Last (x) movies you saw (II)

but yes, 50s, excuse me.

It's true that that stuff often works better with the 'bigness' of the stage. But I haven't seen SitG in eons (and i think i was most impressed with Zohra Lampert as Beatty's ultimate spouse). It very well could be the weakest of Kazan's prime features (ie the seven he made from '54-63).

plax, you should try "You Don't Nomi" as a nice bookend to Showgirls.

BELLY

Analyze This (Ramis, 1999) - 5/10
Between the Lines (Silver, 1977) - 4/10
Rio Bravo (Hawks, 1959) - 10/10
First Cow (Reichardt, 2019) - 8/10
Bonjour Tristesse (Preminger, 1958) - 8/10
The Final Comedown (Williams, 1972) - 8/10
Graduate First (Pialat, 1978) - 10/10
*Bamboozled (Lee, 2000) - 10/10
The Age of Innocence (Scorsese, 1993) - 8/10
Gloria (Cassavetes, 1980) - 8/10
*Magnificent Obsession (Sirk, 1954) - 8/10
Saint Jack (Bogdanovich, 1979) - 9/10
Dead Ringer (Henreid, 1964) - 7/10
Revolutionary Road (Mendes, 2008) - 5/10
Shoot the Piano Player (Truffaut, 1960) - 6/10
I Shot Jesse James (Fuller, 1949) - 8/10
Noises Off (Bogdanovich, 1992) - 7/10
Black Widow (Rafaelson, 1987) - 8/10
Edge of Eternity (Siegel, 1959) - 8/10
*The Flavor of Green Tea Over Rice (Ozu, 1952) - 9/10
Don’t Bother to Knock (Baker, 1952) - 7/10
*Breathless (Godard, 1960) - 6/10
The Mouth Agape (Pialat, 1974) - 8/10
Illegally Yours (Bogdanovich, 1988) - 6/10
*Husbands (Cassavetes, 1970) - 9/10
The Night Porter (Cavani, 1974) - 10/10
Take a Girl Like You (Miller, 1970) - 9/10
Little Odessa (Gray, 1994) - 8/10
New Jack City (Van Peebles, 1991) - 8/10
Love and Anarchy (Wertmüller, 1973) - 9/10
*Zoolander (Stiller, 2001) - 10/10
Stardust Memories (Allen, 1980) - 9/10
Year of the Comet (Yates, 1992) - 7/10

V much enjoyed zazie dans le metro and thank you wmc. I also intend to watch the other recs this week

everyone should watch the newly available 1977 doc "Word Is Out"; it's remarkable.
https://www.youtube.com/watch?v=9bXfALa7YlU
https://vimeo.com/ondemand/wordisout

July:

Dr. Phibes Rises Again (Fuest, 1972) 6/10
Kelly's Heroes (Hutton, 1970) 6/10
Don't Panic Chaps! (Pollock, 1959) 4/10
Martin (Romero, 1977) 8/10
Detour (Ulmer, 1945) 8/10
Blue Collar (Schrader, 1978) 8/10
The Mummy's Ghost (Le Borg, 1944) 4/10
The Case of the Bloody Iris (Carnimeo, 1972) 7/10
City Hunter (Wong, 1993) 4/10
The Forbidden Photos of a Lady Above Suspicion (Ercoli, 1970) 6/10
The Flavour of Green Tea Over Rice (Ozu, 1952) 9/10
Dressed to Kill (De Palma, 1980) 7/10
The Night Stalker (Moxey, 1972) 7/10
The Body Beneath (Milligan, 1970) 8/10
Intolerance: Love's Struggle Throughout the Ages (Griffith, 1916) 8/10
A Weekend With Lulu (Carstairs, 1961) 5/10
Night and Fog (Resnais, 1956)
Bob & Carol & Ted * Alice (Mazursky, 1969) 7/10
The Adventures of Sherlock Holmes (Werker, 1939) 7/10
Funeral in Berlin (Hamilton, 1966) 6/10
The Satanic Rites of Dracula (Gibson, 1973) 6/10
Sherlock Holmes and the Voice of Terror (Rawlins, 1942) 6/10
Eaten Alive! (Lenzi, 1980)

The Parallax View, one of my favorite 1970s movies.

City Hunter has the worst signal-to-noise in astonishing action pieces patched together by the flimsiest acting/plot.

