Last (x) movies you saw

letterboxd dump:

Sins of the Fleshapoids (Kuchar)
Mad Max Beyond Thunderdome (Miller)
It's Such a Beautiful Day (Hertzfeldt)
Mad Max: Fury Road (Miller)
The Cars That Ate Paris (Weir)
The Road Warrior (Miller)
Blood and Black Lace (Bava)
The Animatrix (various)
Tank Girl (Talalay)
Deep Blue Sea (shit sandwich)
Captain America: The Winter Soldier (Russo & Russo)
*Beverly Hills Cop (Brest)
Paris, Texas (Wenders)
Kite (some asshole)
Kite Liberator (the same asshole, these are possibly the worst things I have ever seen)
Mission: Impossible (De Palma)
Chariots of the Gods (Reinl)
To Chris Marker, An Unsent Letter (Omori)
Description of a Memory (Geva)
Level Five (Marker)
The Dark Crystal (Oz/Henson)
Red Desert (Antonioni)
World on a Wire (Fassbinder)
Cyborg (Pyun)
Stagefright: Aquarius (Soavi)
Mauvais Sang (Carax)
Mr. X (Louise-Salome)
Birth (Glazer)
Death Wish (Winner)
Boy Meets Girl (Carax)
Vertical Features Remake (Greenaway)
The Falls (Greenaway)
Happy People: A Year in the Taiga (Herzog)
*Big Trouble in Little China (Carpenter)
The Killer (Woo)
Face/Off (Woo)
Bill & Ted's Excellent Adventure (Herek)
A propos de Nice (Vigo)
Taris (Vigo)
Zero de Conduite (Vigo)
L'Atalante (Vigo)
Encounters at the End of the World (Herzog)
*Manhunter (Mann)
The Lovers on the Bridge (Carax)
Mission: Impossible 2 (Woo)
Angst (Kargl)

ah, missed one: The Road Warrior was a rewatch. whatever

L'Univers du Jacques Demy (Varda, 1995)
Enough Said (Holofcener, 2013)
The Tattooed Stranger (Montagne, 1950)
Kiss Me Deadly (Aldrich, 1955)
Ant-Man (Reed, 2015)
Red Light (Del Ruth, 1949)
Deliverance (Boorman, 1972)
On Dangerous Ground (Ray, 1951)
The Racket (Cromwell, 1951)
Black Hand (Thorpe, 1950)

the drowning pool ('76 Rosenberg) 4/5
winter passing ('05 rapp) 3.5/5
these are the damned ('63 losey) 3/5
the postman always rings twice ('81 rafelson) 1/5
captive (2011 brillante Mendoza) 2/5
the homesman (2014 tommy lee jones) 4.5/5
the French connection ('71 friedkin) 3.5/5
ruby cairo ('92 Graeme clfford) 2/5
the crossing guard ('95 penn) 2.5/5
the fugitive kind ('59 lumet) 2.5/5
this man must die ('69 chabrol) 3/5
*unforgiven ('92 eastwood) 5/5
winter sleep ('14 ceylan) 4/5
the witches of eastwick ('87 George miller) 1/5

The Gunfighter (8/10)
Pierrot Le Fou (9/10)
Minions!!!! (4/10)
Jauja (8/10)
Do The Right Thing (9/10)
Polyester (6/10)

you guys The Golden Child is really fucking bad

ban

The Naked Spur (7.0)
Eden (7.0)
Easy A (5.0)
Dior & I (7.0)
Two-Lane Blacktop (6.5)
Michael Clayton (6.5)
The Red Desert (7.0)
Body Heat (6.0)
Journey Through the Past (7.0)
Tully (6.0)

Dillinger (1973, Milius) 5/10
*Escape from Alcatraz (1979, Siegel) 8/10
Trouble in Mind (1985, Rudolph) 6/10
Tangerine (2015, Baker) 7/10
*Sergeant Rutledge (1960, Ford) 8/10
Not Reconciled (1965, Straub) 7/10
The Long Gray Line (1955, Ford) 8/10
Stations of the Cross (2014, Brüggemann) 8/10
The Beguiled (1971, Siegel) 6/10
*M (1951, Losey) 8/10
The One I Love

make that

The One I Love (2014, McDowell) 5/10

Man I want to see losey's m. Stations of the cross is great also

I find this thread of titles and decimal places kind of a bummer tbh but want to say, xelab tales of a golden age is great fun, Fred Hausner is awesome & told a v funny story about Michael Haneke at the Lourdes screening here

