Last (x) movies you saw

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I liked it fine, the lead guy is cute, and the ending was disappointing.

The Measure of a Man (Brizé, 2016) 7/10
Louder Than Bombs (Trier, 2016) 6/10
Everybody Wants Some!! (Linklater, 2016) 8/10
Born to Be Blue (Boudreau, 2016) 5/10
My Golden Age (Desplechin, 2016) 6/10
Three Monkeys (Ceylan, 2008) 7/10
* Lost Highway (Lynch, 1996) 6/10
Presumed Innocent (Pakula, 1990) 6/10
Let’s Get Lost (Weber, 1988) 7/10
* The Searchers (Ford, 1956) 5/10
* Orpheus (Cocteau, 1950) 9/10
* Gilda (Vidor, 1946) 8/10
Port of Shadows (Carne, 1938) 8/10

The Searchers (Ford, 1956) 5/10

THAT'LL BE THE DAY

The New Girlfriend (2014, Ozon) 7/10
Little Man, What Now? (1934, Borzage) 9/10
Air Mail (1932, Ford) 6/10
King of Jazz (1930, Anderson) 7/10
History Lessons (1972, Straub, Huillet) [W/O 0:50]
The Man I Love (1947, Walsh) 8/10
The Chronicle of Anna Magdalena Bach (1968, Straub, Huillet) 7/10
James White (2015, Mond) 6/10
*Güeros (2014, Ruizpalacios) 7/10
Star Wars: The Force Awakens (2015, Abrams) 6/10
The Seduction of Joe Tynan (1979, Schatzberg) 5/10
Brooklyn (2015, Crowley) 6/10
*The Projectionist (1971, Hurwitz) 6/10
A Touch of Zen (1971, Hu) 7/10
Victim (1961, Dearden) 9/10
The Case of Mr. Lin (1955, Segel) 8/10
My Hustler (1965, Warhol) 7/10
The Captive (2000, Akerman) 8/10

I love early Borzage.

thanks for reminding me that I gotta check out the Basil Dearden Eclipse series (I saw Victim years ago in college: a bit stiff around the neck iirc. But it's been long enough).

it's pretty plainspoken and blunt for the era, and one of Bogarde's best performances

what'd you think of Brooklyn? A 6 is about right, with Cohen responsible for at least three points.

I found too much of it "familiar" both in cinematic and personal terms, having Irish immigrant grandparents meself. Among the actors I thought Ronan's character was just a little too dull for her chops, but liked the underplaying of Gleeson (just before i saw him shouting his way thru that nothing role in Star Wars) and the actress playing the mother (in contrast w/ Julie Walters' scenery chewing as the landlady).

local TV used to show Dearden's Sapphire a lot in my teens but i haven't seen it since

also, Little Man, What Now? was put out on DVD in the Universal Vault Series a couple years ago -- i didn't imagine the Brooklyn library would have it, but it does. (Saw it yesterday at MoMA.)

History Lessons (1972, Straub, Huillet) [W/O 0:50]

lol

Knight of Cups (Malick, 2016) 9/10
Son of Saul (Lazlo Nemes, 2016) 7/10

haha of coooooourse you liked Knight of Cups

And why do you think I liked it? #thisWillBeFun

Room (Abrahamson, 2015) 9/10

Pile Ou Face (6/10)
My Golden Years (7/10)
Captain America : Civil War (7/10)
Muriel (8/10)
Pedicab Driver (7/10)
Triple 9 (6/10)

high rise (wheatley, 2016) 7/10
the way way back (rash, faxon) 4/10
beasts of the southern wild (zeitlin, 2012) 6/10
danton's death (clarke, 1978) 6/10
the last wave (weir, 1977) 7/10
gallipoli (weir, 1981) 8/10
le mepris (godard, 1963) 8/10
pixote (babenco, 1981) 9/10

*Akira (Otomo, 1988)
*Blow-Up (Antonioni, 1966)
The Legend of Leigh Bowery (Atlas, 2002)
Seizure (Stone, 1974)
Lady Snowblood (Fujita, 1973)
Lady Snowblood 2: Love Song of Vengeance (Fujita, 1974)
*Re-Animator (Gordon, 1985)
The Eliminators (Manoogian, 1986)
*Crawlspace (Schmoeller, 1986)
*From Beyond (Gordon, 1986)
Winter Kills (Richert, 1979)

Hush (Flanagan, 2016) 6/10
Aaaaaaaah! (Oram, 2015) 2/10
The Keeping Room (Barber, 2015) 6/10
Beat Girl (Greville, 1960) 5/10
High-Rise (Wheatley, 2016) 7/10
The Color Purple (Spielberg, 1985) 6/10
The Forest (Zada, 2016) 3/10
The Decline of Western Civilization (Spheeris, 1981) 7/10
The Decline of Western Civilization Part II: The Metal Years (Spheeris, 1988) 7/10
The Decline of Western Civilization Part III (Spheeris, 1998) 8/10

Was going to defend Beat Girl but to be honest I think a score in the middle is about right - I do like 50s/60s juvie exploitation films but they're not actually often (ever?) good films.

