Last Movie you Watched?

The White Tuxedo wrote:

colly wrote:

This has got some of his absolute best work. Its great stuff.

You've read OHMSS, right? ;)

Wheres that INCEPTION pic of DiCaprio staring when I need it... ;)

colly wrote:

The White Tuxedo wrote:

colly wrote:

This has got some of his absolute best work. Its great stuff.

You've read OHMSS, right? ;)

Wheres that INCEPTION pic of DiCaprio staring when I need it... ;)

The chapter when Bond meets Irma Bunt is called "Irma La not So Douce"

The White Tuxedo wrote:

colly wrote:

The White Tuxedo wrote:

colly wrote:

This has got some of his absolute best work. Its great stuff.

You've read OHMSS, right? ;)

Wheres that INCEPTION pic of DiCaprio staring when I need it... ;)

The chapter when Bond meets Irma Bunt is called "Irma La not So Douce"

I was wondering if my joke was going to be taken the wrong way.

If Irma Bunt had any of La Douce about her... I'd be having nightmares. ;)

But she has such a sexy giggle.

The Boston Strangler (1968) Dir: Richard Fleischer

I never had a problem with the split screen as long as it's attempted properly. It didn't feel like a gimmick here, but a thematic device that supports the split personality of the Strangler and choatic state of Boston. At times fast-paced and terrifying, and at other times, mainly during Henry Fonda's scenes, quite stagey and stiff.

I am used to Tony Curtis is slick romantic comedy roles, or buddy comedy roles and was not prepared to be as creeped out as I was by his performance which was very nuanced. I hope he had more screentime however.

Although the dialogue isn't that great you still get a good performance from Fonda and a unique and mesmerising one from Curtis.

The Fly (1986) Dir: David Cronenberg

I haven't seen the original but Cronenberg does an amazing job in creating a sense of isolation and a somewhat haunting atmosphere near the end. Yes, it is gruesome and gory but the make-up and transformation are done quite economical.

Jeff Goldblum and Geena Davis have some good chemistry however just can't imagine what would compel her to fall so irrevocably in love with Seth Brundle. It's a huge failing on the script's part, something that I don't think any actress could have illuminated any more convincingly. Unfortunately, that point's also the linchpin around which The Fly operates, and it's a good thing that the tale is so outlandish, because within the parameters of this 20th century science fable the irrational love is easier to swallow.

It was worth seeing for the make-up which would be probably be ruined by CGI if it was done today and for Goldblum's freaky fly disposition.

THE FLY was screened in my film class years back. It was a blast watching that along with the females squirming. When the film ended and the lights came on my professor grinned and said "Yeah, I just showed you THE FLY."

trevanian wrote:

Saw Mark Romanek's barely-released NEVER LET ME GO ... kind of a zero-budget flick dealing with some of the metaphysical aspects inherent in BLADE RUNNER. I found it quite compelling, but then again, I saw ADJUSTMENT BUREAU yesterday and didn't have a problem with the third act, so maybe I'm going soft in my old age.

Now that I've seen it...

I'm not sure that it entirely works, but you certainly go with it for the whole runtime. Having not yet read the novel, I was surprised that there's no real... resistance from the core trio, but then that's the point, to a certain degree. I think it only sporadically comes alive as a film, but the performance by Knightley, Garfield, and particularly Mulligan are tremendous.

FourDot wrote:

trevanian wrote:

Saw Mark Romanek's barely-released NEVER LET ME GO ... kind of a zero-budget flick dealing with some of the metaphysical aspects inherent in BLADE RUNNER. I found it quite compelling, but then again, I saw ADJUSTMENT BUREAU yesterday and didn't have a problem with the third act, so maybe I'm going soft in my old age.

Now that I've seen it...

I'm not sure that it entirely works, but you certainly go with it for the whole runtime. Having not yet read the novel, I was surprised that there's no real... resistance from the core trio, but then that's the point, to a certain degree. I think it only sporadically comes alive as a film, but the performance by Knightley, Garfield, and particularly Mulligan are tremendous.

We had to read the novel in my science fiction literature class... this was a year or so before the movie was released. Still haven't seen the movie, kind've curious whether the sense of nostalgia and sadness comes through. Wondering if the main twist is revealed upfront or kept til the middle like in the book.

Ya know, I wanted to watch a movie after all this S*** from the past few days. The last film I watched on KTBEU was CASABLANCA. Not a bad way to end as it's one of my favorite films of all time. The first movie I watched on B&B...

