What's the last movie you've seen?
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  What's the last movie you've seen?
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Author Topic: What's the last movie you've seen?  (Read 626405 times)
Robespierre's Jaw
Senator Conor Flynn
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« Reply #1525 on: April 05, 2008, 04:50:59 PM »

Primary Colors (1998)

One of my favourite political films of all time. Poor Freddy Picker Sad
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Miamiu1027
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« Reply #1526 on: April 05, 2008, 04:52:16 PM »

Idiocracy
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StatesRights
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« Reply #1527 on: April 05, 2008, 05:28:17 PM »


Terrible movie, wasn't it?
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Miamiu1027
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« Reply #1528 on: April 05, 2008, 07:04:39 PM »


decent message, funny at times, grew old after a while and lacked good writing.  2 stars
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bullmoose88
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« Reply #1529 on: April 05, 2008, 07:07:45 PM »

"American Haunting" with Donald Sutherland.

Not a terrible movie actually.
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« Reply #1530 on: April 05, 2008, 11:47:21 PM »

Despite many funny parts and a great concept Idiocracy is definitely Mike Judge's weakest work. The "stupid people" idea that was the whole point behind Beavis and Butt-head doesn't translate too well to live action, or a movie where the "normal" people are the protagonists rather than the idiots.
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Reluctant Republican
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« Reply #1531 on: April 06, 2008, 12:01:37 AM »

Legally Blonde 2. To be honest, I was really expecting more. It was exactly how I thought the first movie would be, which is to say, disappointing.
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Robespierre's Jaw
Senator Conor Flynn
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« Reply #1532 on: April 06, 2008, 02:14:15 AM »

In the Shadow of the Moon (2007)

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Beet
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« Reply #1533 on: April 06, 2008, 02:24:16 AM »

Birth of a Nation. I don't believe this was actually the first feature-length film; that title will go to The Story of the Kelly Gang, and pioneering in grand film scale must also be credited to the Italian industry before the start of World War I. The Italians had very cheap labor, good landscapes and some excellent architecture to create classical epics. However, this film apparently made quite an impact on the U.S. market. Intercutting scenes; the death-in-the-arms; the close-up; the battle scene and the pan. The first half was not nearly so racist and was almost a straightforward account of the Civil war.
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Tetro Kornbluth
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« Reply #1534 on: April 06, 2008, 05:51:53 AM »

I can't believe I agree with BRTD and Statesrights on Idiocracy. Actually thought it was the very thing it tried to satirize.

The last film I saw: My Brother is an only child. Pretty Mediorce, its no Best of Youth and suffers from really bad dialogue especially in the first half of the film (or maybe just bad subtitles).  It gets better though.
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exopolitician
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« Reply #1535 on: April 06, 2008, 07:14:10 AM »

The American President

I love that movie...
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« Reply #1536 on: April 06, 2008, 10:12:27 AM »

I can't believe I agree with BRTD and Statesrights on Idiocracy. Actually thought it was the very thing it tried to satirize.

Yes, and thus implied that it was making fun of whoever was watching it and laughing at the mindlessness.

I saw Vantage Point yesterday. I enjoyed it but it seemed way too much like a compact episode of 24. It was edited fairly well and climaxed well too.
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Tetro Kornbluth
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« Reply #1537 on: April 06, 2008, 02:05:33 PM »

I can't believe I agree with BRTD and Statesrights on Idiocracy. Actually thought it was the very thing it tried to satirize.

Yes, and thus implied that it was making fun of whoever was watching it and laughing at the mindlessness.

If that was the case, then Mike Judge should have made the lead a major intellectual snob, making him an "ordinary Joe" character just didn't work.

As for mindlessness, I didn't find particularly funny or easy to relate to. So on the level it didn't work for me.
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« Reply #1538 on: April 06, 2008, 02:14:24 PM »

South Park: Bigger, Longer, and Uncut: One of the most vile movies I have ever seen.  Very funny.
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Spaghetti Cat
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« Reply #1539 on: April 06, 2008, 08:30:15 PM »

American Gangster
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MasterJedi
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« Reply #1540 on: April 06, 2008, 09:21:03 PM »

South Park: Bigger, Longer, and Uncut: One of the most vile movies I have ever seen.  Very funny.

