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Track the Films You Watch (2006) - Page 10

post #271 of 2071
It was a TCM weekend for me.

Robin and Marian (1976)

I found this to be a pretty entertaining film. I like just about anything Sean Connery does and Audrey Hepburn was beautiful. Sherwood Forest never looked more enchanting. The high point for me was the fight between Robin and the Sheriff, played by Robert Shaw...two tired and middle aged old warriors staggering around the field of battle. All in all, a pleasant two hours.

The African Queen (1951)

One of the all-time classics!

The China Syndrome (1979)

First rate drama about a near meltdown at a nuclear plant. Jack Lemmon was outstanding as the shift supervisor who is fighting a coverup, a role that garnered him a Best Actor nomination at the Academy Awards. Also up for a Best Actress award was Jane Fonda. I've read that this was considered my many as one of her best roles, but I disagree. I thought her performance as the smart but naive reporter who breaks the story was particularly weak. Wilford Brimley also does a great job as Lemmon's best friend.
post #272 of 2071
Quote:
I was joking with Joe the other day that he wanted a James Bond Challenge yet he hasn't taken part in it yet. However, since Cary Grant and NORTH BY NORTHWEST are the best Bond movie and actor, I'll let him off. Seriously though, I haven't seen EVERY Bond film but for my money none of them beat Grant and that Hitchcock classic.

I knew I should have gotten online earlier last night to add the Bond film to my list, but I decided to wait til this morning! I did, in fact, watch DR. NO last night, the same day I watched NORTH BY NORTHWEST. It was the last Sunday this month, and for some reason I prefer to watch my Bond films on Sunday Nights.

Maybe we can into a conversation on NORTH BY NORTHWEST once I leave my comments.

Quote:
I never understood all the hype surrounding BLACULA or its sequel. I really can't stand either movie. I find both decent but overall they're quite poor compared to better Dracula films as well as better blaxploitation films.

I enjoy both Blacula films myself, with BLACULA being the better of the two. Aside from its value as a nostalgic time capsule of the '70s, there is a fine performance by William Marshall there, where he rises above the campy material and gives us a tragic vampire trapped into a life he never wanted and who we can feel pity for, but yet is also very powerful and deadly. The actor who plays Dracula himself at the start of the movie (his name escapes me at the moment) is also good.

Quote:
I have to voice my concern that the Joe Karlosi we know and love (and love to debate endlessly with) has been abducted by aliens and substituted with a mindless "yes-man"! How else can one satisfactorily explain the fact that he has not only watched THE MAN WHO LAUGHS (1928) and NORTH BY NORTHWEST (1959) on the same day, but gave them both the correct rating? And he even seems almost prone to reconsidering his position on Silent films! What the f*** is going on here?!

I was thinking that my recent viewings here would seem a bit too shall we say, "convenient" at this time, but I've actually had THE MAN WHO LAUGHS and NORTH BY NORTHWEST sitting home as Netflix rentals since November! I know you're only playing with your "correct rating" joke, because as I'm sure you'd believe, I'd have no trouble giving Hitchcock's film less of a rating if it failed to impress me as much as it did. Going into THE MAN WHO LAUGHS I didn't know it its reputation was as high as I'd rated it. Everyone I knew who was a fan of silents said they were disappointed when they saw it.

As you're well aware, I tend to go back and forth with my method of star ratings, sometimes preferring to use half-star increments and sometimes not. I briefly returned to the "half" system but am now back to not using halves again! My feelings and comments don't change, just the way they're represented on the ratings code. If I were using half stars I may have nitpicked and given NORTH BY NORTHWEST ***1/2 (see my comments later). But without the increments, I gave NORTH **** because I considered it "exceptional" (not necessarily meaning "perfect").

The thing about THE MAN WHO LAUGHS was that it was such a well-photographed film with so many strong images (the bodies of the hanging victims comes to mind) that I was hooked in. Just like talkies, I'm sure that not all silents are created equal, but you have to consider that the ones I've seen and liked are generally pretty well-regarded: NOSFERATU, THE CABINET OF DR. CALIGARI, CITY LIGHTS, THE PHANTOM OF THE OPERA, THE KING OF KINGS, THE UNKNOWN, THE PENALTY. Two films I didn't care for that have good reps would be the John Barrymore JEKYLL AND HYDE and also DER GOLEM. But I'd consider another viewing of the latter.
post #273 of 2071
North by Northwest (1959)

George Kaplan, eh?

I found this Hitchcock film about mistaken identity to be highly engrossing and the whole cast very strong, and that's really all I need to say about it, basically. Cary Grant shows us what he might have been able to do had he played James Bond, and I thought Eva Marie Saint burned up the screen in some of her lovemaking scenes with Cary aboard the train. The crop dusting sequence lived up to its hype and is the best in the picture. I enjoyed the twists, especially surrounding Ms. Kendall's character. If I were using half star increments again I might have nitpicked and deducted a half because the movie could have benefited from slight trimming, but it's still a great piece of work.

