Last (x) movies you saw (II)

Loved the panahi

― milkshake chuk (wins), Monday, 6 May 2019 Bookmark Flag Post Permalink

Agree, at first I thought that it went off the boil once the quest finds its resolution but actually a wonderful thing about it is how it feels like the camera hangs out with these people they went to visit, and how we listened to them and looked at them for no particular reason or benefit other than to be with them.

Ah fuck I missed the patriot game. I watched the image you missed at the film fest last year, did you catch that one?

Sadly I wasn't able to catch it at the cinema or MUBI. The Maccraig was really good, lots of footage that speaks for itself - and I loved the soundtrack as well.

The clips in the later film looked good

I need to sit myself in front of mubi more often, cinema has been a bit shit for me this year and all this good stuff just slowly drops off their now showing page unseen because it’s too easy for me just to illegally watch old twilight zone eps on cyb3rfl1x on my bezos stick

Lot in Sodom (Watson & Webber, 1933)
The Frozen North (Cline & Keaton, 1922)
A Modern Cinderella (Mack, 1932)
Gai Dimanche (Berr et Tati, 1935)
*Burning (Lee, 2018)
Sensation Hunters (Vidor, 1933)
Red-Haired Alibi (Cabanne, 1932)
The Image Book (Godard, 2018)

Aniara, the sci-fi existential crisis film, is worth missing.

Speaking of Mubi, I don't know if it's there in every country, but if people can see Madeline's Madeline, they really need to do so. One of my top three films from last year.

And yeah, Aniara isn't that good. The book is cool, though

Glad I skipped out on that for an open bar Fifth Element screening, then (yeah, ok, lateral move, but I love that dumbass movie and the venue)

The Last of Sheila (Ross, 1973)- a nasty, black-hearted treat. Highest recommendation

*John Wick (Stahelski & Leitch, 2014)- Liked this much more on second viewing (and I was already positively disposed); the soundtrack has not grown on me with the sole exception of the Kaleida song used to soundtrack the Red Circle setpiece, and I'm really hoping the subsequent films are a little less buttrock

*The Fifth Element (Besson, 1997)- JEAN-BAPTISTE

EMANUEL

ZORG

5/5 I will be taking no questions at this time

*The Abominable Dr. Phibes (Fuest, 1971)- the announcement of a Witchfinder General remake produced by Nicolas Winding Refn (please no) had me thinking about Vincent Price and camp this week; Phibes is almost deliriously camp (or kitsch, ok) film, especially its use of period music and Price's incredible throat acting skills, all that stone-faced jaw-gurning and gesticulating while his prerecorded voice drones on about NINE ETERNITIES IN DOOM, but it's also the first time I really paid attention to Basil Kirchin's score. I'm mostly familiar with his home electronic recordings thanks to Trunk's reissues; here he's doing fairly conventional film scoring but it's lush and sad and weirdly affecting.

*Your Vice Is a Locked Room and Only I Have the Key (Martino, 1972)- maybe Martino's nastiest giallo? Though I haven't seen his poliziotteschi hybrid The Suspicious Death of a Minor yet. Also the first one I saw, and it's been interesting to return to it knowing it's basically cast with a Martino brothers repertory company (that, and seeing Luigi Pistilli in other roles since, like his breakthrough in For a Few Dollars More). Thick gothic atmosphere you don't really get from other Martinos, even All the Colors of the Dark, aided by atmospheric locations (the same villa as Elio Petri's A Quiet Place in the Country, if I recall correctly) and Bruno Nicolai's Dies Irae-referencing score. Which is a bit Goblin in places as well; it's Martino's most Argentoesque work, and a better film than Argento's own adaptation of "The Black Cat."

The Last of Sheila = murder mystery penned by Stephen Sondheim and Anthony Perkins (secretly an item around that time)

Yeah, I wasn't sure how familiar people would be with it (I have a sense of it as a cult movie but I don't really know anyone offline who cares so I'm often worried I'm overexplaining common knowledge). It's really bracingly amoral for a murder mystery, too- I texted my parents (big Agatha Christie fans) about halfway through to say "you might like this" and some 45 minutes later to say "WAIT NO DISREGARD"

apparently it grew out of a parlor game AP & SS participated in with their friends

The Cabinet of Dr Caligari (Wiene, 1920) 8/10
Bitter Victory (Ray, 1957) 9/10
The Discreet Charm of the Bourgeoisie (Bunuel, 1972) 7/10
High Life (Denis, 2018) 9/10
*In a Lonely Place (Ray, 1950) 10/10
*The Aviator's Wife (Rohmer, 1981) 9/10
The Student of Prague (Galeen, 1926) 7/10
Passport to Pimlico (Cornelius, 1949) 6/10
John Wick: Chapter 2 (Stahelski, 2017) 4/10
That Obscure Object of Desire (Bunuel, 1977) 7/10