I actually watched this movie last night. I picked it up at Walmart when I went with a friend because it was in the bargin bin for $5.
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Platypus
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« Reply #1541 on: April 07, 2008, 02:15:38 AM »

Ladies and Gentlemen, I am the very model of a modern major procrastinator; in the last 24 hours I have watched: LA Confidential, Accepted, Get Ready to Be Boyzvoiced, The Football Factory and half of Indian Jones and the Temple of Doom.

Illegal intra-college file sharing doesn't help.

Some pretty good films there. You seem to be a bit of a Nick Love fan or is it just Danny Dyer? I'd recommend Goodbye Charlie Bright if you can get hold of it. I think Danny Dyer might have a small part in it as well.

Just saw Night on Earth. Pretty good series of vignettes; the Winona Ryder one is pretty weak though.
I haven't seen night on earth, I might give it a go.

I've only seen The Business and The Football Factory, but I enjoyed both quite a bit. The acting is strong, on the whole, and the directing is good, in that both films do seem to follow characters well, not just jump from scene to scene with no depth.

Unlike 'Across the Universe', which I watched last night. Highly dissapointing.


And I loved your little ditty, The Mikado Wink
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Beet
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« Reply #1542 on: April 07, 2008, 11:49:40 AM »

Easy Virtue (1928), Blackmail (1929) and Rich and Strange (1932) all early Hitchcock works.

Easy Virtue, starring Isabel Jeans and Franklin Dyall. Opens with head-shot of the top of a magistrate's head. As he looks up, we get a front view of his face. And so begins a court scene embellished with flashbacks. The end of the film mirrors the beginning, and an object (a camera) is used to symbolize psychological state. This will be repeated with a knife in Blackmail.

Blackmail, was Britain's first talkie. It's a teaser at first because there are eight minutes with no talking at all,  including some scenes where you might expect it, but Hitchcock had this re-shot after hearing of the release of Al Jolson's The Jazz Singer in America. If you listen carefully in the first eight minute, you can hear at least one 'sound' that gives away that there will be talking dialogue. Just before the first word is spoken, there is the sound of something closing... perhaps this was not to give the audience too much shock. Leading lady Anny Ondra was Czech and her voice was entirely dubbed through the film.

You can see Hitchcock beginning to experiment with dynamic opening sequences, and this theme is continued in Rich and Strange.

Rich and Strange- only thing I can say is see this. The opening sequence is fantastic. A perfect fit for Depression-era audiences. The letter close-ups are a direct inheritance from the silent era, particularly Birth of Nation. Interesting that panel shots were still included here even though it's a talkie.
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JohnFKennedy
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« Reply #1543 on: April 07, 2008, 01:11:16 PM »

Ever seen The 39 Steps?
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Beet
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« Reply #1544 on: April 07, 2008, 03:02:53 PM »


Yes, have you? I thought it was good, but perhaps a little hyped. Though it definitely had the 'innocent man caught up in criminal conspiracy' and the macguffin plot formula fully developed.
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JohnFKennedy
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« Reply #1545 on: April 07, 2008, 03:13:59 PM »
« Edited: April 07, 2008, 03:20:08 PM by JohnFKennedy »


Yes, have you? I thought it was good, but perhaps a little hyped. Though it definitely had the 'innocent man caught up in criminal conspiracy' and the macguffin plot formula fully developed.

I really enjoyed it but I thought it lacked dénouement; the climax is hit and then suddenly the film ends which jarred a bit for me. I think he got it right with North by Northwest.

I haven't seen the three you mentioned, if I were to get hold of one which would you recommend? My personal favourite Hitchcock is Rear Window though I must admit to not having actually seen Psycho yet (it's on the 'to watch' list).
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Beet
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« Reply #1546 on: April 07, 2008, 03:40:17 PM »


Yes, have you? I thought it was good, but perhaps a little hyped. Though it definitely had the 'innocent man caught up in criminal conspiracy' and the macguffin plot formula fully developed.

I really enjoyed it but I thought it lacked dénouement; the climax is hit and then suddenly the film ends which jarred a bit for me. I think he got it right with North by Northwest.

I haven't seen the three you mentioned, if I were to get hold of one which would you recommend? My personal favourite Hitchcock is Rear Window though I must admit to not having actually seen Psycho yet (it's on the 'to watch' list).