Dr. No (1962)
Sean Connery is self-assured in the first of his James Bond films, Joseph Wiseman is the perfect calm and calculating villain, and gorgeous Ursula Andress goes without saying. I've always liked this film because it sets all the 007 ingredients into place and is also a fairly straight-forward and easy to follow story, without complications. A good debut, but things would get even better.
post #274 of 2071
Actually, Joe, now that you mention it, I don't really know the correct star rating for THE MAN WHO LAUGHS (1928) since neither of the 2 film guides I own - Leslie Halliwell's and Leonard Maltin's (and various editions of both, at that) - mention it at all! However, I've never read anything but the highest praise for the film; in any case, I loved my first (and, so far, only) viewing of it, so I could only give it the highest star rating in my book.

As for NORTH BY NORTHWEST (1959), while it is probably Hitchcock's longest film, I never felt that it dragged - unlike, say, Howard Hawks' RIO BRAVO (1959; even longer at 141 minutes). Hitch himself considered the film to be the culmination of his work in America and, while on the surface it may appear as just another light-hearted comedy-thriller in the vein of earlier successes like THE 39 STEPS (1935), the complex characterizations and delightful sexual banter (courtesy of Ernest Lehman's brilliant script) add immeasurably to the film's aura of maturity and definitiveness. I don't recall if you've ever seen them but, if you loved NORTH, you must check out THE PRIZE (1963; also scripted by Lehman - inexplicably still M.I.A. on DVD) and CHARADE (1964; also starring Grant). Oh, and I don't know how you missed out on mentioning it in your comments, but Bernard Herrmann's magnificent music score for NORTH is my all time favorite as well...
post #275 of 2071
added:

title: love me if you dare
rating: b
comments: what's with all the narration in foreign movies these days? anyway, pretty good flick. neat story, if not a little silly. some neat visuals (a little danny boyle'ish), and decent (if not great) acting.
post #276 of 2071
Added to list:

Dr. No: /

There is a lot to like about Dr. No. The acting, sets, music, editing, writing, and locations all combine to make a surprisingly entertaining action/suspense film. My one complaint about the film is that the pace of the story sputters when they first reach the island. Those scenes are great in and of themselves, but the overall driving motion of the story is kind of lost until they meet Dr. No at the aquarium.

The first hour of the movie may not be action-packed by today's standards, but just try looking away for a few seconds. It's tough! Connery simply lights up the screen with his presence and charisma, and the mystery on Jamaica is presented splendidly.

Food for thought:

1. Dr. No could have ordered Bond killed at the dinner table, yet he says that he has further use for him. What could this be?

2. This is the only Bond film without a pre-credits sequence. If Dr. No had one, what would it be? I think the action through the reveal of the Dr. No file folder would make an excellent prologue.

Personal note: This is the first time I saw the crab on Crab Key.

Favorite moment: Bond kills the tarantula with his shoe in perfect synch with the music.
post #277 of 2071
Speaking of the tarantula in DR. NO...if you look carefully, when the camera angle is from above the bed, you can see that the tarantula is actually crawling on a large pane of glass with Connery underneath the glass and the creature above.

I've always liked the music in this Bond film..."Underneath the Mango Tree" and "Jamaica Jump Up." I remember buying the soundtrack album after seeing the film in its commercial release at the Crystal Theater in Chicago back in 1962. Man, that was a long time ago!!
post #278 of 2071
Quote:
Speaking of the tarantula in DR. NO...if you look carefully, when the camera angle is from above the bed, you can see that the tarantula is actually crawling on a large pane of glass with Connery underneath the glass and the creature above.

I never knew this. I'd always thought something looked a bit unreal about the moment when the tarantula is on Bond's shoulder, but I had thought maybe it was animated or something at that point! The next time I watch DR. NO (which will be a long time) I'll remember to look closer.

Quote:
I've always liked the music in this Bond film..."Underneath the Mango Tree" and "Jamaica Jump Up."

Yes, I like the music too, even though I somehow neglected to mention it in my notes.
post #279 of 2071
Yes, I hated Crash for the reasons that other non-fans have already mentioned in this thread - the dishonesty, the total divorce from reality, characters who are nothing more than scripted constructs, etc.

I am getting behind again on my reviews. Unfortunately it isn't in my nature to dash off a couple of sentences and I don't have time to do any right now. Maybe tomorrow... I've really been seeing some good stuff lately.

Finished Firefly Sunday night. Add me to the long list of "Damn it sucks this got cancelled". Going to revisit Serenity this week. Should be a different experience now that I have so much more invested in the characters and know the backstory.

Most of the way through disc 3 of Looney Tunes Gold, which I hope to finish either tonight or tomorrow day and have the whole set done by the weekend. Than it's Home Movies S1 before getting back to my movie DVD's. Just got Ran, The Virgin Spring and The Browning Version at DVDPlanet's 40% off Criterion sale.
post #280 of 2071
the total divorce from reality
I haven't seen Crash, but that seems to be a description of many films you love.
post #281 of 2071
The Passion of Anna

Certainly the most ambitious of the Bergman films I've seen so far. He tackles some major issues here, including the nature of passion and art.

