Last (x) movies you saw

first full-length movie with spoken dialog?

I don't think it is! Depending how those things are defined, it's pretty amorphous. It was the first semi-sound feature that was a big hit, bcz Jolie.

Filmmakers were trying to pair up film with prerecorded audio almost from the beginning of the medium. The Vitaphone sound-on-disc technology (Don Juan and The Jazz Singer) was commercially successful in ways its predcessors weren't, but if it had flopped Fox Films was doing work with Movietone sound-on-film that probably would have gone public in 1928.

Chocolat (Denis)
Trouble Every Day (Denis)
L’Intrus (Denis)
Let the Sunshine In (Denis)
A Man in Love (Kurys)
A Very Long Engagement (Jeunet)
The Family (Besson)
Betty Blue (Beineix)
La Haine (Kassovitz)
The Crimson Rivers (Kassovitz)
Renoir (Bourdos)
Workshop (Cantet)
The Redeemed (Vest)
The Night We Fell (Hannibal)
Deja Vu (Bang Carlsen)
The Erotic Man (Leth)
Hitchcock/Truffaut (Jones)
The Work (McLeary & Aldous)
Girls in Uniform (von Radványi)
Katzelmacher (Fassbinder)
The Unknown Soldier (Laine)
The Unknown Soldier (Mollberg)
The Unknown Soldier (Louhimies)
Concrete Night (Honkasalo)*
The Place (Genovese)
Lemonade (Knowles & Joseph)
It’s All About Love (Vinterberg)
Italian for Beginners (Scherfig)*
The Charmer (Alami)

flappy bird has figured out how to live. you have to be in a pretty good place mentally to enjoy so many movies so much

I hope so

Those are great movies, what’s not to enjoy.

Come Drink with Me (1966) 4/5
The Green Ray (1986; rewatch) 5/5
The Rider (2017) 3.5/5
Faces Places (2017) 4/5
Je T'aime, Je T'aime (1968; rewatch) 4.5/5
Avengers: Infinity War 3/5
Teorema (1968) 2/5
Police, Adjective (2009) 3.5/5

saw the new Denis film and completely fell for it -- it's very funny, especially if you've dated all those men. I was disturbed by that French cinema icon in the final scene, particularly the giant tropical fruit he has for a nose now.

Max and the Statue (Linder, 1912)
Never the Twins Shall Meet (Schwartz, 1932)
Her Boy Friend (Semon & Smith, 1924)
His Picture in the Papers (Emerson, 1916)
The Camels Are Coming (Whelan & Stevenson, 1934)
Martin Roumagnac (Lacombe, 1946)
Solo: A Star Wars Story (Howard, 2018)

The Magnificent Seven (1960) - yeah this all-star cast of good guys defending a tiny town from banditos. this must be the main inspiration behind "The Three Amigos"
Return of the Seven (1966) - nowhere near as good as the first one w all the variety of characters. still a nice way to kill a saturday
Cave Man (1981) - the one with Ringo, Dennis Quaid, Shelly Long, etc. somehow infinitely stupider than the Flintstones movies.
America 3000 (1986) - yeah this is a Cannon film. kind of like Mad Max Fury Road if it built on really lame 80s sexual politics. i did enjoy when the guy discovered the presidential bunker (and had no trouble reading the intruction manual from a laser gun despite teaching himself how to read solely from an ABC's picture book). the ending made NO SENSE but by that time you are glad it's over.
Robocop 3 (1993) - it's like the PG-13 Cannon version of Robocop. a little girl hacks the ED-209. Robocop flies around like Superman. Robocop fights a ninja robot from Japan! i liked when he got punched and his mouth was all skewed and he had to re-adjust it. great creepy effects there. Robocop almost exclusively shoots at dirty cops in this despite the constant threat of roaming Final Fight-style punk street gangs.

it was fun spotting the stapler guy from Office Space and the guy from The West Wing slumming it in Robocop 3. Bradley Whitford does a good sleazy executive.

Magnificent Obsession (Sirk, 1954) 6/10

the more i think about this the more i want to call it 10/10

lol I was just gonna bump the Sirk thread to ask if any of his other movies even come close to All That Heaven Allows. because Magnificent Obsession is fine, but it's SO ridiculous and slapsticky and silly and lightweight. and Rock Hudson's character in that one is a total prick that the movie tries to redeem and fail iirc. the only other one I've seen is Written on the Wind, which was OK and I know a lot of people hold those three up, but idk, I was disappointed.

