Last (x) movies you saw

I think Newman's flowery summation is one of the film's weakest scenes, but I don't find the particulars of the ending--that this venerable doctor might have fudged the admittance form to cover up his negligence, and that the nurse would have disappeared to avoid dealing with that--not believable.

Winning the case seemed way too easy a solution to his dilemma, although with a better director and less schematic script it might've worked as as an example of the final cackle of fate. He was a horrible lawyer (refusing the settlement w/out consulting the family? That'll get you disbarred, I think!), and the movie insists he deserves a chance.

There's no movie if he takes the money..."Watch Paul Newman in the role of a lifetime, as he wins an out-of-court settlement!" It's a movie--you've got to cut them a little slack.

The Life and Death of Colonel Blimp (Powell, Pressburger, 1943) - 9/10
The League of Gentlemen (Dearden, 1960) - 81/0
Marnie (Hitchcock, 1964) - 7/10
The Abominable Dr. Phibes (Feust, 1971) - 7/10
Dr Phibes Rides Again (Fuest, 1972) - 5/10

rewatches:
Mad Max: Fury Road (Miller, 2015) - 9/10
Kill Bill vol.2 (Tarantino, 2004) - 7/10
Rollerball (Jewison, 1975) - 7/10
They Live (Carpenter, 1988) - 7/10
Bound (Wachowskis, 1996) - 7/10

They Live rated too low!

They Live has its moments, but I can't quite get beyond the self-consciously campy tone. Its like Carpenter didn't trust the material enough play it as a straight sci-fi B-movie.

If you're a fan of either They Live (which I'm kindasortanotreally) and/or Jonathan Lethem (which I definitely am), though, his monograph on the film from a few years ago is very much worth reading.

Zizek has some great stuff to say on it too

Black Souls (Munzi, 2015)
Katyn (Wajda, 2009)
Jack Strong (Pasikowski, 2014)
Wild Tales (Szifron, 2015)

what was katyn like

I thought it was decent and had a very haunting finale. Probably not a classic, but I am glad they made it.

Mysterious Skin (Araki, 2004) 7/10
It Follows (Mitchell, 2015) 7/10

Marnie a much better fetish movie than Kill Bill

KB has David Carradine

that fucking Clark Kent speech

^yeah to both points

has anyone seen jerzy skolimowski's walkover? It's playing tonight as part of that scorsese polish cinema thing, considering going but I do have work to do

haven't b u t what else are you seeing/have to you seen in the season? it was here awhile ago & i loved it. killer zanussi movies.

This is the 1st I've managed to catch but plan on seeing the rest although I don't know what's upcoming. It was great btw

Marnie was impressive on the whole. I even quite liked the artificiality of it. Tippi Hedren was a knockout, and the cleaning lady, and the horse riding scenes both classic Hitch, in a technical/suspense sense.

But the moments of high drama just became increasingly heavy-handed, and Hitchcock takes all of the armchair psychology stuff too seriously. It was also pretty disappointing how Diane Baker's character didn't really live up to its potential. The Marnie / Lil rivalry was never resolved.

Marnie bummed me out when I first saw it as a precocious, Hitch-loving teen, but I even suspected at the time that it was "adult," for lack of a better word, in a way that kept me from digging it the way I did Psycho or North by Northwest or even Frenzy. I owe it a re-watch.

I like Marnie. You'd probably never get such a direct shot of a dog's anus in mainstream film even several years after that. Not that I'm an expert.

pink flamingos iirc

Marnie is Hitchcock at his most giallo

I can't tell if Dr Phibes Rides Again is deliberate or not

You'd probably never get such a direct shot of a dog's anus in mainstream film even several years after that.

The way he frames the injured horse, too: you don't see its head, but you do clearly see its genitals.

dont blame that awful Italian shit on Hitch

the fire within ('63 malle) 3/5
fearless ('93 weir) 1/5
red flag ('12 karpovsky) 4/5
don't bother to knock ('61 roy ward baker) 3/5
young adam ('03 david Mackenzie) 3.5/5
even cowgirls get the blues ('93 gvs) 1/5
hits (2014 david cross) 2/5
lil quinquin (2014 Dumont) 4.5/5
the immortal story ('68 welles) 2/5
term of trial ('62 peter glenville) 3.5/5
pretty baby (78 malle) 3.5/5
*the descent ('05 neil marshall) 3/5
actress ('14 Robert greene) 5/5
bluebird ('13 lance edmands) 1.5/5
loving ('70 kershner) 2/5

http://c4941054.r54.cf2.rackcdn.com/8934.jpg

I thought Horrible Dr Hichcock might be available by now but there's just loads of posters and mugs. Have you seen it Ward?

Yes, on VHS, many years ago - it's got some of the same production values and atmos as a Hammer movie, but with a greater emphasis on necro kink. I don't know if this online version is complete:

http://www.dailymotion.com/video/x15o7r8_horrible-dr-hichcock-1962_shortfilms

I'm sure you know, RAG, that the Arrow Region 2 of Bava's Black Sunday includes Freda's I Vampiri as a bonus feature.