As for the titular theme, I find it interesting that Bergman chose to focus on aberrant and sadistic passion rather than more conventional, carnal passion, although that's in the film too. The animal cruelty motif is the most obvious example of passion gone awry. Although these images were disturbing on a visceral level, they did impart the idea that monomaniacal behavior taken to an extreme can be very dangerous.

Bergman's exploration of art is fascinating. First of all, he does away with any pretense of verisimilitude when he inserts actual (apparently extemporaneous) clips of the actors discussing their characters into the film. This is akin to Hitchcock's insistence on using rear projection, when other, seemingly better, options were available. Hitch did not want the viewer to take his films for truth, they were meant to present an entertaining unreality. While Bergman's aim may be somewhat different, the effect is the same. We recognize the film for what it is, an artistic vision, not truth. Perhaps the most memorable example of this dissection of aesthetics is the film's concluding scene. Max von Sydow's character Andreas is shown in a long shot. As the camera hones in on him, the image beings to disintegrate, depicting both his literal and figurative breakdown. Bergman’s voice intones over the scene: "This time his name was Andreas Winkelman." Again, the director reminds us that this is a film, a work of art and that Andreas is a figment of his imagination. I was made to feel like the voyeur I am when I watch a film and perhaps more importantly forced to ask myself why I watch in the first place. Brilliant.
post #282 of 2071
Zardoz (1974) BOMB
A terrible film from John Boorman, which almost makes his EXORCIST II watchable. A futuristic mishmash that makes absolutely no sense and appears to have been made with everyone stoned out of their minds. And Sean Connery gave up the James Bond role for crud like this? All the same, sometimes when I see a horrid movie like ZARDOZ I would recommend others to see it anyway. There are certain films that have to be seen to for you to believe that someone would have the audacity to make them. To think that this was written and directed by the same guy who made DELIVERANCE is a real mind blower.

Rollerball (1975) 1/2
James Caan is well cast in the part of a famous sports hero of the future, where a violent and bloody sport has aroused the attention of the world. John Houseman is also an inspired choice as a snooty corporate mogul. This was fair, if too long and talky at times. But at least the intended message of where our world is heading as we get closer and closer to a more violent society managed to come through. One of the best and most disturbing moments is the "tree shooting" sequence.
post #283 of 2071
Joe,


What on earth made you watch ZARDOZ (1974)? I totally agree with your opinion - although I'd give it a *1/2 rating for its impressive "look" (i.e. cinematography and production design); apart from that, it's a truly misguided and misbegotten film that can only be appreciated by those whose idea of a good time is watching Sean Connery running around clad only in diapers for 2 hours!

Incidentally, I saw both John Boorman and Charlotte Rampling at the 2004 Venice Film Festival and I wish I'd have had more time with the former as I would have loved to discuss this film, and EXORCIST II: THE HERETIC (1977), with Boorman; I even rented the DVD to listen to his audio commentary in the hope that it would perhaps explain his motives for making the movie but it bore little fruit.

Even so, one is grateful that Boorman (unlike, say, William Friedkin) managed to pick his career up after making these 2 turkeys, going on to make such good pictures as EXCALIBUR (1981), THE EMERALD FOREST (1985), HOPE AND GLORY (1987) and, especially, THE GENERAL (1998).
post #284 of 2071
Big update to finish off January:


Pat Garrett and Billy the Kid (1973)

Viewed 1/23/2006

I know this film has its fans, but as far as I'm concerned Sam Peckinpah said everything he needed to say with The Wild Bunch (making Pat Garrett and Billy the Kid come off as exit music). Much of the focus here is on the embittered Pat Garrett, but he's so full of contempt for everyone that his character quickly wears out his welcome. And Billy the Kid is your typically idealized badguy - something I've just never cared for in movies. There are some good things here: Bob Dylan's songs (though his role in the film is superfluous) and the numerous Western character actors that dot the impressive scenery. Worth a look if you haven't seen it, but I just don't get all the fuss.

out of


Bullet in the Head (1990)

Viewed 1/23/2006

First time seeing John Woo's action epic uncut (saw an edited version years ago). Three Hong Kong friends go to Vietnam during the war, hoping to make it big as smugglers. But they're soon caught up in the turmoil and their friendship is put to the test. Lots of outrageous shoot-'em-up action compliments Woo's usual themes of friendship and honor.

out of


Oliver Twist (2005)

Viewed 1/24/2006 (first viewing)

Roman Polanski's superb version of the classic Charles Dickens tale. I didn't hear much press on this so I was surprised to find it as good as it is. Highly recommended.

out of


Junebug (2005)

Viewed 1/24/2006 (first viewing)

Quirky little flick about an art gallery owner trying to woo an eccentric Southern artist. At the same time she and her husband visit his nearby family - the inlaws she's never met... Familiar material is handled with reserve and insight.

out of


Don Juan (1998)

Viewed 1/25/2006 (first viewing)

Interesting French take on the legend of Don Juan has the great lover and his servant wandering the Spanish countryside, trying to avoid the wrath of a jilted love's family. More talk than love here, and very French. (Given that he dumps Emmanuelle Beart, perhaps he should have been called Dumb Juan?)

