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Track the Films You Watch (2007) (1 Viewer)

Adam_S

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The Godfather Part III - 5 of 10

I've always been intrigued if Part three was relatively bad or just bad. It turns out it's the latter. If I were to guess, I would say that having to cut Tom Hagen out of the script took the mickey out of the project and it never really recovered, especially after Wynona Rider collapsed on them the day they were to start shooting.

That said Sophia Coppola is not quite as terrible as she's made out as. She's obviously a non actor, uncomfortable in front of the camera and her performance is carefully cut around. But there is something refreshing to the realness of her character, at times she seems very vulnerable, but much of the time she is just very stiff. I didn't even really notice anything different in her style of speech until Coppola pointed it out in the QandA after the screening.

This is the only Godfather that feels long to me, and I think that's because it's so haphazard and all over the place. It's hard to get a feel for the characters because other than Michael and Kay everyone is completely new to us, and there's not a strong easy to identify core of supporting cast like in the first godfather or in either of the storylines of the second godfather. The characters all run into one another and it often seems there is hardly any difference between any one character or another.

But even that wasn't the biggest problem.

What was really disappointing was how this felt very much like a pastiche or best of version of the earlier Godfathers. Simply doing over many of the famous scenes. The assassination in the Italian festival, the meeting of the Dons, the crosscutting 'everyone is killed' ending for instance. It sort of felt like the Brett Ratner version of the Godfather whenever they seemed to be repeating what worked big in the previous flicks. The script was absolutely terrible, bad lines, too much talking, people saying what they're thinking and phrasing it really badly. You didn't get much sense of personality from the dialogue, because so much of it was indistinguishable from character to character. and there were just some really bad lines too, laughably bad, you felt sorry for the actor or actress that had to say them.

What really did work in the film, though, was the story of Michael and Kay, which was beautiful and wonderful and perfectly told. Less so with the story of Mary (bad name, just did not work) and Michael, but I could see how that could have been much stronger with a different actress. I liked the pseudo incest storyline, but it's the sort of over-the-top-campiness that the script had already indulged in enough that the incest bit just sort of made you cringe. I think regarding the romance between Vincent and Mary (which is very important overall, imo) the character of Vincent could have been much stronger as a sort of Tom Hagen character, a street rat adopted by Talia Shire and half brought into the family--that would make a lot more sense, especially if you could have compared him to the older Tom had Duvall not priced himself out of the movie.

the other part of the movie I found quite fascinating was Michaels's desire for absolution, despite his equally powerful conviction to not repent. I thought it was handled badly in terms of throwing around large amounts of money and buying out the property firm of the vatican, it just really became TMI at some point, and you started rolling your eyes.

There's a lot of good things in the film, but I don't think it ever really quite came together to its full potential.

Coppola did announce tonight that he'd just seen (today) the finished product from the multimillion dollar full restoration on film of the Godfather and that it was an incredible experience. I hope they give the restoration a theatrical release next spring. :)

Adam
 

Ted Lee

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title: the last kiss
rating: c
comments: pretty much a by-the-book movie. zach is always charming to watch, but there wasn't really anything innovative or different about this movie. it wasn't horrible and fine for cable, but i would say garden state is a better effort.
 

PatW

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The Rocket (2005) :star: :star: :star: 1/2

Not being a hockey fan, I was reluctant to sit through this and I ended up pleasantly surprised and enjoyed the movie. This is a bio-pic that covers the life of hockey legend Maurice Richard the great and feisty player for the Montreal Canadiens. Well acted and directed.

Ice Harvest (2005) :star: :star:

I guess this movie just isn't my cup of tea. I didn't find any of these characters the least bit appealing, sympathetic or even interesting. The acting was adequate though.
 

Bob Turnbull

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I'll have to revisit this at some point...It was my first Lubitsch and even though I enjoyed it, it just didn't quite do the trick for me. There was something about both of the main characters that just kind of annoyed me.