Ex Machina (Garland, 2015) 5/10
* In the Mood For Love (Wong, 2001) 8/10
A Pigeon Sat on a Bench Reflecting on Existence (Andersson, 2015) 6/10
* Les Biches (Chabrol, 1968) 7/10
* Water Lilies (Sciamma, 2007) 7/10
A Tale of Winter (Rohmer, 1992) 7/10
Timbuktu (Sissako, 2014) 8/10
The Tribe (Slaboshpytskiy, 2015) 4/10)

these ratings ^ 2/10

alfred my friend please i beseech you tell me what is wrong with the tribe, what is so average in the andersson, what is imperfect in the wong

ilxors ratings 2/10
the concept of rating 0/10
my thread input 10/10

Click the link for the tribe xp

(I agree that a pigeon deserves more)

I love In the Mood For Love!

ty wins
i rescind only the broadest, clumsiest parts of the En Garde i addressed @ alfred

restrained 8/10 suggesting otherwise alfred, c'mon + commit

ITMFL demands official BNM status

I was ready.

http://i.dailymail.co.uk/i/pix/2008/12/12/article-1094065-02C80CB6000005DC-763_468x307.jpg

lol

what is the star wars analogy i make for you being more suasive & articulate than me but me winning the eventual war

if I strike you down I become more powerful.

schlump will strike back

Like the emperor

i really feel your critique of slaboshpytskiy's direction; where you thought of tsai, i thought of porumboiu or mungiu, & how hard it was to see a v-broadly-speaking 'territory' that somebody else had made such a rich, distinct cinematic zone, filmed comparatively slackly, just kind of off centre & without the gravity that emanates from the distressed interiors in recent east-european cinema. ugh sorry my sentences are so messy. like he is noticably a second-tier director compared to these guys. but i feel like the film kind of compels you to accept the conceit, the thought exercise of gang affiliation in a deaf school. i saw phoenix a while back, which flourishes most in making you probe your resistance to its unbelievability. but the tribe just is this exercise, like it's still a genre crime film but with an arbitrary variation. i think it's a lot to ask that it should also be a kind of sensitive ethnography of an actual deaf community.

fwiw i think i was as underwhelmed with the direction of timbuktu - absent maybe it's sweet musical scene - like with its sort of slightly boring long shots of vistas & silhouettes - as you were with the tribe

I find this thread of titles and decimal places kind of a bummer tbh

I mean yeah maybe its glib but sometimes a grading can lead to a discussion of a film. if i see something get over an 8 here, i put it on a to-see list

the tribe just is this exercise, like it's still a genre crime film but with an arbitrary variation.

Yeah. And while I'm sure his intentions were not to engage in special pleading on behalf of those kids, by making the decisions I describe he did it anyway.

Mungiu I thought about too. He creates terror out of his sense of momentum. In 4 Months he did create action out of character.

The direction of Timbuktu is very inconsistent, but I agree that the scene with the shooting is amazingly realized.

The movie dawdles in spots, no question.

it was hard to suss out the characters' relations with each other.

I still don't get who that hostage at the beginning is supposed to be, and why he's there, and why he dances on the roof later on?

I didn't write about the woman in the fancy dresses because I knew I was going to fall into orientalist fallacies.

Ha, yeah. That's been a problem with a lot of writing about Timbuktu, imo. I've seen several critics write about how peaceful and happy the place would be without the jihadists, when the film makes perfectly clear that it's been a very violent place for a long time, especially with the adopted son whose dad was killed because he was a 'fighter'. They're kinda seeing the film as a story where Africa is a primordial paradise, and jihadism a modern evil.

anybody on here seen Mundruczó's White God yet? Quixotic tale of a dog uprising in Budapest. Probably not very sharp as social-political allegory, but one hell of a dog movie and what an opening sequence!

Yeah... I kinda hated it... The dogs were way too anthropomorphized for my taste, and almost everything between the great opening, and the chilling final scenes, were kinda dull... Plus it was very teal and orange. It's just not my cup of tea.

Has anyone seen recent Amerindie BUZZARD? I really enjoyed it. Like Pickpocket meets Napoleon Dynamite

I forgot about White Dog an hour after it ended. Most of it played like a Benji movie.

I am a sucker for dog movies, always have been.

Once saw a dbl bill of Cujo and Fuller's White Dog at the Scala in London

Alfred, are you mixing White Dog with White God?

Typo. I meant Mundruczó's movie.

Lol it was worth a try.

Faces (Cassavettes, 1968) - this one is really all like 'Fassbinder eat your heart out' - mode. Saw it ten years ago and its a richer experience the older you get I think.
Eden (Mia Hansen-Løve, 2014) - wondering when the extended sequence of people losing it to One More Time was going to come along :-) Liked how things - debts, drug problems, relationships, break-ups, euphoria and the melancholy, all creep up on the main character and cast. They are living and not seen to think very much. There is very little conversation (which suits a film in which the main character gives up a life of literature), and only one conversation touching on class.
Lola (Jacques Demy, 1961)

Andersson = same style, diminishing returns