Last (x) movies you saw

Spent a couple of months mostly rewatching favorites, and didn't keep track of anything. From memory, this is what I watched for the first time (except for the last three, which I'd seen ages ago).

Patty Hearst (7.0)
Christine (2016--7.0)
Manchester by the Sea (7.5)
Tampopo (6.5)
The Girl on the Train (6.0)
The Accountant (6.0)
Free Samples (6.5)
Liberal Arts (6.0)
Arthur Newman (5.0)
Chapter 27 (4.0)
Going in Style (7.0)
Big Wednesday (6.5)
Mother, Jugs & Speed (6.0)

The Nice Guys (Black, 2016) 5/10
Fire at Sea (Rosi, 2016) 8/10
Rogue One: A Star Wars Story (Edwards, 2016) 7/10
My Scientology Movie (Dower, 2015) 6/10
The Big Short (McKay, 2015) 5/10
The Seven Five (Russell, 2014) 6/10
Memories of Underdevelopment (Alea, 1968) 7/10

“Nippon”: Furuyashiki Village (Ogawa Shinsuke, 1982)
The Sundial Carved with a Thousand Years of Notches — The Magino Village Story (Ogawa Shinsuke, 1985)

^ two of the great, sorta un-classifiable, docs.

A Noisy Requiem (Yoshihiko Matsui, 1988)
The Visitor (Antonio Pietrangeli, 1964)
Everyone Else (Maren Ade, 2009)
Doomed Love (Manoel De Oliveira, 1978) (this is a 6 part mini-series originally for TV and its cinematic as hell)

Toni Erdmann (2016, Ade) 8/10
I Mostri (1963, Risi) 6/10
Things to Come (2016, Hansen-Løve) 7/10
The Duke of Burgundy (2014, Strickland) 7/10
*Coup de Torchon (1981, Tavernier) 8/10
*Sansho the Bailiff (1954, Mizoguchi) 9/10
The Widower (1959, Risi) 7/10
I, Daniel Blake (2016, Loach) 7/10
Short Stay (2016, Fendt) 6/10
Tres Tristes Tigres (1968, Ruiz) 6/10
*Three Lives and Only One Death (1996, Ruiz) 7/10

How was Everyone Else?

Its quite rare to see a film capture a passionate, loving yet uncertain r/ship with a bunch of matter creeping in now and then. Films usually do a beginning or end or sometimes a whole arc that includes both. But here its erm, something else. The couple that haven't been a couple for that long.

Anyhow - its a thoughtful script. You could feel the craft.

The Outlaw Josey Wales (Eastwood, 1976)
The Witch (Eggers, 2016)
Manual of Arms (short - Frampton, 1966)
Taris (short - Vigo, 1931)
Flight of the Red Balloon (Hou Hsiao Hsien, 2007)
Fit (short - Tsangari, 1994)
The Capsule (short - Tsangari, 2012)
Pathfinder (Gaup, 1987)
Midnight Special (Nichols, 2016)
Across 110th Street (Shear, 1972)
Ride in the Whirlwind (Hellman, 1966)

Hell or High Water (Mackenzie, 2016) 7/10
Sing Street (Carney, 2016) 6/10
The Greasy Strangler (Hosking, 2016) 2/10
The Peanuts Movie (Martino, 2016) 5/10
Clerks (Smith, 1994) 4/10
The BFG (Spileberg, 2016) 6/10
Hunt for the Wilderpeople (Waititi, 2016) 7/10
American Honey (Arnold, 2016) 8/10
Rogue One (Edwards, 2016) 6/10

rw:
The Force Awakens (Abrams, 2015) 8/10
Sunset Blvd (Wilder, 1950) 10/10
The Hateful Eight (Tarantino, 2015) 8/10
The Lord of the Rings trilogy (Jackson, 01-03) 7/10

Hot Rod (2007) 3/5
The Scarlet Empress (1934; rewatch) 4.5/5
Rogue One (2016) 2/5
Author: The JT LeRoy Story (2016) 4/5
Scrooged (1988) 2/5

I prefer Everyone Else to TE.