I recently revisited the first Preston Sturges I saw (The Lady Eve). Same story first time out - liked it, but it didn't grab me. This time around I thought it was terrific. Granted that may partially be due to my growing crush on Stanwyck, but I got into the rhythms of the script much better this time and wasn't as annoyed with Fonda's character (though I still think he's a turd towards the end when he dumps her because she's had "experience" with other men).

Speaking of Stanwyck, Michael have you seen Baby Face yet? It was just on during that TCM Stanwyck celebration. I know sexiness is a very personal taste, but I thought she was just oozing it all over the screen in that one.

I have Jeopardy and a few of her others left on the PVR. I'm going to try to watch a couple tonight.
 

Michael Elliott

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Yes, I watched the cut version a couple years ago but haven't gotten around to the uncut DVD. I'm really not sure what it is but I'm hit and miss on Stanwyck. I noticed not too many liked JEOPARDY but I loved her in it. I've got BREAKFAST FOR TWO, CHRISTMAS IN CONN. and BALL OF FIRE sitting on my DVR. I just got done with Bergman's religious trilogy so I'm leaning towards watching CHRISTMAS right now to try and cheer up.
 

Michael Elliott

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I personally think THE BODY SNATCHER is the greatest horror film of the decade but also one of the best overall films. It certainly gets better with each new viewing and I think it's miles ahead of the other Lewton's and a lot higher quality than the Universal horror films from this era. I hate DAY OF THE DEAD since it's the one film in the series where I was hoping all the main characters would die. Their childish talk just gets on my nerves. LAND was a lot better IMO but hopefully DIARY OF THE DEAD will be a notch higher. I wanted to record BERSERK but my girlfriend doesn't have TCM at her house.

As for TROG, I got a lot of laughs at of it but I'm still curious how Crawford was able to get down in that cave. :)
 

Joe Karlosi

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You've read that I think TROG was fun, but as for Ms. Crawford getting down into the cave and her immaculate clothing and so on... all I can say is, we could probably be here forever nitpicking unlikely details like this from all films - and especially horror/sci-fi films!
 

Mario Gauci

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I don’t know which movies you’ve watched of Rene Clair’s or Jean Renoir’s, or how familiar you are with their native and Hollywood careers but, while the perception that their output in exile is (vastly) inferior to their pre-war work is generally true for most other directors, I feel that it doesn’t hold true for either of these two Frenchmen.

Actually, my own personal coldness for musicals might well make me prefer I MARRIED A WITCH (1942), IT HAPPENED TOMORROW (1944) and AND THEN THERE WERE NONE (1945) to Clair’s more celebrated musicals of the Thirties, namely UNDER THE ROOFS OF PARIS (1930), LE MILLION (1931) and A NOUS LA LIBERTE` (1931)! Furthermore, out of Clair’s Hollywood movies that I’ve seen, only THE FLAME OF NEW ORLEANS (1941) was disappointing and, in fact, even his earlier Britsh "haunted castle" comedy, THE GHOST GOES WEST (1935), is very good. Having said that, Clair made two of his finest movies (in my opinon) – THE BEAUTY OF THE DEVIL (1950) and NIGHT BEAUTIES (1952) – after leaving Hollywood and returning to his homeland.

As for Renoir, he had such a marvelous run of movies in France between 1931 and 1939 that it’s unrealistic to expect his Hollywood output to be any match for it. Even so, SWAMP WATER (1941) is a very fine piece of pure Americana, THE SOUTHERNER (1945) is practically the equal of John Ford’s THE GRAPES OF WRATH (1940), THE DIARY OF A CHAMBERMAID (1946) is arguably superior to the later Luis Bunuel version and THE WOMAN ON THE BEACH (1947) is one of the most deliriously romantic and bizarre noirs ever to come out of Hollywood! Unfortunately, very few of these films are as yet available on DVD and, out of those that are, only SWAMP WATER is at all decent enough to include in one’s DVD collection!!
 

Michael Elliott

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I'm one of the few people who actually enjoy CURSE OF THE CAT PEOPLE more than the original.