out of


Art of the Devil (2004)

Viewed 1/26/2006 (first viewing)

Thai supernatural revenge movie has a woman using witchcraft to knock off the family of the man who impregnated and then abandoned her. Not much new here, but entertaining, with two hot lead actresses.

out of


Three Extremes (2004)

Viewed 1/26/2006 (first viewing)

Three-part Asian horror anthology with films by Takashi Miike, Fruit Chan and Park Chan Wook. The title sums it up, with Fruit Chan's gleefully sick story of youth-restoring dumplings being the centerpiece. Miike's third is an intriguing tale of a woman haunted by visions of her dead twin sister, while Park Chan Wook's twisted story of revenge has a demented movie extra holding hostage a director and his wife.

out of


Address Unknown (2001)

Viewed 1/26/2006 (first viewing)

Rambling story of various Koreans in the aftermath of the Korean War. A wounded girl is wooed by a troubled American soldier, disappointing her shy, would-be boyfriend. Meanwhile, the illegitimate son of a long-gone G.I. houses pent-up anger and frustration that he takes out on his wacky mother. Engrossing, but hard to take at times.

out of


How Green Was My Valley (1941)

Viewed 1/27/2006

John Ford's heartfelt story of a Welsh mining family. Very good, but goes overboard on the sentiment at times.

out of


The Cat's Paw (1934)

Viewed 1/27/2006 (first viewing)

Odd, Capra-esque Harold Lloyd vehicle finds the comedian playing a hapless missionary who returns to his hometown in search of a bride. Instead he's elected mayor and must deal with a constituency rife with corruption.

out of


Bed and Board (1970)

Viewed 1/27/2006 (first viewing)

Fourth installment in Francois Truffaut's Antoine Doinel series finds our hero married with child. But Antoine's wandering ways soon land him in hot water. Pleasant entry features a cameo by Jacques Tati as Monsieur Hulot.

out of


Body and Soul (1947)

Viewed 1/28/2006 (first viewing)

John Garfield nearly loses everything in his quest to become a top boxer. The same story (more or less) was retold several years later with Kirk Douglas in Champion.

out of


The Mysterious Lady (1928)

Viewed 1/28/2006 (first viewing)

Entertaining silent has Greta Garbo as a Russian spy torn between love and country.

out of


Never Weaken (1921)

Viewed 1/28/2006 (first viewing)

Harold Lloyd short has Harold trying various ways of suicide after he sees his fiancee with another man. Naturally he ends up on a high rise under construction...

out of


Face (2004)

Viewed 1/29/2006 (first viewing)

More Korean horror. A troubled face reconstruction expert is convinced by a mysterious young woman to work on the skulls of the victims of a serial killer. But how does this connect with his very ill daughter?

out of


Love on the Run (1979)

Viewed 1/29/2006 (first viewing)

Wistful finale to the Antoine Doinel series finds Antoine divorced from his wife, meeting up once again with long-lost love Colette, and visiting his mother's grave.

out of


Together (2000)

Viewed 1/29/2006 (first viewing)

Lukas Moodysson story of a woman who takes her two children and leaves her abusive husband. With nowhere else to go they end up living with her brother and his friends at their hippie commune. Familiar story, well-done.

out of


Talk (1997)

Viewed 1/29/2006 (first viewing)

Lukas Moodysson short about a desperately lonely man and his tragic encounter with a visiting Hare Krishna. Interesting note: the same actor played a character with the same name in Together.

out of


Raiders of the Lost Ark (1981)

Viewed 1/30/2006

Revisited Steven Spielberg's adventure classic. My only quibble with this is the too-liberal use of John Williams' main theme.

out of


The Pride of the Yankees (1942)

Viewed 1/30/2006

Revisited this superb Hollywood biopic featuring Gary Cooper as the tragic baseball hero Lou Gehrig. Only caveat: the scene with the little boy in the hospital is a bit too much.

out of


Smoke (1995)

Viewed 1/31/2006

Top shelf indie slice of life picture revolving around a New York City tobacco shop. A writer can't get over his wife's death, a young man searches for his father, the tobacco shop manager is paid a visit by an old girlfriend...

out of


Spider Baby (1964)

Viewed 1/31/2006 (first viewing)

Sixties cult horror classic has Lon Chaney presiding over a house of deranged "children" - adult members of a wealthy family cursed with a strange, regressive brain disorder. Naturally they're paid a visit by money-grubbing victims...er, relatives. Thanks to Brook for the heads-up on this one.

out of
post #285 of 2071
[c]January Recap[/c]


Ratings range from bomb to ****

Bolded titles are first viewings.


