Last (x) movies you saw (II)

I mean I'm not a fucken heathen, I'm aware the Light Sleeper shot was a Bresson reference, but still

Re-watched Event Horizon, which sent me to Wikipedia to see whether it had originally been shot for 3D exhibition. It had not, but there are a surprising number of shots of things flying directly at the camera for a non-3D movie.

Erotikon (Stiller, 1920)
Cross-Country Cruise (Buzzell, 1934)
Tol'able David (King, 1921)
Find the King (Howe, 1927)
Scrambled Weddings (Barrows, 1928)
*Dad's Choice (Howe, 1928)
*Fatty's Reckless Fling (Arbuckle, 1915)
*Good Night Nurse (Arbuckle, 1918)
*Camping Out (Arbuckle, 1919)
*The Garage (Arbuckle, 1920)
*So This Is Paris (Lubitsch, 1926)
*Won in a Closet (Normand, 1914)
By Might of His Right (Drew, 1915)
*The Village Chestnut (Wright & Griffith, 1918)
*Her First Kiss (Griffin, 1919)
*For Heaven's Sake (Taylor, 1926)

Pharma Bro (6.0)
Spencer (6.0)
So I Married an Axe Murderer (7.0)
The Prime of Miss Jean Brodie (6.5)
Twisted (4.0)
Passing (6.5)
Kurt Vonnegut: Unstuck in Time (7.5)
House of Gucci (5.5)
Dean Martin: King of Cool (6.0)
Magic Shadows, Elwy Yost: A Life in Movies (7.0)

I got through the first episode Don't F**k with Cats: Hunting an Internet Killer and bailed a few minutes into the second. Couldn't take one more scene of "And my cell starts beeping at 2:00 in the morning and there's a message that says 'Watch this,' so I opened up the link and I was like 'W...T...F!!!!???'" And then the interviewee will tell you he proceeded to watch the clip six more times.

Nightmare Alley (Goulding, 1947)
Yukon Jake (Lord, 1924)
The Mysterious Mystery! (McGowan, 1924)

I think I saw a lobby poster the other day for a remake of Nightmare Alley.

42nd Street (Bacon/Berkeley, 1933) 7/10 much better than Broadway Melody
Titicut Follies (Wiseman, 1967) 9/10
Paris is Burning (Jennie Livingston, 1990) 10/10
The Invisible Maniac (1990) 3/10 he kills a guy with a submarine sandwich
Castle Freak (Stuart Gordon, 1995) 4/10 does not tear his ding dong off
Cure (Kiyoshi Kurosawa, 1997) 8/10
Green Room (Saulnier, 2015) 8/10

tv
Penda's Fen (written by David Rudkin, 1974) 7/10
Squid Game (Hwang Dong-hyuk, 2021) 8/10
Midnight Mass (Mike Flanagan, 2021) 8/10
Fear Street 1666 (Janiak, 2021) 7/10
Disney's Fastpass: A Complicated History (the Defunctland guy, 2021)

oooh, i will watch that Fastpass doc!

fans of sbnation chart party videos will probably like that one

nu-Nightmare Alley adap is a Guillermo del Toro joint, screenplay by/with Kim Morgan

nu-Nightmare Alley adap is a Guillermo del Toro joint, screenplay by/with Kim Morgan

― bobo honkin' slobo babe (sic), Sunday, November 28, 2021 10:28 PM (yesterday) bookmarkflaglink

I watched the 1947 version as part of anticipating the del Toro remake. (The art direction as seen in the trailer is to die for. Whether the rest of the film will live up to that is the question.)

okay the Fastpass doc is maybe the best disney movie of the year and i'm linking it here
https://www.youtube.com/watch?v=9yjZpBq1XBE

(i wish more podcasts had anywhere near this level of depth and thoughtfulness)

Just been to see Petite Maman. I don't usually get emotional watching films but man I had difficulty holding it together through pretty much the whole thing.

The Last Duel
I finally got a watchable file.
It looks impressive at least.
Villanelle in another role having her honour defended by Matt Damon. & Adam Driver being an ego driven cad.
I think I heard a Media Eval on this a couple of months ago talking about some anachronisms including there not being any more crusades around the time.

