Last (x) movies you saw (II)

La Rupture (Chabrol, 1970) - 9/10
For Ever Mozart (Godard, 1996) - 6/10
Punishment Park (Watkins, 1971) - 8/10
Numéro Deux (Godard, 1975) - 9/10
Ten Days’ Wonder (Chabrol, 1971) - 7/10
The Man Who Shot Liberty Valance (Ford, 1962) - 10/10
Pickup on South Street (Fuller, 1953) - 9/10
The Glass Key (Heisler, 1942) - 7/10
*I’m Still Here (Affleck, 2010) - 10/10
*Life is Sweet (Leigh, 1990) - 10/10
Forty Guns (Fuller, 1957) - 8/10
The Book of Mary (Miéville, 1985) - 7/10
Hail Mary (Godard, 1985) - 7/10
*La Chambre (Akerman, 1972) - 10/10
*Changer d’image (Godard, 1982) - 9/10
*Pierrot le Fou (Godard, 1965) - 9/10
Godard, l'amour, la poésie (Lagier, 2007) - 7/10
Sweet Movie (Makavejev, 1974) - 6/10
Clockers (Lee, 1995) - 7/10
The Late Show (Benton, 1977) - 8/10
The Company (Altman, 2003) - 8/10
The Unfaithful Wife (Chabrol, 1969) - 7/10

The Great Wall Matt Damon and the Mandalorian get involved in fighting off alien invasion in 11th Century China.
Quite visual, a lot of colour, a little cliched possibly.
Has the somewhat stilted style of some of the directors other Western made medieval martial arts films.
Kind of enjoyed it, helped pass the time. A Film4 evening action film this week.

A Single Girl (Jacquot, 1995)
Beanpole (Balagov, 2019)

MUBI: 70 Fragments (Haneke, 1994)

Clio Barnard's The Arbor was notable for its novel execution but was so bleakly and painfully one-note it's hard to be enthusiastic about. Barnard's expert touch made this worth the watch but - between the thick accents, general fait accompli thrust and constant casual misery - it was not easy to comfortably engage with.

On the other hand, Hustlers surprised me. It's a cleverly constructed and scripted gangster movie that resolutely (and I'd argue properly) refrains from both male gaze and easy rah-rah girl power speechifying throughout. Most everyone is equal parts con artist and prey. Far better than I expected with several great performances and by far the best acting work Jennifer Lopez has done since Out of Sight... she's pure steel and sinew, totally convincing as a motherly piranha. I had disregarded Scafaria as a filmmmaker; are any of her other movies worth the trouble?

Also, how was Beanpole?

*Poisoned Ivory (Goulding, 1934)
Girls Will Be Boys (Watson, 1931)
A Holiday Pageant at Home (1901)
A Winter Straw Ride (McCutcheon & Porter, 1906)
A Trap for Santa Claus (Griffith, 1909)
A Christmas Accident (Shaw, 1912)
The Grasshopper and the Ant (Starewicz, 1913)
Shakespearian Spinach (Fleischer & Crandall, 1940)
Le Petit Cafe (Berger, 1931)
The Adventure of the Wrong Santa Claus (Seay, 1914)
Santa Claus Vs. Cupid (Louis, 1915)
Attack of the 50 Foot Woman (Juran, 1958)
Santa Claus (Kleinschmidt, 1925)
Interference (Mendes & Pomeroy, 1928)

Tokyo Twilight (Ozu, 1957)

last man to the party here but Once Upon a Time in Hollywood was very masterfully done, loads of fun, a love letter to an era and quite sweet.

the opening credits are finally online. "Treat Her Right" coming up with LD & BP's title cards is my favorite music cue in years.

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

owner my local deli/restaurant was talking about OUaTiH as I walked in today and was loudly opining about how glad he was that the film treated the Tate murders the way it did. I asked if he liked Sharon Tate and he yelled "WHO DOESN'T LOVE SHARON TATE?!?!?"

