Last Movie you Watched?

In the summer of 1991, a man was inspired to become a filmmaker...




"I want to make movies!"

My HD copy of THE ROCKETEER. When I first downloaded it and heard the dubbed foreign language I was peeved (wrote all about it in the old forum), but kept it anyway because that's about as good as I'll ever see the flick. Then I realized the file had TWO audio tracks and I was completely unaware at the time it had a full English option. I'm such a dolt. Before I only watched portions and screencapped it for MI6 folks to see. With the full english option I decided to watch the whole thing.

"Jenny, prepare yourself for a shock... I'm The Rocketeer."
"The Rocket-who?"

Still a fun flick overall. Ever since the HD copy surfaced online and has been airing on Sci-Fi lately I'm really hoping this means Disney is preparing a blu-ray copy. It would make sense not just because it's the 20th anniversary but because it would also be Disney's chance to have it coincide with the release Joe Johnston's CAPTAIN AMERICA coming out this summer, which would make a lot of sense given both films are set in early 20th century featuring superheroes fighting Nazis. Oh yeah, and I do look forward to seeing that too this summer.

Cape Fear (1962)



My kind of mad man thriller. Although I love the Martin Scorsese remake too, this is the real deal for me, because Robert Mitchum is the s**t. He's cooler and more average-looking than De Niro, making him more threatening and convincing. Peck's good too, but it's he's usual good-guy role so there's not much to say. But overall this is a satisfying "shocker".

9/10


J. Lee Thompson Countdown:
1. Cape Fear (1962)
2. The Guns of Navarone (1961)

March:

Terminator Salvation (2009) 7.0
Ocean's Thirteen (2007) 7.0
X-Men: The Last Stand (2006) 8.0
Ash Wednesday (2002) 4.0
The Dark Knight (2008) 7.0
Running Scared (2006) 6.0
Thick as Thieves (2009) 6.0

Yesterday:

The Taking of Pelham 1 2 3 (2009) 7.0



Saved Ocean's 13 review

Quote :

Earlier about Ocean's 12 i wrote that the franchise be the creater of a good yuse of flashbacks, but over yused it in Ocean's 12. This third part it happend only once. The music don't over yused but more like part 1. The actors in Ocean's 12 be on the edge of corness, what made it a movie for the actors them self. Also this isn't in this third movie.

Is it the return to America insteed to be relax in Europe and it let think about the first movie movie feel. Sjure. It look like atleast this time there be more on there place. I am sjure this count for Matt Damon his chacter. The ambitation in his chacter is again avaible and get the change for a bigger part. You can say that there have workt to it.

The story is small, but after a dificult part 1 and a second movie with to much drama this movie be more in the medium one.

Julia Roberts and Caterina Zeta not be seen, but don't be mist eather. There chacters at the to much drama to second movie and discrit the movie from the story. This third part focus again on there goal.

TDK earlier on Mi6community

Quote :

Yester day 21 March 2011 whas the Dutch tv premiere of The Dark Knight, almost 3 years after the release in 2008.
But the movie be the worse tv premiere ever with only 550.00 viewers.

Note:
- The movie been cut for 1 minuut to give the movie the Dutch PG13 rank 12+ what it made it possible to give the movie at 08.30 PM. Offical the movie having a Dutch R rank 16+ and should get the movie a 10.00 PM time.
- With 2 years and 8 months, almost 3 years before it get his Dutch tv premiere. Those days that is very long, but Warner don't give permission to give it earlier and possible be responsible that the movie get the 08.30 time and the format. The movie original supost to be release as 16+ movie at the end of 2008 on Veronica (the third channel of the same company) and later as 16+ movie on Saturday 12 March with a news program in between.
- 20.30-23.26 include 5 comercials, made it a extra long sit with a movie who already be very slow,
- Since a whyle the channel send 2:35:1 movies from Warner in the original format with burn widescreen option. This means you get something simalar as with the Super-Man Returns premiere,but also on 16:9 tv it is not possible to yuse the zoom function what you normaly can do with the dvd. Stil be people with a 4:3 tv where it be worse.
- The movie not be the moost 2008 succesfull movie in The Netherlands that be Mamma Mia and QOS. On the edge the movie wins from The Kite Runner.