ABC Africa ***
Address Unknown ***
Antoine and Colette ****
Art of the Devil ***
Ask Father ***1/2
Bang Rajan ***
Bed and Board ***
Billy Blazes, Esq. **1/2
Body and Soul ***1/2
Broken Flowers ***1/2
Bullet in the Head ***
The Call of Cthulhu ***
Camille (1921) ***
Camille (1936) ***
The Cat's-Paw ***
Champion ***1/2
Children of the Marshlands ***1/2
The Constant Gardner ***
Dead Friend **1/2
Don Juan (1998) ***
Dr. Jack ***
Enron: The Smartest Guys in the Room ***
Face ***
Feet First **1/2
The 400 Blows ****
From Hand to Mouth ***
High and Dizzy **1/2
A Hole in My Heart ***
The Holy Girl **1/2
Hot Water **1/2
How Green Was My Valley ***1/2
I Am Dina ***
The Idiot ***
Interrogation ***1/2
Izo ***
Junebug ***
Kamikaze Girls ***
Les Mistons ***
Love on the Run ***1/2
Matewan ***1/2
Movie Crazy ***
The Mysterious Lady ***
Mysterious Skin ***
Never Weaken ***
No Regrets For Our Youth ***
Now or Never ***
Oliver Twist (2005) ****
Pat Garrett and Billy the Kid **1/2
The Petrified Forest ***1/2
The Pride of the Yankees ****
Raiders of the Lost Ark ****
Red Eye **1/2
Ride the High Country ***1/2
R-Point ***
Saraband ***1/2
Shoot the Piano Player ***1/2
Smoke ***1/2
Spider Baby ***
Stolen Kisses ***
Sympathy for Lady Vengeance ***1/2
Talk **1/2
Three Extremes ***
Together ***1/2
Why Worry? ***
The Winter War ***
X2 ***1/2
Yesterday ****



Total films viewed: 67

First viewings: 56

Favorites of the month: Children of the Marshlands, Oliver Twist, Sympathy for Lady Vengeance, Three Extremes.
post #286 of 2071
Re-visits of the entire Warners Gangsters collection, one or two of which seemed a little better to me this time around:

Little Caesar (1931) 7/10
Edward G. Robinson's star-making performance still holds up remarkably well, but a lot of the rest of this movie feels dated in the way that many early talkies do. Aside from Rico's sidekick Otero, the rest of the supporting performances seem pretty awkward and unconvincing, including Douglas Fairbanks Jr., who thankfully got a lot better in later movies like The Young in Heart and (especially) Gunga Din. Still, the power of Robinson's performance, plus some good scenes near the end, make it worth watching to this day.

The Public Enemy (1931) 9/10
First time I've really "gotten" the greatness of this one, maybe seeing it just after Little Caesar was what did the trick! Even though there wasn't much time separating the two in terms of when they were filmed, the acting is almost uniformly much better in this one, and the direction is a lot more dynamic as well. The relationships between Tom Powers and his colleagues and family are all strongly compelling (except for Jean Harlow's bizarrely terrible performance), with lots of teriffic action scenes: the kids escaping down the escalator, the botched hold-up at the warehouse, the revenge on "Putty Nose," the final reckoning with Schemer Burns, and the very powerful ending. The shadowy figure of the rival mobster Burns is an interesting touch: he shows up on screen only once, and that's just briefly getting out of a car before the big scene in the rain, without his face being visible. Plus the fact that all the action of that last scene takes place off-screen as well, it's all told by the sounds and by what happens to Tom afterwards.

The Petrified Forest (1936) 7/10
Bogart's incredible gangster role is certainly the best thing about this movie, which I remembered as being pretty stagey, but it seems a little better on that front on this revisit. The cast is very good overall, but Bette Davis' repressed artisan character is a bit ridiculous, and almost all of Leslie Howard's dialogue seems very tiresome and pretentious. I can identify way more with Bogart's ruthless killer than with Howard's long-winded intellectual, even though I'm considerably closer in real life to the latter!

Angels With Dirty Faces (1938) 9/10
The great personalities of Cagney and Pat O'Brien, plus the excellent chemistry between them, keep this one interesting at every turn. The clowning of the Dead End Kids gets a little silly at times, but still entertaining for the most part, especially their hero worship of Cagney's character. The fantastic ending, one of the best of any Hollywood classics, elevates this one above what could have been just another above-average social conscience crime film. Michael Curtiz' strong direction also plays a big role, although was that the weakest tear gas in movie history? I didn't think it was possible to have an entire conversation when that stuff was filling the room!

The Roaring Twenties (1939) 8/10
Fun saga of the rise and fall of a "big shot" kept me more interested than the first time I saw it. The whole romantic subplot with Priscilla Lane is pretty dull, with Gladys George being a far more interesting character, but everything else is good. The shootout in the Italian restaurant is a particularly great scene. The last 20 minutes are quite rushed, but the famous ending still has some impact nonetheless.

In the Sight and Sound List thread, a couple of people *cough* Steve Gon *cough* actually claimed to like this movie more than The Godfather, which is insane! Also Seth Paxton, although I don't think he reads this thread. But it's OK, Steve, I can sometimes get along with crazy people just fine.