hahaha that is awesome

November:
Black Sunday/Mask of Satan (Bava, 1960) 8/10
Logan (Mangold, 2017) 6/10
Jeannette: the Childhood of Joan of Arc (Dumont, 2017) 5/10
Scarface (Hawks, 1932) 7/10
Sorry We Missed You (Loach, 2019) 8/10
Man About the House (Robins, 1974) 5/10
The Salamander (Tanner, 1971) 8/10
The Uncanny (Heroux, 1977) 6/10
The Face of Fu Manchu (Sharp, 1965) 6/10
Doctor Sleep (Flanagan, 2019) 5/10
Dracula (Badham, 1979) 6/10
The Byrd Who Flew Alone: The Triumphs and Tragedy of Gene Clark (Kendall & Kendall, 2013) 7/10
Valerie and Her Week of Wonders (Jires, 1970) 8/10
I, Monster (Weeks, 1971) 6/10
The Bakery Girl of Monceau (Rohmer, 1963) 7/10
Knives Out (Johnson, 2019) 7/10
Suzanne's Career (Rohmer, 1963) 8/10
Rolling Thunder Revue: A Bob Dylan Story (Scorsese, 2019) 8/10

Also, how was Beanpole?

― Fuck the NRA (ulysses), Friday, 29 November 2019 bookmarkflaglink

Very good. Shades of Fassbinder and maybe even something like 'Single White Female' (!!) in the way power ebbs and flows in the central relationship.

Hello How Am I (Fleischer, 1939) 6/10
The Petrified Forest (Mayo, 1936) 7/10
Satan Met a Lady (Dieterle, 1936) 6/10
Things to Come (Hansen-Løve, 2016) 6/10
Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul, 2010) 7/10
Bedknobs and Broomsticks (Stevenson, 1971) 6/10
*Metropolitan (Stillman, 1990) 8/10
It's the Natural Thing to Do (Fleischer, 1939) 7/10
*It's a Wonderful Life (Capra, 1946) 9/10
Lady in the Lake (Montgomery, 1947) 5/10

The Irishman (Scorsese, 2019) 7/10
Sign of the Lion (Rohmer, 1962) 4/10
Zombi Child (Bonello, 2019) 4/10
The Bakery Girl of Monceau (Rohmer, 1963) 6/10
Suzanne’s Career (Rohmer, 1963) 7/10
Claire’s Knee (Rohmer, 1970) 8/10
The Marquis of O (Rohmer, 1976) 8/10
Perceval (Rohmer, 1978) 8/10
*The End of Evangelion (Anno, 1997) 9/10
Cuadecuc, Vampyr (Portabella, 1971) 6/10
Heimat is a Space in time (Heise, 2019) 7/10
Weekend (Godard, 1967) 6/10
La Chinoise (Godard, 1967) 9/10
On Dangerous Ground (Ray, 1951) 9/10
Kansas City Confidential (Karlson, 1952) 7/10
24 Frames (Kiarostami, 2017) 6/10
Last Year at Marienbad (Resnais, 1961) 10/10

The Lighthouse (Eggers major, Eggers minor 2019) [DCP]
Publish Or Perish (Butler, Fischer 1973) 📺
The Illumination Of Jim Woodring (Brandt 2019) [projected from laptop]
Swan Song (Colosanto, Ross, Rayfiel 1974) 📺
Escape From New York (Carpenter, Castle 1981) [DCP]
Jojo Rabbit (Waititi after Leunen 2019) [DCP]
The Raid (Evans 2011) [DCP]
Brittany Runs a Marathon (Colaizzo 2019) 📺

x-post: Too low for Heimat :( Much too low

i might agree but i tend to err on the side of underrating. it's remarkable, one of my faves of the year for sure

Might be my #1. But I really don't feel I have any idea about the year yet, the Danish film festival had a scaled down year, so I've missed almost everything.

Is it really obvious what I've been reviewing these weeks?

Kicking and Screaming (Baumbach)
The Squid and the Whale (Baumbach)
While We’re Young (Baumbach)
Mistress America (Baumbach)
The Meyerowitz Stories (New and Selected) (Baumbach)
Marriage Story (Baumbach)
The Aviator (Scorsese)
I Heard You Paint Houses (Scorsese)
Rank and File (Loach)
The Price of Coal (Loach)
Looks and Smiles (Loach)*
Raining Stones (Loach)
Bread and Roses (Loach)*
The Wind That Shakes the Barley (Loach)*
I, Daniel Blake (Loach)*
Sorry We Missed You (Loach)
A White White Day (Palmason)
The Devil is a Woman (von Sternberg)*
Red River (Hawks)
The Baron of Arizona (Fuller)
High Noon (Zinnemann)
Wagon Master (Ford)
The Jungle Book (Favreau)
The Empress Dowager (Li)
King of the Children (Chen)
Shanghai Dreams (Wang)
Blind Shaft (Li)
Atlantics (09) (Diop)*
Snow Canon (Diop)
Big in Vietnam (Diop)
A Thousand Suns (Diop)*
Atlantics (19) (Diop)
Bombay (Ratnam)
We Have Many Names (Zetterling)
The Cannibals (Cavani)
The Pumpkin Eater (Clayton)
Saladin the Victorious (Chahine)
Cria Cuervos (Saura)
The Dark Night (Saura)