I really enjoyed The Tarnished Angels and All I Desire but I wouldn't say they hit the same marks as All That Heaven Allows; isn't Imitation of Life the one that usually gets talked about in the same breath?

Imitation of Life definitely top tier. See that one.

Now I’ll Tell (1934, Burke) 6/10
Isle of Dogs (2018, Anderson) 7/10
6 Hours to Live (1932, Dieterle) 6/10
Cymbeline (2014, Almereyda) 7/10
*Personal Shopper (2016, Assayas) 6/10
Let the Sunshine In (2017, Denis) 9/10
The Red Dance (1928, Walsh) 5/10
Rosita (1923, Lubitsch) 7/10
The Guardians (2017, Beauvois) 8/10
*Beautiful Thing (1996, MacDonald) 7/10
*Dirty Rotten Scoundrels (1988, Oz) 7/10

flappy, if you can find Lured, do so. Lucille Ball and George Sanders in London involved in murder.

I saw Lured on YouTube a few months ago, if you don't object to that format, And once you've seen Lured, try to find Pièges (Siodmak, 1939), the source for Lured.

Solo 5/10
*Cat People (Tourneur) 8/10
I Walked With A Zombie 8/10
The Seventh Victim 6/10
Marie-Jo et ses Deux Amants 8/10
Les Neiges De Kilimandjaro 6/10
Junun 7/10
Red Sparrow 4/10
Beach Of The War Gods 8/10
A Quiet Place 6/10
*Fellini Roma 9/10

Last couple of months, more or less:

The Night Evelyn Came Out of the Grave (Miraglia)- 3/5, <3
Gerald's Game (Flanagan)- 3.5/5
*The Vampire Lovers (Baker)- 3.5/5, <3
King Cohen (Mitchell)- 3.5/5, <3
*Bay of Blood (Bava)- 3/5
Demonlover (Assayas)- 3/5
10 Things I Hate About You (Junger)- 2.5/5
Vampyres (Larraz)- 4/5, <3
The Strange Color of Your Body's Tears (Cattet & Forzani)- 3.5/5, <3
Cigarette Burns (Carpenter)- 2.5/5
Pick Me Up (Cohen)- 3/5
Dead of Night (Curtis)- 2.5/5
*Hellraiser (Barker)- 4/5, <3
Tourist Trap (Shmoeller)- 2.5/5, <3
*Hellbound: Hellraiser II (Randel)- 2.5/5

Forgot The Fifth Cord (Bazzoni)- 4/5, <3. Some truly bullshit twists and your typical post-Psycho rushed overexplained conclusion, but it's gorgeous (Vittorio Storaro in rare form). One of my very modest if probably unlikely dreams is for Arrow to release a nice cleaned-up blu-ray of this paired with Bazzoni's only other giallo (also with Storaro), the fucking bonkers Footprints on the Moon

Other stray observations I should've put in the original post:
-Gerald's Game was shot in my hometown and set in the nearby city where my parents now live, and had the setting changed from King's typical New England milieu to match, which was a weird experience
-Larry Cohen's story about Bernard Herrmann's funeral service (not enough Jewish men in attendance, so Cohen rounded up De Niro, Scorsese, De Palma and every other Italian-American film brat he could find to appease the presiding rabbi) is incredible
-Vampyres is another victim of the non-ending (I had totally forgotten about the stupid shaggy-dog wraparound story) and I'm not sure if it squanders or brilliantly subverts its "I have crossed oceans of time to have sloppy blood makeouts with you" stuff but I am super, *super* hype for Larraz's Symptoms now
-I still can't tell if I love or kind of hate Cattet & Forzani (pretty sure I hate the shorts) but I def have a strong reaction. Excited to see their spaghetti Western if/when it finally makes its way to a wider release in the States
-the Masters of Horror episodes are predictably meh (as with most things on this list, they're judged on a curve in the Ebert mold so I don't have to fuss about where they place in the overall rankings, which means a lot of stuff gets 2.5-3) but Michael Moriarty is a delight in Cohen's, spoiled only slightly by the documentary's revelation that he's some breed of hardcore libertarian who fled to Canada when Obama was elected (???)
-I go back and forth on Clive Barker in general- brilliant when I was a young teenager, embarrassing when I was slightly older, then an author of cool splatter stuff who fell off hard later, then a *mostly* brilliant writer/filmmaker (seeing the restored Nightbreed cut helped immensely, along with coming to Lord of Illusions much later) whose health issues might have adversely affected his output but I still love anyway- but one thing I've always thought was kind of cringey was his insistence on the word "fantastique." Which, if I hadn't been introduced to that as a twee affectation and just happened to think of again while watching Hellraiser after reading the problematic but mostly worthwhile Immoral Tales (it's a shame this is out of print since I'm not aware of any other broad overview of European sex/horror/art films), would have been a tremendously useful concept to have on hand. Like I know it's not his most hands-on production, and there's some stuff in it that gets worse with every viewing, but there is an incredibly blatant homage to Eyes Without a Face in Hellraiser 2, and that continental Jean Rollin feel bleeds through in so many places in his films. I'm mostly rewatching these (and about to subject myself to the objectively miserable Hellraiser 3) because I'm digging through Arrow's box set, which has a recut version of the massive Leviathan documentary on the Hellraiser franchise, Barker's early short student films, and the usual well-produced extras- like somehow I didn't know the Stephen Thrower who writes on cult film was the same Stephen Thrower from Coil!
-Tourist Trap is absolutely fucking berserk and you owe it to yourself to see it if you're not familiar. I was already planning a De Palma run sometime soon but I may have to start looking elsewhere for a Pino Donaggio fix.