I loved the sets; '50s Soho streets and coffee bars and all that. And the slang-heavy dialogue, delivered by the well-spoken 'delinquents', was straight from the fridge, daddy-o. The story was really run-of-the-mill, though, and felt dated and a bit naff, even for 1960.

barbara (petzold, 2012) 7/10
a good old fashioned orgy (alex Gregory + peter huyck, 2011) 8/10
green room (saulnier, 2016) 7/10
the bad news bears (Ritchie, 1976) 7/10
the gambler (wyatt, 2014) 3/10
11 minutes (skolimowski, 2016) 4/10

Tokyo Drifter (Suzuki, 1966)
The Assassin (Hou Hsiao-Hsien, 2015)
Captain America: Civil War (Russo Bros., 2016)
Jauja (Alonso, 2014)
*The Cook, the Thief, His Wife & Her Lover (Greenaway, 1989)
Arabian Nights, Vol. 1: The Restless One (Gomes, 2015)
The Forbidden Room (Maddin, 2015)
Sex and Broadcasting (Smith, 2015)
The Saddest Music in the World (Maddin, 2003)
Jeremiah Johnson (Pollack, 1972)

Zootopia 8/10
Total Recall (Verhoeven) 7/10
Mon Roi 7/10
The Source (Beat Generation docu) 6/10
Cosmos 7/10
Alice In The Cities (9/10)*
Five Women Around Utamaro* (9/10)

xxpost Too bad that new Skolimowski's supposedly a chore. What're your thoughts, johnny crunch?

xpost Cosmos is Zulawski not Sagan

yea it surprised me to learn he wrote it also for its relative lack of depth

nice 2 see a high score on alice in the cities, that ones been sitting on my dvr for some time now

Heart of a Dog (Anderson, 2015) - A film by someone who has lived a long time. Laurie chews over lots of Western and Eastern modes of philosophy, music, art and encounters. This is a mix of film, biography, documentary, animation, with her dog in the middle (although idk how much that also stands for Lou Reed). A lot of it is clumsily done, she hasn't got many filmmaking chops (the snow falling on trees just didn't have kick at all), but there are moments here and there, but a lot of it is undermined.

Ivan's Childhood (Tarkovsky, 1962) - It was all there from the beginning.

heart of a dog is so audio/voiceover-intensive, i think would work better as a radio documentary. some touching shots (and interesting/moving thoughts on death) of the dog, but otherwise, no, shes no filmmaker, not on this evidence anyway.

saw Big (1988)

was not as mindblowing as I remembered...

sorry you guys are bananas on HoaD

Are you really sorry?

deeply

The Other Side (2015, Minervini) 9/10
Seed (1931, Stahl) 8/10
Eden (2014, Hansen-Løve) 5/10
Le Silence de la Mer (1949, Melville) 8/10
Nella città l'inferno aka ...And the Wild, Wild Women (1959, Castellani) 7/10
*Empire of the Sun (1987, Spielberg) 10/10
*Valley of the Dolls (1967, Robson) 3/10
*The Act of Killing (2012, Oppenheimer) 8/10
Private Lives (1931, Franklin) 7/10
*Rachel, Rachel (1968, Newman) 6/10

Public Enemies* - 6/10 - just as bad as i remember
Chronicle Of A Summer - 9/10
Hitchcock/Truffaut - 4/10 - wasted opportunity. Where was Truffaut? Watching Fincher (jeeeez) and James Gray speak has had an adverse effect as well.