Phantom of the Paradise (De Palma, 1974) - 8/10
No Sad Songs for Me (Maté, 1950) - 5/10
Eight Hours Don’t Make a Day (Fassbinder, 1972-73) - 10/10
Le Vent d’Est (Godard, Gorin, Martin; 1970) - 5/10
Poto and Cabengo (Gorin, 1980) - 9/10
Basic Training (Wiseman, 1971) - 9/10
Routine Pleasures (Gorin, 1986) - 8/10
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (Altman, 1982) - 6/10
My Crasy Life (Gorin, 1992) - 9/10
*The Image Book (Godard, 2018) - 10/10

Bisbee '17 is a singular work of brilliance; highly highly recommended.

Conversely, I kinda thought it was mostly a pale copy of The Act of Killing and that kind of documentary

Act of Killing didn't resonate the same way with me. Go figure.

Shrugs all around then.

The Act of Killing is great on its own but is significantly bolstered by the existence of The Look of Silence

Definitely. And there's no such thing for Bisbee' 17, or most of the other documentaries based on people doing reconstructions.

Would be curious to hear of more “that kind of documentaries” ie films in which participants in/adjacent to an event recreate the moment

I'll get back to you on that, forksclovetofu, I have the book on 'Interventionist' documentary at home. Small book, written by a Danish guy, has the whole list.

Meanwhile:

Fog of War (Morris)
The Unknown Known (Morris)
Man on Wire (Marsh)
Hoop Dreams (James)
Jiro Dreams of Sushi (Gelb)
Knock Down the House (Lears)
Padre Padrone (Taviani & Taviani)
The Night of the Shooting Stars (Taviani & Taviani)
Kaos (Taviani & Taviani)
Caesar Must Die (Taviani & Taviani)
The Tree of Wooden Clogs (Olmi)
Carmen (Rosi)
The Night Porter (Cavani)*
Suspiria (Argento)
Happy as Lazzaro (Rohrwacher)
Prototype (Williams)
Long Day’s Journey Into Night (Bi Gan)*
Spring Fever (Lou Ye)
The Assassin (Hou)*
Kasaba (Ceylan)
Clouds of May (Ceylan)
Winter Sleep (Ceylan)*
The Wild Pear Tree (Ceylan)
The One and Only (Bier)
Love Is All You Need (Bier)
Crimson Peak (del Toro)
Babel (Iñárritu)*
Biutiful (Iñárritu)*
The Three Burials of Melquiades Estrada (Lee Jones)*
You and the Night (Gonzales)
Knife + Heart (Gonzales)
Ikiru (Kurosawa)
Sunset (Nemes)
The Mill of Good Luck (Iliu)
Burning (Lee)*
Pokémon Detective Picachu (Letterman)

Hua Yang De Nian Hua (short - Wong, 2000)
The Burden (short - von Bahr, 2017)
The Fourth Dimension (short - Painlevé, 1936)
Human Desire (Lang, 1954)
Nightfall (Tourneur, 1957)
Come On Children (King, 1972)
An Act of Love (short - Knox, 2018)
Les fiancés du pont Mac Donald (short - Varda, 1961)
I Knew Her Well (Pietrangeli, 1965)
The Fallen Idol (Reed, 1948)
Dying at Grace (King, 2003)
Here to Be Heard: The Story of the Slits (Badgley, 2018) - h/t VegemiteGrrl, found out from her this was on Amazon Prime

The American Friend (Wenders, 1977) - one of those European homages to noir and gangster movies that forgets to actually be a gangster movie. It looks beautiful, though, and Sam Fuller treats it like he's in one of his own movies for two scenes.

