Heroes of the East

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Heroes of the East

Film discussion and banter


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Masterofoneinchpunch
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    Brian T
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    Post  Brian T Tue Nov 08, 2011 12:43 pm

    Masterofoneinchpunch wrote:Have you seen other of his directed films?
    I've seen none of his westerns, as far as I know. Of the rest, I've seen these:

    T-MEN
    HE WALKED BY NIGHT
    (partially directed by Mann)
    SIDE STREET
    BORDER INCIDENT
    THE GLENN MILLER STORY
    EL CID
    FALL OF THE ROMAN EMPIRE
    (now one of my favourite historical epics)


    Masterofoneinchpunch wrote:I know if Criterion could, they would release the film
    I found out my $3 Big Lots NASHVILLE DVD is actually out of print (and fetching a pretty penny I'm happy to try and get after I make a backup). Perhaps it might make its way to Criterion after all, but you're right about "negative" extras. It might be more acceptable if they looked at tany "controversy" in the context of the film's original release and whatever musical backlash it engendered (preferably with people who spoke out at the time), rather than just having a bunch of contemporary industry types or singers come on and criticize the music with hindsight. Personally, I wouldn't say the songs are truly bad, just not very good.

    Apparently Altman told most of his actors playing singers that casting was conditional upon their writing songs for their characters to sing, which probably explains the below-grade lyrics and perfunctory "twangy" arrangements (though the latter are well-played by what appear to be genuine Nashville session players).
    Masterofoneinchpunch
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    Post  Masterofoneinchpunch Tue Nov 08, 2011 2:08 pm

    Brian T wrote:
    Masterofoneinchpunch wrote:Have you seen other of his directed films?
    ...EL CID
    FALL OF THE ROMAN EMPIRE
    (now one of my favourite historical epics)
    ...

    I've promoted these films many times (maybe here, but I'm pretty sure on HKMDB). I tend to say FALL OF THE ROMAN EMPIRE is one performance away from a masterpiece (guess who Very Happy), but seriously any film than looks so beautiful and kills the studio which made it is cool Smile. The supporting actors are awesome (which only makes the lead look worse). I've lent both to several people. While I'm a big Charlton Heston fan, I still prefer FALL OF THE ROMAN EMPIRE (wish he was the lead though) which seems to not be the consensus though I have talked/written to several who share the feeling.

    I used to work with a Stephen Boyd Very Happy.

    I would not be surprised if Criterion put out Nashville, in fact I expect it to eventually (with BD release).

    Back on negative comments; it is funny that you actually get a few on the Robinson Crusoe on Mars (I'm a fan of the film; I love the commentary) though I don't remember hearing any bad on Border Radio (I think my least favorite Criterion).
    Cash
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    Post  Cash Sun Nov 13, 2011 1:00 pm

    I've been away for so long; the dual intention of my post is to say I'm alive and well...and this is what I've been watching. Cal, all the best with your recent comedy endeavors and to everyone else -- I hope you're doing well, too. And now on with the show(s)...

    All that Heaven Allows (1955) A

    Gorgeous though some audiences were -- and understandably so -- confused as to what made Jane Wyman and Rock Hudson's romance so taboo other than say their socioeconomic statuses; the characters are supposed to be separated by a rather wide berth in age though its obvious even on-screen she's less than 10 years his senior. You might be more familiar with the German version of the same tale in Rainer Werner Fassbinder's "Ali: Fear Eats the Soul" (1974) or the reality check the film received once more in 2002's "Far From Heaven" which goes places filmmakers wouldn't have been allowed to even fathom in 1955.

    Blow Out (1981) A-


    I remember my dad picking this one up on VHS (in one of the those hideously over-sized plastic cassette cases replete with a still from the film masquerading as box cover art) when I was a kid. He told me "Blow Out" was the only film (at the time) that he could stand John Travolta in and my guess is it's likely because Travolta's portraying a man for the first time in his career here and one without a goofy accent to boot. Perhaps the best of Brian De Palma's back alley redoes of others' venerable works.

    Bride of Frankenstein (1935) A-

    For most this is preferable to its classic predecessor and I was once apart of that consensus but another look has me leaning towards "Frankenstein" (1931) as the crisper, leaner, sharper entry in the iconic series. Still, there's so much to love here and time has practically infused the two films together that they make for one of the genre's only seamless double bills.

    Casino Jack and the United States of Money (2010) A-

    Who would have thought that the man who wrote and produced "Red Scorpion" (1988) was a con artist? There's nothing here that's shocking given Americans like myself have grown accustomed to having their politicians -- regardless of what side of the aisle they sit on -- exposed for the frauds they are but all the same "Casino Jack" is yet another fine addition to documentary filmmaker Alex Gibney's growing oeuvre.

    Che: Part One (2008) / Che: Part Two (2008) B+

    If you're looking for inspiration then check out "The Motorcycle Diaries" (2004) because director Steven Soderbergh assumes you already know iconic revolutionary Ernesto "Che" Guevara intimately and rather than spend any of the film's 134 min on exposition imbeds the audience in the foliage with Castro's communist guerrillas in early '50s Cuba crosscutting the narrative with Che's controversial visit to New York City in 1964 where he addressed the United Nations. Some have argued it's an idealized version of the events -- a fairy tale, if you will -- but be that as it may it's hard to argue "Part One" (aka "The Argentine") doesn't hit its intended mark by rallying the audience around the title character. If nothing else Benicio Del Toro -- a dead ringer -- is spot-on and Steven Soderbergh's cinematography will likely leave you in a daze. "Part Two" (aka "Guerrilla") is a well made 135 min epilogue to the first film that frustratingly skims context and omits some of Che's most lasting words (spoken just prior to his execution in Bolivia). Still, it too is hardly a bore even if the lion's share of the film is spent watching Che's communist guerrillas run from U.S. sponsored Bolivian commandos.

    Child's Play (1988) B-

    Yeah, it's a killer doll film and the sequels plus an unnecessary reboot via Ronny Yu didn't do it any favors but I've always found "Child's Play" an otherwise unspectacular but competently made horror film. I hadn't seen it since I was in my teens but was relieved to see it still [mostly] holds up for better or worse.

    Dracula (1992) C+

    I revisited this one when it came to Hulu in hopes after all these years time had dulled its decadence and tamed its promiscuity and I could forgive Columbia Pictures for stunt casting Keanu Reeves and Francis Ford Coppola for casting Winona Ryder to make amends with the actress over "The Godfather: Part III" (1990). It unfortunately remains a mixed bag as its strengths are just as many including a very memorable prologue, a pitch perfect score, and Anthony Hopkins' sardonic turn as Van Helsing. Either version of "Nosferatu" remain the preferable adaptation of Bram Stoker's novel for me with all due respect to Bela Lugosi who lent perhaps the most to Dracula's iconography on celluloid.

    Drive (2011) B+

    I suspect this chic neon film noir will only improve with age.

    The Evil Dead Trilogy (1981-1992) B-

    I have never placed any of "The Evil Dead" films on the same pedestal as its cult of followers but each film's charm and innovation are hard not to be smitten by.

    For the Bible Tells Me So (2007) A


    What may sound like an arrogant retort from a Christian fundamentalist as to how they can justify not their disapproval of homosexuality but their hatred of homosexuals is in fact anything but in this telling documentary that features six devoutly Christian families and their reactions to their husbands and wives and sons and daughters coming out of the closet.

    Frozen (2010) B-


    Amateurishly written, directed, and acted but nonetheless chilling. I'm interested in seeing what the people behind this film might do down the road if they're ever able to hone their skills.

    House of Games (1987) C+

    The fact that I never fell for the con made me in fact feel like David Mamet had conned me (and to a lesser extent all those who sang its praises over the years, too). This is not to say I didn't feast on Mamet's dialogue but whether at his direction or not the actors delivering their lines as if they were on stage occasionally took me out of the rather speedy narrative.

    The Leopard (1963) A

    Supposedly Coppola was heavily inspired by this strikingly photographed and perfectly orchestrated slow burn when he made "The Godfather" (1972).