Land of Silence and Darkness (1971) 8/10
Handicapped Future (1971) 7/10
Far from Vietnam (1967) 7.5/10

the gift (edgerton, 2015) 6/10
the phantom of liberty (bunuel, 1974) 6/10
wild bill (fletcher, 2012) 7/10
*excalibur (boorman, 1981) 9/10
10 cloverfield lane (trachtenberg, 2016) 7/10
beasts of no nation (fukunaga, 2015) 5/10

The Decline of Western Civilization Part III (1998) Part I was a (near-?) contemporary report on early West Coast punk etc bands, Part III moves among "gutter punks," homeless teens, squatting and partying and panhandling ("Spare change sir? C'mon, save an old lady from gettin' mugged, spare change, spare change? Fuckit then." Theft is mentioned, but not shown; ass-peddling is neither. Lots of brief interviews, checking back in with several, in various settings (not too various, but some kids are more candid alone with Spheeris and her camera in a quiet side room, others as couples or in groups, relaxing in the latest living room or fave patch of sidewalk/alley.
They make it into some shows, incl. a band proudly claiming to be homeless too, which may (been a while) be the same one with a practice space in the random living room of a member's mom, a hoarder. Another band, Naked Getail, I think, is proudly Musical as hell, yet raw enough in sound design to get unreserved gutter punk response.
Fatalism for the most part, surprising optimism from a few ("I'll try to---I *will* get a job," though camera pulls back to show his friend rolling on the pavement with laffter). Death by misadventure, discussed at end, then credits and a final note that one of the kids is now in jail for fatally stabbing boyfriend (a fairly mellow couple onscreen). Currently on YouTube, though I saw it On Demand in weathered Suburbia: not so much a home invasion as a wall suddenly decaying again.

The Danish Girl: should have been plural, because Alicia Vikander's character and portrayal are upfront, nuanced and crucial: she has to adapt to Einar-->Lilly's journey from the past to previously unknown possibilties, the edge of the future--sorry to get b-movie Science Fiction about it, but that's right, as shown in a gradually emerging, quietly eerie way: two painters in familiarly cinematic-painterly settings, having to push beyond. So even Redmayne's big-toothed smile/grimace, which for a while seems too relied on, comes to seem like his character's reflexive defense, a mask, but also armor, pushing, willing, through the bounds, from waaay in the isolation of past boondocks Denmark, present cosmopolitan Paris, and everywhere, really, despite loyalty of wife, childhood friend, and doctor.

Carol: by far the most sustained Haynes film I've seen, though Carter Burwell's treacly scoring is really hard to take on headphones. Title character seems too growly a cougar at first, but then a great scene where she's nervous on the way to an obligatory social disfunction with hoity-toity people she's too familiar with, yet seeming like the self-conscious teen outsider, though she'll put up a polished front. Must read the book, for contrast of tone, (gotta be since, it's Highsmith),

This whole idea that Vejle is isolated 'past boondocks' is so ridiculous. It's a prosperous little harbor town, pretty much dang in the center of Denmark. Many famous and important people come from Vejle, including should've-been-a-nobel-laureate poet Inger Christensen, current prime minister Lars Løkke Rasmussen, and my grandparents. There's also no mountains around Vejle, nor in Denmark at all. The whole thing is a farce of misrepresentation, and that's even without looking at the iffy way it deals with gender and sex.

Grumble grumble.

But Einar/Lilly *felt* isolated, in the family as well as town, describing being caught by father kissing his childhood friend, for instance. As for sex/gender, Redmayne said his transgender friends related very much to some passages in the memoir (from diaries), other parts not at all. Results may vary.

*Meet the Feebles (Jackson, 1989)
Belladonna of Sadness (Yamamoto, 1973)
The Girl on a Motorcycle (Cardiff, 1968)
Purple Rain (Magnoli, 1984)
Hi, Mom! (De Palma, 1970)
Begotten (Merhige, 1991)
Aguirre: The Wrath of God (Herzog, 1972)

How did you like Belladonna of Sadness?

Mothlight (Brakhage, 1962)
Europa 51 (Rossellini, 1951)
Horrifying_death_Baby_dies_after_children_left_home_alone_place_her_in_oven (Tomo News, 2015)

You see one dead bairn you've really seen em all, wouldn't say the say the same of Rossellini movies though!

The Damned: Don't You Wish That We Were Dead (6.0)
Palo Alto (7.0)
Truth (6.0)
Nobody Walks (6.5)
The Wrong Man (7.0)
The Nice Guys (5.5)
Passengers (5.0)
Midnight Special (6.5)
Reality Bites (6.0)
Lovelace (6.5)

How did you like Belladonna of Sadness?

Absolutely loved it. It gets a lot of mileage about the combination of limited animation (mostly still frames, really), with a lot of weird pattern/decorative stuff that plays with the 2D film frame in a way that reminds me of Klimt and Schiele. Sounds pretentious as shit, I know, but I think there's something there.

Just be aware that if you see it, the devil is shaped like an evil penis and people will giggle.