Last Movie You Watched? Mark 9

Loomis wrote:

MISSION: IMPOSSIBLE - ROGUE NATION (2015, directed by Christopher McQuarrie). I probably enjoyed this one more than any of the other MISSION: IMPOSSIBLE films, and I've enjoyed them all very much. Storywise we're looking at the usual back-of-a-napkin nonsense but thankfully it's served up with a tremendous amount of style and flair, and the tone is just right - McQuarrie and co. neither take things too seriously nor slide too far into silliness (tonally I found ROGUE NATION very similar to THE SPY WHO LOVED ME, which I happened to rewatch the other day). The Cruise star quality shines bright, as usual, and the action scenes are exceptional, with car and motorbike chases so well-crafted and so edge-of-seat as to bring to mind the likes of John Frankenheimer and George Miller.

The action scenes are insane batshit crazy. That's really him on the plane. Full marks for Tom.

Erica Ambler wrote:

Salomé wrote:

I'm going to guess that they typecast Janney as the matriarch?

Full marks. The Rewrite is competent, but entirely predictable in all departments.

I suspect she had more fun in "Liberal Arts", in which she also played an English lit professor, only one who liked to pick up younger men and then kicked them out of her bed right after they had done their "job".



I forgot about this scene as well:



I think there might be some overlap thematically since you said The Rewrite's main character also selected his students on appearance?

Hmmm, there does appear to be similarities... In fact, having shacked up with a 36-year-old NYC professor when I was just 15 I may ask my lawyers to check it out.

BTW, Oppers, may I say how much I like your tight blue sweater? Makes you look like an air stewardess. And I mean that in a good way.

Mission Impossible : Rogue Nation - probably the best M:I flick since the first one, for the most part this is fast, funny and action-packed with the most generous use of the theme and the incidental music from the TV series in the score that I can remember within this franchise. The only thing is there's a kinda weird slackening of pace and scale during the last 30-40 minutes or so, which is usually when they're ramping things up and building towards the big finale in these sort of flicks.

Still and all, I enjoyed it a lot.

One From the Heart (1980)

Enjoyed it only on a technical level. Couldn't care about anything else.

The Gift - Joel Edgerton's directorial debut (which he also penned and co-stars in with Jason Bateman and Rebecca Hall) is a tense thriller which at first plays almost like a tribute to/parody of all those 'successful, slightly smug couple terrorised by nutcase' movies that followed in the wake of Fatal Attraction in the late 80s/early 90s, but then it slyly subverts your expectations.

Day the Earth Caught Fire

watched it with some of Val Guest's commentary. Liked his story about how they used fog machines in Battersea Park and had all of the Met descend on them, as the Queen was opening a flower show down the way and was covered in the stuff. The co-commentator, Ted Newson I think, was quite fixated on any kind of nipslip from Janet Munro. Whilst I applaud his zeal, it seemed ol' Val wasn't quite as interested, well, not after the first three mentions.
Film side, it's a bit of fun in a way but also a fantastic depiction of Fleet Street or at least the Fleet Street we used to have to a point. Edward Judd was a decent screen presence and yet it all fizzled out soon after.
Leo McKern on fine form and even Christiansen, the former Express editor puts in a decent turn.

Remade I imagine Judd would be...Cumberbatch/Crowe/Fassbender and Munro some modern type, what's model with the odd look Devigne? Pfft. Ian McKellen as the head honcho at the paper ("At last no more Diana headlines!") and Ciaran Hinds as Leo McKern's character. Music by Thomas Newman. Title song by Lulu.

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On the flipside, but also from my Network DVD collection, Carrington VC

this film has BRITISH stamped across it. The acting, the names, the stiff-uppers and a story of a man who did the right thing in a roundabout fashion. Full of familiar faces of character actors -Naismith, Keen and Denham chiefly (oh and good old Victor Maddern). Niv puts in a turn but not too mad on Margaret Leighton sadly, lays it on a bit thick.
And the end, quietly stirring as the men show their support for Niv's Carrington.

Thomas & Friends: Sodor's Legend of the Lost Treasure

Terrific fun. To those who say these films aren't meant for adults, you're missing out. Real character development, big chuckles and a serious lesson in life. Best of all, no nudity.