White Heat (1949) 10/10
Now if anyone wants to claim that THIS movie is the equal of The Godfather...well, that's a conversation I could get into! Cagney's greatest role, a stunning portrayal of ruthless ambition, paranoia, bloodthirsty loyalty, and psychosis, although he's completely human in every scene. I was even more appreciative of Virginia Mayo in this viewing: not just deliciously sexy and trampy, but also very convincing in her love/hate relationship with Cody, as well as her sheer terror at being found out for having betrayed him. Edmond O'Brien brings a lot of personality to his role, and John Archer gives an interesting human face to all the police procedural/technology stuff that they use to hunt down the Jarrett gang. And, of course, Margaret Wycherly as Cody's even-more-bloodthirsty mother! The apple sure didn't fall too far from the tree in this case. Raoul Walsh's direction keeps things moving at an incredible pace, with brilliant scenes coming one after the other. Also, a key element in this movie's greatness is how almost every scene ends with a great little kick, even if the scene itself was mostly expositional, like Archer picking up the plaster mold of the dead guy's face after the other evidence against the Jarrett gang has finally come in: "I knew you would eventually talk!"
post #287 of 2071
January 2006 Recap

It was an enjoyable month at the movies. Of the 33 feature films I watched, 19 were first time viewings, a pretty good ratio for me. As it turned out, the last film was the best film. Life Is Beautiful (1997) brought tears of laughter and tears of sadness. The final few minutes of this wonderful film touched me deeply. Ron Howard's Cinderella Man (2005) and the 40's comedy The More The Merrier (1943) round out my Top 3 of the month. The Lord of the Rings Trilogy was easily the best of the films I'd seen before. Without a doubt, the worst film was Hannibal (1997).

I'm looking forward to February. The Decalogue is on the way from Netflix and with this being Oscar Month on TCM, good times are ahead.
post #288 of 2071
added:

title: reconstruction
rating: c
comments: i couldn't figure out where this movie was going, but the ride was okay. is the guy really bonkers, or is some other "mysterious force" at work? acting was decent, but nothing stellar.
post #289 of 2071
January Recap

Films rated from to

Adaptation
All That Heaven Allows
Battlestar Galactica
Beat the Devil
Big Top Pee-wee
Black Cauldron, The 1/2
Charade
Clockwork Orange, A
Criss Cross 1/2
Dentist, The
Detour
Don't Look Back
Fantasia
Fatal Glass of Beer, The 1/2
Forbidden Planet
Gates of Heaven 1/2
Ghost and Mrs. Muir, The
Golf Specialist, The 1/2
Grand Canyon (1958)
Grand Illusion
Hell's Angels
His Majesty, The Scarecrow of Oz 1/2
In the Mood for Love
Jail Bait 1/2
Jawbreaker
Juno and the Paycock
Lady Vanishes, The 1/2
Lolita (1961)
Lost Weekend, The
Mad Max Beyond Thunderdome
Magic Cloak of Oz, The 1/2
Manhattan
Monsieur Verdoux 1/2
Mr. Deeds Goes to Town 1/2
My Voyage to Italy 1/2
Passion of Anna, The
Paths of Glory
Personal Journey with Martin Scorsese…, A 1/2
Peter Tchaikovsky Story, The
Rebecca 1/2
Rich and Strange
Rio Grande
Simon & Garfunkle: The Concert in Central Park
Sleeping Beauty 1/2
Sorrow and the Pity, The
Sorry, Wrong Number
Spartacus 1/2
Strange Love of Martha Ivers, The
Superman: The Movie
That's Entertainment III
Umbrellas of Cherbourg
War of the Worlds (1953)
Wizard of Oz, The (1925) 1/2
Wizard of Oz, The (1939)

Best of the first-timers:
The Passion of Anna
Lolita (1961)
The Sorrow and the Pity
post #290 of 2071
January Summary
total movies: 22
average gpa: 3.23 (71/22)
comments: a good (if not great) movie month. i enjoyed revisiting some faves (the hidden, ghostbusters), discovered a new miyazaki film (always a joy). guilty pleasures would have to be serentiy and flight of the phoenix. pretty weak foreign selections, with love me if you dare being the only one that stood out in my mind.

title: dark water
rating: d
comments: not impressed at all, no scary moments, totally predictable

title: the interpreter
rating: b
comments: nice acting by both ... especially liked penn's straight approach (not over the top)

title: the exorcism of emily rose
rating: c
comments: really more of a court drama then anything else. nothing really scary either.

title: flight of the phoenix
rating: c
comments: decent popcorn flick ... i actually didn't mind it much. gotta really toss reality out the window though.

title: the sea inside
rating: b-
comments: originally rated a c+, but i decided it was better then that. interesting right-to-die storyline, decent acting, didn't fully identify w/characters.

title: fitzcarraldo
rating: c
comments: first viewing of this director. a little too long, took a while to get into the story, but enjoyed the boat part. bought into the "dream" of the main character...i really felt and rooted for him. amazing that they really hauled that boat up the mountain.

title: kingdom of heaven
rating: b-
comments: as a ridley scott whore, i wasn't disappointed...but i felt like i'd seen this all before. visually...very appealing.