The Stuff (1985) 2/5
John Wick 3 - 3.5/5
* The Addiction (1995) 4/5
Carlito's Way (1993) 4/5
* Murder by Contract (1958) 3.5/5
Knock Down the House (2019) 3/5
My Name is Julia Ross (1945) 3.5/5
* King of New York (1990) 4/5
* California Split (1974) 4/5
* Ikarie XB-1 (1963) 3.5/5
The Seven-Ups (1973) 3/5
Jubal (1956) 2.5/5
Free Solo (2018) 3/5
Homecoming: a Film by Beyonce (2019) 4/5
* Life is Sweet (1990) 4/5
High Life (2018) 3.5/5
24 Frames (2017) 3.5/5
Guava Island (2019) 2.5/5
Black Panthers (1968) 4/5
* The Lineup (1958) 3.5/5
Q: The Winged Serpent (1982) 3/5

Various Bobby Bumps animated shorts (Hurd, 1916-21)
The King (Horne & Rogers, 1930)
*The Red Spectre (de Chomon, 1907)
La Chienne (Renoir, 1931)
The Big Chance (Herman, 1933)
The Souvenir (Hogg, 2019)
The Cameraman's Revenge (Starewicz, 1912)
The Baker's Wife (Pagnol. 1938)

criterion channel watches:
Nightfall (Tourneur, 1956) 7/10
The Burglar (Wendkos, 1957) 8/10
The Man Who Could Work Miracles (Mendes, 1936) 7/10
Three Cases of Murder (Eady, 1955) 5/10; chop out the second case and it would get a 7/10
Mildred Pierce (Curtiz, 1945) 8/10
Mysterious Object at Noon (Weerasethakul, 2000) 7/10, unique and wonderful, but amateurishly filmed

*rewatch of Mr. Death (Morris, 1999) 9/10, rating unchanged, instigated by the I Don't Speak German podcast episode on it. It was interesting to learn that Leuchter is lying in the movie about how he got his execution machine jobs.

Bombshell: The Hedy Lamarr Story (2017, Dean) 6/10
Fruit of Paradise (1970, Chytilova) 5/10
The Thief of Paris (1967, Malle) 7/10
Calamity Jane (1953, Butler) 7/10
*The Funeral (1996, Ferrara) 9/10
*Going Places (1974, Blier) 6/10
Welcome to New York (2014, Ferrara) (European cut) 6/10
*The Wrong Box (1966, Forbes) 7/10
The Gleaners and I: Two Years Later (2002, Varda) 6/10
*The Gleaners & I (2000, Varda) 8/10
*The Blackout (1997, Ferrara) 7/10
Poetic Justice (1993, Singleton) 6/10
*Ladybird Ladybird (1994, Loach) 9/10

American Gigolo finally clicked on my third viewing (1994 and 2005 were my first two). I can imagine John Travolta bringing pathos to the role, and it might've worked, but Gere's lacquered shallowness is just right -- boy, does he know how to move in those clothes and thus in character. A scene I'd forgotten about set in a leather bar has less leering from the director than Cruising.

Schrader never leers, Friedkin can't stop himself.

Schrader used to tourist in such places, he's said

*Little Shop of Horrors- sadly not the restored original ending, which I still haven't seen. I'm absolutely not an expert on movie musicals (I want to get there), but I'd love to know how much the claustrophobic stageyness of the exteriors was a conscious choice ("Somewhere That's Green," etc) vs the product of shooting at Pinewood for control over the visuals/budgetary reasons/etc. Always linked with the Burton Batmans in my mind for that reason; that and first seeing them around the same time.

The Death of Stalin- doesn't really have an ending or even a particularly thematically resonant not-an-ending, but up until then it's incredible. The accents are the showy thing (that immediately feels totally natural and obvious after about five minutes) but I'm more impressed by how much Iannucci et al get out of the actual conflicts of the period- the troika, the coup against Beria, etc- instead of relying solely on comic business (which is there, and extremely good; there's an extended bit with people kneeling at Stalin's side not realizing he's lying in a puddle of piss that's one of the funniest lowbrow gags I've ever seen).

The Raid- it's not the perfect action movie its reputation has been built up to in the years since its release but it's a really, really fucking good action movie. Makes me want to track down Merantau and even more so the documentary on pencak silat that kicked off Evans' whole project in the first place; I can't really find evidence of whether it was completed or not (sources say it was work for hire, so he may not be credited) but I've at least found *a* silat documentary on Youtube, so into the queue it goes.