    The Man from Nowhere (2008) B

    South Korea has turned the revenge film into a cottage industry. This one was at least worth a rental and was made in-part to prove Won Bin wasn't just another pretty face and who knows -- maybe he isn't -- but it's hardly the same caliber as "Oldboy" (2003) or "The Chaser" which premiered the same year.

    There's more but I'm exhausted, need to return some of the aforementioned titles to the library, finish cleaning the kitchen, and pop a cold one or two over the Bears game in 40 minutes. I hope everyone's enjoying their Sunday afternoon.

    Cal, how about dropping me a line so I can listen to your set.









    Brian T
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    Post  Brian T Sun Nov 13, 2011 6:29 pm

    Masterofoneinchpunch wrote:I've promoted these films many times (maybe here, but I'm pretty sure on HKMDB). I tend to say FALL OF THE ROMAN EMPIRE is one performance away from a masterpiece (guess who Very Happy), but seriously any film than looks so beautiful and kills the studio which made it is cool Smile. The supporting actors are awesome (which only makes the lead look worse). I've lent both to several people. While I'm a big Charlton Heston fan, I still prefer FALL OF THE ROMAN EMPIRE (wish he was the lead though) which seems to not be the consensus though I have talked/written to several who share the feeling.

    I used to work with a Stephen Boyd Very Happy.

    Boyd is indeed the biggest detriment to ROMAN EMPIRE, in a role so obviously designed for Heston or someone of equal stature. The real standout for me was Christopher Plummer, who I thought gave an utterly brilliant performance. These two pictures, along with Samuel Brontein's 55 DAYS AT PEKING (which I really wish the Weinstein's had bothered to release as part of the Miriam Collection), along with other studio epics like CLEOPATRA are as fascinating for their behind-the-scenes misadventure as for the spectacle on screen. That whole rush to produce monster period epics in Italy and other European locations led to some spectacular failures that all but sealed the fate of "epic" moviemaking for good. Truly products of a very rarified era.


    Cash wrote:I've been away for so long; the dual intention of my post is to say I'm alive and well...and this is what I've been watching. Cal, all the best with your recent comedy endeavors and to everyone else -- I hope you're doing well, too. And now on with the show(s)...
    Welcome back. Again. Don't disappear so quickly this time. Always interesting to read what others have been up to besides Shawn and myself! Smile

    Cash wrote:Blow Out (1981) A-I remember my dad picking this one up on VHS (in one of the those hideously over-sized plastic cassette cases replete with a still from the film masquerading as box cover art) when I was a kid. He told me "Blow Out" was the only film (at the time) that he could stand John Travolta in and my guess is it's likely because Travolta's portraying a man for the first time in his career here and one without a goofy accent to boot. Perhaps the best of Brian De Palma's back alley redoes of others' venerable works.
    Good point about Travolta's maturity in this one. I think that's one of the reason's I've always liked it, though there's still some enjoyment to be found in his earlier roles, obviously: Laughing


    Cash wrote:Casino Jack and the United States of Money (2010) A- Who would have thought that the man who wrote and produced "Red Scorpion" (1988) was a con artist? There's nothing here that's shocking given Americans like myself have grown accustomed to having their politicians -- regardless of what side of the aisle they sit on -- exposed for the frauds they are but all the same "Casino Jack" is yet another fine addition to documentary filmmaker Alex Gibney's growing oeuvre.
    Thanks for reminding me of this one. Just added to my Library queue. When the Kevin Spacey version came out, this one slipped off my radar. Somewhere here I have a fantastic article about Jack Abramoff and his trail of slime from an old issue of Premiere Magazine — which long pre-dates either of these movies. When I was in the process of unloading/trashing my mags, I sliced out some of the better articles for posterity, and this was one I distinctly remember thinking would make and interesting documentary.
    This is probably the best-written article out there on Abramoff's RED SCORPION affair:
    http://www.salon.com/2005/08/17/abramoff_2/

    Cash wrote:House of Games (1987) C+The fact that I never fell for the con made me in fact feel like David Mamet had conned me (and to a lesser extent all those who sang its praises over the years, too). This is not to say I didn't feast on Mamet's dialogue but whether at his direction or not the actors delivering their lines as if they were on stage occasionally took me out of the rather speedy narrative.
    I'm kind of in the same boat on this one. First time I saw this, on video after its theatrical release, I didn't really find the con as clever as I though it would be after all the critical kudos. At the time, it was probably my first Mamet movie, so I wasn't as hip to his unique writing and dialogue skills as I am now. I revisited it about a year ago on Criterion's DVD and it still left me rather cold, despite a much bigger appreciation for Mamet's skill with dialogue. His later picture THE SPANISH PRISONER is sitting in my latest pile of library acquisitions, so I'll be checking that out in the next couple of days, trying to un-remember the mountains of praise heaped upon it just to be safe. Smile

    Cash wrote:The Man from Nowhere (2008) BSouth Korea has turned the revenge film into a cottage industry . . .
    I read a compelling argument somewhere during the last couple of years — can't remember where — that native Koreans (and other Asian cultures) tend to view such movies as redemption tales, not revenge tales, and I thought it true enough that I've started to analyze such pictures from that perspective, which often changes things slightly. I guess the "cool" part of it is that American distributors can still market them as revenge tales because they tend to play that way within to our western mindset.


    Cash wrote:Cal, how about dropping me a line so I can listen to your set.
    Ditto me on this. My hunt for bootleg video of the performance not unexpectedly turned up nothing. Laughing


    Brian T
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    Post  Brian T Sun Nov 13, 2011 6:55 pm

    A few more recent viewings:

    JONAH HEX (2010) 5/10
    Certainly watchable at 73 minutes (not including closing credits), but a LOT of wasted potential in this one. Probably needed a director with more than cartoons under his belt.
    RAGING BULL (1980) 8/10
    My hatred of boxing, boxers and boxing movies in general compelled me to rate this lower, but I simply couldn't deny the craft behind it, despite it's roundly repugnant characters.
    THE WRESTLER (2008) 9/10
    Don't hate wrestling so much, just think its stupid and ignore it, but this was one of the best tales of a broken-down has-been I've ever watched. Stunning performance by Mickey Rourke.
    THE BRIDGE (Documentary; 2006)
    WHO KILLED THE ELECTRIC CAR (Documentary; 2006)
    INTO THE MIRROR (Korea; 2003)
    Some fairly original ideas in this, but the execution delivers few of the scares that they call for, and the resolution of the central mystery would require countless people to have no sense of smell for several weeks! Laughing I've seen bits of the U.S. remake on TV, but should sign it out for a better comparison. Could it be a case where they improved upon the Asian original? Don't know.
    THE GREEN HORNET (2011) /5
    Just an awful, awful movie. That 4 score is mostly for production design, cinematography and certain special effects, if anything. I suppose Seth Rogen thought it would be ironic and therefore funny to squeeze his increasingly tiresome frat-slacker screen persona into the vaunted shoes and fedora of a somewhat musty old pulp crimefighter, but it just doesn't work, even as a wink-wink mockery of the inherent silliness of the concept of a costumed crusader who lacks any special skill. The car's still cool, though. As a lead writer on the project, Rogen's so far out of his element it's almost painful to watch. The action sequences lack unrealistic and sloppy, as evidenced early on by a simple police car that flips upside down then plows on its roof through a storefront window the wrong end first, and a later showcase freeway car chase in which ALL of the "civilian cars" are clearly driving on the shoulders of the road so the filmmakers would have to spend less on vehicular choreography. The biggest, house-trashing-est brawl in the movie is between Green Hornet and Jay Chou's Kato and seems to deliberately reference the famous Peter Sellers-Burt Kwouk routines from the 70's PINK PANTHER movies, but why? The best character development they could find for villain Christoph Waltz was to make him faux-insecure about his relevance, fearsomeness, and fashion sense. Oh man . . .
    THE SEARCHERS (1956) 9/10



    Masterofoneinchpunch
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    Post  Masterofoneinchpunch Mon Nov 14, 2011 12:19 pm

    Brian T wrote: ...I read a compelling argument somewhere during the last couple of years — can't remember where — that native Koreans (and other Asian cultures) tend to view such movies as redemption tales, not revenge tales, and I thought it true enough that I've started to analyze such pictures from that perspective, which often changes things slightly. I guess the "cool" part of it is that American distributors can still market them as revenge tales because they tend to play that way within to our western mindset.
    ...

