The Last Movie You Watched?

The Saloon
11521

Caught up with Conquest of Mycene (Ferroni / 1963) today which I had recorded from Movies4Men the other week.

Enjoyable Peplum with Gordon Scott playing the lead muscle man but, more importantly, with Rosalba Neri as the evil queen. Rosa looks magnificent throughout, even though she’s made up to look 20 years older most of the time. Nello Pazzafini shows up as the gladiator boss and Michel Lemoine (him out of Road to Fort Alamo) also shows up as the good guy Mycenean. One of the better Peps I think but that could just be because of Rosalba. 8)

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My last was Blood river from Terence hill… ;D

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Saw three movies this week on the MOOOV film festival in Turnhout, Belgium

OMAR (Palestine - Hany Abu-Assad, 2013)

Part love story, part thriller. Omar daily crosses the infamous wall that separates Israel from the occupied territories, to see his girlfriend. When not thinking about her, he’s discussing plans with his friends Tarek and Amjad how to free Palestine. After an assault in which an Israeli soldier is killed, Omar is almost immediately arrested by a secret service agent, who asks him to work for them …

Tense, well-acted movie with a particularly powerful denouement, but also a bit vague and indeterminate. It takes some insight in the conflict as well as the local culture to get some of the story twists.

3,5 out of 5

RETURN TO HOMS (Syria/Germany - Talal Derki, 2013)

A documentary about the civil war in Syria. For two years the director followed two close friends who were peaceful protesters at the start of the conflict, but took up arms after it became clear that president Assad was not prepared to give up his throne.

An interesting document that was attacked (by some) for being too one-sided (pro-Rebels, anti-Assad). Whatever your ideas about the conflict may be, this documentary won’t make you any wiser about who (or even what) these ‘rebels’ are fighting for. They don’t seem to have any idea themselves.

3/5

LIKE FATHER, LIKE SON (Japan - Kore-eda Hirukazu)

A successful businessman and his wife learn that their 6-year old son Keita was switched with another boy a few hours after he was born. Keita isn’t really a very active and intelligent child and after the two ‘parents’ have made contact with the couple that raised their real son, the businessman starts thinking about giving up Keita in order to get the fatherhood over his ‘real’ son. But what is real? Is a boy your son because he’s your flesh and blood or because you’ve raised him?

Kore-eda (After Life, Still Walking) hardly ever disappoints, and his new movie is a devastating experience, a movie that may change your entire view on family matters.

4,5 out of 5

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Well I’ve been busy too, kind of

Electric Dreams - 1984 - Steve Barron

This one brings back good memories yes it does. One of my favorite teen movie from the 80’s that doesn’t a big cult these days. The plot is great, for a teen movie, a love triangle like no either, a Boy a a girl and a computer. The acting was very good, I must confess that Virginia Madsen was in my dreams for a long time electric or not (Don’t tell brother Michael), was she really playing the cello. And there’s the mythical soundtrack. Cool stuff for sure, that even if a bit dated today is still fun to watch

Memphis Belle - 1990 - Michael Caton-Jones

Classical war film, that could have been made in the 50’s, is a pleasant film to watch one witha few good qualities. The most strange thing abotu it, is that its a funny movie, even if its not about a much fun subject like war, and its not funny like for instance Top Gun was, transforming war into a pleasant thing like a video game, no its funny because of the characters and their easy ways, a feel good movie that shouldn’t be one, but works well being one.
Good acting with some familiar faces some not so familiar back then, the best film from this director.

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[quote=“El Topo, post:11524, topic:1923”]Electric Dreams - 1984 - Steve Barron[/quote]I haven’t seen it but I do remember the song.

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[quote=“scherpschutter, post:1983, topic:1923”][url]http://img163.imageshack.us/i/filmimage1.jpg/[/url] [size=12pt]Cellular[/size] (2004, David R. Ellis)

In this movie you get two for the price of one: a thriller with Kim Basinger and Jason Statham, and a comedy with a teenage idol called Chris Evans. There’s definitely no synergy here: the thriller occasionally works, but is hampered by the silly comedy moments, the comedy could (who knows) have worked too, if they hadn’t tried so hard: if you can’t find great jokes, only moderately funny ones, don’t try to be hilarious, it won’t work.

The story is by the guy who also wrote Phone Boot: Kim Basinger is kidnapped in her her own house and seeks contact with the outside world with the help of a smashed mobile she has managed to put together. She gets Evans on the mobile, and here we go. It never stops moving, but we’re hardly ever moved because the combination of violence and comedy doesn’t work. William Macey is the only one who does something for both stories: he has a few funny moments, and shoots a few baddies.

Basinger isn’t bad, but a bit too hysteric (she still looks good at the age of fifty) and Statham is great as a sadistic villainous cop, but his srrong British accent is confusing in the LA setting. In LA you find almost everything, so why not a cop with a British accent? Who knows, but in a movie such things are simply distracting and eventually become irritating.

Maybe this is one of those ‘cool’ movies for the pop corn generation[/quote]

I generally agree. I thought the film was breezy fun from a Die Hard standpoint. -A fast-paced ‘after dinner’ date-movie before you head home for slow sex.

You described the stars’ performances perfectly. My least favorite scene was the boathouse-location. All that equipment… under Santa Monica Pier?

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Keep It Up Downstairs - Just what you’d expect from a 70’s British sex comedy, ridiculous but fun.

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Lovelace - Biopic of 70’s porn sensation Linda Lovelace. Thought it was pretty good, no idea how accurate it is though.

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Brothers Till We Die - Not seen it for a few years, I still find it enjoyable enough but it’s not one of Lenzi’s best.

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Keep It Up downstairs being still an 18 intrigues me, will have to give this one a view.