TDK Hightlights:

* No 24 connection. The thing iam moost afraid for before i saw the movie.
* No over yused Jokes from the Joker, better Joker then Nickelson
* Feels like Batman 1989
* The movie is dark, but get the right mode and the destection from all those movies those days.
* Alfred. Not more like Begins, but more like the old Alfred.
* Gordon. The best chacter driven chacter from the movie
* Harvey Dent. Much better then Tommy Lee Jones. No over acting.
* Bruce
* Factory tv
* Maggie Gyllenhaal not with Bruce.

TDK disapointed:

* Sick Batman. Good the movie don't have Batman in the title.
* To much dialogue what made the movie to slow
* Hong Kong. The birdcage at the table is amazing, but the whole story around it, Wish there stay in Gotham.
* Slow and you think by times: Can we expect something.
* Not much Batman Begins
* Missing 1 action scene more
* Fox
* Maggie Gyllenhaal with Bruce, Chacter is playd by another actres, this made it dificult to accepted the scene's with Bruce to give more power.
* From some action scene's it is dificult to see what happend, not a lot of humor
* Give the movie a 7/10, but i consider to give it a 6/10.

As much as I love the original CAPE FEAR - i love the remake more.

It takes an entertaining thriller and infuses it with an OTT Deniro, an crumbling family dynamic instead of a solid one, cross-dressing, Joe Don Baker, DeNiro's "WTF?" face, and all kinds of other histrionics. It led to not only a wildly fun thriller, but also the best Simpsons episode of all time. ;)

FEMME FATALE (2002, dir. Brian De Palma)

I'm not much of a De Palma guy, but FEMME FATALE is a criminally under-celebrated work of genius.

colly wrote:

It led to not only a wildly fun thriller, but also the best Simpsons episode of all time. ;)

Not the very best episode IMO, but definitely the best Sideshow Bob episode.

Arkadin wrote:

FEMME FATALE (2002, dir. Brian De Palma)

I'm not much of a De Palma guy, but FEMME FATALE is a criminally under-celebrated work of genius.

Harms, is that you? :suspect:

So I had a fair bit to drink last night and I convinced my mates to stumble into the movie theatre that was nearby to watch THE MECHANIC. I had no previous intention of ever seeing that movie, but apparently alcohol blights your judgement. Wow, even in my intoxicated state that "film" was on a level of cinematic retardation one rarely sees. There are D-grade bargain bin and made-for-TV action movies with more plot and depth and less cliche.

Fuck you, Jason Statham.

Last night's experience was a good example of the consequences of alcohol consumption. I'll never drink again.

MAD MAX 2: THE ROAD WARRIOR (1981)

Mel Gibson's sanity may be in question nowadays, but my oh my is this movie fantastic. A breathless 90 minutes from start to finish.

9/10
One of my favorites.

ambler wrote:

Arkadin wrote:

FEMME FATALE (2002, dir. Brian De Palma)

I'm not much of a De Palma guy, but FEMME FATALE is a criminally under-celebrated work of genius.

Harms, is that you? :suspect:

I've actually heard it's good. Maybe a later De Palma I should check out?

The White Tuxedo wrote:

ambler wrote:

Arkadin wrote:

FEMME FATALE (2002, dir. Brian De Palma)

I'm not much of a De Palma guy, but FEMME FATALE is a criminally under-celebrated work of genius.

Harms, is that you? :suspect:

I've actually heard it's good. Maybe a later De Palma I should check out?

Ebert loved it apparently, and called it one of DePalma's best. I'm now annoyed that it's the only recent DePalma film I haven't seen, though I'd always felt justified in that as I didn't like Mission To Mars, Black Dahlia or Redacted much at all.

For most of my favourite actors, I watch their films like a sports match - their general awesomeness thrills me; I'll cheer their name to myself in sheer delight, chuckle nervously at whats going to happen next and punch the air when a glorious moment arises. Men like Jimmy Stewart, Arthur Kennedy, Burt Lancaster et al are my heroes. Not so with James Dean; his own brand of awesomness leaves me in a sea of wonder - I'm transfixed watching the screen, feeling the emotions and when its over, you sit back and think "wow". Thats why he's my ultimate screen presence, and my favourite actor of them all.

As for the films themselves, I hadnt watched either in nearly 2 years (at least). Long time favourites naturally, but in the time since I know a lot more - I've studied, I've read (both film-books, history books and EAST OF EDEN itself) and more importantly watched many a film. With EAST OF EDEN the last time I watched it was in the afternoon when I was sick. The last time I watched REBEL WITHOUT A CAUSE I think was at a mates place. I wanted to atone. And of course, G Section watched both recently and it spurred me on.