    Well the redemption mindset is quite popular among Christian themes and with such directors as Robert Bresson and Paul Schrader. When I first saw that film I thought along the lines of "redemption" partially because the assassin and western genres are full of this line of thought. In fact redemption films are among my favorite themes (sometimes with the psycho loner genre, one of my favorite genres Very Happy).
    Masterofoneinchpunch
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    Post  Masterofoneinchpunch Wed Dec 14, 2011 12:12 pm

    It's been awhile since I've seen a HK film I thought might be in my top 50. The HK films I've seen since late Sept. (and several of these are possibly top 100, but most likely not top 50; I really liked Golden Swallow, The God of Cookery, Inner Senses and The Supreme Swordsman):

    Golden Swallow (1968: Chang Cheh) Hong Kong
    Magic Story (1987: Lau Bing-gei) aka Corpse Master Hong Kong
    Blood Brothers (1973: Chang Cheh) Hong Kong
    The Avenging Eagle (1978: Sun Chung) Hong Kong
    Inner Senses (2002: Law Chi-leung) Hong Kong
    Killer Clan (1976: Chor Yuen) Hong Kong
    Seeding of a Ghost (1983: Yeung Kuen) Hong Kong
    The God of Cookery (1996: Stephen Chow/Lee Lik-chi) Hong Kong
    Shaolin (2011: Benny Chan) China/Hong Kong **½/**** (coproduction so would not count on my top HK list anyways)
    The Sword of Swords (1968: Cheng Kang) Hong Kong
    The Supreme Swordsman (1983: Keith Lee Baak-ling) Hong Kong
    The Duel (2000: Andrew Lau Wai-keung) Hong Kong

    However, this is a film I've wanted to watch for a few years. This is a romantic comedy/drama a genre I haven't seen too much in HK film (though they are made, I just haven't seen as many as I should and they tend not to be as popular outside of HK). It was very popular in HK when it was released, winning a ton of HK Film awards. Plus it still remains critically popular being number 62 in a [url="http://www.icheckmovies.com/list/the+best+100+chinese+motion+pictures/"]Hong Kong Film Awards top 100 list of films[/url].

    ??) C’est La View, Mon Cheri (1993: Derek Yee Tung-sing): A moving tale of a curmudgeon musician (Lau Ching-wan in one of his first break-out roles) whose difficult nature him often gets the best of him and has caused him to be ostracized in his field and pushed his girlfriend (Carina Lau) to break-up with him. This is until he is won over by a perky street performer Min (Anita Yuen in one of the most charming roles I have seen; up there with Faye Wong’s role in Chungking Express) who inhabits the tenement building he has rented. Her pert nature has been helmed by previous bouts with leukemia in her youth. While the last act of the film is predictable, the performances are brilliant, funny and touching. This was a winner of several HK Film Awards including Best Picture, Best Director and Best Actress.

    Has anyone else seen this? Brian?

    Cash
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    Post  Cash Wed Dec 14, 2011 1:30 pm

    Golden Swallow (1968: Chang Cheh) Hong Kong

    Mediocre; Chang Cheh was all wrong for this sequel to the seminal "Come Drink with Me" (1966).

    Blood Brothers (1973: Chang Cheh) Hong Kong

    To date my favorite Chang Cheh film and one of Shaw Brothers' standout martial art-dramas.

    The Avenging Eagle (1978: Sun Chung) Hong Kong

    I've had it laying around on VCD for years despite all the word-of-mouth.

    Inner Senses (2002: Law Chi-leung) Hong Kong

    A good ghost story made creepier by star Leslie Cheung's untimely death.

    The God of Cookery (1996: Stephen Chow/Lee Lik-chi) Hong Kong

    For me, it was one of those films that was even better the second time around.

    The Duel (2000: Andrew Lau Wai-keung) Hong Kong

    I saw the first half in college and hated it which means nothing because (a) I didn't see all of it and (b) was in college where I saw plenty of films I changed my mind about years later for better or worse.
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    Post  Brian T Thu Dec 15, 2011 12:03 pm

    I may have some comments about a couple of Shawn's recent viewings later on, but for now, here's what I've seen since my last post courtesy of my local library branch, with comments wherever:

    HARRY POTTER & THE DEATHLY HALLOWS PART 1 (2010) 7/10
    One left . . .
    DAY WATCH (2007) 6/10
    I'm somewhat tempted to think that there's more to this than I can appreciate because I'm not Russian, but considering the continual favouring of style over substance that marks most of director Timur Bekmembatov's work to date, I'm not so sure it isn't just shallow philosophizing wrapped in flashy special effects sequences that all too often echo imagery already seen in American films, as if the director had a mental list of spectacles he witnessed in American movies that he needed to check off as he went along (Rolling ferris wheel from 1941? Check! Freeway vehicle chase from MATRIX 2? Check. Ad infinitum.)
    BRIGHT FUTURE (2003; Japan) 6/10
    May drop this to a five upon further introspection. A rather dreary, pointless film.
    AMBIVALENT FUTURE (2003; Japan) 7/10
    This is a 75-minute making-of documentary about BRIGHT FUTURE, and it's actually more interesting than the feature itself, shedding some insight into the production process behind low-budget Japanese arthouse cinema. Quite a contrast to the hubbub and drama that seems to attend the making of many movies in the west.
    HARAKIRI (1962; Criterion) 9/10
    BEING JOHN MALKOVICH (1999) 8/10
    CAPTURING THE FRIEDMANS (2003) 9/10
    ANTITRUST (2001) 7/10
    Despite tanking when it was released, I suspect this has aged quite well, thanks to its reasonably realistic depiction of computer programming and programmers, and the cutthroat business world they were then helping to build. I'm sure there's plenty of liberties taken for the sake of thriller conventions, but compared to something like HACKERS, ANTITRUST is the SOCIAL NETWORK of its day. Laughing
    FORT APACHE, THE BRONX (1981) 6/10
    This might've made a better TV series, since there seems to be about fifteen different disconnected storylines running through it, and not enough focus on the one or two that should've mattered.
    MICROCOSMOS (1996) 8/10
    THE YES MEN FIX THE WORLD (2009) 8/10
    A dramatic improvement over their first documentary, but still lacking a certain punch. Perhaps a third go-round will knock one out of the park for these guys?
    BELLE DE JOUR (1967) 9/10
    Another Bunuel I'll need to buy at some point! The library's copy is the older Miramax Edition, which is fine except for a subpar commentary. Hopefully the one on the Criterion Blu-ray is better.
    LEGION (2009) 6/10
    PRIEST (2011) 6/10
    THE LAST LAUGH (1924) 8/10
    If it weren't for that ludicrous "upbeat" ending, this would probably be one of the greatest silents of all.
    DOGMA (1999) 6/10
    LIVE IT UP! (1964) 6/10
    Found this for $1 in a department store bargain bin. It's a British rock 'n roll movie featuring a very young David Hemmings and various popular rock bands of the day (Gene Vincent, Jenny Moss, The Outlaws, Patsy Ann Noble and others) singing songs by the legendary but rather tragic Joe Meek. Found the sequel BE MY GUEST in the same bin a few months back, so this was a nice little surprise.
    BROTHER'S KEEPER (1992; documentary) 9/10
    ANIMAL KINGDOM (2010; Australia) 8/10
    SUMMER WARS (2009; Japan; Anime Feature) 8/10
    REDBELT (2008) 7/10
    Like all David Mamet films, this required the usual adjustment to his dialogue style in the early running. Not my favorite of his films, but not bad.
    THE SPANISH PRISONER (1997) 8/10
    Another Mamet,
    HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY (2008) 5/10
    The original was no classic, but this was just offensive for the sake of being offensive.
    CHARLIE AND THE CHOCOLATE FACTORY (2005) 7/10
    WILLY WONKA AND THE CHOCOLATE FACTORY (1971) 8/10
    Saw this a couple of times as a kid and it never did much for me. Still doesn't, but I can't deny the craft involved on all fronts.
    THE FINANCES OF THE GRAND DUKE (1924) 6/10
    CRAZY HEART (2009) 8/10
    FASTER (2010) 7/10
    Better than I thought it would be. The Rock should do these kinds of pictures more often. And yes, I'm actually looking forward to the G.I. JOE sequel he's in, now that I've seen the trailer.
    ROLE MODELS (2008) 7/10
    THE SOUND OF MUSIC (1965) 8/10
    Another one caught piecemeal on TV through the years. Figured it needed closure. Great movie, but not one I'd ever need to revisit.
    GILDA (1946) 8/10
    Quintessential Rita . . . Wink
    THE LEGEND OF ZORRO (2005) 6/10
    HANOVER STREET (1979) 6/10
    This was a minor entry on my "wanna see" list for decades. Now I know why. It's World War II for the Harlequin Romance-and-housewives set. I can understand Harrison Ford taking on a variety of roles post Star Wars to avoid being typecast, but he's really out of his element here, despite Peter Hyam's typically glossy visuals. The meet-cute between him and Lesley Ann Down that opens the film is ridiculous.
    THE AFRICAN QUEEN (1951) 9/10
    ANVIL: THE STORY OF ANVIL (2008) 8/10
    EAST OF EDEN (1955) 9/10
    REQUIEM FOR A DREAM (2000) 7/10
    BRIDGET JONES DIARY (2001) 7/10
    BRIDGET JONES: THE EDGE OF REASON (2004) 4/10
    A perfect example of how to ruin a good thing. While this character in real life would be utter man-repellent, the first movie actually pulled off the miracle of NOT making her seem like a self-loathing psycho. The sequel doesn't fare so well, and makes here rather dumb to boot.
    CHICKEN LITTLE (2005) 6/10
    Pretty sad to compare this to what Pixar was doing at the time. It's no wonder Disney brought John Lasseter onboard to help out with BOLT.
    BOLT (2008) 8/10
    THE ADVENTURES OF MILO AND OTIS (1986; Japan) 6/10
    This left a slightly bad taste due to the treatment several animals must surely have underwent to achieve certain scenes in the picture. Turns out the film was (and still is) fairly controversial for just that reason. I'm surprised it's had such staying power, frankly.
    BEST WORST MOVIE (2009) 9/10
    Great to finally see this. I'm utterly and unscientifically convinced that I was one of the few people who reviewed TROLL 2 in an actual daily newspaper when it first got dumped on VHS back in 1991. Hated it then, hate it now, but this documentary is an excellent lesson in how movie "cults" can't be created so much as just allowed to happen. While laugh-along screenings of TROLL 2 in rep houses became a mini-phenomena in and of themselves, attempts on the part of leading man and real life dentist Dr. George Hardy (among others associated with the films) to parlay his newfound popularity into a side career on the convention circuit and at a screening in his hometown only leave him happy that he has such a lucrative day job.
    BRINGING UP BABY (1938) 9/10