Actually I didn't know that, but thanks because I still haven't seen I Vampiri.

The Ascent (Shepitko, 1977)
Symbiopsychotaxiplasm: Take 1 (Greaves, 1968)
Woman on the Run (Foster, 1950)
L'Amore (Rossellini, 1948)
Murder, My Sweet (Dmytryk, 1944)
Gun Crazy (Lewis, 1950)
Mean Streets (Scorsese, 1972)
The Killers (Siodmak, 1946)
Edge of Tomorrow (Liman, 2014)

only one rewatch out of 12

Dracula (aka Horror of Dracula) (1958, Fisher) 7/10
The Curse of Frankenstein (1957, Fisher) 6/10
The Yes Men Are Revolting (2014, Nix, Yes Men) 6/10
*You, the Living (2007, Andersson) 8/10
Three-Cornered Moon (1933, Nugent) 7/10
The Blue Room (2014, Amalric) 7/10
Captain Lightfoot (1955, Sirk) 5/10
Two Mules for Sister Sara (1970, Siegel) 7/10
A Pigeon Sat on a Branch Reflecting on Existence (2014, Andersson) 6/10
The Princess and the Pirate (1944, Butler / Bob Hope) 7/10
The Story of Three Loves (1953, Reinhardt, Minnelli) 7/10
Yolanda and the Thief (1945, Minnelli) 6/10

Lost in Translation (Coppola, 01)*
The Interregation (Bugajski, 82)
She Wore a Yellow Ribbon (Ford, 49)
Larks on a String (Menzel, 70)
Three Monkeys (Ceylan, 08)*
Winter Sleep (Ceylan, 14)*
Ucho (Kachyna, 70)
Spy (Feig, 15)
Hiroshima Mon Amour (Resnais, 59)*
Muriel (Resnais, 63)*
Crouching Tiger, Hidden Dragon (Lee, 00)
Platoon (Stone, 86)
The Doors (Stone, 91)
Ivan’s Childhood (Tarkovsky, 62)*
Andrei Rublev (Tarkovsky, 66)*
The Gauntlet (Eastwood, 77)
White Hunter, Black Heart (Eastwood, 90)
Phoenix (Petzold, 14)*
Celine & Julie Go Boating (Rivette, 74)
Moulin Rouge (Luhrman, 01)
Two Days, One Night (Dardenne, 14)*

World of Tomorrow (Hertzfeld, 2015) 9/10
Its Such A Beautiful Day (Hertzfeld, 2012) 8/10
An Honest Liar (Weinstein/Measom, 2014) 6/10
The Institute (McCall, 2013) 5/10
Grabbers (Wright, 2012) 6/10
The Canal (Kavanagh, 2014) 4/10
Sanjuro (Kurosawa, 1962) 7/10

Watched the majority of Super last night. Such an unpleasant and weird film and it's really stuck in my head (all in a good way). Never been into Ellen Page but wow, she's incredibly hot in this. She actually rapes Rainn Wilson (the main character), who is also a complete maniac in the film.

Yeah, it's an odd film. Tonally all over the place. I like it tho.

*Star Wars (Lucas, 1977) 8/10
My Winnipeg (Maddin, 2007) 8/10
*The Empire Strikes Back (Kershner, 1980) 8/10
Eastern Boys (Campillo, 2013) 7/10
Miami Connection (Park and Kim, 1988) 4/10
*Return of the Jedi (Marquand, 1983) 8/10
Ninotchka (Lubitsch, 1939) 9/10
White Heat (Walsh, 1949) 9/10
*The Fisher King (Gilliam, 1991) 7/10
Jurassic World (Trevorrow, 2015) 4/10
Cool Hand Luke (Rosenberg, 1967) 6/10
Patton (Schaffner, 1970) 4/10
*Barry Lyndon (Kubrick, 1975) 9/10
Fame (Parker, 1980) 5/10
Shadow of a Doubt (Hitchcock, 1943) 8/10
Kill Your Darlings (Krokidas, 2013) 4/10

Timbuktu (Sissako, 2014) 7/10
Mad Max: Fury Road (Miller, 2015) 7/10
Spy (Feig, 2015) 5/10
Jurassic World (Trevorrow, 2015) 5/10
Mr Holmes (Condon, 2015) 4/10

What We Do in the Shadows (Clement/Waititi, 2014) 6/10
Yi Yi (Yang, 2000) 8/10
Barbara (Petzold, 2012) 7/10
Unrelated (Hogg, 2007) 7/10
Cafe Lumiere (Hou, 2003) 8/10
The Last Laugh (Murnau, 1924) 8/10
Ganja and Hess (Gunn, 1973) 6/10
Night and the City (Dassin, 1950) 8/10
Journey to the West (Tsai, 2014) 9/10
House by the Edge of the Park (Deodato, 1980) 5/10

Rebels of the Neon God (Tsai Ming-liang, 1992): 9/10

Margaret (8.0)
Magician: The Astonishing Life and Work of Orson Welles (7.0)
Meet Me in St. Louis (6.5)
Fiddler on the Roof (6.5)
The Wolfpack (5.5)
The Woman in the Fifth (6.5)
Eyes Wide Shut (8.0)
Charade (7.5)
She’s Beautiful When She’s Angry (7.5)
The Princess of Nebraska (7.0)

Zardoz. A very good mix of unintentional ridiculousness, real weirdness, good ideas and images.

