Last (x) movies you saw

nashville didnt get this but enjoyed it anyway

― lance armstrong will have been delighted (darraghmac)

Just noticed this, would like to hear more. If you enjoyed it, I think you did get it.

Ha that's fair, having read the threads on it.

enjoyed it but thought it was pretentious overrated rubbish

If you mean the film itself, as opposed to all that's been written about it, I don't totally understand the charge of pretentiousness. To me that always goes hand in hand with excessive solemnity, which is not Nashville. I can certainly understand where someone might find it unfunny or glib.

Nakhville

Naffville?

M*A*S*H*

should have called it M*E*S*S*

The Too Long Goodbye

xpost whaaat

Ashes of Time Redux (Stephen, 1975. Haha, happy now Albert?) 3.5/5 There were some beautiful bits (all the birdcage stuff) and then "you gained an egg but lost a finger. was it worth it?" was a good line but ultimately it was too hard to follow.
Eyes Wide Shut (Kubrick, 1999) 5/5 my second watch. loved it.
The Shining (Kubrick, 1980) 5/5 great
Full Metal Jacket (Kubrick, 1987) 4/5 the first half is perfect but the second half is a mess imo.
Iron Giant (Bird, 1999) 3/5 ok.
Vicky Cristina Barcelona (Allen, 2010) 2.5/5 whatev.

wong is the surname

antares (gotz spiegelmann '04) 3.5/5
bellflower (evan glodell '11) 3/5
walking and talking (holofcener '96) 3/5
drive, he said (nicholson '71) 1.5/5
reds (beatty, '81) 3/5
eyes of laura mars (irvin kershner, '78) 1.5/5
seance on a wet afternoon (forbes, '64) 4/5 - anyone see the nu-kurosawa version? any good?
rapture (john guillermin, '65) 3.5/5
invisible waves (pen-ek ratanaruang, '06) 3/5

what'd u think of reds johny

reasonably into it, felt a bit too academic but the witnesses are great; beatty is p blank, honestly dont feel like i learned much abt reed; liked keaton; needed more nicholson as oneill

leviathan is a dream of hell and drowning and should be seen in theaters for sure.

Premium Rush (Koepp, 2012) B
End of Watch (Ayer,2012) B+
Your Sister's Sister (Shelton, 2011) B-
Rosemary's Baby (Polanski, 1968) A
Charade (Kellino, 1953) C+
Dreams of a Life (Morley, 2012) B
The Sweeney (Love, 2012) C
Intouchables (Toledano, 2011) B+
Frankenweenie (Burton, 2012) C. I kind of wish Burton would stretch himself and make a movie about some 'normal' people as his gothic schtick feels well played out now.
His Girl Friday (Hawks, 1940) B
McCullin (Morris, 2012) A
Django Unchained (Tarantino, 2012) B
Gambit (Hoffman, 2012) C. Not the car crash I was expecting but given the talent involved should have been so much better.

leviathan is like live-action brakhage

brakhage's The Jungle maybe yeah

Tempest, the (2010, Taymor) ***
Mona Lisa (1986, Jordan) C+
Crash (2004, Haggis) http://www.robertchristgau.com/icon/x2.gif
Merry Christmas Mr. Lawrence (1983, Nagisa Oshima) has redeeming facet
Kes (1970, Loach) +++++
Senso (1954, Visconti) SSS
Taken (2009, Morel) 4 jox
Threepenny Opera, the (1931, Pabst) PG
Observe and Report (2009, Hill) 9/4/8/7

Funny you should ref christgau, as that is the first rating system I've seen that's more convoluted than his.

seul contre tous (noe)
noriko's dinner table (sono)

The Master (PTA, 2012) - 3/5
Zero Dark Thirty (Bigelow, 2012) - 3/5
Barbara (Christian Petzold, 2012) - 3.5/5
High Noon (Fred Zinneman, 1952) - 3/5
A Good Day to Die Hard - 0/5
The Girl With the Dragon Tattoo (Fincher, 2011) - 2.5/5

Lore (Cate Shortland, 2013) - Germany's post WWII fallout as Bavarian folk tale. Haunting, and pretty. Saskia Rosendahl is perfect as the sullen, stubborn, conflicted Aryan teen leading her siblings through the Black Forest in occupied Germany. 4/5
Absentia (Mike Flanagan, 2012) - Spookily effective and creepy slow-burn indie horror on a Kickstarter budget. 3.5/5
The Great Silence (Sergio Corbucci, 1968) - Anti-Western in which the genre's familiar landscape of Monument Valley and dusty border towns is replaced with the bone-chilling, snowy wastes of Utah, and the trope of the taciturn, lone wolf hero single-handedly saving a town from outlaws is mockingly skewered. 3.5/5
Orlando (Sally Potter, 1992) - Incredible art design and costumes etc, and Tilda Swinton - who is hilarious - has exactly the type of face you would expect to see gazing out from an Elizabethan portrait. 4/5

Feeling those DavidM. Thought Lore was brilliant.