    Finishing up THE STING (1973) tonight. This is another one I caught in bits and pieces on TV during my childhood, and therefore in need of some formal closure.

    And the binge continues, hopefully with an end in sight . . . Laughing



    Last edited by Brian T on Tue Dec 20, 2011 11:34 am; edited 1 time in total
    Masterofoneinchpunch
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    Post  Masterofoneinchpunch Thu Dec 15, 2011 5:02 pm

    Golden Swallow (1968: Chang Cheh) Hong Kong

    I like this film, but what is interesting is that it is one of Stephen Teo's favorite films. I've always have a lot of respect for his writing and what he has done for Hong Kong cinema and his thoughts on this have helped helm my view of it.

    Brian couple of rambling thoughts: I'm with you on Redbelt (I watched House of Games recently) as I gave it a passing grade (7/10) but had some issues with it.

    One's I'm at 9 or 10: HARAKIRI, BELLE DE JOUR, THE LAST LAUGH (which I actually really love), WILLY WONKA AND THE CHOCOLATE FACTORY, THE AFRICAN QUEEN, BRINGING UP BABY, THE STING.

    I still need to see EAST OF EDEN.

    The last Harry Potter (which I saw in the theater) is quite good and a step up above part 1.

    I enjoyed J. Edgar quite a bit as well as Hugo.

    Work has been very busy lately, which is why I went from lots of Halloween writing to very little writing. My unfinished review of:

    J . Edgar (2011: Clint Eastwood) ***½/****:

    I am quite impressed by the Eastwood directed films over the past few years (still have not seen Hereafter yet). I watched this in the theater followed by Invictus on DVD a few days later and both are solid directed movies though I prefer J. Edgar of the two.

    The storyline takes a flashback structure with the impetus here being J. Edgar dictating his memoirs where you get to see the alleged reality of his rise starting as an underling for the U.S. Attorney General A. Mitchell Palmer and his later founding of the FBI and the many years as director.

    There was a critically crushing review in my local paper (syndicated from elsewhere, but currently cannot find the source) that focused on the homosexual aspect of the film and the unintended giggles from the audience with a few of the scenes. The audience I sat through did laugh at a few of those scenes, but first it is such a small part of the film that a review focused on just that is ultimately ridiculous and second I feel those scenes would play different if one was not influenced by what an audience thinks. But I think the film does well in dealing with the sexually conflicted character and the miasma of bad and conflicting information out there.

    Some of the faults of Eastwood seem to have been inherited from his influence from Don Siegal and Siegal’s “good enough” approach. Sometimes you find little performances that you wished he would have tweaked or had more of a perfectionist approach such as with the makeup of … [the makeup was Clyde Tolson]

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    Post  Brian T Fri Dec 16, 2011 10:44 am

    Masterofoneinchpunch wrote:THE LAST LAUGH (which I actually really love)

    But what about that fantastical about-face at the end? I suppose it might have worked as audience wish fulfillment of the highest order, but it just seems so heavy-handed and crass. I actually felt that it turned my sympathies somewhat against the doorman the longer it went on. Neutral

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    Post  Brian T Sat Dec 17, 2011 12:14 am

    Masterofoneinchpunch wrote:C’est La View, Mon Cheri (1993: Derek Yee Tung-sing): A moving tale of a curmudgeon musician (Lau Ching-wan in one of his first break-out roles) whose difficult nature him often gets the best of him and has caused him to be ostracized in his field and pushed his girlfriend (Carina Lau) to break-up with him. This is until he is won over by a perky street performer Min (Anita Yuen in one of the most charming roles I have seen; up there with Faye Wong’s role in Chungking Express) who inhabits the tenement building he has rented. Her pert nature has been helmed by previous bouts with leukemia in her youth. While the last act of the film is predictable, the performances are brilliant, funny and touching. This was a winner of several HK Film Awards including Best Picture, Best Director and Best Actress.

    Has anyone else seen this? Brian?

    I do own this, but haven't watched it yet. I've read many good things about it, though. Looking forward to it some day.

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    Post  Cash Sat Dec 17, 2011 11:33 pm

    HARRY POTTER & THE DEATHLY HALLOWS PART 1 (2010) 7/10

    As gorgeous as it was to look at it was one of the series' duller entries for me. "Part 2" on a number of different fronts proved the perfect antidote. Stay tuned.


    BEING JOHN MALKOVICH (1999) 8/10

    I recently revisited this one and found it less than the perfect odd ball comedy that I once praised it as. Still, it retains a certain wealth of greatness though it's no longer a favorite comedy of mine. For all of the word-of-mouth the film received upon release over its creativity -- and deservedly so -- at its core "Being John Malkovich" is obviously about manipulation and that in and of itself is hardly original.

    CAPTURING THE FRIEDMANS (2003) 9/10

    One of the better documentaries to come out of the aughts and one that I doubt I will ever be at peace with despite having it in my collection and occasionally screening it for friends.