Re: Bergman Trilogy

Mario, I'll post my full reviews later and perhaps no one will agree with me but I think I enjoyed all three less than I thought I would because of a couple reasons. One, they are VERY VERY deep and heavy films so a second viewing of each will probably help matters. However, I think the whole "Bergman Trilogy" thing really threw me off because I was expecting something else than what I got. In fact, I think it's kinda silly to call these films a trilogy just like when people talk about Bob Dylan's trilogy of Christian albums. With Dylan, religion always had something to do with his music before the trilogy of albums so I never understood all the controversy. With Bergman, his films before these always dealt with religious themes so I'm really not sure why these three are singled out. In fact, I noticed you watched THE VIRGIN SPRING and I feel that this film is just as strong on a religious front that any of the three from this trilogy.
 

Michael Elliott

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DIARY OF THE DEAD is in the can but there's no distributor yet. I think the film is showing in Toronto in a few weeks so hopefully someone will pick it up there.
 

Joe Karlosi

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So you're basing this three-game series on the first few innings of the first game? Even if the Braves were to beat the Mets all three games, the Mets would still be in first place, as the Braves are now 4 & 1/2 games out! ;)
 

Pete York

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Suddenly (1954) Dir: Lewis Allen

The President’s train is making a stop in Suddenly, California on its way further west, and it’s up to Sheriff Tod Shaw (Sterling Hayden) and his men to ensure the President’s safety in this thriller from Lewis Allen (The Uninvited, 1944). To complicate matters, the Secret Service has been tipped off to a possible assassination attempt. But before the Sheriff can secure the area surrounding the Suddenly train station, Frank Sinatra and friends, posing as FBI agents, bull their way into a strategically placed house nearby with the intention of shooting the President, their ‘big score’. Inside they plan to hold the occupants, war widow Ellen Benson, her son Pidge and his grandfather Pop, hostage until the train arrives. When Shaw and the Secret Service chief come to check the house, there’s a shootout leaving the Sheriff alive but hurt and the agent dead. Then there’s nothing left to do but watch the clock and see if the group of hostages can somehow foil the plot.


Suddenly makes a couple of attempts in its 75 minutes to be something more than a straightforward action-thriller.

There is an interesting argument early on between the widowed Ellen and Sheriff Shaw, whose attempts to woo her are going nowhere, about how to raise young Pidge. Ellen, who lost her husband in the War, seeks to protect Pidge, perhaps overly so, she won’t even let him play with a toy gun. The Sheriff, who’s become something of a father figure to Pidge, thinks the only way for him to learn how to cope is to be exposed to life, warts and all.

Also, there is no attempt to explain what created the vicious character of the assassin. Was it the experience of the War? Was it a bad childhood? While these things are brought up, we are left with the lasting impression of Sheriff Shaw’s words to the shooter, that maybe he's “just a born killer.”

The acting is okay, Hayden is rather uninspiring but Sinatra takes on his character with some zeal, there are a few moments of startling cold-bloodedness. The kid, compared to other child actors, isn’t very good. There’s nothing particularly memorable about the photography, it’s strictly utilitarian. There’s the classic Hollywood depiction of law enforcement as nincompoops (Pop’s supposedly ex-Secret Service, if so, he should brush up on the Fourth Amendment), but it’s just minor laziness here.

Sinatra took this one, along with The Manchurian Candidate, out of circulation for a while following JFK’s death. Suddenly isn’t in the league of the Frankenheimer film, but it was entertaining enough.

:star: :star: 1/2 out of 4
 

PatW

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Spartacus (1960) :star: :star: :star: 1/2

I've had this Criterion collection edition sitting on my shelf for quite some time now and have finally had a chance to watch it. Firstoff, I can see that films like Braveheart which I love gained alot of inspiration from this movie.

I'm not a fan of Kirk Douglas and can barely tolerate him but he seemed adequate enough in this part with no over-acting which this kind of role can lead too. The Brits were all great especially Laughton as the Roman Senator. It was interesting watching both Laughton and Olivier since I admire them both. I like Tony Curtis but he seemed out of place here, but may-be that was the point. I like Jean Simmons but I didn't get the depth of feeling between her and Spartacus as I did for instance between her and Richard Burton in the Robe.