Saw die hard another day, twas cack.

Takeshis' (Takeshi Kitano, 2005) - while I enjoyed Fellini's 8½ immensely, it's a shame that every director seems to feel they have to do their own version of it when they run out of ideas. (2/5)
Le Quai des Brumes (Marcel Carné, 1938) - doom-laden from the first scene onwards, it can only end one way - badly! Extremely French. Michel Simon is great in this one. (5/5)
Sanshiro Sugata Pt.1 (Akira Kurosawa, 1943) - very good debut, now I have the rest of the Early Kurosawa box set to trawl through, hope it's all as good as this. (4/5)

Couldn't find Kôhei Oguri's name in a search, so I'm not sure if Muddy River (1981) has ever been mentioned on the board. I saw it this afternoon for the first time. A couple of minor quibbles with the last 15 minutes--which is pretty great regardless--but I think I'd put it just a notch below The 400 Blows, Pather Panchali, and L'enfance nue as the best films ever made about kids.

Man the we and the i sucked

le quattro volte (michelangelo frammartino, 2010): 4.5/5
bronson (nicholas wending refn, 2008): 3.5/5
gigante (adrian biniez, 2009): 3.5/5
the man from nowhere (jeong-beom lee, 2010): 3.5/5
that evening sun (scott teems, 2009): 3.5/5
the woman in the window (fritz lang, 1944): 4/5
what happened was ... (tom noonan, 1994): 3.5/5

Late Spring (Ozu, 1949) 4.5/5
Summer With Monika (Bergman, 1953) 3.5/5

stoker (park, 2013) 3.5/5

the editing in the film was atrocious but the acting was satisfactory and park did a commendable job of creating a moody, tense atmosphere centered on an otherwise been-there-done-that plot.

Plein Soleil (aka Purple Noon; Clément, 1960) - 8/10. Amazing just to look at, for one thing.
The Master (Anderson, 2012) - 7/10 or 8/10, my mood changes hourly on this.

The Queen of Versailles
The American Astronaut

Only the Young - everyone please go see this if it is screening near you. If it's not ask your local weird movie place if they will book it. It's quite wonderful, if you are like me and have a weird atavistic fascination with the emotional lives of teenagers, or if you like desolate wastelands of southern California suburbs.

check that, DVD release on 4/30.

Saw a good documentary on Greenwich Village tonight. Nothing the least bit surprising, but lots of great clips. My favorites were Mama Cass in the Big Three, the Simon Sisters backing up Oscar Brand, the Spoonful clip below where Zal Yanovsky flubs the beginning of "Do You Believe in Magic," Joni Mitchell doing "Night in the City," and an amazing clip of Melanie singing "Lay Down" in what looked like an empty industrial space where they stockpiled cement sewer drains--couldn't find it on YouTube. Of the many talking heads, I liked Don McLean the best, and couldn't figure out why Steve Earle was there. Odd omissions: don't think Joan Baez was mentioned once, or Paul Simon. Folk music in the early '60s sure was filled with gorgeous willowy women: Mary Travers, Mimi Farina, Michelle Phillips, Judy Collins, Joni.

http://www.greenwichmusicdoc.com/

https://www.youtube.com/watch?v=ysRa5HDB2ZY

I will say, as much as I love a lot of that folk stuff, after an hour straight of nothing but, "Do You Believe in Magic" sounded like "Anarchy in the UK"--and the DJ who came on next explaining what rock and roll lacked that folk music was able to bring to it evidently knows a lot more about folk music than rock and roll.