Great posts Telephone thing - even if i disagree a .5 either way on most of yr ratings. I love Giallo but for some reason find it exceptionally difficult to remember what I have and haven't seen - the similarity of the titles/plotlines/mise en scene etc, i think. Feels like the intricacies of dub reggae or microhouse, say, where you have to really immerse yourself in the genre to appreciate all the (sometimes minute) variations on a theme. Bava and Argento and Fulci I remember instantly - but their great films all stand slightly to one side of mainstream Giallo anyways.

Is Tourist Trap the Chuck Connors creepy waxworks movie? I remember Stephen King raving about it in Danse Macabre, and seeking it out as a UK video rental back in the nasty days, but I couldn't swear to its undying power to terrify 30 plus years on

Zama (Lucretia Martel, 2017) - a very smart adaptation of a not v filmable book where Martel is bringing in her own eye to this skeleton of a story of an utterly ordinary man who cannot go back home. Shades of Apocalypse Now (without the hippie-dom) and Coup de Torchon but its very much its own thing.

I'm way off my usual pace -- this handful is a couple months' worth.

Avengers: Infinity War (Russo/Russo, 2018)
Love Meetings (Pasolini, 1964)
Bill Frisell, a Portrait (Franz, 2017)
Manifesto (Rosefeldt, 2017)
Je t'aime, je t'aime (Resnais, 1968)
Baal (Schlondorff, 1970)
The Killing of a Sacred Deer (Lanthimos, 2017)

The Friends of Eddie Coyle
Sympathy for the Devil?: The True Story of the Process Church of the Final Judgment

xpost Ward: yup, it’s the creepy mannequin movie. I’m not sure how it made its way onto my list as I haven’t read Danse Macabre, though that’s no doubt responsible for most of its continuing cachet.

I don’t know if I’d call it *scary* per se but it does some really, really interesting things both structurally as a slasher movie post-Chainsaw and with leaning hard into the uncanny in a very specific Freudian way.

Between it, the ending sequence of Hellraiser 2 and some other 70s/80s examples I can’t immediately bring to mind, I’m wondering where the very similar visual language for telekinesis in these movies (character looks away, cut to object being manipulated, repeat) originated. Carrie?

And Strange Color... is totally riffing on the interchangeability of most gialli! The plot dissolves into a total soup of story elements and signifiers (and even pulls in some non-giallo sources like Laura and/or Twin Peaks) and even the title is a cut-up (Strange Vice of Mrs Wardh, All the Colors of the Dark, What Are Those Strange Drops of blood Doing on Jennifer’s Body, etc)

Western (Grisebach, 2017) 9/10
Beast (Pearce, 2017) 6/10
Kill Baby, Kill (Bava, 1966) 8/10
The Battle of the Sexes (Crichton, 1960) 5/10
Le Diner de Cons (Veber, 1998) 5/10
The Killing of a Chinese Bookie (Cassavetes, 1976 version) 8/10
Greaser's Palace (Downey, 1972) 9/10
The Golden Coach (Renoir, 1952) 8/10
Muriel, or the Time of Return (Resnais, 1963) 8/10
The Three Musketeers (Lester, 1973) 5/10
The Road to Hong Kong (Panama, 1962) 4/10
The Night of the Living Dead (Romero, 1968) 8/10 - the very fine-looking new Criterion Blu-ray
The Wall (Polsler, 2012) 8/10
Zama (Martel, 2017) 9/10

hey, this is the first time I've ever looked at this thread. Here's my May:

The Lady Vanishes (1938, Hitchcock)
The Green Fog (2017, Maddin)
Suspicion (1941, Hitchcock)
Salesman (1968, Maysles Brothers)
Suspiria (1977, Argento)
Galaxy Quest (1999, Parisot)
Stage Fright (1950, Hitchcock)
Bad Samaritan (2018, Devlin)
Serial Mom (1994, Waters)
Sweet Country (2017, Thornton)
Catwalk: Tales From the Cat Show Circuit (2018, McNamara & Hancox)
Hurricane Bianca: From Russia With Hate (2018, Kugelman)
Three Identical Strangers (2018, Wardle)
Industrial Accident: The Story of Wax Trax! Records (2018, Nash)
Highlander, but with the soundtrack and 94% of the dialogue removed, and an all-Queen soundtrack DJed live over the top (1986, Mulcahy)
Breath (2018, Baker-Denny)
The Big Lebowski (1998, Coen Brothers)
Belle De Jour (1967, Bunuel)
Being Frank: The Chris Sievey Story (2018, Sullivan)
Mutafukaz (2017, Nishimi & Renard)
The Long Dumb Road (2018, Fidell)

all DCP except the Hitchcocks, which were 35mm

quite a spree, sic!

wow, lucky duck re: those Hitchcock movies in 35mm. only copy of Stage Fright I could find just looked awful.

and yeah that is a great run of movies, i'm especially fond of Galaxy Quest, haven't seen it in too long

if I can manage it, this week alone might be almost that full: I have 11 tickets and eight days left for SIFF, two first-week SIFF films have gone to multiplexes already, the Hedwig/Gaiman is at an arthouse, and an indie is running the Black & Chrome cut of Fury Road.

they missed an opportunity by not calling it the Shiny & Chrome cut imo

I was disturbed by that French cinema icon in the final scene, particularly the giant tropical fruit he has for a nose now.

You weren't exaggerating. The last nose like that I saw was on terminal-stage W.C. Fields.

Made on Broadway (Beaumont, 1933)
A Jazzed Honeymoon (Roach, 1919)
The Bees' Buzz (Sennett, 1929)
April Maze (Sullivan, 1930)
Don't Play Bridge With Your Wife (Pearce, 1933)
The Return of Bulldog Drummond (Summers, 1934)
Caro Nome (DuPar, 1926)
Max's Vacation (Linder, 1914)
A Sammy in Siberia (Roach, 1919)
Bet Your Life (Yates, 1948)
First Reformed (Schrader, 2017)
Let the Sunshine In (Denis, 2017)
Minnie the Moocher (Fleischer, 1932)
Beautiful Clothes (Berne, 1942)
Beggars in Ermine (Rosen, 1934)

May 5 - June 3 in theaters:

Tully - 6/10
El Topo (1970) - 7/10
Disobedience - 5/10
Life of the Party - 3/10
To Joy (1950) - 8/10
Ivan’s Childhood (1962) - 10/10
Deadpool 2 - 4/10
Let the Sunshine In - 9/10
Beast - 6/10
How to Talk to Girls at Parties - 8/10
First Reformed - 9/10

captain america: the first avenger (2011) 5/10
*the damned united (2009) 7/10
sex lies and videotape (1989) 8/10
*get carter (1971) 8/10
prevenge (2017) 7/10
the rum diary (2011) 6/10
the greasy strangler (2016) 6/10

Women in Love - 7/10
Rusty Knife - 6/10
Young Mr. Lincoln - 7/10
Starlet - 3/10
Take Aim at the Police Van - 6/10
Vertigo - 10/10
Antichrist - 7/10
Meantime - 8/10
Clouds of Sils Maria - 9/10
Torn Curtain - 6/10
La Vie de Bohéme - 9/10
Uncle Boonmee Who Can Recall His Past Lives - 9/10
Leningrad Cowboys Go America - 10/10
Fanny and Alexander - 10/10
The Steel Trap - 7/10
The Actress - 7/10
An Autumn Afternoon - 9/10
Leningrad Cowboys Meet Moses - 10/10
Le Havre - 9/10
Shadows - 10/10
Martha - 9/10
Cabaret - 8/10