    BELLE DE JOUR (1967) 9/10

    A great film whose curious epilogue apparently perplexed even Bunuel.

    DOGMA (1999) 6/10

    I've met a number of weary Catholics and sullen atheists who love this film. I'm neither and found it mildly amusing.

    BROTHER'S KEEPER (1992; documentary) 9/10

    A troubling documentary though in my opinion hardly as unnerving as Berlinger & Sinofsky's next project which became a decade long fascination of mine and one in which I still stay appraised of all the latest developments.

    HAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY (2008) 5/10

    I took a chance in the theaters with the first film and was pleasantly surprised. I again took a chance with the sequel which I feared would be a commentary on Guantanamo Bay via Harold & Kumar. To that end I was pleasantly surprised again though I enjoyed it less than its predecessor. The third installment's trailer did nothing for me and I doubt I'll take a chance on video to once again see if it unexpectedly exceeds my rather low expectations.

    CHARLIE AND THE CHOCOLATE FACTORY (2005) 7/10

    Johnny Depp's Pee-Wee Herman-Marilyn Manson hybrid read of Willy Wonka just took me right out of what should have the perfect project for Tim Burton.

    WILLY WONKA AND THE CHOCOLATE FACTORY (1971) 8/10

    My friends and I still quote it. I would like to think we've lent to its cult classic status.

    ROLE MODELS (2008) 7/10

    Another pleasant surprise as I tend to dislike 98% of Seann William Scott's output. My Alma Mater had an organization similar to L.A.I.R. and that just made it for me. I haven't always understood the popularity of doctor cum comedian Ken Jeong but he's perfect here.

    THE SOUND OF MUSIC (1965) 8/10

    I watched it more for inventory than anything else and while I technically enjoyed it I will never need to see it again. Apparently one would be ill advised to bring the film up to co-star Christopher Plummer who was unhappy with the finished product.

    ANVIL: THE STORY OF ANVIL (2008) 8/10

    Intriguing; the band that influenced everyone else failed to go where everyone else ended up at (the top). And yet they never gave up -- technically still haven't given up. Who knows, the confrontations with shady bar owners in Europe could have been showboating for the cameras and the heartwarming conclusion in Japan could have been staged but I loved this documentary all the same.

    REQUIEM FOR A DREAM (2000) 7/10

    I haven't seen it since it hit video and while I never held it in the same esteem as my age demographic I remember loving the performances particularly that of Marlan Waynes who judging by his filmography at the time wouldn't have thought he had it in him.

    BRIDGET JONES DIARY (2001) 7/10

    Two female friends of mine made me watch it with the promise that for a chick flick open-minded male viewers could find merit in the film...and they were right. These same girls told me the sequel sucked and I again listened.

    BEST WORST MOVIE (2009) 9/10

    I enjoy "Troll 2" for the same reasons I enjoy "Reefer Madness," "Plan 9 from Outer Space," and more recently "The Room." This documentary cured a lot of the curiosity I suffer from after sitting through such affairs but in the end I think it was rather bittersweet for Dr. Hardy. His dubious new found fame had begun to grow mold as even the world's nicest guy was sick of endless quoting, countless screenings, and being used as a marketing tool at ghastly horror conventions where the film was completely misappropriated.
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    Post  Masterofoneinchpunch Mon Dec 19, 2011 2:28 pm

    Brian T wrote:
    Masterofoneinchpunch wrote:THE LAST LAUGH (which I actually really love)

    But what about that fantastical about-face at the end? I suppose it might have worked as audience wish fulfillment of the highest order, but it just seems so heavy-handed and crass. I actually felt that it turned my sympathies somewhat against the doorman the longer it went on. Neutral


    Even if you do not like the ending, it is still one of the most beautifully filmed movies of the 1920s. Compare the direction to Murnau's THE FINANCES OF THE GRAND DUKE and there is much more than a one-point difference in film quality. The most well known shot is the "revolving door" shot, but still the use of lighting (chiascurro) is beautiful. While I do not feel every film has to have an unhappy ending, it does not quite fit here (though I thought it would have been better for Murnau not to apologize for it). In a way it is interesting.

    Emil Jannings is also in top form. Though Brian, make sure you watch "The Last Command" (1928) which is one of my favorite films.
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    Post  Brian T Tue Dec 20, 2011 10:43 am

    You're right! There IS more than a one-point difference between the two films. Very Happy I just checked my IMDB ratings history and noticed that I gave FINANCES a 6, which in retrospect is probably on the generous side. But that about-face in LAST LAUGH still irks me. I can't argue at all with the production value, the inventive camerawork (I recall David Kalat's commentary mentioning that the dolly/tracking shot was invented in this film? That so?), the cinematography, or much of anything else, really. Emil Jannings is outstanding; it's no wonder he made the leap to Hollywood eventually. But Murnau was right to preemptively apologize for that ending. It's awful, and the film—even in the context of 1924—deserves a couple of demerits for it. From its outset, the ending feels like a welcome release from all the grief that precedes it—and I'm sure many spectators of the day found it extremely gratifying—but it turns Jannings' character into such a pompous, profligate ass (worse than any of those who belittled him during his time as a doorman) that I was honestly expecting one more tacked-on ending where he wakes up, realizes that his "windfall" was all a dream, and wistfully comes to the realization that he still has his family, his life and, most importantly, a job, even if it is a rather lowly position in the men's room. It's wouldn't have been a happy ending, or an unhappy one, just something more believable and even slightly positive. The character's demotion due to his age reveals his understandable near-obsession with status and keeping up appearances. But—intentional or not—that tempers his subsequent malaise. Murnau seems sympathetic to this behaviour, and wrings maximum pathos out of it, but then goes too far, even for 1924 I think, by rewarding it with a ludicrous "A wealthy relative has died!" plot twist. I think if Murnau or his writer had simply rethought what they were about to do, they could easily have come up with two or three alternatives that would've elevated this to a status nearer to perfection.

    Though Brian, make sure you watch "The Last Command" (1928) which is one of my favorite films.
    The von Sternberg silents collection from Criterion is already in my queue at the library. Very Happy It has quite a few holds on it, though, so it'll be a while before I get my hands on it. I also have the Criterion SCARLET EMPRESS lined up, which should be in sooner. It's funny, if you search "Criterion" or "Criterion Collection" at the Toronto Public Library's website, it returns about 230 hits, most of which I've signed out (or previously owned/viewed), but if you search individual titles, it turns out they have probably double that amount. Mind you, I'd much prefer to own the entire collection (as I think you must by now, Shawn! Laughing ), but I'll take what I can get these days. If nothing else, it helps me refine the list of eventual Blu-ray purchases.

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    Post  Masterofoneinchpunch Tue Dec 20, 2011 11:19 am

    Following Spoilers: After Hours, The Last Laugh, Psycho

    Out of the R1 Murnau box set THE FINANCES OF THE GRAND DUKE was probably my least favorite. It was OK, I saw the beginning several times before I eventually finished it. But what is weird about it is that it doesn't feel like a Murnau film (I know he was trying to do more of a comedy). The film just didn't interest me as well. The direction was more static than his later films, I'm not sure what he was going for.

    I can't really excuse the ending of THE LAST LAUGH (we will talk about the ending of THE LAST COMMAND when you get to that) though I can think of it this way. Some endings are studio enforced (I'm not sure of the case here) and some endings are done by the director because when you get attached to a project you just don't want to see the protagonist suffer (I'll have to think of some more examples of this -- though I can think of one instance where it worked for me: AFTER HOURS, originally Scorsese wanted the protagonist to die but because (filmmaker Michael Powell actually talked him into not killing off the character; Scorsese is a big fan of Powell). I'm not as sure of the PSYCHO ending (the psychiatrist scene, everything else before is excellent) as well (Roger Ebert echoes this sentiment).

    I really have liked the Von Sternberg I have seen (all of Criterion releases and a few other films with Marlene Dietrich, though I am missing the most famous of the bunch: THE BLUE ANGEL). SCARLET EMPRESS is probably a bit lower among the bunch because of some of the acting. The set design is awesome -- seriously well done. The direction is quite good, but I'm suspect on the acting. I can get more into that after you watch it.