This movie was well-directed, had a well-written script and beautifully photographed. The first half was very interesting but I found my attention wandering during the second half of the movie. I'm sure Alex North is a very competent composer but I didn't care for the score to this movie. I found it jarring in spots and just didn't stir my heart as let's say Ben Hur did. Over-all I'm glad I purchased it and glad I finally watched it but I don't think it will be a movie that I will re-visit very often.
 

Michael Elliott

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Joe, my reasons are the Braves are 7-3 against the Mets this year. Atlanta vs NY in the World Series with the Yankees winning again. :)


08/06/07

Kiss Before Dying, A (1956) :star::star::star:

Flawed but suspenseful thriller has Robert Wagner playing a fortune hunter who will stop at nothing to marry into a rich family. I've been meaning to watch this for quite sometime now but just finally got around to it. The film works on many levels but also comes off very childish on others. The best thing about the film are the performances from the entire cast. Wagner is perfectly twisted as the money hungry killer and he comes off very well and it's easy to see why these woman would fall for him. Jeffrey Hunter is good as the cop investigating the murder, Joanne Woodward is terrific as the younger sister and Virginia Leith is very strong in her role. There some nice suspense during the murder sequences as well as the ending, which makes you forgot several childish plot twists.

Air Fright (1933) :star:1/2

Hal Roach short has Thelma Todd and Patsy Kelly playing stewardesses on an experimental flight, which quickly turns disastrous. Todd has proven to be a funny woman but Kelly is one of the most annoying comedians I've ever seen. There are a couple laughs here but not many.

Dirigble (1931) :star::star:1/2

Frank Capra directed this disaster flick about a hot shot pilot (Ralph Graves) who tries a daring expedition to the South Pole but ends up crashing. Back at home his wife (Fay Wray) is having an affair with his best friend (Jack Holt) but when news gets back to them about the crash the friend decides to go after him. Capra, Holt and Graves teamed up for Flight two years earlier and this film has some of the same greatness as well as some of the same weaknesses. The great stuff deals with all the action and some of it is among the best stuff I've ever seen. I'm going to guess that a lot of miniatures were used but they look terrific and come off very realistic. There's one brilliant sequence where a blimp gets caught up in a tropical storm and slowly begins to break apart. However, the love triangle thing is really, really boring and very unrealistic. Holt and Graves are good in their parts but Wray comes off pretty weak but this is due mostly to her part being poorly written. In the end the film is still worth seeing for the amazing action scenes.

T-Men (1947) :star::star:

Anthony Mann directed this documentary style look at two government agents trying to bring down a counterfeit ring. On a technical level this film is quite an achievement due in large part to the wonderful B&W cinematography, which really makes you feel like you're going through all the steps with these guys. Mann's direction handles the material quite well but I could never really get involved with the film. The narration really got on my nerves after a while and I think it would have been better without it. The performances are good but overall the film just didn't work for me.

Spills for Thrills (1940) :star::star::star:1/2

Exciting Warner short pays tribute to the stuntmen in Hollywood. Real life stuntmen Harvey Parry, Allen Pomeroy and Mary Wiggins are on hand to show us some new stunts as well as clips from various films. The best part of the film is when they show various stunts that went wrong including one amazing scene with Parry and Pomeroy trying to make a car go down a cliff but it ends up flipping upside down.

Roaming the Emerald Isle with Will Rogers (1927) :star:1/2

Will Rogers sets off on a worldwide vacation back in 1927 and in order to pay for the trip he signed a deal with Pathe to make various documentaries. This one here takes a look at Ireland and comes off pretty poor. The camerawork is horrible and Rogers' jokes are really out of style and bad.

Crime Doctor's Gamble (1947) :star::star:1/2

William Castle directs this ninth entry in the Columbia series. This time Dr. Ordway (Warner Baxter) is on vacation in Paris when a man is accused of killing his father. Once again, this is on par with the rest of the series, although I'd place this one near the top. Just like the previous film in the series, it's a nice break getting out of the city and the Paris streets make for some nice moments. Baxter has his act down and the supporting cast is also a step above normal.