title: this is spinal tap
rating: a
comments: first viewing. i've heard of this movie for years, but finally tivo'd it. loved the lyrics and "period" pieces, great dialog, i laughed out loud many times. i can see why this is such a cult favorite.

title: dangerous liasons
rating: b
comments: first viewing. some great dialoge (witty sexual inuendos), nice period piece. not a big malkovich fan, but liked him in this one. got to see uma nekkid ... always a nice thing.

title: the hidden
rating: b
comments: seen this a couple of times. definitely a guilty pleasure. i always watch this and wonder what it would be like to truly "cut loose".

title: must love dogs
rating: c-
comments: if it wasn't for diane lane, cusack (always a fave of mine), and a few touching/funny moments, i probably would have rated a d. stupid plot, unnecessary characters, and no believability.

title: missing in america
rating: d
comments: ugh, a sappy, hugely uneven attempt to tug at my heart. i appreciate the war-vet-suffers-at-home angle, but this pulled unnecessary punches, just to try to get us to cry. watch saving private ryan or full metal jacket instead.

title: serenity
rating: b
comments: goofy, but in a good way. some snappy dialog, good fx, and likeable characters make for a good popcorn flick. may have to check out firefly series now.

title: 2046
rating: b-
comments: another moody piece by the director. felt almost exactly the same as 'in the mood for love', which i guess is a good thing. a little slow and meandering, but some wonderful shots and good acting. time-shifting didn't really work for me. good musical score.

title: ghostbusters
rating: a
comments: seen this many times, but it's been a while, plus i got to see it in hd this time. snappy dialog and great comedic timing. bill murray at his best (as far as comedies go).

title: brighton beach memoirs
rating: b
comments: nice period piece, warm fuzzy family vibe. seems like it would have been a good time to live.

title: my neighbor totoro
rating: a
comments: first viewing. another wonderful miyazaki anime. since i like just about everything he does, this one held water just fine. liked it even better then some of his other works (naussica, porco, etc.).

title: the island
rating: c
comments: i liked the first half better, neat vision of the future. second half was standard michael bay flick (enjoyable, but senseless action). huge plot holes didn't help much. zero chemistry between two leads.

title: march of the penguins
rating: c
comments: not sure what all the buzz was about. i guess these folks have never watched tdc, tlc, or the science channel. decent enough if you've never seen a nature documentary before.

title: broken flowers
rating: b
comments: boy, this felt like a jarmusch movie. i had a hard time rating this one, but the more i thought about it, the more i enjoyed it. murray was great, and his "visits" to his ex's were interesting, if not a bit uncomfortable (which i guess was the point). side note: this movie drove my wife crazy.

title: love me if you dare
rating: b
comments: what's with all the narration in foreign movies these days? anyway, pretty good flick. neat story, if not a little silly. some neat visuals (a little danny boyle'ish), and decent (if not great) acting.

title: reconstruction
rating: c
comments: i couldn't figure out where this movie was going, but the ride was okay. is the guy really bonkers, or is some other "mysterious force" at work? acting was decent, but nothing stellar.
post #291 of 2071
Haggai,

For what it's worth, I'd rank The Roaring Twenties just a notch below the first two Godfather films and Goodfellas, about equal with White Heat in my gangster film pantheon. I may not be as crazy as Steve , but I think the argument is defensible.

BTW, I plan to revisit the the Godfather films as part of a Coppola-themed February. I haven't seen the first two films in a long time, so I'm looking forward to them. Actually, I'm considering listening to the Coppola commentaries and I'm wondering if anybody has any feedback to offer. I thought the director's commentary for Finian's Rainbow was great, probably more entertaining than the film.
post #292 of 2071
Quote:
For what it's worth, I'd rank The Roaring Twenties just a notch below the first two Godfather films and Goodfellas, about equal with White Heat in my gangster film pantheon.


*index finger circling my ear* Cu-ckoo...cu-ckoo...

Coppola's commentaries are great, I'd definitely recommend the ones he did for the Godfather films. As well as the one on The Conversation, which I guess you might also be watching, if you're doing a Coppola month? I also love that movie, should re-visit as well sometime soon.
post #293 of 2071
Definitely plan on seeing The Conversation, which I've never seen before. Also on the (tentative) slate are Tucker: The Man and His Dream and Apocalypse Now.

I suspected the commentaries were worth a listen, as Coppola seems like an affable, enjoyable, and honest raconteur.

Thanks Haggai.
post #294 of 2071
For what it's worth, I'd rank The Roaring Twenties just a notch below the first two Godfather films and Goodfellas, about equal with White Heat in my gangster film pantheon.
This may not make you feel any better Haggai, but I certainly don't think Roaring Twenties belongs in that company. Frankly, I think you've even got it rated too high.

I certainly space out those above films, but agree that all 4 are great. There are a number of psuedo-gangster films that I'd place up very high (e.g., The Killers, Gilda, Key Largo, This Gun for Hire, Rififi, High Sierra), but not Roaring Twenties.
post #295 of 2071
I certainly space out those above films, but agree that all 4 are great. There are a number of psuedo-gangster films that I'd place up very high (e.g., The Killers, Gilda, Key Largo, This Gun for Hire, Rififi, High Sierra), but not Roaring Twenties.