    I don't have all the Criterions, just nearing 500 or so Very Happy (not kidding and not counting doubles or reissues). After Christmas I will concentrate on getting more Criterion (and more BDs).

    On a side note: several years back I took the same approach Brian took in studying more on cinema. While I love HK cinema (I hope you guys know that) I also love cinema in general. I have taken a holistic and eclectic approach to cinema and study as much as I can: all genres, all countries (though I have my preferences), all time periods etc... The last two years I have taken a less Criterion approach as well (though I keep my percentage at 65 percent seen of the collection), because there is so much out there and I want to be well-rounded.

    This year I've even concentrated more on shorts (well I did last year as well, this year I've kept notes) and watched from 150 to 200. When you work more on 1920s and before it is inevitable to have to watch many (though shorts would remain popular for several more decades).
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    Post  Brian T Tue Dec 20, 2011 11:32 am

    A few more recent views:

    From the library:

    LA DOLCE VITA (1960) 8/10
    THE BAD SLEEP WELL (1960) 8/10
    THE STING (1973) 8/10
    THE IMAGINARIUM OF DR. PARNASSUS (2009) 7/10
    (or perhaps a very high 6)
    ABSENCE OF MALICE (1981) 7/10

    Borrowed from family:

    THE ODESSA FILE (1974) 7/10

    Purchased:

    PLEASANTVILLE (1998) 8/10
    Better than I though it would be, although I found the characters played by Reese Witherspoon and Tobey Maguire to be a little too on-the-nose and caricaturishly performed before they went into the TV. I also found myself wondering how the people of Pleasantville were actually able to identify the colours when they started to crop up around town. They knew nothing but shades of gray, so when some ladies identify another woman's lips as being "really red", it doesn't make sense because they'd have no concept of what "real" red actually looked like. Then I realized I was over-thinking things a bit . . .

    Finishing up tonight:

    THE WINDOW (1949)
    from the Warner Archive collection. Good stuff so far . . .
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    Post  ewaffle Tue Dec 27, 2011 3:13 pm

    That's quite a haul from the library--I should think of it more often for movies since I am there a lot anyway. The Sting and Absence of Malice were good Hollywood movies--(The Sting very good) with lots of well used star power. The last scene of Absence of Malice, dominated by Wilfred Brimley of all people and a slimy Bob Balaban, was tremendous.

    re Pleasantville--caught it during first run. Great cast, particularly William H. Macy and Joan Allen, both of whom I used to see onstage in Chicago, Macy at St. Nicholas and Allen at Steppenwolf. For some reason although everything about it was very well done it just didn't click with me although I might watch it on DVD to see if my feelings have changed.
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    Post  Brian T Thu Jan 05, 2012 10:56 am

    ewaffle wrote:That's quite a haul from the library--I should think of it more often for movies since I am there a lot anyway.

    I'd recommend it to anyone, no matter the size of their town or city, especially in this era of dwindling resources at the retail and rental level. You might be surprised what they have on hand. You just have to expect a few smudges and scratches. Wink

    I'd probably stream more if Canada's providers (mainly Netflix) had anything near the selection you folks do in the states. But even then, there's the issue of bonus features, which aren't always available online for back catalogue stuff. I'm continually surprised by what the library system here has available. The library in my old home town of a mere 80,000 people is pretty impressive as well; I'm just regretful that I didn't take more advantage of it while I lived there. Making up for lost time now. Here's the latest batch:


    THE STONING OF SORAYA M (2008) 7/10
    APOCALYPTO (2006) 8/10
    These first two made for an effective (if completely unintentional) double bill, as both illustrate the persuasive power of religious group-think, and both carry a certain amount of high-minded "moral" disdain for the cultures they depict, which is tricky as they both were guided by directors with Christian backgrounds — off the deep end in Mel Gibson's case; less worn-on-the-sleeve in Cyrus Nowrasteh's. Nowrasteh's STONING paints its "tradition"-minded muslim villains — essentially every male in a small Iranian village, nearly all of whom conspire to help a shitheel husband divorce his faithful, abused wife so he can marry a 14-year-old — in only the deepest, most vile shades of black. It's effective, compelling, and perhaps too heavy-handed. In Gibson's APOCALYPTO commentary, during the early scenes set in the big Aztec "city", he makes some culturally dismissive remarks about a select few using their ill-gotten wealth and status and their phony uplinks with the gods to keep the ignorant masses in check (I'm heavily paraphrasing here, but you get the idea), seemingly oblivious to the fact that his own religion has functioned that way for centuries. I think in their zeal to brand Gibson as a nutter obsessed with physical suffering in the wake of PASSION OF THE CHRIST, many mainstream critics targeted this film's gorier bits (which are on par with similar FX work being done around that time in various movies and genres) as reason enough to question his sanity even as they praised his daunting directorial skills. I've also read several (likewise mainstream, published) reviews proclaiming the movie to be some kind of relentless marathon of running, chasing and slaughter, which it's decidedly not. The centerpiece chase sequence for which the film is largely famous occupies only about 30 minutes of the final 40 in a 2-hour-plus run time, and it's during this set-piece that you suddenly realize all the religious hoodoo and clan/caste warfare was simply spiraling into a combo-remake of THE NAKED PREY and THE MOST DANGEROUS GAME.
    AFTER HOURS (1985) 7/10
    Interesting cult item. This had been hovering at the outer edges of my "I should probably see that" radar for over 20 years, but I'd never really read any reviews of it until after I watched it a couple of days ago, and decided it was a very good movie but hardly a great one (perhaps it will grow on me?). Which is why the sheer number of awestruck reviews (both professional and amateur) have me so puzzled. Obviously this picture strikes a chord with people, but I think John Landis' similarly-themed INTO THE NIGHT, released a good eight months earlier in 1985, is a much sharper—and funnier—piece of work. Perhaps it lacks the subtext so many viewers seem to relish in AFTER HOURS, but considering Scorsese and his writer started out without a finished script, and only came up with an ending at the last minute after pondering more than one possibility, I'm have to wonder how much of that was intentional.
    SWEENEY TODD, THE DEMON BARBER OF FLEET STREET (2007) 8/10
    TRUE GRIT (1969) 8/10
    THE SCARLET EMPRESS (1934) 8/10
    I can see why this was deemed a flop upon its original release. The garish, opulent style that fills every frame to bursting and makes it so stunning to look at also hangs around its neck like an anchor, making it a very oppressive (if wonderfully cynical) experience. Still, I can't deny the sheer technical virtuosity on display. Louise Dressler's blowsy American accent drove me batty.
    BUBBLE (2005; Soderbergh) 8/10
    I'd love to see more films like this, where highly skilled filmmakers put complete non-actors to good use telling small-scale stories. Too often, well-intentioned no-name performers—most of whom have day jobs and no illusions of Hollywood glory—come off as embarrassingly amateurish in regional genre junk directed by video store wannabes with delusions of actual talent. But put a few of your friends and neighbours in the hands of someone like Steven Soderbergh and the result is fascinating and more "real" than most attempts by Hollywood to dramatize dead-end lives in the American midwest. BUBBLE is hardly some modern classic, but it's an intriguing and largely successful experiment that really should be tried more often.
    FAUST (1926) 9/10
    PORN STAR: THE LEGEND OF RON JEREMY (2001) 6/10
    THE T.A.M.I. SHOW (1964) 9/10
    To see this show live would've been a real treat. It's bursting with top performers, many of whom were just exploding onto the scene and most of whom would go on to become rock & roll and r&b legends. Apparently only the edited version of the film (minus the Beach Boys and a couple of other acts) was available in dismal bootleg form in the intervening four decades, which makes the uncut DVD version all the more special. Director Steve Binder cleverly (and purposely, according to his commentary) has all of the acts from the first half gather on stage for a big finale, then keeps them out of the film during the second half, leading viewers of the day to think he was cutting together two separate concerts (the show took place on two consecutive days). But he pulls out his wild card during the Rolling Stones' finale by having everybody come on stage for a big send-off, all but confirming the show as one for the ages. The DVD supplements and the booklet provide plenty of fascinating insight into the production of the show itself and the once-in-a-lifetime gathering of such a powerhouse roster of talent into a single location.
    THE PURPLE ROSE OF CAIRO (1985) 8/10
    LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE (2010) 7/10
    FOOD INC. (2008) 8/10
    WALKING DEAD: THE COMPLETE FIRST SEASON (2010) 8/10
    Thought the first episode of this series was brilliant, but I grew a bit tired with successive installments, which more often punctuated suspenseful passages with the shock of . . . more new characters rather than than the expected zombies. Not sure if I'll bother with Season 2 when it becomes available. I think I prefer my living dead tales to be feature length.
    MACHETE (2010) 5/10
    I've never been a wholesale fan of Robert Rodriguez's work — some of his stuff is cool, some of it (like the SPY KIDS movies) is embarrassing — but MACHETE has me seriously questioning his loyalty to his own country. I get that he's taking the piss out of ultra-right wing anti-illegal-immigration proponents — all of whom are portrayed as silly cartoon stereotypes, so take that, legal citizens!! — but actually supporting and encouraging illegal immigration into the United States is dunderheaded in the extreme. I mean, it's ILLEGAL for many reasons - what doesn't he understand about that? I realize that many of illegal immigrants have hard-luck stories (we get them up here in Canada too, albeit from different countries and via different modes of transport), but the havoc they wreak on existing social and economical systems simply cannot be denied, or downplayed by Danny Trejo chopping off heads, blowin' shit up and lovin' the ladies (!). Actually, in Robert Rodriguez's entirely-too-sympathetic worldview, it can.
    STRANGER ON THE THIRD FLOOR (1940; Warner Archive Edition) 7/10
    THE WINDOW (1949; Warner Archive Edition) 8/10
    Truly one of the great, unsung noirs, a fast-paced "boy-who-cried-wolf" tale with talented (and ill-fated) Bobby Driscoll as a chronic little fibber who witnesses his upstairs neighbours killing a man, then has an awful time convincing anyone—even his wary parents—that the murderous duo are now out to silence him! The climax, in which Driscoll is chased by a killer through a crumbling, gutted tenement building, rivals the elaborate, effects-laden setpieces that Hitchcock was beginning to use around the same time. Definitely a keeper.