November:

Fast Company (Cronenberg, 1979) 6/10 AMAZON PRIME
Censor (Bailey-Bond, 2021) 6/10 MUBI
Les Bonnes Femmes (Chabrol, 1960) 9/10 MUBI
Squirm (Lierberman, 1976) 6/10 DVD
The Queen of Spades (Dickinson, 1949) 7/10 DVD
The Blue Dahlia (Marshall, 1946) 8/10 DVD
*Carry on Don't Lose Your Head (Thomas, 1966) 5/10 DVD
*Carry on Cowboy (Thomas, 1965) 6/10 DVD
Maniac (Lustig, 1980) 7/10 DVD
Alone in the Dark (Sholder, 1982) 7/10 DVD
Eternals (Zhao, 2021) 3/10 CINEMA
The Violent Professionals (Martino, 1973) 7/10 BLU-RAY
*Dirty Harry (Siegel, 1971) 8/10 DVD
Petite Maman (Sciamma, 2021) 8/10 CINEMA
Drive My Car (Hamaguchi, 2021) 8/10 CINEMA
Magnum Force (Post, 1973) 7/10 DVD
The Enforcer (Fargo, 1976) 6/10

Over the Edge (1979)

SO much fun. Sorta can't believe the cop getting gunmurdered at the end is played off as lightly as it is. I'm remodeling my whole personality based on Claude.

Out of Singapore (Hutchison, 1932)
That Goes Double (Henabery, 1933)
The Lost Jungle (Schaefer & Howard, 1934)
Ella Cinders (Green, 1926)
Hawthorne of the U.S.A. (Cruze, 1919)
Come on Danger! (Hill, 1932)
The Hand of God (Sorrentino, 2021)

Forever Prisoner Alex Gibney
harrowing documentary about Guantanamo Bay detainee of 20 years Abu Zubaydah,
Or possibly more about the network of lies and deception about why he has been imprisoned for 2 decades without a trial and tortured for no good reason since the process of torture is not a good way of extracting information from an individual. it is a good way of making somebody manual to say what teh torturer wants to try to stop the torture continuing, or rather what teh person thinks the torturer wants.
& it struck me while watching this and listening to the podcast earlier today that talked about this film being broadcast last night, that Francis Bacon talked about this problem in the 16th century. So it has been known since then that the information extracted is not going to be reliable.
Some of teh people employed by the US for this process who have actually come forward to be interviewed for this film appear to be soulless because they went ahead and applied techniques they were supposedly showing how to survive to another human being. I think this may leave you feeling a palpable sense of disgust

I was just reading about that and both do and don't want to watch it. Everything about Guantanamo Bay makes me so angry and frustrated, but I seem to always watch and read a fair bit about it - I guess trying to (impossibly) makes sense of the whole terribleness.

That Uncertain Feeling (1941) 4/5
* Get Carter (1971) 4/5
The Beatles: Get Back 4/5
The Power of the Dog (2021) 3.5/5
* Shadow of a Doubt (1943) 4.5/5
* Dune (IMAX; 2021) 4/5
Lights in the Dusk (2006) 3/5
Pig (2021) 3.5/5
* Point Blank (1967) 4.5/5
Bruce Springsteen & The E Street Band: The Legendary 1979 No Nukes Concerts (2021) 5/5
The Night of the Iguana (1964) 3.5/5
I Wake Up Screaming (1941) 3.5/5

Good list and ratings!

World War Z drifted across my radar and I'd basically forgotten it existed (though I liked the book) so I watched. It was one of the most inept, pointless movies I've ever seen. Complete misunderstanding of the source material, zero logic even within the parameters of its own story, not one interesting performance... just two hours of staring into the void.

Film is similar to A Perfect Storm in that it takes a source material that is varied anecdotal and tries to make it into an overarching narrative with one group in focus. Film may be most outstanding for having Capaldi in as a WHO Doctor just before he was announced to be Dr Who. Otherwise trying too hard to make something Hollywood friendly out of a book that handles narrative in a non traditional way.
Human ramps of zombies may be the one image from the film that might stick with one too.
I still haven't managed to get hold of the other Zombie book by the same author which seemed like it might be fun. I think its how to survive a Zombie Attack but hopefully has further backstory to various things.