I love 50s dramas of passion and emotion, but EAST OF EDEN is far and away the best of the lot. Combining a team of Kazan (on one of the hottest directing streaks Hollywood had seen to that point), a largely untried cast in Dean, Harris, Van Fleet, Davalos and Ives, an old pro in Raymond Massey,the lush scope and Warnercolour, the sound of Leonard Rosenman and a source written by John Steinbeck - I dont think people expected it to be so good. Sure it leaves the book behind - its focused mainly on the last quarter, there's no Lee, Kate's much less of a bitch and Adam isnt as explored, but I dont mind. If I want the novel, I'll read the novel. And thankfully, when it compresses and tweaks, nothing goes wrong. The script is sharp as a tack. The acting is enormously powerful - up with ON THE WATERFRONT I still think its the best acting showcase around. All are gold, but one guy whos often forgotten is Dick Davalos. We're an hour into the pic, and suddenly war's declared. In 40 minutes Aron goes from golden child to effectively nothing. He loses his girl, his beliefs, his father, his soul. And then he smashes his head through that train window and the descent is complete. What an amazing ending.

As for REBEL.... considering only Dean and Rosenman (that I know of) made the jump to both pics, its an oddly similar film. Probably Dean and Rosenman were all you needed - they provided the wonderous leading man, the beautiful score and the Warnercolour could do the rest. Not quite. Combining another now legendary team of Nicholas Ray, Dean, Natalie Wood, Sal Mineo, Jim Backus, Ed Platt, Corey Allen et al... its the film of dreams. Along with SHANE, theres so much in this film if you look for it. Like Plato having a pic of Alan Ladd hanging on his locker. Or the planetarium display and Deans subsequent line "thats a lot of switches". Backus in his apron. anything in it. I love it to bits.

Just one of those nights when you know why you love films.

Lazenby. wrote:

Ebert loved it apparently, and called it one of DePalma's best. I'm now annoyed that it's the only recent DePalma film I haven't seen, though I'd always felt justified in that as I didn't like Mission To Mars, Black Dahlia or Redacted much at all.

Yeah, MISSION TO MARS, BLACK DAHLIA, and REDACTED are all "meh" efforts. Especially, especially that horrid piece of agitprop, REDACTED. But FEMME FATALE is awesome, awesome stuff, like De Palma's MULHOLLAND DRIVE (it also had me thinking of the recent WILD GRASS, too). It's the best De Palma film I've ever seen, which makes me interested to check out some of the other "lesser" De Palma films to see if there's any I shouldn't have passed over. Jonathan Rosenbaum and Charles Taylor know what's up. I'm going to be picking up the DVD as soon as possible. And behold, FEMME FATALE is available on Netflix Instant. So go, ye moviewatchers, and see for thyself if what I have spoken to thee be truth or falsehood.

It sure beats the pants off of the other movie I watched yesterday:

THE SADDEST MUSIC IN THE WORLD (2003, dir. Guy Maddin)

Interesting style (like David Lynch meets Ed Wood meets Robert Wiene), but it's extremely empty, trying to run on not-quite-so-compelling whimsy. At a certain point, it gets pretty boring.

Dirty Harry

after reading Tubes' recent reviews and indeed watching In the Line of Fire the other night I dug out the boxset (dug being an all too literal term). Anyway, as always there's a lot about the film that clicks for me. A lot of Harry's lines, their delivery -Eastwood in general, Andy Robinson's creepy turn as Scorpio or even John Vernon. John Vernon like Whit Bissell has always been a 'screen legend' for me in that he's a face that has popped up all over the place be it Quincy or Brannigan and so on. Unlike Bissell there's something mildly badass about Vernon depending on his role. With the early Harry films there's something awfully visual, almost drinking it up kind of thing or maybe it's just San Francisco. The music is a huge key to Dirty Harry's excellence, the way it comes in at moments -one example when Harry on the roof of that building and peeking in on that menage a troi suddenly zeroes in on the rooftop door opposite. Another when image and music ties in well is Harry atop the hillside watching as the girl's body is recovered, the murky haziness around the Golden Gate Bridge and Schifrin's music tying together.

5 stars.

Arkadin wrote:

De Palma's MULHOLLAND DRIVE

Lynch, of course, though I'm sure that's a slip of the fingers.

ambler wrote:

Arkadin wrote:

De Palma's MULHOLLAND DRIVE

Lynch, of course, though I'm sure that's a slip of the fingers.

No. I meant what I wrote, meaning that this was De Palma's equivalent to Lynch's MULHOLLAND DRIVE, just as you could say that OBSESSION was De Palma's VERTIGO.