It was all the terrible 'comedy' that killed City Hunter for me, though the Street Fighter parody is indeed all kinds of wtf

oh it's all time
https://www.youtube.com/watch?v=wBsajdIZf74

The Lady Who Dared (Beaudine, 1931)
A Girl in Every Port (Hawks, 1928)
Just a Pain in the Parlor (Marshall, 1932)
Tartuffe (Murnau, 1925)
The Racketeer (Higgin, 1929)
*Werewolf of London (Walker, 1935)
Pep Up (Martin, 1929)
Love's Young Scream (Watson, 1928)
*Fluttering Hearts (Parrott, 1927)

The Go-Go's (2020) 3.5/5
Soleil Ô (1967) 3.5/5
* The Swimmer (1968) 3.5/5
Showbiz Kids (2020) 3/5
* Uncle Boonmee Who Can Recall His Past Lives (2010) 4/5
First Cow (2020) 3.5/5
* Pope of Greenwich Village (1984) 2.5/5
* My Darling Clementine (1946) 5/5

We watched "Out of the Past" last night. It had been a while, but as soon as it started I excitedly told my daughter, "wait, this movie has one of the most ridiculous on-screen deaths in movie history!" So every time someone was shot she'd look at me and ask "was that it?" and I'd say "no, you'll know it when you see it." And then it finally happens, toward the end, and she turns to me and just says "oh, ok, that's it."

1) I've hardly watched any films the past couple of months--been rewatching my favourite TV shows.

2) I had to have my operating system reinstalled a few weeks ago, so I lost the document where I kept track (for this thread) of what I'd recently seen. So this is from memory, going back weeks, and missing a few films.

The Big Heat (8.0)
In a Lonely Place (7.5)
Hillary (6.5)
Jeffrey Epstein: Filthy Rich (6.0)
Vamps (5.0)
Almost Famous (7.5)
Ghost World (8.0)
Absence of Malice (7.5)
First Cow (6.0)

there are no ridiculous deaths in Out of the Past

you must've been thinking of Haneke's Amour

Devil’s Doorway (A. Mann, 1950) 8/10
Washington Merry-Go-Round (Cruze, 1932) 6/10
*The Strawberry Blonde (Walsh, 1941) 8/10
Moonlight on the Highway (MacTaggart/Potter, TV, 1969) 7/10
Silver Lode (Dwan, 1954) 8/10
Cowboy (Daves, 1958) 7/10
Cynara (K. Vidor, 1932) 7/10
*Dinner at Eight (Cukor, 1933) 9/10
Stella Dallas (King, 1925) 8/10
The Given Word (Duarte, 1962) 7/10
Grand Prix (Frankenheimer, 1966) 7/10
*The Champ (K. Vidor, 1931) 8/10

*They All Laughed (Bogdanovich, 1981) - 10/10
Belly (Williams, 1998) - 9/10
*Symbiopsychotaxiplasm: Take One (Greaves, 1968) - 10/10
Hilda Crane (Dunne, 1956) - 7/10
The Last Temptation of Christ (Scorsese, 1988) - 9/10
Night Moves (Penn, 1975) - 7/10
Underworld U.S.A. (Fuller, 1961) - 8/10
Le Notti Bianche (Visconti, 1957) - 8/10
One Day Since Yesterday: Peter Bogdanovich & the Lost American Film (Teck, 2014) - 8/10
The Hot Rock (Yates, 1972) - 7/10
Swept Away (Wertmüller, 1974) - 9/10
Hell and High Water (Fuller, 1954) - 7/10
Hussy (Chapman, 1980) - 7/10
The Love Witch (Biller, 2016) - 8/10
Brutal Tales of Chivalry (Saeki, 1965) - 7/10
Key Largo (Huston, 1949) - 7/10
The Whistleblower (Kondracki, 2010) - 6/10
Park Row (Fuller, 1952) - 9/10
Bluebeard’s Eighth Wife (Lubitsch, 1938) - 8/10
Mandabi (Sembène, 1968) - 8/10
Good Will Hunting (Van Sant, 1997) - 7/10
*The Third Generation (Fassbinder, 1979) - 10/10
Mr. Jones (Holland, 2019) - 6/10
The Letter (Wyler, 1940) - 8/10
Mean Johnny Barrows (Williamson, 1976) - 7/10
Meet Me in St. Louis (Minnelli, 1944) - 10/10
The Hospital (Hiller, 1971) - 5/10
*Senso (Visconti, 1954) - 8/10
Viva (Biller, 2007) - 7/10
The Horse Soldiers (Ford, 1959) - 8/10
Let’s Make Love (Cukor, 1960) - 7/10
*Johnny Guitar (Ray, 1954) - 9/10

Scorsese Shorts:
—What’s a Nice Girl Like You Doing in a Place Like This? - 9/10
—It’s Not Just You, Murray! - 7/10
—The Big Shave - 9/10
—Italianamerican - 9/10
—American Boy - 7/10

I watch a film a day for the most part. today I saw Cat On a Hot Tin Roof. It's hard to imagine how you all could see so many more films than me. I'm in awe of your lists

More television than films for me in the past two weeks, but here's what i got.