Cronos (del Toro, 1993)
Geometry (del Toro, 1987)
Ma’s Pride and Joy (Pearce, 1932)
My Cousin from Warsaw (Gallone, 1931)
Raise the Rent (Newmeyer, 1920)
A Muddy Romance (Sennett, 1913)
Sherlock's Home (St. Clair, 1924)

xp mel brooks' kid!

Enough (5.0)
Spotlight (6.0)
The Ernie Game (7.0)
Notes for a Film About Donna and Gail (6.5)
American Hustle (7.0)
Christopher’s Movie Matinee (5.0)
The Power of the Dog (6.5)
The Rainmaker (6.5)
You’re a Big Boy Now (5.5)
C’mon C’mon (6.0)

Have to give some thought to C’mon C’mon. I thought it was an okay follow-up to 20th Century Women, but I was on the outside looking in the whole way...Recommend Claude Jutra's Notes for a Film About Donna and Gail (1966) to cryptosicko; basically a blueprint for Goin' Down the Road.

(You can watch the latter on YouTube or the NFB site.)

Watched Jules Dassin's Uptight a few days ago, had meant to watch it when it was streaming on Criterion and found it at the library recently. 1968 remake of John Ford's The Informer set among a Black militant organization in Cleveland. Pretty amazing, and hard to believe such a one-of-a-kind film, from a renowned director, with a fascinating story around it and a great, nearly all-Black cast, has gotten comparatively little attention. A lot of parallels to Night and the City with its desperate, doomed fuck-up on the run story. Learned while reading about it that there were FBI informants working on the crew, due to concerns that it would be too pro-militancy. (It doesn't exactly take a side, though the inclusion of King's assassination gives a lot of weight to the militants who have given up on non-violence, even if their plans for revolution seem pretty vague.)

I tried to get that last summer. Maybe its still up on youtube buit I wanted to watch things on my tv cos it's more comfortable than sitting here. Did see a few other Dassin at the time though.
I think I couldn't get the file to transfer so I could stick it on a memory stick and it failed. So would like to see taht .
Shame that Virgin dropped youtube as an extra feature a few years ago. Not sure if everything that was accessible from desktop was accessible from the tv and the search engine typing was a chore. had to type by remote control letter by letter and having to find each letter from a line of letters etc. 1st world problem and defunct option anyway.

https://www.youtube.com/watch?v=waZLHsSoPC8
it is still there, not sure why I couldn't get it to transfer.

Recommend Claude Jutra's Notes for a Film About Donna and Gail (1966) to cryptosicko; basically a blueprint for Goin' Down the Road.

Nice! I'll check it out. I really start going through the NFB online catalogue once I finish watching all those other things I gotta watch.

As mentioned elsewhere on ILX, even with literally thousands of movies that I'd like to see at my disposal, I've gotten into the bad habit of avoiding embracing extended viewing. Some of it can be pegged to COVID monkeybrain, quite a bit to several years of chronic pain hitting an apex with a second surgery in November. Perhaps my attention is fading with age and the sugar drip of constant internet gorging of the immediate. Certainly I've reached a moment where writing thoughtfully without a dollar figure attached smells increasingly of useless exercise. I daresay this ennui is worth remedying for the sake of my long-term emotional health, so I'm gonna maybe have a go at utilizing this thread to depart the unconsidered and stop frittering with OCD deck-chair shuffling in favor of a few hours of snacks and sofa cinema and 30 postprandial minutes per film organizing my words.

The dish du jour for 12/17 was the British actor Philip Barantini's sophomore feature Boiling Point (2021), based on the short of the same name. I saw Baranti's first movie, 2020's Villain, last year. It includes a lot the same cast and a similar animus: a showcase for the director's technically well-organized but largely bloodless filmmaking. This potboiler bubbles over on a single evening in a poorly run and overstressed London restaurant. The head chef is clearly brilliant but falling apart. The maitre'd is a disaster. Half the staff are seconds away from murder. What happens on an overbooked Friday night when the lead investor, a testy reviewer, a racist prick, a group of douchebag Instafluencers and a Chekhov's gun of misreported food allergy all land in the same seating? Pretty much what you might expect. The overstuffed and predictably arced plot mostly holds together with the underpinnings of a strong ensemble, not least of whom is the veteran tough guy Stephen Graham. Where it fails is where it neglects to follow through; no less than ten frayed narrative threads are produced, then unceremoniously disposed of. This over-embroidery seems to suspiciously serve as either TV series proof-of-concept or an attempt at inflating a too-thin idea into festival circuit fodder.