Million Dollar Baby (2004; dir. Clint Eastwood)

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:x

About half way through the film it occured to me; this is the film Barton Fink couldn't write!

I actually googled "Million Dollar Baby Barton Fink", and I found this: http://moviesetal.blogspot.com/2008/10/film-ignorance-18-million-dollar-baby.html

I want every last single copy of this film to be collected, loaded into a rocket, and blasted into the F***ING sun. This may be THE worst F***ING movie I've EVER seen.

F*** you Paul Haggis. Go suck if a big black dick, you smug, F***ING hack. I F***ING hate you. And stay away from Bond you F***ING assclown.

Worst movies Tux has ever seen ever:

1. CRASH
2. MILLION DOLLAR BABY

Haven't seen that either. Know very little of it beyond being a boxing flick.

I just never got around to anything by Paul Haggis beyond CR/QOS and In the Valley of Elah (which I found more boring, but not offensive).

Makeshift Python wrote:

Haven't seen that either. Know very little of it beyond being a boxing flick.

I just never got around to anything by Paul Haggis beyond CR/QOS and In the Valley of Elah (which I found more boring, but not offensive).

I think I mentioned that ELAH is an episode of JAG. But from what I recall, despite it being the usual EXTREMELY smug Haggis tripe, it's at least better than MDB and CRASH.

As for MDB. Eastwood is a very pedestrian filmmaker. He's really only as good as his script, because he doesn't have any kind of cinematic flourish. He just shoots the script, but he's good with actors and I think he has a nice.... maybe it's his humanity. So if he gets a good script, like UNFORGIVEN, he turns out a good movie.

I think Clint, Morgan, and Hilary Swank do well in spite of the hack Haggis dialogue that I truly hate listening to. https://www.youtube.com/watch?v=cfkvpcjNk7c#t=2m13s

But I liked the production design.

Fairbairn-Sykes wrote:

KISS KISS BANG BANG

One of those "you gotta love it" films, especially if you're a film person (in the industry, I mean). It's a fantastic combo of everything I love -- black humour, RDJ, Bond, Raymond Chandler, skewering LA, etc.

Yeah, time for Hollywood to forgive Val Kilmer. Maybe he could give some money to an AIDs charity or something.

The White Tuxedo wrote:

F*** you Paul Haggis. Go suck if a big black dick, you smug, F***ING hack. I F***ING hate you. And stay away from Bond you F***ING assclown.

Worst movies Tux has ever seen ever:

1. CRASH
2. MILLION DOLLAR BABY

In the UK, Haggis is seen as so right-on that no seems to have noticed that he is a sh*t scriptwriter. Plus he's tainted by Hubbard.

Crash might be the worst best movie winner of the past twenty years, and that is saying something.

It also totally missed its PC point, in that its anti-racism message is framed in such a poor way it almost becomes racist in itself.

I love MILLION DOLLAR BABY. :oops:

The White Tuxedo wrote:

Ya know, I wanted to watch a movie after all this S*** from the past few days.

Come to think of it, I haven't really watched anything since The Fall. I'm either working too much or bitching too much in this forum.

What to watch, what to watch.....

colly wrote:

I love MILLION DOLLAR BABY. :oops:

Me too.

I was crying while watching it.

Movie night, methinks.

FACE/OFF (1997)



I probably haven't seen it since I was 10 years old and I remember I really dug this flick back then. This is the kind of flick TOMORROW NEVER DIES wanted to be with the emphasis on being an action thriller. Except a movie like FACE/OFF had a bit of flair and style to it, TND was just a dull boring piece of shit by a hack director. John Woo knows the score and puts a lot of use to visual motifs, sometimes being a little too on the nose yet the flick seems to wear its absurdity on its sleeves. Travolta and Cage reflect that. Supporting cast is alright, especially Gina Gershon during her prime.

Not much else to say really. Just an enjoyable stylish action thriller.

Cagney double!



Jimmy The Gent (1934) Dir. Michael Curtiz

yes, I finally got a copy...

and



Lady Killer (1933) Dir. Roy Del Ruth

Interestingly enough these films came out one after the other (though I watched them in reverse order), and they give an interesting insight into Cagney, Warners and the impact of the Code.