Emanuelle in America- holy christ this movie is bonkers
The first Emanuelle/Emmanuelle film I've seen, directed and shot by Joe d'Amato/Aristide Massaccessi. Episodic softcore shenanigans (d'Amato loves bush)- with, except for the amazing pop art kitsch in Emanuelle (this is one of the knockoff films with Laura Gemser)'s apartment and studio, some of the worst, tackiest, most drab 70s interiors I've ever seen- until it gets to Venice and some hardcore inserts. There's a weird thriller sideline into snuff movies that have been faked with considerably/disturbingly more talent and enthusiasm than any of the non-hardcore sex scenes and a weirdly (not all that weirdly for 70s Italy) racist denouement. Oh, and a lady jacks off a horse, which is less shocking after going on a Borowczyk deep dive earlier this year but still leaves me wondering what the fuck was up with 70s porn audiences. Killer soundtrack though

the claustrophobic stageyness of the exteriors

Shot entirely on the soundstage... The early '80s stage version was of course among the unlikeliest of runaway off-Broadway hits, so Oz wanted to honor the artifice of that stagey look. It was an expensive film, budget around $25 million (when that was real money).

https://en.wikipedia.org/wiki/Little_Shop_of_Horrors_(film)#Filming

Saw booksmart the other day, it’s fine. Didn’t laugh much. Baffled it didn’t make a zillion space dollars obv

xpost Oh definitely! And I didn't finish or even really start that parenthetical aside about "Somewhere That's Green"; I meant as opposed to that sequence (and the theatrical ending), where the flatness of the suburb backdrop functions along with the catalog of sad, shitty consumer products and etc.

I'll read up on it more- I'm low key obsessed with 80s movies that tried to convey the sense of a city entirely or mostly on sound stages (the Super Mario Bros. movie is another key title here)

well of course nearly all studio films did that in the '30s and '40s, til location shoots became the thing

Tolkien seemed to be lacking something.
Also seemed heavily cliched in some places
Had initially hoped for more from it.

Live & let Die
Bond in Harlem, New Orleans and Jamaica in the early 70s.
A tad racist, odd that the one new supporting cast member to return is the redneck sheriff. Also wondering why they cut the death of the CIA agent for whatever broadcast that was I watched
A bit cliched
& I prefer Connery to Moore.

Destroyer
quite harrowing and Nicole Kidman has looked healthier. She does in this film too I guess.
Quite good really.

From the trailer, Booksmart looked like Superbad with a dollop of Yas Queen feminism

re Booksmart: i would imagine so but the reviews suggested something more? May watch tonight.

the Dardenne Brothers' "The Kid With the Bike" is simultaneously on Hulu and Mubi and, like everything else I've ever seen by them, is a great opportunity for painful slice of life underacting and intense shifts in perspective and sympathies; totally worth a watch even if you know nothing about the director

i got as far as the annoyed handjob in Destroyer and found it too ludicrous to continue. I get that this is a role a thousand men have sleepwalked through too but those films were also stupid.

Trailer is misleading. it's closer to Blockers, Flower, Bridesmaids, Neighbors... I don't think it's similar to Superbad but I understand why they went with that in the marketing. it's very good.

See Booksmart in a theater if you can. Shot anamorphic widescreen, looked beautiful, CINEMATIC unlike other similar comedies.

The Interpreter (6.5)
The Beach Bum (6.0)
The Real Mad Men of Advertising (7.0)
The El Duce Tapes (6.0)
Native Son (6.5)
Miles Davis: Birth of the Cool (8.0)
Hail Satan? (6.0)
Apollo 11 (7.0)
Black Girl (1966--7.5)
Say Her Name: The Life and Death of Sandra Bland (7.0)

Took me a month to log 10 films.

Superbad > Flower > Blockers > Bridesmaids > Neighbors imo

guessing that Booksmart ranks second, but turned up five minutes late for a preview screening and wasn't let in

White feminism: the teen years is a very minor element of booksmart tbh. I did have to check it wasn’t produced by apatow with his weird fetish for women throwing up during sex, ppl saying “vagina” a lot being the height of humour &c

I did get emotional at the end despite not really caring (or laughing much) throughout. The two leads are great, talented young cast in general - you do feel you’re watching 50 theatre kids even though only two of them are playing “theatre kids”

I think it's even aware of the absurd wealth of the kids & their parents, cf. the stoner dude being like "oh yea I got a job coding at Google"

Oh yeah all the kids are going “lol we’re gonna be the elites when we grow up” that’s the heartwarming message so if that turns you off stay away

Live & let Die
Bond in Harlem, New Orleans and Jamaica in the early 70s.
A tad racist, odd that the one new supporting cast member to return is the redneck sheriff

live and let die is the first appearance of the sheriff (who is played as a white racist caricature who all the other characters laugh at). his second appearance is in the man with the golden gun, where he is allowed to be wildly racist without any disapproving undercurrent. this is why i don't think live and let die is very racist and the man with the golden gun is very very very racist

The only thing I can say in Live and Let Die's favor re: racism is that it's way, way, way less racist than the source novel.

lol yeah fleming's always reliable for that. color me surprised when i learned all the outrageously racist elements of you only live twice were taken straight from the novel