Lawrence Of Arabia. My first time, very good.

Haven't done this in awhile...no ratings, but I didn't hate anything.

The Cool World
Jack Johnson
The Voices
Mikey and Nicky
American Graffiti*
Adventureland*
Damsels In Distress*
The Wild Angels
Inherent Vice
The Last Days of Disco*
Welcome To Me

*Rescreens

The Chekist (Rogozhkin,1992)
Mafioso (Lattuada, 1964)
My Joy (Loznitsa, 2011)
Tangerines (Urushadze, 2013)
Conspiracy (Pierson, 2001)

Mafioso was the pick of these, best movie I have seen in months.

Saw an interesting 2014 movie, As It Is In Heaven, on Hulu last night. It's about a small (fewer than a dozen people) Christian cult, led by a dad, his wife, and his son, who are convinced they know the day and the hour. But the dad dies suddenly after a bad fall, and a charismatic relative newcomer to the group takes over, seemingly with the dad's blessing (though nobody's around to witness the actual transfer of power), and things start to go dark. It's really well shot and lit, mostly taking place in a big old house in the country and the surrounding woods and fields, and even though some crazy shit happens, it never goes full bughouse (aside from being about people who believe they know when the world will end, obviously); it stays at a simmer instead of erupting into full-on mayhem, which makes the end that much more powerful. Recommended, especially as a much lower-key, less pulpy counterpart to The Rapture (which I loved).

Downhill Racer (1969, Ritchie) 8/10
*The River (1951, Renoir) 9/10
*Jeremiah Johnson (1972, Pollack) 6/10
*Keep the Lights On (2012, Sachs) 8/10
Hondo (1953, Farrow) 7/10
*Without You I'm Nothing (1990, Boskovich) 7/10
Mad Max: Fury Road (2015, Miller) 7/10
Aniki Bóbó (1942, de Oliveira) 6/10
The Decline of Western Civilization Part II: The Metal Years (1988, Spheeris) 5/10
*The Decline of Western Civilization (1981, Spheeris) 6/10
Ramrod (1947, de Toth) 7/10

Sweet Smell of Success (Mackendrick, 1957) - 9/10
The Killers (Siegel, 1964) - 8/10
Island of Lost Souls (Kenton, 1932) - 7/10
Trishna (Winterbottom, 2011) - 7/10
Danny Collins (Fogelman, 2015) - 3/10
The Duke of Burgundy (Strickland, 2014) - 6/10
Slow West (Maclean, 2015) - 7/10
Terminator: Genisys (2015, Taylor) - 4/10
Jurassic World (Treverow, 2015) - 5/10

>>rewatches:
The Lost World: Jurassic Park (Spielberg, 1997) - 7/10
Duel (Spielberg, 1971) - 8/10
1941 (Spielberg, 1979) - 6/10
A Fistful of Dollars (Leone, 1964) - 8/10
Apocalypse Now (Coppola, 1979) - 9/10
Silent Running (Trumbell, 1971) - 3/10
The Grey (Carnahan, 2011) - 7/10

12.08 East Of Bucharest (Porumboiu, 2006)
Kajaki (Katis, 2014) not exactly Paths of Glory but watchable, gritty "our boys in Afghan" type garbage. One of the characters is based on a local dude so I felt compelled to watch it.
In Bloom (Ekvtimishvili, 2014)
Tales From The Golden Age (Mungiu + various others, 2009) Brilliant anthology of short stories based on Ceaușescu era myths, wonderful mix of deadpan humour and Soviet era ennui.

loads o' noir

Greed (Von Stroheim, 1924)
Nightcrawler (Gilroy, 2014)
Dark Passage (Daves, 1946)
Bande à Part (Godard, 1964)
Scene of the Crime (Rowland, 1949)
Berlin Express (Tourneur, 1948)
Armored Car Robbery (Fleischer, 1950)
Side Street (Mann, 1950)
Sherlock Holmes (Parker, 1922)
Act of Violence (Zinneman, 1948)

P’tit Quinquin (Dumont, 2014) - People talk of this as a black comedy but its only like that for the first EP or so. From the funeral on it went from that species of piled-on awkwardness (and that's a bizarre scene, still not sure whether it works or not) to no real laughs - just teasing and pushing the audience around a la Haneke w/touches of Blue Velvet-era Lynch (Blackness in the heart of a comfy-looking background). In the end its also a summation of every theme and working method he has explored more individually or for longer periods in past works - islam and immigration in France, crime procedural, his work w/ppl with mental illness. Its like a Dumont 'highlights' package.

yeah it mostly bored me