Thomas made me a better person. God be with you all.

The Fat Cuntroller was my favourite character.

Thomas the Tank Engine is Andy Burnham's blueprint for his railway plan.

Straight Outta Compton (2015)

As good as biopic can be. The first half is very strong with the rise of NWA, but the second half feels like it's skimming over so much because a lot of things happened to each member that broke off solo, it's hard to compact that. Apparently the first cut of this film was three and a half hours long, and I can believe that. Sad thing of this is to see how much things have not changed when it comes to police brutality, as news like Eric Garner's death pops up in recent times.

The Ladykillers

a brilliant film from start to end, a fantastic cast (Alec Guinness is on some form here) and it's all well-written and acted. Part of the joy for me is to be found in the London of the mid-1950s that is seen here and for the most part, is no longer here. Or seeing Kenneth Connor in a pre-Carry On role (and wondering how different things might've been for him had he not got stuck doing them after a while). Though Frankie Howerd as a barrow boy boggles.
It's hard to say besides Guinness who is on top but each are equally good.

To think it all came from a dream that someone had. Ealing went out with style.

Well, doubtless this will have some here despairing of me, but ... Inside Out. Sweet, amusing, inventive and beautifully animated.

Let Me In - US remake of Let The Right One In, again an odd-but-effective blend of touching almost-teen 'outsider' friendship and bloody vampire horror.

The Man from U.N.C.L.E. (2015)

This is exactly what I wanted from KINGSMAN but didn't get. It's leisurely, but a very fun hangout movie much like the early-60s Bond films before they became big budget affairs. It's a real shame it's not doing a killing at the box office because I would so love to see more installments of this.

I've only seen the pilot of the TV show, which had Solo working alone. Would like to see more, but the show is only available online as a purchase, whether by season or episodes.

Intending to see U.N.C.L.E. next week - think I heard a franchise was the intention, but I guess the box-office might yet scupper that.

Rear Window

Amazing tension and involvement given the tight environment, Hitch and the cast are at the top of their game here but special mention to the lit cigarette that steals the scenes it appears in.....

The Blue Lamp

the recent death of Peggy Evans (aged 94) brought me around to this staple of British cinema. The world has changed much in the sixty-five years since this came out and how it's changed. To the point that I suppose it's a quaint time capsule of a Britain forever gone. The Dixon style of policing (or at least being a film that was prevalent in that style) and all it entailed. Such as Dixon's dealing with a boy who keeps lying about the fact he's a runaway.
Anyway. What the film has going for it from the off is TEB Clarke as screenplay writer, responsible for a couple of Ealing's finer comedies (Passport to Pimlico, Lavender Hill Mob and Titfield Thunderbolt). There's Basil Dearden directing who I have a liking for, his films for the whole might not be earthshattering (Victim was perhaps his 'edgiest') but they were entertaining and mostly solid.
Then the cast of well known faces sprinkled throughout and finally, the on-location filming (mostly in Paddington).

Dirk Bogarde is perfectly slimey as the postwar scum criminal who deserves a proper thump from the off. Violent he ends up shooting Jack Warner's Dixon and is gradually hunted down. It's the hunt that seems typically British perhaps. A cop killer is a cop killer, reviled and hated, the cops will get him no matter what and here in 1950 London they do this but it's done in a documentary way. Phones ringing, bobbies knocking on doors, searching, looking. We get a look at London's underbelly and that final scene shows the tellers at the racetrack helping by using their singular sign language (forgive the phrasing in this sentence) to help the police along.
And that final scene. No music intrudes as Bogarde backs like a rat into a corner, gradually corned by the police. It's Bernard Lee's expression that stands out -he's led the hunt from Dixon's death to now as the DCI- and at front of his posse his lips have curled into a faint snarl and his eyes glare. Personally it was electrifying.

Of course Jack Warner's Dixon performed one of the earliest film/TV miracles by coming back to life for the long-running TV show. Before becoming eclipsed by your Sweeneys, Z Cars etc.

Couldn't help but wonder if this was done now how the villain would be portrayed and his moll. Tracksuited types? Eastern European gangsters? The film would be different for sure regardless. Imagine transporting TEB Clarke, Dearden, Warner, Bogarde and others from 1950 and saying: Make this film now.