11529

Finally got around to seeing Shawshenk Redemption for the first time. I borrowed my friend’s blu ray.

I loved it. Can’t believe I took so long to see this classic film. The idea of watching a pretentious and sappy melodrama about 2 men in prison didn’t really appeal to me but boy was I wrong. Great film, great ending.

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[quote=“Col. Douglas Mortimer, post:11529, topic:1923”]Finally got around to seeing Shawshenk Redemption for the first time. I borrowed my friend’s blu ray.

I loved it. Can’t believe I took so long to see this classic film. The idea of watching a pretentious and sappy melodrama about 2 men in prison didn’t really appeal to me but boy was I wrong. Great film, great ending.[/quote]

It’s a nice movie, I didn’t have any real complaints about it, but what I don’t understand is the movie’s reputation as one of the best in history, it usually ends in the all time Top 10.

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I think it’s a combination of a) it IS a bloody good film, after all, and b) the pleasant surprise element, as illustrated rather well by the good Colonel there. The low expectations for a horribly titled crummy old period melodrama about a pair of geezers in prison for decades on end, which turns into, “F*ck! That was WAY better than I thought it was going to be!” That’s certainly how I viewed it too when I first saw it (I’m a King fan and I found the premise so dull I’d not yet bothered to read the novella), and I think that the surprise that it draws from the viewer gives it almost like an adrenaline boost in one’s perceptions of it. If that makes sense.

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I wouldn’t call myself a King fan, but I like his work. The novella is not the very best thing he ever did (I think The Body, from the same collection, Different Seasons might be his masterpiece, Misery is very good too), but not the worst either, it’s a fair story. It could be argued that the film is better than the book. I accept your arguments, when I first saw it that was my reaction too (Way better than I thought it would be) but I still find it remarkable that it is so enormously popular.

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Been trying to understand this for years, and have not come up with the reason(s), and yes I like the film. Papillon though is much more to my liking.

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But only in mainstream dominated lists. Like IMDB.

I checked the Sight and Sound List. It got one vote there, from a critic. At least more than other IMDB favourites, like The Dark Knight.

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[quote=“Stanton, post:11534, topic:1923”]But only in mainstream dominated lists. Like IMDB.

I checked the Sight and Sound List. It got one vote there, from a critic. At least more than other IMDB favourites, like The Dark Knight.[/quote]

Only in meanstream lists, yes. But even then it surprises me. Mainstream lists are often topped by films like Star Wars, The Godfather, Indiana Jones, etc. films I don’t care for (no, not even for The Godfather), but I can understand why people with a mainstream taste think they’re so f*cking special. In the case of Shawshank I just don’t get it. It would be like saying that Stephen King (again: I like him) is one of the greatest literary talents in history, on a level with Tolstoy or Thomas Mann.

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It would not necessarily. King wrote the book, this is a film.
And it is a mainstream film, and probably one which is touching.

As far as I remember it, the film did not make much of an impression when it was released here in Germany. I can’t even remember that I read anything interesting about it, while the other films at least became part of a discussion.

I should watch Shawshank the next time it is on tV.

11537

You Were Like a Wild Chrysanthemum (1955) - 8/10

Ballad of Narayama (1958) - 8/10

Dear Summer Sister (1972) - 6/10

Vivre sa vie (1961) - 10/10

Une femme est une femme (1961) - 6/10

Pi (1998) - 9/10

Une Femme Mariee (1964) - 6/10

Gozu (2003) - 7/10

Masculin féminin (1966) - 7/10

Prisoners (2013) - 9/10

A Bittersweet Life (2005) - 9/10

Bad Lieutenant (1992) - 8/10

Night and Fog (1955) - 8/10

The Road (2009) - 8/10

Hummingbird (2013) - 6/10

Irreversible (2002) - 8/10 - I still think the rape scene is far too long and exploitative.

Enter the Void (2009) - 9/10

The Hobbit The Desolation of Smaug (2013) - 5/10

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I don’t know. It hurts to watch it, but it should hurt.

But then you made now the 2nd half, up to the end. And that end is absolutely great, isn’t it?

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I brooked some more shocking instants as I had been at least prepared for what to expect from the film. I must confess I turned it off whilst watching it for the first time, for I had some foreboding that rapist Tenia would cleave Bellucci’s face with his dagger. “Fortunately”, he just mangled her, prompting her to get into coma. Anyway, as for the ending, yes, I believe it’s stunning, Stanton. It’s as stunning as it is acutely depressing and excruciating in its candour. The denouement also expounds why such an offbeat structure was utilised in the flick.

Enter the Void is even greater. I would call it one of the greatest films I’ve seen in a while, but I have to see the movie for the second time to be absolutely certain about my opinion - let’s face it, it’s not your usual film, therefore, calling it one of your favourites already after the first viewing would be nothing but a reckless statement. Anyway, Gaspar Noe is a visual master to me. What a pity he isn’t more prolific, I’d like to see more of his films. I’ve yet to see his first motion picture, can’t wait.

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The scene entailed me to sweat as though I had had a fever. Well, when it comes to extreme art like this, it’s bound to divide audiences, but the main problem I’ve got with with such ventures is that I’m not going to sit in front of my PC and utter to myself: “Hey, I have some spare time… fuck it. I need something sublime, I’ll watch Irreversible tonight”. It’s simply not the sort of material that I’m going to re-watch frequently, as it fucking hurts. Woman in the Dunes likewise hurts, but it isn’t a physical pain, whereas Irreversible sort of provides me with such pain. On the other hand, Come and See is one of my favourites and it is profoundly perturbing and oppressive… phew… I don’t know. I’ll perhaps enjoy Irreversible after the second viewing even more, who knows. It’s difficult to reason in such field, as my evaluation primarily depends on my impressions and sentiments that issue from my irrational part of nature.