Boiling's eye-catching gimmick is that it has been shot in a carefully continuous take, a'la Rope. For most of the runtime, that's a ballsy choice but whenever the story bogs down or we depend on a scene's emotion to carry us through, the rules of the game become not only restrictive but distracting, dragging the viewer down while the camera spins into place and the actors have to shuffle gamely out of the way. The wear is particularly bald in Boiling Point's laggardly beginning and lamentably overwrought end, hardly where you want to lose stride. The direction and camerawork are workmanlike but there's a definite sense of going through the motions as we cycle through the front and back of the house in patterns that resemble the dolly track they are more than worker's natural perambulations.

As someone who still has occasional nightmares about brunch service, I'd argue that - outside of the sharp acting - the reason to give Boiling Point a go isn't its double dutch degree of difficulty but its verisimilitude of experience. The intensity of any busy shift is nicely replicated, to the point that I had little pops of anxiety just watching. Baranti himself put in a decade in a toque and his perspective feels earned. I only wish he'd built more of a film around that clarity of vision.

No Time To Die.
I quite enjoyed it but am confused as to the regeneration scene.
I mean....
Though did wind up having to watch it in 2 bits up to the forest scene and then onwards. Had a webinar booked that I wound up not getting visuals for then my computer freezing so I returned to the film.
It's quite long at 2 3/4 hrs and are they going to reboot other characters in future films. Seem to be deceasing all the wrong people.
Craig must love that Aston Martin or sumfin. & M has gone back to a similar vintage attitude. Been a while since I read Fleming but I take it he is depicted as an ex military type which Fiennes seems to be aping quite well.
Anyway finally got to see this after being told there had been a decent quality edition circulating. So, great.

an imperfect murder (toback, 2017) 5/10
pig (sarnoski, 2021) 6/10
undine (petzold, 2021) 6/10
minari (lee isaac chung, 2020) 8.5/10
adrienne (ostroy, 2021) 6/10
the humans (karam, 2021) 6.5/10
zola (bravo, 2020) 3/10
king richard (green, 2021) 6/10
black bear (levine, 2020) 4/10
life of crime 1984-2020 (alpert, 2021) 10/10
the ides of march (clooney, 2011) 8/10
city of joel (sweet, 2018) 7/10
the velvet underground (haynes, 2021) 7.5/10

The 2010 remake of The Crazies really holds up. A tight, legitimately scary thriller.

My Man Godfrey (Gregory La Cava, 1936) 7/10
Hangover Square (John Brahm, 1945) 8/10
*My Name is Julia Ross (Joseph H. Lewis, 1945) 5/10
Somewhere in the Night (Joseph L. Mankiewicz, 1946) 8/10
*It's a Wonderful Life (Capra, 1946) 6/10 the sad george scenes are the best
The Sound of Fury (Cy Endfield, 1950) 8/10
The Hitch-Hiker (Ida Lupino, 1953) 6/10
*I Confess (Hitchcock, 1953) 8/10 better than I remembered
Funeral Parade of Roses (Toshio Matsumoto, 1969) 7/10
Color Out of Space (Richard Stanley, 2019) 7/10
Listening to Kenny G (Penny Lane, 2021) 8/10

tv
The Biederbecke Affair (1985) 6/10
The Haunting of Hill House (2018) 6/10

Zola is kinda like Lynch doing Spring Breakers with a bit of Uncut Gems in it. Really well cast.