Great:
Short Films of Charley Bowers - 1927 to 1935
Word Is Out: Stories of Some of Our Lives (Mariposa Film Group, 1977)
The Legend of Drunken Master (1994, Chia-Liang – Hadn't seen this in twenty year, boy does it ever hold up!)

Consistently Pretty Good to Very Very Good:
All I Can Say (Hoon, 2020)
Cunningham (Kovgan, 2020)
Trust Us, This Is All Made Up (Karpovsky, 2009)
Too Funny To Fail (Greenbaum, 2017)

Almost Okay to Occasionally Pretty Good:
The Indian Tomb (Lang, 1960)
Fist of Fury (Wei, 1972)

No:
Vanilla (Dennis, 2019)
The Disappearance of My Mother (2019, Barrese)

is legend of drunken Master drunken Master 2?

yah

yep. goddamn, the fight sequences in drunken master are jaw dropping 25 years later. The story is near gibberish of course, but i didn't come here for the conversation.

I've been showing my kids Jackie Chan fights the last few months, actually. They were really amazed. Lots of "wait, didn't that hurt?" And me saying yeah, it probably did, let me fast-forward to the outtakes at the end.

The Way of Youth (Walker, 1934)
The Erl King (Iribe, 1931)
Night in Montmartre (Hiscott, 1931)
The Good Bad Boy (Cline, 1924)
Creature With the Atom Brain (Cahn, 1955)
Her First Kiss (Griffin, 1919)
*The Goat (Keaton & St. Clair, 1921)

Elevator to the Gallows (Malle, 1958) 7/10
7 mainly for Jeanne Moreau and the cinematography of Henri Decaë, especially when she's wandering around in it, later and later, still waiting for/wondering what to do without her war-tested Action Man boyfriend, who was sent to kill his boss, her husband ("an arms dealer and an asshole," as another veteran, old colleague of bf puts it). Bf can't get back to her, he's stuck in an elevator---but somebody saw his fancy car taking off, so assumed the driver was him, with a teen babe who works across from his office (actually it was her, but the guy was *her* boyfriend, a juvenile or arrested-development delinquent). Bf's old acquaintance observes that he was always a shit with women; Moreau gets this mirthless leer, twisting the despair that don't look new---she's great as ever.
But otherwise, the somewhat promising critique of possibly movie-damaged wannabeeism, (no doubt about the b couple, who haplessly settle into Romance on the Run, going for Nicholas Ray etc.(and prob Action Man and Moreau's character, livin' the noir even more than she bargained for) is detached and plotty, begging comparison to Godard especially, who leaves Malle in the dust, at least here.
It's watchable enough, but from now on, think I'll stick to my old Miles Davis soundtrack, which works better as an album---especially considering the way music is used to heavily underscore the already and atypically overdone final scene; gimme detachment after all.

I was very happy that my daughter enjoyed "Predator." She (correctly) finds Arnold innately hilarious and entertaining.

i watched elevator to the gallows really recently and i can't remember a single thing about it!

The Champ (Vidor, 1931)
*North by Northwest (Hitchcock, 1959)
Black Orpheus (Camus, 1959)
The Irishman (Scorsese, 2019)
Doctor Sleep (Flanagan, 2019)
*Psycho (Hitchcock, 1960)
Sidewalk Stories (Lane, 1989)
Knives Out (Johnson, 2019)
Marriage Story (Baumbach, 2019)
In Fabric (Strickland, 2018)

Black and Tan (Murphy, 1929)
Why Change Your Wife? (De Mille, 1920)
Such Men Are Dangerous (K. Hawks, 1930)
Shoe Palace Pinkus (Lubitsch, 1916)
Astronomeous (Messmer, 1928)
The Young Rajah (Rosen, 1922)
Safety in Numbers (Schertzinger, 1930)
Indiscreet (McCarey, 1931)
Rome Express (Forde, 1932)
Punch the Clock (Beaudine, 1922)
Waiting at the Church (Lyons & Moran, 1919)
The Cure (Chaplin, 1917)

Day of the Outlaw (1959) 4/5
The Baron of Arizona (1950) 3/5
What's Up, Doc? (1972) 4/5
La Belle Noiseuse (1991) 5/5
* Dressed to Kill (1980) 3/5
Dirty Ho (1979) 3/5

Shorts:
Cosmic Ray (Connor, 1962)
Pinball (Pitt, 2013)
Last Days in a Lonely Place; Rehearsals for Retirement (Solomon)

Love Malle’s documentaries and his American outings like “Atlantic City” but I never thought he was even remotely in the same league as, say, Truffaut. Much less Godard. His French features, with a couple of exceptions, always felt they were missing a core *something*.