    I said in an earlier post that while that my ratings in this thread tend to be high because I'm deliberately signing out mostly well-regarded, sometimes key films. However, on occasion I sign out movies I know full well will be crap, such as these:

    HONEY (2003) 4/10
    SCOOBY DOO (2002) 4/10
    SCOOBY DOO 2 (2004) 4/10

    This is what happens when a barely-existent curiosity is stoked by years and years of seeing these titles in every bargain bin from here to Biloxi (or someplace like that), as well as repackaged ad nauseam in various double- and triple-feature DVD sets. Oh well, small itches scratched, I suppose . . . Laughing



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    Post  Masterofoneinchpunch Thu Jan 05, 2012 2:02 pm

    Asian Films seen in 2011. Not sure I wanted to start a thread with this, but I parsed this information for fun (saw 420+ films in 2011 and about 283 shorts). Ignore superfluous information I have on there.

    Korea:
    The Man From Nowhere (2010: Lee Jeong-beom) Korea
    Sympathy for Mr. Vengeance (2002: Park Chan-wook) Korea

    Taiwan:
    Fantasy Mystery Force (1982: Chu Yen-ping) Taiwan/Hong Kong
    The Hole (1998: Tsai Ming-liang) Taiwan
    The Wedding Banquet (1993: Ang Lee) Taiwan/US
    What Time is it There? (2001: Tsai Ming-liang) Taiwan

    Mainland (and pertinent coproductions):
    Battle of the Warriors (2006: Jacob Cheung Chi-leung) aka A Battle of Wits Hong The Big Road (1935: Sun Yu) China aka The Highway
    Bodyguards and Assassins (2009: Teddy Chan) Hong Kong/China 2010 DVD Release
    The Last Emperor (1987: Bernardo Bertolucci) Italy/UK/China Criterion 422
    Legend of the Black Scorpion (2006: Feng Xiaogang) Hong Kong/China aka The Banquet
    Legend of the Fist: The Return of Chen Zhen (2010: Andrew Lau Wai-keung) Hong Kong/China
    The Lights of Ten Thousand Homes (1948: Fu Shen) China aka Myriad of Lights
    Little Big Soldier (2010: Ding Sheng) ***/**** Hong Kong/China
    Kong/China
    Looking for Jackie (2009: Fan Gang-liang, Jiang Ping) China 2010 US release
    Not One Less (1999: Zhang Yimou) China
    Queen of Sports (1934) China
    Shaolin (2011: Benny Chan) China/Hong Kong **½/****
    Song at Midnight (1937: Weibang Ma-Xu) China
    True Legend (2010: Yuen Woo-ping) China/Hong Kong (DVD Released 2011)
    Wushu (2008: Antony Szeto) DVD Released 2009 China/Hong Kong **/****

    Japan:
    House (1977) Japan Criterion 539
    The Face of Another (1966: Hiroshi Teshigahara) Japan Criterion 395
    The Loyal 47 Ronin (1958: Kunio Watanabe) Japan aka Chushingura
    Pitfall (1962) Japan Criterion 393
    Sanshiro Sugata Part II (1945: Akira Kurosawa) Japan
    Woman in the Dunes (1964: Hiroshi Teshigahara) Japan Criterion 394

    Thailand:
    Ong Bak 3 (2010: Tony Jaa/Panna Rittikrai) Thailand
    Tears of the Black Tiger (2000: Wisit Sasanatieng) Thailand

    Hong Kong:
    97 Aces Go Places (1997: Chin Kar-lok) Hong Kong Did Review
    All For The Winner (1990: Jeffrey Lau, Corey Yuen) Hong Kong
    All Men Are Brothers (1975: Chang Cheh/Wu Ma) Hong Kong
    The Avenging Eagle (1978: Sun Chung) Hong Kong
    The Bastard Swordsman (1983: Tony Liu Jun-Guk) Hong Kong
    Beast Cops (1998: Gordon Chan/Dante Lam) Hong Kong
    Blood Brothers (1973: Chang Cheh) Hong Kong
    C’est La View, Mon Cheri (1993: Derek Yee Tung-sing) Hong Kong
    Disciples of the 36th Chamber (1985: Lau Kar-leung) Hong Kong
    The Duel (2000: Andrew Lau Wai-keung) Hong Kong
    The Enigmatic Case (1980: Johnnie To) Hong Kong
    Executioner From Shaolin (1977: Lau Kar-leung) Hong Kong
    The God of Cookery (1996: Stephen Chow/Lee Lik-chi) Hong Kong
    Golden Swallow (1968: Chang Cheh) Hong Kong
    A Hero Never Dies (1998: Johnnie To) Hong Kong
    Heroes Among Heroes (1993: Yuen Woo-ping/Chan Chin-chung) Hong Kong
    Inner Senses (2002: Law Chi-leung) Hong Kong
    Ip Man 2 (2010: Wilson Yip) Hong Kong ***/****
    The Jade Tiger (1977: Chor Yuen) Hong Kong
    Killer Clan (1976: Chor Yuen) Hong Kong
    King of Comedy (1999: Stephen Chow/Lee Lik-chi) Hong Kong
    Kung Fu Zombie (1982: Hua Yi-jung) Hong Kong
    The Lady Hermit (1971: Ho Meng-hua) Hong Kong
    Laughing Times (1980: John Woo) Hong Kong Did Review
    The Legend is Born: Ip Man (2010: Herman Yau) Hong Kong DVD Released 2011
    Long Arm of the Law (1984: Johnny Mak) Hong Kong
    Mad Monkey Kung Fu (1979: Lau Kar-leung) Hong Kong
    The Magic Blade (1976: Chor Yuen) Hong Kong Did Review
    Magic Story (1987: Lau Bing-gei) aka Corpse Master Hong Kong
    Martial Arts of Shaolin (1986: Lau Kar-leung) Hong Kong/China aka Shaolin Temple 3
    Meltdown (1995: Wong Jing) Hong Kong aka High Risk
    My Schoolmate The Barbarian (2001: Wong Jing, Chung Siu-hung) Hong Kong
    The New Legend of Shaolin (1994: Wong Jing) aka Legend of the Red Dragon Hong Kong
    Return of the Bastard Swordsman (1984: Tony Liu Jun-Guk) Hong Kong
    Seeding of a Ghost (1983: Yeung Kuen) Hong Kong
    Shaolin Mantis (1978: Lau Kar-leung) Hong Kong
    Shaolin Rescuers (1979: Chang Cheh) Hong Kong
    The Storm Riders (1998: Andrew Lau Wai-keung) Hong Kong
    Supercop 2 (1993) Hong Kong aka Project S
    The Supreme Swordsman (1983: Keith Lee Baak-ling) Hong Kong
    The Sword of Swords (1968: Cheng Kang) Hong Kong
    Time and Tide (2000: Tsui Hark) Hong Kong
    Vengeance (2009: Johnnie To) Hong Kong
    Web of Death (1976: Chor Yuen) Hong Kong
    Where a Good Man Goes (1999: Johnnie To) Hong Kong
    Wu Yen (2001: Johnnie To, Wai Ka-fai) Hong Kong
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    Post  ewaffle Thu Jan 05, 2012 9:04 pm