The new Loach is such an old man's film, it's pretty incredible. Late style, even more than The Irishman! But I found some of his early tv-work from the seventies, and it's so great! Basically straight up trotskyist agit-prop. Wish people still made films like that :)

Anyone see The Nightingale? The first 20 minutes were the most brutal I've seen in a long time. Not entirely sure if I liked the film as a whole or not. Definitely reminded me of The Chant of Jimmy Blacksmith a bit

I watched it last night! Brutal throughout. I stuck with it. Despite a few missteps it's a weird, sad and beautiful film.

Friday Night Lights (5.5)
Kunstler: Disturbing the Universe (7.5)
Ad Astra (7.0)
Joker (7.0)
The Descendants (6.5)
Sisters (the dumb comedy--5.5)
The Irishman (7.0)
Mildred Pierce (the remake--8.0)
Tootsie (8.5)
Marriage Story (7.0)
The Music of Chance (6.0)
And Then I Go (7.0)

"Stalker" and "Meek's Cutoff" have both been on my watch list for years (in the case of the former, years and years and years). I had a vague inkling of each, but I knew enough to know I'd love them, so stayed clear of details. I just watched them more or less back to back, complete coincidence, and boy were the similarities eerie.

I really loved Meek's Cutoff

didn't really relate to Stalker. Andrei Rublev, The Mirror, and The Sacrifice are my favorite Tarkovsky films

Another coincidence - or is it? - is that Meek's and Stalker (and, for that matter, the also vaguely similar Aguirre) were all shot in 1:33.

new Todd Haynes is bad. it's superficially similar to The Report which is better in every way and stars Adam driver

it's not bad

Anne Hathaway is an atrocious actor

everyone else is phoning it in or going off key- the Ruffalo performance feels like a Spotlight 2.0 misfire, but Bill Pullman as a ridiculous "well I do declare" Southern lawyer was pretty funny.

script is so cliched and the whole thing is bloated and really poorly executed in every respect. did you see The Report? it's not special, but it's pretty much the same setup (principled bureaucrat discovers cruelty & corruption, works for over a decade in filing cabinets with little climax), and I thought The Report succeeded in making something so dramatically inert and boring into a compelling movie. and well executed in every area DW flags. maybe it's just that I saw The Report just a few weeks ago, and had high hopes since it's a new Haynes film despite knowing it was work for hire, but I was surprised by how pedestrian the execution was. the cast was fine-EXCEPT Hathaway-but there were a lot of clunkers in the script I'm shocked Haynes didn't chuck immediately.

Maybe he had to finish out contract or setup financing for something else. Because even as work for hire it blows. I guess unlike Soderbergh he's not used to it.

And it's an important subject about an outrageous scandal that, as the film tells us at the end, effects everyone. It was so boring and indistinct, it's as if Dupont was a primary backer.

it looked great (per Ed Lachman's standard) and worked as a mainstream riff on Safe. See Haynes thread.

I agree Hathaway's role was the most formulaic and her tongue-lashing scenes were dull, but that's as far as I'll go. She did what she could.

It looked fine, again The Report managed to make ugly office buildings look better, but I didn't think of Safe once. I'll look at the thread...

I'd take an Angel Has Fallen or an MCU movie under two hours over Dark Waters

"Marriage Story" -- I never once felt these two people had actually loved each other and had a kid together. Actors acting.

I thought the performances were the only thing worth keeping. Awful writing, awful direction, conspicuous details and setups that don't payoff, but above all, an absolutely disgusting exercise in cleansing the soul of a man who cheated on his pregnant wife and had the gall to make a movie about his divorce and make the dude's affair with a stagehand brief. Come. On.