in the realm of the senses is the most relentless and unerotic assemblage of fucking i've ever seen and also a very good movie

lol forks, otm

The Spiral Staircase (6/10): some nice cinematography, possibly invented one cliche of the slasher genre (the moment when Rhonda Fleming says "Oh, it's you" just before you-know-what), a lot that seemed SCTV-worthy to me.
Silent Fall (5/10): Quite absurd--an autistic kid whose condition turns him into Rich Little.
Greenwich Village: Music That Defined a Generation (7.5/10)
Funny Face (6.5/10): Saw it at a multiplex, first time ever. Musicals are a blind spot for me. The look of it was interesting (huge), the parodies of beatniks and pseudo-philosophy clunky, and the 30-year age difference between Astaire and Hepburn weird (felt even wider, but I looked it up--Kael: "the movie emphasizes Astaire's age by trying to ignore it"). People danced a lot, too, and some of that was good.
Muddy River (8/10)
Pat and Mike (8/10): Spencer Tracy's great in this--also loved seeing Charles Bronson and Chuck Connors in the same scene long before anyone had heard of them.
Adam's Rib (7/10)
Adventureland (7/10)
The Apprenticeship of Duddy Kravitz (8/10)
State of the Union (7.5/10)

Nicotina
Wagon Master
Like Someone In Love

Beyond the Hills, new film from Cristian Mungiu is so so so good. Subject matter looks radioactive but it's so forgiving and accepting and bleak
core question seems to be can faith support you in a world where god has left us to our own devices and the answer is up for grabs but you walk away with sympathy for pretty much every character
it's also a christ story but ymmv
http://www.imdb.com/title/tt2258281/

i watched the way we were on tcm the other day and it was a real snooze-a-rama

xp yea im looking fwd to 'beyond the hills', think it's on demand, etc starting tomorrow

get on that! Film is great.
I guess I'll finally try his other films now.

Merry Christmas Mr. Lawrence (1983, Nagisa Oshima) has redeeming facet

which was...?

that's the only rosenbaum rating i could remember.

RPM (1970) Watched it cause my dad was an extra in it....long ago...

This is 40 which I at least semi enjoyed. Felt self conscious about laughing in a cinema with 2 other people in. Not sure what the alternatives at the cinema at that time were, maybe a Wixard of OZz an hour later and a Django which I'd missed the beginning of.
Thought i read a good review in the Guardian and it did have some funny bits I thought. Obvioulsy some bits taht were supposed to be and weren't. the scenes with each of the 2 shop assistants were presumably supposed to be but weren't that is the confrontation about stealing bits.

Saw We Need To Talk About Kevin at the start of teh week and thought it pretty great. Have wanted to see it since it came out but as far as I know it never reached cinemas here.

Also saw a bit of the Garland Wizard of Oz last week and thought it very strange. Must be interesting on acid. But it just has some very strange elements, the distorted vocals in MUnchkinland among them & the sets too. Heard the new Oz bases its sets on these ones. Didn't watch it through which I should really do I guess not seen it in years, maybe decades.
I heard the munchkin actors were like total hellraisers at the time the film was made, not sure how true that is, just thinking i might have read it in a Keeneth Anger and he fabricateda lot of the Babbylon contents from what I hear.

had a inadvertant double-feature of verite-based movies - 'manic' (3/5) f/ joe gordon-levitt, don cheadle & zooey d in a not-as-bad-as-it-sounds, disaffected youths in a safehouse/psych ward; be warned there is a scene of moshing + bonding 2 the deftones & 'project x' (4/5)

also both written by michael bacall i guess? hm also credits on scott pilgrim & 21 jump st, i love this guy

good line in proj x of "my dad got me a lawyer, even that jew thinks we're fucked"

also watched 'fitzcarraldo', shit is epic

fitzcarraldo is so dope

Downeast is a worthwhile business documentary about an italian expat trying to open a lobster factory in maine and running into issues with the local government when he tries to launch against their (very much partisan) complaints. Interesting look into a small community and the machinations of small government left unmoderated. This one's gonna be on POV / PBS shortly; worth the time on TV.

there are some really funny critic review pullquotes of proj x (sry for rampant c&p'ing)

Hewitt ended his review by stating that the film was "possibly the worst film of the last 20 years.

Todd McCarthy of The Hollywood Reporter was similarly critical, calling it "grimly depressing, glumly unfunny teensploitation",

Melissa Anderson of The Village Voice who felt the film promoted "skull-numbing hedonism without consequences", and "second-nature misogyny", and that the only purpose of the male characters is to "'get high, fuck bitches.'"[39]

Robbie Collin of The Telegraph called the film "flamboyantly loathsome on every imaginable level"

Several reviewers were particularly critical towards Cooper and his character. Hewitt called him "the most annoying movie character since Jar Jar Binks",[36] while others similarly described him as "singularly loathsome, venal and without humor",[37] "supremely annoying",[38] "that dick in a sweater-vest"[39] and a "misogynistic" imitation of Jonah Hill "minus the timing, sad sack appeal and motormouth grace".[40]

I don't think I could ever bring myself to watch a movie starring a poor man's Jonah Hill.