If you like Hitchcock I would say Blackmail. This is the most standard Hitchcock of the three. The finale chase sequence is at the British Museum and you can really see some of the themes that he repeats over and over later, used here, such as police going after the wrong person, chase sequences, voyeurism, and moral ambiguity. Rich and Strange has some good sequences showing London, Paris and Alexandria, Egypt circa 1930, and you can tell he's having fun with it, but it's basically a comedy/drama.

My favorite Hitchcock is Vertigo, though Rear Window is excellent as well. As some critics have noted, Vertigo the most personal and explanatory of his films w.r.t his issues with women. Rear Window probably does the same for his obsession with voyeurism.

Psycho is pretty much all shower scene + psychological profile of Norman Bates, which is easy to become familiar with without actually seeing the film. Once you've seen those parts you've pretty much seen it all.
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JohnFKennedy
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« Reply #1547 on: April 07, 2008, 03:51:06 PM »

Ah yes! I have heard of Blackmail as I am sure someone has told me or I've read about the bit at the British Museum!

That's what I love about Rear Window; he's playing with the audience's voyeurism just as much as his own. For me James Stewart's character is an on screen representation of the viewer. Are you familiar with the series of interviews conducted by Truffaut? I bought a copy of it a few weeks ago. I haven't read the whole thing but I've read a fair few segments including the one relating to Rear Window and it is truly insightful. I strongly recommend it.
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Michael Z
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« Reply #1548 on: April 07, 2008, 04:09:57 PM »

Ah yes! I have heard of Blackmail as I am sure someone has told me or I've read about the bit at the British Museum!

That's what I love about Rear Window; he's playing with the audience's voyeurism just as much as his own. For me James Stewart's character is an on screen representation of the viewer. Are you familiar with the series of interviews conducted by Truffaut? I bought a copy of it a few weeks ago. I haven't read the whole thing but I've read a fair few segments including the one relating to Rear Window and it is truly insightful. I strongly recommend it.

Yes, I got the book, it's an absolute must-read for any self-confessed cinephile.

One thing I love about Rear Window is that the whole movie takes place in one setting. Just the guy's room, the back yard, and that's it. It's a sign of Hitchcock's ability as a film-maker and a storyteller that he can tell a narrative which is rather limited in scope and still grasp the audience. Of course, he did it before with Rope, which took place in the same apartment, but that had its flaws and seemed more like an extended theatre piece than a genuine cinematic experience.
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JohnFKennedy
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« Reply #1549 on: April 07, 2008, 04:18:02 PM »

Ah yes! I have heard of Blackmail as I am sure someone has told me or I've read about the bit at the British Museum!

That's what I love about Rear Window; he's playing with the audience's voyeurism just as much as his own. For me James Stewart's character is an on screen representation of the viewer. Are you familiar with the series of interviews conducted by Truffaut? I bought a copy of it a few weeks ago. I haven't read the whole thing but I've read a fair few segments including the one relating to Rear Window and it is truly insightful. I strongly recommend it.

Yes, I got the book, it's an absolute must-read for any self-confessed cinephile.

One thing I love about Rear Window is that the whole movie takes place in one setting. Just the guy's room, the back yard, and that's it. It's a sign of Hitchcock's ability as a film-maker and a storyteller that he can tell a narrative which is rather limited in scope and still grasp the audience. Of course, he did it before with Rope, which took place in the same apartment, but that had its flaws and seemed more like an extended theatre piece than a genuine cinematic experience.

Well Rope IS pretty much word-for-word of the Patrick Hamilton play I think. I have to say I really enjoyed Rope; it had great tension. I've seen few directors  - if any at all - since Hitchcock who can create so much tension. Are you sure Rope is the same apartment?

I wish I was allowed to write my dissertation on Hitchcock but unfortunately it doesn't really come within the remit of 'History'. Instead I'm probably going to be looking at Birth of a Nation and Gone With the Wind in relation to racial archetypes and consequently African-American opposition to the two films. Originally I was hoping to do Micheaux's Within Our Gates and Birth of a Nation but I can't get hold of a copy of the former and so my potential supervisor recommended Gone with the Wind.
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