The Warners/First National studios were at their peak of awesomeness in 1933. There was no code and they could get away with it all - they had almost tyrannical control of their popular stars like Cagney, Edward G. Robinson, Joan Blondell et al and pumped out quickies that were blindingly fast and dazzlingly sinful. Absolute pocket-rockets. And on the other side they had Berkeley making musical magic with 42ND STREET, GOLD DIGGERS OF 1933 and FOOTLIGHT PARADE. Come '34 and the dream was over, so to speak. Cagney had grown sick of his typecast role, Bette Davis demanded better roles (which of course later benefitted the studio greatly), Berkeley turned out DAMES and was hampered by the code. Sure, it rebounded when Errol Flynn came along, Davis became a megastar and the focus turned from crims to law-enforcers (for the most part), but Warners never had the same zing. And you can see that with these two films.

LADY KILLER's a typical Cagney cocktail - guy starts off small (like in BLONDE CRAZY he's a bellhop), gets stuck on a rap and beats it. Betrayed by his "friends", he's on our side as we delight in his devious badassery - like how he becomes a hollywood star from extra by writing his own fan-mail. Thats just so bad its postively gold. He gets another chance to beat up Mae Clarke, dragging her out of his hotel room by her hair - and he hooks up with Margaret Lindsay like he'd later do in G-MEN. The dames are fun, the heavies are fun, but most of all, Cagney's fun.

Come JIMMY THE GENT and Cagney decided to take action. He got an awful short back and sides haircut and unlike LADY KILLER and PICTURE SNATCHER, its hard to root for his character. He didnt start small, he's just a dick, a chiselling private investigator who gets commissions from phoney inheritors. Doesnt really help Bette Davis is just pre-OF HUMAN BONDAGE and she doesnt want to be there much either, and the opening plotting is lazy, lazy lazy... That said, its still pretty fun, but Cagney's overly angry, theres no sex, little sin, just helter-skelter stuff. And its not as good overall. Could be the code, could be the way down for these sort of flicks. Only a year later, but they're just not the same...

Erm..almost a little embarrassed to admit this, but the last movie I watched was:

Moulin Rouge




And I loved every second of it, this is a prime example of how to tell a story with music, and tell it right IMO. The soundtrack is mind blowing at times, giving operatic makeovers to hits from The Police, Queen, Elton John and many more.

Anyone else even like this movie?...it seems to be a ;love it or hate it' kind of thing. It may be cheesy, but I can honestly say I love it on the audio/visual artistic merits alone.

Chigawa wrote:

Anyone else even like this movie?

Elton John. George Michael. Heinrich Himmler.

ambler wrote:

Chigawa wrote:

Anyone else even like this movie?

Elton John. George Michael. Heinrich Himmler.

Baz Luhrmann is the only man who could put camp into concentration camp.

I loathe Moulin Rouge, basically because I hate musical films...except for West Side Story and The Blues Brothers.

Point taken. For what it's worth I've missed all these witty comments lately. :)

At first this looks like a basic 'poor guy gets rich and rich guy gets poor' comedy, but, as you can expect from the younger John Landis, it's a smooth and actually funny film that has the classic Landis mix of ordinary and sofisticated people. Dan Aykroyd and Eddie Murphy are solid, sure this is not their best performances but it's not also their worst, it's just solid. Denholm Elliott is always a pleasure to see, Paul Gleason is now a "serious" b*****d and Jamie Lee Curtis...well, flicks out. It has a decent story and decent music from Elmer Bernstein, but the humour is the trump card: the differences between the poor and rich show up really well and even the speak styles of Aykroyd and Murphy are strikingly separate in hilarious way. And I gotta love the scene where Aykroyd jumps out of the bed to strangle Murphy who tries to tell something.
Overall a good 80´s comedy in the way only John Landis can succeed. It's not groundbreaking, but it's way better than mediocre.

8/10


John Landis Countdown:
1. The Blues Brothers (1980)
2. National Lampoon's Animal House (1978)
3. Trading Places (1983)
4. Beverly Hills Cop III (1994)
5. The Kentucky Fried Movie (1977)

Great to see you, Chigwa!

I finally made it through...

Annie Hall (1977; dir. Woody Allen)

It only took me three times, but I watched the whole thing. Okay, I admire Woody Allen. I really like the film HANNAH AND HER SISTERS. But I created this mathematical formula that says that the more Woody Allen is in one of his films, the less I like that film.

This is a 90-minute excursion into the mind of Woody Allen, and for me it's like being strapped to a table while Olivier in MARATHON MAN drills straight into every last one of my teeth. If I want to parade around the mind of a neurotic I only have to look in a mirror; I don't need to outsource.

But it's a well written and directed movie. The acting is good. I like Diane Keaton a lot. Ugh, I can't believe he had sex with Shelley Duvall. Blech. I definitely would have fucked Carol Kane, but Shelley Duvall?