Fuck Noah Baumbach

my man
that is my take going into it but i guess i'm obliged to see if i'm right

flappy is making a big leap that it's "about his divorce"

I don't care anymore than what happened to the Sonic Youth marriage (cept I have no interest in their solo shit)

anyway I saw The Report today at MoMA (Burns and Driver q&a) and it's fine, really, for a muckraking film that almost ends by lionizing John McCain

a lot of the details correspond, and obviously he's drawing from it, as an artist. but you're right, it's not auto fictional, it isn't really about his divorce. but I can't take whatever he has to say about divorce seriously, normally I wouldn't care but I think it's cowardly and not interesting to REALLY make the movie of what happened. I think Marriage Story wants to be a semi-autobiographical exculpation of behavior far more contemptible than shown in the film.

Otherwise, what's there to talk about? Baumbach annoys me.

https://en.m.wikipedia.org/wiki/My_Brilliant_Career_(film)

flappy bird otm for the most part, but I didn't dislike the film, but, man, does Edward Lachman save it.

above all, an absolutely disgusting exercise in cleansing the soul of a man who cheated on his pregnant wife and had the gall to make a movie about his divorce and make the dude's affair with a stagehand brief. Come. On.

but why do you care?

Knives Out (Johnson, 2019) 7/10
Portrait of a Lady on Fire (Sciamma, 2019) 8/10
Waves (Shults, 2019) 5/10
Dark Waters (Haynes, 2019) 5/10
Clemency (Chukwu, 2019) 7/10
Parasite (Bong, 2019) 7/10
Uncut Gems (Safdie, 2019) 7/10
Marriage Story (Baumbach, 2019) 7/10
Duel in the Sun (Vidor, 1946) 5/10

I care to the extent that the pedestrian liberal humanism of the film is so at odds with its much more interesting and perverse circumstances of the artist's inspiration. I know this isn't his first movie about divorce (or a wedding), and I'm not a fan, but the 'confessional' tone of the movie is just as prefab and cliche as its conclusions. Saved by its performances, and it's a decent chunk of the movie. Taken on its own, a mediocrity. I don't think he's ever made a particularly good or interesting movie except Greenberg, his only masterpiece. Already being biased going in, of course I hated it.

Les Mistons (Truffaut, 1957) minor
The Last Jedi (Disney; Johnson, 2017) 3/10 finished it this time. i bailed at the casino planet last time. tonally the movie's a mess, but there's a few good ideas in there.
Won't You Be My Neighbor? (Neville, 2018) 8/10
A Beautiful Day in the Neighborhood (Heller, 2019) 7/10
Knives Out (Johnson, 2019) 7/10
The Irishman (Netflix; Scorsese, 2019) 6/10

xmas fest
A Christmas Carol (Marin, 1938) 4/10
The Bishop's Wife (Koster, 1947) 5/10
Scrooge (Hurst, 1951) 6/10
The Holly and the Ivy (O'Ferrall, 1952) 5/10
The Junky's Christmas (1993)

The Nightingale.
Pretty brutal. Intentionally dark and it seemed the aspect ratio was odd. In the cinema I was in the screen was kept square which I think is odd these days. Is that true everywhere.
Tasmanian revenge western that spends a lot of time in people's original languages. Here irish and aborigine.
Did wonder how western invented some of the guide's rituals were.
Pretty brutal yeah. Shows how utterly nasty colonisers could be. Does seem to get a bit amateur in places also seems to drift off at the end. But quite enjoyed it.
God those guys are wankers though.

The Nightingale is in "Academy ratio" of 1.375 to 1 (as were Cold War and First Reformed last year); also in current release now, The Lighthouse is in a silent-era ratio of 1.19 to 1, even closer to square.

the Academy Ratio trend is cool because hopefully more audiences will think about aspect ratios

The Lighthouse is in a silent-era ratio of 1.19 to 1, even closer to square.

It actually dates from early sound-on-film processes.</film pedantry>

Mommy (Dolin, 2014) was shot in 1:1 ratio, apparently to heighten the sense of claustrophobia. I'm just wondering what happens when the average viewer puts the DVD in their player and the image is automatically stretched to fill a modern widescreen TV.

ty jlu

xpost it's cool in a theatre with a projectionist, I saw First Reformed and Lighthouse in a multiplex that left grey on both sides in the latter, and grey on all four sides in the former, plus the house lights on

oh whoa! No no no no! yeah that sucks, I've noticed the less that people are in projection booths, the more botched projections and curtains that don't get moved