A Few Good Men (7.0)
Borg vs. McEnroe (5.0)
Here to Be Heard: The Story of the Slits (6.5)
Casino (7.5)
The Beatles, Hippies and Hells Angels: Inside the Crazy World of Apple (6.5)
Tully (4.0)
The Gospel According to Andre (7.0)
RBG (6.5)
Deep End (7.0)
L’eclisse (7.5)

Saw the last two on consecutive nights, and the ratings are for basically the same things: incredible cinematography, the audacious endings, and the lead actresses. L’eclisse seemed less impressive to me second time around. (The guy who prompts Monica Vitti to say "He's got a beautiful face" when he walks past her, I could have sworn it was Keir Dullea. Can't find anything online. Same year as David and Lisa...seems improbable.)

Young Mr. Lincoln - 7/10
Clouds of Sils Maria - 9/10
Leningrad Cowboys Go America - 10/10
Leningrad Cowboys Meet Moses - 10/10

i'm not sure you get John Ford, flapp

only other Ford I've seen besides Stagecoach (which I love)

OK, here's my first nine days of June:

Hal (Scott, 2018)
Lemonade (Uricaru, 2018)
Being There (Ashby, 1979)
Sorry To Bother You (Fromthecoup, 2018)
Fury Road: Black & Chrome (Miller , 2015/2017)
The Crime Of Monsieur Lange (4K restoration) (Renoir, 1936)
How To Talk To Girls At Parties (Mitchell , 2018)
The Producers (4K restoration) (Brooks , 1967)
The Changeling (4K restoration) (Medak, 1980)
Tyrel (Silva , 2018)
Zombillenium (du Pins et Ducord, 2017)
Cinderella The Cat (Rak & Cappiello & Guarnieri & Sansone, 2017)
First Reformed (Schrader, 2017)
Beast (Pearce , 2018)
The Taste Of Betel Nut (Bing Lang Xue) (Hu, 2017)
This One's For The Ladies (Graham , 2018)
Upgrade (Whannell, 2018)

all DCP, Cinderella The Cat was the only one masked. First Reformed is in Academy ratio, and was not only not masked, but the house lights weren't dimmed all the way, so many square metres of the screen were glowing grey on both sides throughout.

Powder and Smoke (Parrott, 1924)
Copy (Houston, 1929)
The River (Borzage, 1929)
A Night in a Dormitory (Delmar, 1930)
*Opening Night (Mack, 1931)
Action Point (Kirkby, 2018)
Sleepy-time Squirrel (Lundy, 1954)
More About Nostradamus (1941)
The Saddle Buster (Allen, 1932)
The Broken Wing (Corrigan, 1932)
The Unknown Soldier (Laine, 1955)

Le Cercle Rouge (Melville, 1956) 8/10
Bob le Flambeur (Melville, 1970) 8/10
Written on the Wind (Sirk, 1956) 7/10
Audition (Forman, 1963) 6/10
The Awful Truth (McCarey, 1937) 7/10
Zama (Martel, 2017) 8/10
There’s Always Tomorrow (Sirk, 1956) 6/10
The Tarnished Angels (Sirk, 1957) 8/10
Pandora’s Box (Pabst,1929) 9/10
Taipei Story (Yang, 1985) 9/10
The Other Side (Minervini, 2016) 8/10
A Time to Love and a Time to Die (Sirk, 1958) 8/10

watched COUNT THE HOURS (1953) last night, i'm trying to watch as many of Teresa Wright's movies as I can. innocent man damned by gossipy town and sent to hang, his wife (Wright) and a benevolent lawyer (Macdonald Carey) determined to prove his innocence. besides SHADOW OF A DOUBT this is the best one - so strange, dreamlike in its weirdness and a frequent inability of the characters to complete/pass/move forward. fairly risque too - lots of innuendo and characters constantly on the verge of infidelity, tempted by characters that appear seemingly out of nowhere as if in a dream. a lot of the strangeness may come down to a so-so script, but it's shockingly well made, hints of German Expressionism and pretty sophisticated editing & tracking shots. anyway I realized it was one of Don Siegel's early movies. highly recommended if you're into the persecuted innocent man nightmare. also Teresa Wright is really great as always.

http://rarefilm.net/wp-content/uploads/2015/09/Count-the-Hours-1953-11.jpg

who, or what, comprises rex reed's readership? he's so stupid it's hard to believe he's not being satirical

outpatients

lmao