Top Flat (1935) :star::star:

Hal Roach comedy featuring the team of Thelma Todd and Patsy Kelly. This time, Todd moves out to make something out of her poetry and the next time Kelly sees her she is living in a big penthouse. There are a few laughs here scattered around but once again, I just can't laugh at Patsy Kelly. Todd on the other hand is her lovely self.

Crime Doctor's Diary, The (1949) :star::star:

Tenth and final film in Columbia's Crime Doctor series is the least interesting of the nine I've watched. In this outing, the Crime Doctor (Warner Baxter) gets a man out of prison on arson charges even though everyone thinks he's guilty. The man eventually kills someone but once again claims he's innocent. This last entry was released two years after the previous film so I'm curious as to why Columbia tried to get the series back going. It seems everyone, including Baxter, is incredibly bored and weren't too interested in doing anything special with the film. The cast, including Robert Armstrong, sleepwalk through the production and direction is so bland that it's hard to find anything too special.

Women in Hiding (1940) :star::star::star:1/2

29th film in MGM's "Crime Does Not Pay" series takes a look at illegal hospitals offering cheap service to expecting mothers who are afraid to go to a real hospital because of shame. These hospitals can lead to the death of the mother, death of the baby and often offer illegal adoptions. This is the third or four film I've seen in the series and all of them have been highly entertaining. The documentary style storyline gets the message across without being overly preachy and the direction is above average for this type of film.

Soak the Old (1940) :star::star::star:

31st film in MGM's "Crime Does Not Pay" series takes a look at old people being fooled into joining a fake pension fund raiser, which is being ran by racketeers. This film isn't as good as some of the others that I've seen but it still remains highly entertaining with some nice performances (including Ralph Morgan) and a nice story.

Purity Squad (1945) :star::star::star:1/2

45th film in MGM's "Crime Does Not Pay" series looks at the FDA and their attempts to break a drug company from selling a pill to diabetics, which is suppose to be better than insulin but no tests have been done on it. This episode here really packs a nice little punch due to some very good performances and a couple great villains. This was one of the last from the series and the production values have fallen quite a bit from when the series started but the film still packs a nice little punch.

08/07/07

Through a Glass Darkly (1961) :star::star::star:

The first in Ingmar Bergman's trilogy of religious films has a woman (Harriet Andersson) just getting out of a mental hospital and spending time on an island with her husband (Max von Sydow), her father (Gunnar Bjornstrand) and younger brother (Lars Passgard). It took me quite a while to warm up to the actual story because, I think, I was so over come with the technical beauty of the film. Bergman certainly knows how to capture mood and atmosphere with his camera and this is one of the most beautiful films I've ever seen. The cinematography is top-notch especially a scene towards the beginning of the film where the father breaks down crying and Bergman keeps the camera back with a dark room with a small amount of light coming through the window. The performances by the four actors are all terrific with Andersson really stealing the show. Her breakdown is quite haunting and certainly memorable. The actual story really didn't connect with me until the final half of the film so perhaps I'll see new things in the movie with another viewing.

Winter Light (1962) :star::star::star:1/2

The second film in Ingmar Bergman's trilogy takes a look at a Pastor (Gunnar Bjornstrand) who is losing his faith in God while at the same time trying to fight off the advances of a woman (Ingrid Thulin). I thought this second film was a minor step up but like that film, it seems this one will get better with repeat viewings since there's so much psychological feelings going on throughout the film. Once again the strongest aspect are the performances with Bjornstrand giving the best one. I hate watching movies where someone is thinking yet you can look at them and tell the only thing they're really thinking about his their next line of dialogue. At anytime in this film you can look at Bjornstrand and tell that he's really thinking about his relationship with God and everything else going on in his life. Thulin is equally great and really shines during the best moment of the film when the Pastor is reading her letting but Bergman gives us a closeup of her reading it. Then there's Max von Sydow who just speaks so much without saying a word of dialogue. The ending is when the film really comes into shape with, like the first film, a quick cut to leave the viewer thinking.