American Honey (Arnold, 2016) 6/10
Rogue Nation (Edwards, 2016) 8/10
8 1/2 (Fellini, 1963) 9/10
Don't Think Twice (Birbiglia, 2016) 8/10
Avril et Monde Truque (Desmares, 2015) 6/10
Anomalisa (Kaufman, Johnson 2015) 8/10
A Man Escaped Bresson, 1956) 10/10
Nocturnal Animal (Ford, 2016) 8/10
Listen to Britain (Jennings, 1942) 9/10
Big Night (Tucci/Scott, 1996) 7/10

Arrival (Villeneuve, 2016) - 8
Allied (Zemeckis, 2016) - 4
Sing (2016) - 4
Liebelei (Ophuls) - 3
Krampus (2015, Dougherty) - 7
*Beauty and the Beast (Cocteau, 1946) - 9
*Home Alone - 2
Christmas in Connecticut (1945) - 4
*Gremlins (Dante, 1984) - 5
Love Actually (Curtis, 2003) - 5
Muppet Movie, the - 6
Home (2015) - 5

i mentioned a day or two ago to my gf that i want to see Krampus, that # is promising

You only rated Gremlins out of five, right?

also my preferred Ade is def forest for the trees, i believe its on amazon prime & i hope to see it again later this month when it screens @ a college near me

gremlins is no gremlins 2

Melancholia (von Trier)*
The Boss of it All (von Trier)*
Showgirls (Verhoeven)
Around Smith (Payne)
The Descendants (Payne)
Umberto D (de Sica)
The Deer Hunter (Cimino)
Heaven’s Gate (Cimino)
City of Women (Fellini)
Sangre (Escalante)
Los Bastardos (Escalante)
Heli (Escalante)
The Untamed (Escalante)
Thelma & Louise (Scott)
Kingdom of Heaven (Scott)
Huevos de Oro (Luna)
Targets (Bogdanovich)
Wild Strawberries (Bergman)*
Coriolanus (Fiennes)
Drive (Refn)*
Point Blank (Boorman)
The Party (Edwards)
Doctor Zhivago (Lean)
It Follows (Mitchell)
Star Wars (Lucas)*
The Empire Strikes Back (Kershner)*
Return of the Jedi (Marquand)*
The Soft Skin (Truffaut)
Gone With the Wind (Flemming)
Magic in the Moonlight (Allen)

Wb Fred

From CPH:PIX:
El Futuro Perfecto (Wohlatz)

Do you have an opinion on this?

Didn't particularly like it. While there are some rare and experimental elements, and it was funny how Bressonesque it seemed, it kinda felt to me as if it was only halfway done. I wanted more.

The experimental bit at the end was a pretty good visualization of an adolescent (accidentally) learning how to solve problems by looking at the present from the perspective of a future self imo.

There's some good things in there, but I wanted more, I think. But I was probably also annoyed at it because it was in competition at CPH:PIX as the only film not from North America or Europe, and it annoyed me that it was once again an Argentinian film that had the honor when films such as Liu Shumin's The Family or Pimpaka Towira's The Island Funeral was so much better. Which isn't the fault of Nele Wohlatz, but still. The film festival world can be so very insular.

Anyways, it's ok. But I didn't like it. It happens.

Muriel, or the Time of Return (Resnais, 1963)
The Face of Another (Teshigahara, 1966)
Safe (Haynes, 1995)
Big Deal on Madonna Street (Monicellia, 1958)
Famous Nathan (Handwerker, 2014)
The American Friend (Wenders, 1977)

shorts:
Passionless Moments (Campion/Lee, 1983)
Farewell Etaoin Shrdlu (Weiss, 1978)
The Suicide (Haynes, 1995)
A Day's Pleasure (Chaplin, 1919)
A Modern Coed (Rohmer, 1966)

Sovereign's Company (Clarke, 1970) 7/10
Johnny Guitar (Ray, 1954) 8/10
Silence (Scorsese, 2016) 8/10
Rogue One: A Star Wars Story (Edwards, 2016) 5/10
Bone Tomahawk (Zahler, 2015) 8/10
Foxcatcher (Miller, 2014) 7/10
Big Star: Nothing Can Hurt Me (DeNicola/Mori, 2012) 6/10
*The Man Who Fell To Earth (Roeg, 1976) 8/10
Remainder (Fast, 2015) 7/10
The Kentucky Fried Movie (Landis, 1977) 4/10
The Last Train Through Harecastle Tunnel (Clarke, 1969) 5/10
Under The Age (Clarke, 1972) 7/10
Horace (Clarke, 1972) 8/10

The Kentucky Fried Movie (Landis, 1977) 4/10

I doubt I'd rate it much higher myself, plus all of its points would be for this scene alone:

https://www.youtube.com/watch?v=Qb2FiKyjojA

I love Zucker Brothers stuff but its dated really badly

Yeah it was pretty rough when I watched it 15 years ago, can't imagine it's gotten better with age