*felt like

I prefer Malle's soft generosity to Truffaut's suffocating sentimentalism

I made a note to check out Malle's "Le Fou Jollet" - I read a piece on In a Year with 13 Moons that claimed RWF "remade" Malle's film (???)

If Lucy Fell (Schaeffer, 1996) - 6/10
Whirlpool (Preminger, 1949) - 7/10
Pin Up Girl (Humberstone, 1944) - 8/10
Angels with Dirty Faces (Curtiz, 1938) - 7/10
*Death to Smoochy (DeVito, 2002) - 10/10
Boyz N the Hood (Singleton, 1991) - 8/10
She Dies Tomorrow (Seimetz, 2020) - 5/10

Psychomania (Sharp, 1973) - 6/10
Ninotchka (Lubitsch, 1939) - 9/10
*Casablanca (Curtiz, 1942) - 10/10
Hatari! (Hawks, 1962) - 5/10
Bulworth (Beatty, 1998) - 9/10
Where the Sidewalk Ends (Preminger, 1950) - 8/10
In the Realm of the Senses (Oshima, 1976) - 9/10
Modesty Blaise (Losey, 1966) - 7/10
I Could Go On Singing (Neame, 1963) - 7/10
*Taste of Cherry (Kiarostami, 1997) - 10/10
*Sorcerer (Friedkin, 1977) - 7/10
The Parallax View (Pakula, 1974) - 10/10
Primal Fear (Hoblit, 1996) - 9/10
Will Success Spoil Rock Hunter? (Tashlin, 1957) - 7/10
Here Comes Mr. Jordan (Hall, 1941) - 9/10
Spree (Kotlyarenko, 2020) - 9/10 <--------------- best new movie of the year
Cutter’s Way (Passer, 1981) - 7/10
The Outlaw (Hughes/Hawks, 1943) - 6/10
Super Fly (Parks Jr., 1972) - 7/10
*Pleasure Party (Chabrol, 1975) - 9/10
*Querelle (Fassbinder, 1982) - 7/10
They Were Expendable (Ford/Montgomery, 1945) - 8/10
Drive, He Said (Nicholson, 1971) - 5/10

Death to Smoochy 10/10

expand?

Death To Smoochy’s great iirc

a quick search of ilx answers shows most of us who are familiar with the material seem to agree

does it show why flappy bird in particular has historically rated it 10/10?

I cannot answer for flappy bird but probably the songs

One of the best corporate media satires ever made

I remember quite clearly the way Edward Norton had a terrible bachelor-with-clippers home haircut in every scene

imo DeVito does a great job with the tone, balancing the earnest desire to entertain that various characters have (not just the naivete of Norton), the bleakness of business, and the almost-sweaty desperateness of nearly everyone involved, but both the satire and the plot reverses are fairly by the book

if you folks aren't down with cinephobe yet: http://cinephobe.tv/

I prefer Malle's soft generosity to Truffaut's suffocating sentimentalism

― flappy bird, Monday, August 17, 2020

That's why Au Revoir, Mes Enfants is my least favorite of his major films -- it played like A Walk Through Truffautland. Otherwise, yeah, Elevator to the Galoows, The Fire Within, Murmur of the Heart, Lacombe, Lucien, Atlantic City, Vanya on 42nd Street -- what a filmography.

Agreed, tho I'd chuck Murmur as well for similar reasons. and I haven't seen Vanya!

J-U-N-K (1920)
Sissy-Boy Slap-Party (Maddin, 2004)
One Man Law (Hillyer, 1932)
Twin Husbands (Strayer, 1933)
Whose Baby Are You? (Horne, 1925)
The Affairs of Anatol (De Mille, 1921)
The Curse of Frankenstein (Fisher, 1957)
The Simp (Davis & Roche, 1920)
*The Waiters' Ball (Arbuckle, 1916)