Silence, The (1963) :star::star::star:

Third film in Bergman's trilogy is also the most difficult to make sense of. The film follows two sisters, one who is dying (Ingrid Thulin) and the other freely sexual (Gunnel Lindblom). I watched the featurette included on the Criterion DVD to get the Bergman experts opinion on the film and I think he saw a little bit more into it than I did. I agree that it seems both sisters are lost and dying. One really dying and the other dying by not doing anything and the only one who seems to really be living is the young son. I had a difficult time trying to figure out what Bergman was trying to make out of this film on a story level but technically the film is brilliantly put together. The use of light once again is the highlight but Bergman's free moving camera is also a revelation here. The performances are both very strong yet very different from one another. The silence of the film is something else that's perfectly use but I think it might have worked even better had the film been totally silent.

Christmas in Connecticut (1945) :star::star::star:

Delightful comedy about a female journalist (Barbara Stanwyck) who writes a column claiming to be a great wife, mother and cook. Things get out of control when her boss (Sydney Greenstreet) invites a WW2 vet (Dennis Morgan) over to her farm for Christmas. The problem is that Stanwyck is single and doesn't really know how to cook so now she must try and push the scam over. This is a highly delightful, charming and cute little film that isn't too heavy but isn't too light either. This is my favorite role I've seen from Stanwyck who manages to be tough yet charming as well. The real benefit to the film is the wonderful supporting performances by Greenstreet, Morgan, S.Z. Sakall, Robert Shayne and Una O'Connor. The romance side of the film works perfectly and the film contains many classic scenes including the babies bath as well as the cow getting loose. The only problem is the final twenty-minutes take too long to play out.

Bronx is Burning, The (Pt. 5) (2007) :star::star::star:1/2

A terrorist plot hits NYC as record high temperatures do as well. The Son of Sam killer is finally caught as the Yankees take over first place after Martin bats Jackson clean-up. After the good but weakest segment last week, this weeks episode picks back up with a great reenactment of the capture of Sam and the Miller beer commercial with Steinbrenner and Martin is still funny.
 

george kaplan

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Come Live With Me

Strange film, with Hedy Lamarr as an illegal immigrant in love with a married man. In order not to get sent back to Nazi occupied Austria, she marries Jimmy Stewart whom she's just met, paying him for doing so, and continuing to live by herself and seeing only her married lover.

Unfortunately the film is poorly plotted, and while it has the obligatory ending of Lamarr and Stewart actually getting together, any chemistry between them is developed very late in the picture, and never amounts to much, and in fact, is far less than the chemistry that Lamarr has with her lover.

This is ostensibly a romantic comedy, so you know you're supposed to root for Stewart to get the girl, but you never do. And while the tone is decidedly light, there's nothing funny in the film, and the only endearing characters are Lamarr and Stewart's grandmother (in a small role).

A strange film, and a letdown.
 

Joe Karlosi

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As I told you earlier, even if the Braves sweep the Mets in this current three game series, the Mets will still be in first place. In fact, all season long the Mets have faltered on and off and could easily have lost their hold on 1st place, but your Braves were so poor that they could never catch them even when they were losing a lot of games. :) And the Skankees will not make it to the World Series.

In the AFTER HOURS LOUNGE there is a baseball section; this is supposed to be a movies thread, so perhaps it's best if you and I go there to discuss baseball.
 

Michael Elliott

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Please forgive my two line baseball talk. If you want to discuss any of the other lines posted above let me know. :)
 

Joe Karlosi

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You expect your "two line baseball talk" to go by with no response from me? That's the problem. But you may have the Last Word. Until October.
 

Michael Elliott

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No, it's more to do with you playing moderator and saying take it somewhere else when it was a very small line of a rather large post. You can reply all you want to whatever I say but I don't think two lines out of however many resorts to you saying take it somewhere else especially when you replied in the first place. I think the mods will allow a small comment mixed in with the reviews.

However, back to the movie talk. Mr. Karlosi, what did you think of DISTURBIA. I noticed you gave it a low rating but what's your feelings on it compared to REAR WINDOW. I read your review and it seems you didn't care for the build up (or teen stuff) at the start of the film. I just got done watching it so I'd love to hear your thoughts on this remake.
 

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