Guess I should check out Man Who Fell To Earth again though, seemed like a slog when i was 14 but I'm sure i would appreciate it more now

Quiet beginning to 2017:

Paterson (Jarmusch, 2016)
Endless Poetry (Jodorowsky, 2016)
Manchester by the Sea (Lonergan, 2016)

best Kentucky Fried Movie bit is clearly "show me your nuts"

The Other Side (Minervini, 2016) 8/10
Hidden Figures (Melfi, 2016) 6/10
Julieta (Almodovar, 2016) 6/10
Lion (Davis, 2016) 3/10
Knight of Cups (Malick, 2016) 6/10
* Children of Men (Cuaron 2006) 7/10
La Collectioneuse (Rohmer, 1966) 7/10

I don't get why everyone gets so excited by the Minervini, thought it quite ordinary.

I reveled in my suspicions (i.e. staged or captured).

rewatched last week, still #1 for the year so far

Fred is just confirmation

The two best Italian documentaries of the year are clearly Fire at Sea and Lost & Beautiful. Lost & Beautiful says nothing, with way too few aesthetic surprises. And also, it's way too 2015 for me.

saw Fire at Sea, wanted the main kid to get struck by lightning

The Night Watchman (also known as La Mina)
The Drifter
Straight Time
Deepwater Horizon
Dog Eat Dog
Birth Of A Nation
The Accountant
In a Valley of Violence

i saw elle id give it like a 6.5

Archangel (Maddin, 1990)
Floating Clouds (Naruse, 1955)
Ballad of a Soldier (Chukhrai, 1959)

A bunch of shorts --
Diary of a Pregnant Woman (Varda, 1958)
Magellan: At the Gates of Death, Pt. 1 (Frampton, 1976)
Les Mistons (Truffaut, 1957)
Making a Living (Lehrman, 1914)
Kid Auto Races at Venice (Lehrman, 1914)
Mabel's Strange Predicament (Normand, 1914)
Between Showers (Lehrman, 1914)
The Fireman (Chaplin, 1916)

Frampton had a big year in 1976.

Bought a Blu-Ray twin pack of The Outlaw Josey Wales and Unforgiven for $15 at Target. I was expecting it to be both movies stuffed onto a single bare-bones disc; it turned out to be the original stand-alone Blu-Rays, extras and all, tucked into one case. Unforgiven isn't as good as I remembered, though Gene Hackman is fantastic and genuinely terrifying in a couple of scenes, and Wales was about what I remembered it being - morally dubious in some ways (Eastwood as a "good" ex-Confederate in a movie with absolutely zero black people on-screen) but surprisingly humanist in others (the Native characters are both well-written and -played).

Dialogues of the Exiled (1975, Ruiz) 6/10
Wiener-Dog (2016, Solondz) 5/10
Silence (2016, Scorsese) 7/10
The Measure of a Man (2015, Brizé) 6/10
Tower of London (1939, Lee) 6/10
Fire at Sea (2016, Rosi) 7/10
Tom Brown’s School Days (1940, Stevenson) 5/10
I Love Melvin (1953, Weis) 6/10
*Silkwood (1983, Nichols) 7/10
Cameraperson (2016, Johnson) 8/10
The Champion (1915, Chaplin) 8/10
A Night Out (1915, Chaplin) 7/10
*The Other Side (2015, Minervini) 9/10
*Frenzy (1972, Hitchcock) 10/10
In the Name of the Italian People (1971, Risi) 8/10

Too low on: Measure of a Man, Fire at Sea
Too high on: Frenzy, which is exactly like the giallo you disdain
Agreed on: Silence

most of the giallo guys can't direct traffic

have never seen em do the moral/aesthetic equiv of the staircase/door reverse dolly shot

i think it was Mike d'Angelo who called Measure of a Man "a wan version" of a Dardennes film

No snark, what do you mean by moral? I mean, Frenzy strikes me as quite an immoral film, in as much as it is a piece of exploitation - exploitative of human misery - and pleasurable and problematic as such. That staircase/door reverse dolly shot is the kind of technical showoffery that's all over giallo - in the service of exactly the same commercial imperatives as showman Hitch.

man, i couldn't disagree more, esp as the victim is a salt-of-the-earth barmaid, the most likeable character in the film.

Fire at Sea was fantastic - the kid never annoyed me much, but your mileage may vary I guess. Formally tho' it was something else.

Measure of Man should have gotten more attention. Wonde if it hit a nerve in France the way I, Daniel Blake did over here.

better film too

hmmmm no