Christ, I should write blogs.



the late Ms Evans (1921-2015) with Bogarde.

Angel Heart - hadn't seen this since its late-80s VHS release. Mid-40s sceptical me was a good deal less freaked out by it than late-teens 'you never know' me, but it's still an effectively atmospheric horror-thriller.

Nice to see Mickey Rourke before his face resembled melting plastic and Robert De Niro before he would appear in any old shit.

Finally got around to watching De Palma flicks I had yet to see, via Netflix.

Body Double (1984)

Wacky stuff, but a hoot to watch. Was gonna get the blu-ray but I see that Twilight Time release is already out of print and expensive. Sony could just release their own copy, it wouldn't be any worse than the e-mail leaks.

Casualties of War (1989)

Thought it would be another 'Nam flick as that seemed to be a common subject of film in this period, but it went another whole direction I was not expecting. Brutal, uncompromising, hard to watch.

Raising Cain (1992)

Watched the re-cut, then the theatrical. This has to be the most Hitchcock heavy influenced film by De Palma, this time all PSYCHO. I was a bit worried when it seemed like he was simply replicating the gag with the car in the swamp, but then the seemingly dead body comes back to life and starts screaming in the car and I was relieved. Something I appreciate about his films is that as influenced by Hitchcock he may be, he always puts a zany twist to the thing as if to acknowledge that he is doing a lot of lifting but he's at least having fun with it.

Carlito's Way (1993)

Loved it. Pacino was a delight. A better "mobster trying to go straight" story than THE GODFATHER: PART III. Almost seemed like De Palma was about to repeat himself with a climax set in Grand Central, but he knows how to keep the chase fresh here so it never feels stale.

Mission to Mars (2000)

I actually have seen this before, but that was way back in theaters 15 years ago. Other than the sequence involving Tim Robbins' death, I was mostly bored with this.

Makeshift Python wrote:

Raising Cain (1992)

Watched the re-cut, then the theatrical. This has to be the most Hitchcock heavy influenced film by De Palma, this time all PSYCHO.

Not all Psycho. Also borrows heavily from Michael Powell's Peeping Tom and steals one entire sequence from Dario Argento's Tenebrae.

Erica Ambler wrote:

Makeshift Python wrote:

Raising Cain (1992)

Watched the re-cut, then the theatrical. This has to be the most Hitchcock heavy influenced film by De Palma, this time all PSYCHO.

Not all Psycho. Also borrows heavily from Michael Powell's Peeping Tom and steals one entire sequence from Dario Argento's Tenebrae.

De Palma borrowed Powell's camera work from "Peeping Tom" in many of his movies.

I assume the "Tenebrae" scene you refer to is the silhouette reveal?

Upon a recent viewing of "Blow Out", I was struck by how the little horror flick at the beginning (the production that Travolta's character is working on) is actually better done than most real contemporary horror films.

Salomé wrote:

De Palma borrowed Powell's camera work from "Peeping Tom" in many of his movies.

He did, didn't he? Somedays I think Powell gets too much credit (post Thelma and Scorsese), but on others that he's not recognized enough.

Salomé wrote:

I assume the "Tenebrae" scene you refer to is the silhouette reveal?

Yup.

Last movie I saw was The November Man straight to Netflix. Brozza should have stuck to gay porn, but worth seeing if only to hear some of the worst dialogue ever written.

Salomé wrote:

Upon a recent viewing of "Blow Out", I was struck by how the little horror flick at the beginning (the production that Travolta's character is working on) is actually better done than most real contemporary horror films.

Well, that's the joke. Yet those were the people De Palma was lumped in with by The Critics. Blow Out is a rare example of a film that looks better every time I see it.

Harms, late of this parish, reckons the reason De Palma has been ignored is because he works in lowbrow genres, which is probably true. Same fate befell John Carpenter (outside of France) and most of the Hammer helmers though Terence Fisher has enjoyed a late rehabilitation.

Don't Look Now


the only Roeg film I've seen before this was Walkabout but this was something else. Found it incredibly atmospheric, specifically the Venice location and the music. In spite of the cretins on sites like IMDB, I found it quietly affecting.