Some will argue that the Roaring Twenties was the last great gangster film made until White Heat. IMO, it's a superior film than Gilda or This Gun for Hire. Anyway, to each his own. One of my favorite moments regarding film was the time I actually walked those stairs used in that final scene while at Warner's lot about six years ago.





Crawdaddy
post #296 of 2071
I was on that tour too; my favorite moment was seeing "The stuff that dreams are made of" - the Maltese Falcon statue in the Warner museum. As terrific as the lot tour was, I would have given it up for more time in the museum.

Can't comment on The Roaring Twenties since I still haven't seen it, but I'm astounded at the high rating for Love On The Run. Who in their right mind could prefer that to Stolen Kisses? At least you dug Spider Baby, now go check out The Big Doll House!

Glad you appreciated The Passion of Anna so much, Marc. While I prefer some of his earlier films of faith, Passion is my favorite of his experimental "island" films and I would probably be comfortable in arguing that it is his most challenging and best work since the early 60's, even ahead of Persona.
post #297 of 2071
January Recap

Total Movies Seen: 28

Best Film Seen: Saraband

Honorable Mentions: Bubble, The New World, Home From The Sea, The Village, Triple Agent

2006 Movies
Bubble - A-
Nanny McPhee - B+


2005 Movies
2046 - B
The Beat That My Heart Skipped - B
Brokeback Mountain - B+
Broken Flowers - B+
Enron: The Smartest Guys in the Room - B-
A Hole in My Heart - D-
The Island - B
Junebug - B
Lila Says - B+
Lord of War - C+
Munich - C
The New World - A-
The Perfect Crime - B+
Saraband - A
Syriana - B-
Thumbsucker - C+
Tony Takitani - B+
The Wild Parrots of Telegraph Hill - B+
Wolf Creek - C



Pre-2005 Movies Seen for the 1st Time
Home From the Sea (1972, Yoji Yamada) (DVD Own) - A-
Triple Agent (2004, Eric Rohmer) (DVD Rent) - A-
Vidas Secas (1963, Nelson Pereira dos Santos) (DVD Rent) - B-
The Village (1975, Yoji Yamada) (DVD Own) - B+

Revisits (All DVD's from my collection unless specified)
Love Me Tonight (1932, Rouben Mamoulian) - A
The Miracle of Morgan's Creek (1943, Preston Sturges) - A-
Point Blank (1967, John Boorman) - A-

Commentaries (Not included in total films seen)
The Devil's Rejects (Sid Haig, Sherri Moon Zombie, Bill Moseley)
Love Me Tonight ()
Point Blank (John Boorman & Steven Soderbergh)

Also watched 45 Looney Tunes shorts and all extras on 3 discs of Looney Tunes Gold v3.
post #298 of 2071
Quote:
What on earth made you watch ZARDOZ (1974)?

I'm a fan of science fiction films from this period (WESTWORLD, SOYLENT GREEN, THE ANDROMEDA STRAIN, SILENT RUNNING, now ROLLERBALL, etc...) and I've had the ZARDOZ disc around my house in the famous "unwatched" pile for well over a year. I found it at Best Buy for $5 or $7 one day, so I knew I eventually wanted to get to it. I always knew it had a rough reputation, but I was always intrigued by those cool-looking Zardoz masks, and I was also interested in seeing Sean Connery in a movie of this type.
I agree with you, by the way, that the movie had some interesting cinematography (I think the beginning was the most impressive in this area) but it wasn't enough for me to even give it a "poor" rating.

By the way, ROLLERBALL was another title from that "unwatched" pile, and I've had that DVD gathering dust for YEARS! I recently entered all my DVDs into a database and whenever I came across a title that I have yet to watch, I put it on the side and hope to work from that bunch. There are a lot of Charlton Heston films in there, as it turns out.

Re: THE ROARING TWENTIES -- I enjoy the film and think it's good (***), but I much preferred all of the other films in the GANGSTERS SERIES.
post #299 of 2071
George's mention of Rififi got me to thinking about Pépé le Moko, which I'd include on my list of great gangster films. If I continue to stretch the definition of the genre a bit further, I'd also include Pulp Fiction.

Brook,
While I'd rate Passion (a more appropriate title, eh?) a bit below The Seventh Seal and Wild Strawberries, I still think it unequivocally great. Admittedly, I still have a long way to go, but I'm slowly making my way through Bergman's oeuvre. I hope to get to Persona and Shame very soon. Just based on what I know about the films and how much I loved Passion, I have very high hopes for those two.
post #300 of 2071
Quote:
...but I'm astounded at the high rating for Love On The Run. Who in their right mind could prefer that to Stolen Kisses?

Well, it's a slight preference. I guess LOTR just had more of an emotional charge to it than any of the sequels, but I know I'm in the minority with that opinion.

FWIW, I'd rank the Doinel films this way:

The 400 Blows
Antoine and Colette
Love on the Run
Stolen Kisses
Bed and Board


The last three are fairly close.
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