    If I had been writing reviews in 1985 when I saw "After Hours" for the first time mine would have been awestricken. The cast was astonishing--two of the funniest women working in film/TV: Terri Garr and Catherine O'Hara; two others who if find very sexy and who can do funny very well: Linda Fiorentino and Roseanna Arquette. That's a real murderer's row. I don't recall that it had much of a 'Scorsese in New York' vibe but it may well have.

    "Into the Night" was another favorite from the mid-1980s. It didn't hurt that it included some quick nude scenes of Michelle Pfieffer.

    "Something Wild" (1986) with pre-boob job Melanie Griffith, a very scary Ray Liotta and an excellently nerdy Jeff Daniels seemed to come out of the same emotional/mental/cinematic space as the other two.
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    Post  ewaffle Mon Jan 09, 2012 5:37 pm

    Angel-A Luc Besson directs French/Moroccan actor Jamel Debbouze and Danish model-turned-actress (MTA) Rie Rasmussen in one of the best "jumping off a bridge into the Seine" movies I have seen. Among the others are "Girl on a Bridge" with Vanessa Paradis and Daniel Auteuil directed by Patrice LeConte--although she doesn't jump she certainly plans to--"Femme Fatale" with Rebecca Romjin and Antonio Banderas directed by Brian De Palma which features Rie Rasmussen being seduced by Romjin. There is actual jumping in "Femme Fatale" although it is part of an action sequence and not the way the leads meet each other.

    "Angel-A" is lovely, a feel-good movie from beginning to end without being sappy or sentimental. The contrast between Debbouze who is short, dark and kind of ugly and Rasmussen, tall, fair and kind of beautiful is always present but rarely emphasized. Since Angela is an angel we don't know if she uses her heavenly powers to help Andre or if she really is capable of beating a gangster with a crystal ashtray and rifling his safe.

    Shot in glorious black and white, well worth seeing.

    Midnight in Paris Woody Allen directs Owen Wilson, Marion Cotillard and Rachel MacAdams in a talky beautifully shot and generally fun movie. I had given up on Woody Allen years ago, figuring he was once a great filmmaker who had completely lost his touch so when a person who really knows movies suggested this I was skeptical.

    Cameos and featured roles from Kathy Bates, Adrien Brody, Carla Bruni, Michael Sheen and a bunch of others playing Salvador Dali, Man Ray, Gertrude Stein, etc. As one would expect there are lots of funny lines.
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    Post  Masterofoneinchpunch Tue Jan 10, 2012 9:13 am

    The Captains (2011: William Shatner):

    I thought this was quite good. Shatner does quite a suprisingly effective job in interviewing "The Captains" (Patrick Stewart, Scott Bakula, Christopher Pine, Kate Mulgrew, Avery Brooks, himself) especially when he tends to wax existentialism throughout the reviews (mortality seems to be more and more on his mind over the years Very Happy). As expected he sometimes makes it about himself, but he is free with praise and often leads the participants into topics that are rarely discussed by interviewers. Shatner is quite funny in this and does well to put his participants at ease. How he surprises Kate Mulgrew is a highlight of the film.

    Avery Brooks is strange, though I wonder how much was pretend and how much was serious. It is hilarious when he is tinkering with the piano while trying to spout a poetic statement out that is partially relevant to the question Shatner asked (sometimes his response is only through the piano keys and a bizarre gaze towards Bill).

    Patrick Stewart is just as stoic as his role as Picard when he discusses his failed marriages, the fame from Star Trek (he was not expecting the series to last), how his original seriousness for the role was slowly broken by a fun cast and crew. The interviews with him I feel are the highlights of the documentary.

    There is even a Christopher Plummer interview here as well. I suppose you can fit him in the documentary because he was a Klingon Captain (Hab SoSlI' Quch!)
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    Post  Brian T Wed Jan 11, 2012 7:53 pm

    ewaffle wrote:If I had been writing reviews in 1985 when I saw "After Hours" for the first time mine would have been awestricken. The cast was astonishing--two of the funniest women working in film/TV: Terri Garr and Catherine O'Hara; two others who if find very sexy and who can do funny very well: Linda Fiorentino and Roseanna Arquette. That's a real murderer's row. I don't recall that it had much of a 'Scorsese in New York' vibe but it may well have.

    "Into the Night" was another favorite from the mid-1980s. It didn't hurt that it included some quick nude scenes of Michelle Pfieffer.

    "Something Wild" (1986) with pre-boob job Melanie Griffith, a very scary Ray Liotta and an excellently nerdy Jeff Daniels seemed to come out of the same emotional/mental/cinematic space as the other two.
    You're spot-on about that cast, but I just thought the characters they played were so . . . weird, and unnecessarily so, at least to these senses. I don't know, maybe one has to be a big city "lifer" to get it. Having lived in one for only about 5 years, and having general disdain for the kinds of "downtown" affectations displayed by the characters (moreso than the actors playing them, if that makes any sense), I suppose my vision could be clouded here (although a 7 rating ain't that bad). Smile

    I dropped off some library discs at a different branch downtown on the weekend, and noticed they had the Criterion edition of SOMETHING WILD on the shelf there, so I'll be adding that to my queue at some point as I only saw a few bits of it on TV a long time ago.

    I also prefer the soundtrack to INTO THE NIGHT, which was front-loaded with awesome B.B. King tuneage and a handful of Motown gems. Would love to have seen that one released on CD.



    .
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    Post  Brian T Thu Jan 12, 2012 10:23 am

    ewaffle wrote:Angel-A Luc Besson directs French/Moroccan actor Jamel Debbouze and Danish model-turned-actress (MTA) Rie Rasmussen in one of the best "jumping off a bridge into the Seine" movies I have seen.
    I've seen the trailer for this on various DVDs over the years (including one I watched just last week) but Luc Besson has so consistently (and sometimes even enjoyably) signified style over substance to me—especially his directorial work but also in much of his writing as well—that I've been hesitant to sign it out. I probably will, but I may have difficulty setting aside the AVClub's take on Besson's output in the review for this very film: "Like the farces of commercial-minded countryman Francis Veber, Besson's gimmicky, crowd-pleasing romps embody so many of the faults endemic to American studio filmmaking that it's hard to watch his French movies, particularly Angel-A, without imagining an American remake."


    Masterofoneinchpunch wrote:The Captains (2011: William Shatner):There is even a Christopher Plummer interview here as well. I suppose you can fit him in the documentary because he was a Klingon Captain (Hab SoSlI' Quch!)
    Plummer also likely warranted inclusion because Shatner was his understudy at the Stratford Festival here in the mid-1950's, and he's a fellow Canadian of course!

    .

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