far removed from his In Which We Serve "make no mistake" cheeky chappy and more his Long Memory type.

Good to see old London in black and white finery. One striking image is early on in the film when we see a terrace building that ends in a bombed out ruin, as we flashback to 1940-41 the building changes into its complete structure pre-bombed. I guess they filmed a similar street but it's the same building so who knows.

Love 'School for Scoudrels' though always root for Thomas over Carmichael.

Star Trek Into Darkness

I have to confess that while I think the previous film is all but the antithesis of what I like in Trek, it can still be enjoyed as an engaging romp.

'Into Darkness' is just a mess, a stupid mess much of the time, the characterisation is all wrong, the throwbacks poorly judged, the humour flat, the action not at all thrilling. People die, things blow up, gravity appears and disappears with gleeful abandon but nothing resonates or excites, nothing feels connected. The scene that foreshadows the resolution seems laughably random, the cliched echoes of an older and much better time intrude jarringly, here is a film featuring what should be loved and mostly lovable characters but for which I really can't care for at all.

The whole problem is imo illustrated perfectly when old-spock is wheeled out for an appearance, it's very heavy handed and simultaneously demonstrates a total lack of understanding and knowledge for the original series by the writers while also robbing new Spock of any character or credibility of his own. Sad is not quite the word.

5/10

BATMAN RETURNS (1992, dir. by Tim Burton)

Haven't laughed as hard as this for so long in weeks. The finest superhero movie ever made. bar none.

Insidious

Because it was on the telly and I've got a soft spot for traditional horror, when things go bump in the night. It showed potential with a nice couple of creepy moments but ultimately there were very few genuine chills or thrills and I was barely awake for the last half hour. If you watch a horror film late at night and then fail to get nightmares then it's a failure, in my book.

alright bear with me...

...Close Encounters of the Third Kind: Special Edition

the more I see it the more I find it quite something. Almost touching in certain moments or maybe that's the work of Williams. For me the piece d'resistance is the music for the final moments. This was Spielberg's film whereas others, aside from possibly ET, don't quite feel his.
Read that both McQueen and Hackman were considered for Roy. Would've been something with either.

In Which We Serve

yes a propaganda piece but a solid movie I think. I always favour the John Mills scenes especially those involving his family ("Ain't that something and no error!") even if they're a little awkward in todays age. The niggles come in the shape of Coward who seems just a little wooden or at least above it all. There's moments that are a little cringeworthy I suppose (such as the patriotic stuff at the end) but it's par for the course.

Into Darkness

Flashbangwallop.

Oh how I love Close Encounters. I remember seeing it in the cinema when I was a kid. My dad was a fireman and firemen were able to show their badge and get their family in for free!

And then the next night my dad made a mountain with his mashed potatoes at dinner. My sister and mom and I were in hysterics.

I try to see it when it's on TV but would love to see it in the cinema again. A great movie wrapped up with some wonderful memories for me. :)

Mud

Cute.

Hilly wrote:

alright bear with me...

...Close Encounters of the Third Kind: Special Edition

the more I see it the more I find it quite something. Almost touching in certain moments or maybe that's the work of Williams. For me the piece d'resistance is the music for the final moments. This was Spielberg's film whereas others, aside from possibly ET, don't quite feel his.
Read that both McQueen and Hackman were considered for Roy. Would've been something with either.

There is a magical sense of wonder to CE3K quite rare for the cinema but something Spielberg had a particular talent for back then. In the commentary or 'making of' I think he comments that he couldn't make an ending like that any more, as since becoming a father he wouldn't have allowed Roy to leave his kids etc. The enthusiasm for the project is evident on screen and conspires to make this his, and Williams', finest achievement imo, ultimately a bit more earnest and less deliberate than ET would later become.

The Saint (1997) Val Kilmer, Elizabeth Shue.
While being nothing like the Roger Moore version, It was still a nice little thriller that was a cross between GoldenEye and Mission Impossible. I'm glad Kilmer did this instead of returning for Batman & Robin.

RIDDICK (2013, dir. David Twohy)

Third time's the charm for this franchise. RIDDICK is far and away the best of the Riddick features, though, given the disappointing box office, it seems it's sadly too late to muster audience interest.

Diesel, who has more invested in this franchise than anyone, settles into the steely-eyed role with ease, and succeeds in carrying the film's almost dialogue-free opening thirty minutes. Twohy's direction is measured and consistent, with surprising panache (when RIDDICK is at its best, it's as though the paintings of Frank Frazetta came to life).

Would you recomend it to me as someone who hasn't seen the previous 2 films, Harms?