The Blob (1958)
Dir. Russell S. Doughten Jr. & Irvin S. Yeaworth Jr.

A lot of fun. Steve McQueen's first leading role is akin to the James Dean-esque teenagers of the era. Like in Rebel Without A Cause, he just wants to be listened to. But in a film like this, social commentary shoudln't be taken too seriously, mind. Aiming to tap into the psyche of teenagers watching at drive-in theatres, the film reflects the paranoia and unease of fifties America - the blob represents Communism of course. The iconic scene, in which the blob squeezes it's way into the cinema, must have been brilliant to have watched in the cinema. The acting isn't always up to scratch, McQueen isn't always on the money, and there are some attrocious extras, but it doesn't really matter. The score's great, Aneta Corsaut fits the bill, the effects are still impressive and, considering the film is set entireley at night, the atmosphere is terrific. And then there's the title song :

Beware of The Blob!
It creeps, and leaps, and glides and slides,
Across the floor, right through the door
And all around the wall.
A splotch, a blotch,
Be careful of The Blob!

As I said, a lot of fun. The ending's a hoot.

4/5

Arkadin wrote:

ambler wrote:

Arkadin wrote:

De Palma's MULHOLLAND DRIVE

Lynch, of course, though I'm sure that's a slip of the fingers.

No. I meant what I wrote, meaning that this was De Palma's equivalent to Lynch's MULHOLLAND DRIVE, just as you could say that OBSESSION was De Palma's VERTIGO.

Ah, see what you mean. I think De Palma talks about Mullholland Dr in one of his interviews.

I honestly don't get Arkadin putting Femme Fatale on such a pedestal. I found it fairly forgettable and the plot extremely gimmicky.

I certainly wouldn't consider it amongst De Palma's best films. I'd easily rank Black Dahlia ahead of it even.

Salomé wrote:

I honestly don't get Arkadin putting Femme Fatale on such a pedestal. I found it fairly forgettable and the plot extremely gimmicky.

I certainly wouldn't consider it amongst De Palma's best films. I'd easily rank Black Dahlia ahead of it even.

I've never got past the first 10 minutes of Femme Fatale.

SOURCE CODE (2011, dir. Duncan Jones)

Not terrible, but kinda meh. You'd do better to watch TWELVE MONKEYS.

TWELVE MONKEYS is one of Gilliam's less works, IMO. Not nearly enough fuel to run on, or compelling characters, and also upholds several public misconceptions about the mentally ill.

Salomé wrote:

I honestly don't get Arkadin putting Femme Fatale on such a pedestal. I found it fairly forgettable and the plot extremely gimmicky.

For one thing, I can't think of another De Palma film that I found so aesthetically striking. It's a shame he never partnered with Thierry Arbogast again. They make for wonderful partners. Terrific score, too.

As for the plot being gimmicky, I would suggest that it would be little more than a gimmick in a lesser filmmaker's hands, but here, De Palma renders it in such a way that FEMME FATALE becomes a very thought-provoking exploration of perception and objectification, narrative significance, and the power of artifice. In many ways, FEMME FATALE feels like the fullest statement of all of De Palma's interests as a filmmaker, a kind of master thesis.

The most obvious weak link for many viewers is Rebecca Romijn herself. Frankly, she's just not much of an actress, and I wouldn't claim otherwise. But given how her character is meant to play into the scheme of objectification, and how boldly this film revels in artifice and absurdity, with its love-it-and-laugh-at-it relationship to Hollywood storytelling, she just about works. A better complaint, I think, would be to note that the pacing hits a few speedbumps.

Sharky wrote:

TWELVE MONKEYS is one of Gilliam's less works, IMO. Not nearly enough fuel to run on, or compelling characters, and also upholds several public misconceptions about the mentally ill.

Oh, I don't think it's among Gilliam's best films (but it's a far cry from his worst, either), but my main point is that it's far more compelling than SOURCE CODE.

Arkadin wrote:

Sharky wrote:

TWELVE MONKEYS is one of Gilliam's less works, IMO. Not nearly enough fuel to run on, or compelling characters, and also upholds several public misconceptions about the mentally ill.

Oh, I don't think it's among Gilliam's best films (but it's a far cry from his worst, either), but my main point is that it's far more compelling than SOURCE CODE.

I went to a lecture by Gilliam back in 1996 or 97 and asked him about the references to Vertigo. He denied there were any intentional similarities. :|