December (so far)

*Ghostbusters (Reitman, 1984) 7/10
Onibaba (Shindo, 1964) 8/10
Maeve (Murphy/Davies, 1981) 8/10
The Power of The Dog (Campion, 2021) 6/10
Benedetta (Verhoeven, 2021) 8/10
Orpheus (Cocteau, 1950) 8/10
Testament of Orpheus (Cocteau, 1960) 6/10
Microhabitat (Jeon Go-Woon, 2017) 8/10
*JFK (Stone, 1991) 9/10
L'argent (Bresson, 1983) 10/10

Bad Luck Banging or Loony Porn (2021) is an overstuffed absurdist art-film omelette; erudite, profane, funny, ugly, perilously obtuse, penetrating in any way you'd care to think of and several I bet you haven't. It is a story in three pieces: the first, a perambulatory exploration of a Westernized Romania, rife with anger and lack of privilege by degrees, that begins with a few minutes of fully-consensual, gonzo hardcore suburban sex. Our lead actress, Katia Pascariu, has been taped by her husband en flagrante delicto and the video has leaked out onto the internet. A teacher at a prep school, the students have discovered the tape and the PTA is calling for her head. Her travelogue around Bucharest, nearly hyperventilating beneath her mask, tempts the patient filmgoer with a soak in a city straining against COVID. The explorations are clever and dense, overheard conversations mixing with random passersby and insight into the rough, crumbling facade of civilization. Ruins gain gravitas and the notes of modernity radiate base plasticity. In this section, cards are clutched close to the vest.

In part two, a treatise by means of lexicon emerges. The director, Radu Jude, offers a Devil's Dictionary of definitions as a key to clearer understanding of his intent. Tongue lodged firmly in cheek, Jude presents TikTok-sized vignettes on the nature of patriarchy, Eastern European history, fucking, genocide, economics and cinema theory. Imagine Adam Curtis by way of The Kentucky Fried Movie and you're in the right zip code. The third and final act, labelled a "sitcom," is an Ionesco-esque play within a play as Pascariu faces a masked outdoor tribunal of parents, half demanding her resignation and most of the rest there to jeer. There is ample opportunity for opprobrium by all except our heroine who bravely withstands the madness of the crowd. The movie splinters into a series of endings, suggesting a viewer foolish enough to have made it this far and still demand narrative continuity deserves the Marvel-ous aftertaste of the punchline Jude rams down your throat.

"It's definitely not for everyone" was my impulse but Bad Luck is honestly more perverse than that: it is active in its desire to not be for anyone, apart from a selection of critics, dark souls and over thinkers. Which is to say, I really rather loved it.

otm

No Way To Treat A Lady
Somehow nor seen this though been aware of it since my early teens. Somebody was talking about the s/trk lp on FB which prompted me to d/ld a copy.
Rod Steiger as a master of disguise serial killer, George Segal as a Jewish cop hen pecked by his mother who he lives with. Lee Remick as neighbour at first murder shown who becomes Segals love interest.
Quite good though I did go and do a few things around the room as it was on.

Great Expectations
The Jon Mills & Alec Guinness and loads of familiar faces late 40s version.
My eyes spend a lot of time looking at the costumes in these Dickens films. I get ideas for things I want to make and then don't get to make them this year at least.could do with a set of stills though.
Missed the beginning but I think it's a classic well acted version of the story.
I was interested to note the presence of a black defendant in the court scene towards the end. Had noticed the somewhat tokenism presence of one black extra filling out scenes in French films of a similar time and had wondered if any British films of the time did the same. I hadn't thought they did. I think real life of the time depicted did have at least some BIPOC presence.

oh yeah thought there was another one
Hitman's Bodyguard
Samuel jackson and Ryan Reynolds in hyper violent buddy movie where loads of henchmnen get beaten up and shot a lot.
Including chase scenes in the streets and canals of Amsterdam and shoot ups in London and fun things like that.
Well its beginningto look a lot like Xmas

"Cusp" was pretty illuminating (and not just because the whole thing seemed to be shot at magic hour). I had to keep reminding myself it was a documentary. I glanced at the background, and it was pretty fascinating, too. I guess the filmmakers were on the way back from shooting a commercial or something and stopped at this small Texas town for gas at 2:30 in the morning, where they met this trio of teen girls who invited them to go swimming. They ultimately spent 90 days following these girls around, and the results are frighteningly honest, almost uncomfortably so.

Zola is kinda like Lynch doing Spring Breakers with a bit of Uncut Gems in it. Really well cast.

Streamed it at home; if I get a second chance in a theatre, I'll see it again--I liked the quieter driving scenes, good visuals throughout. This is probably a genre by now, with a Florida version (this, Spring Breakers, Bully) and a California version (Palo Alto, The Bling Ring). I wouldn't know what to call it: something shorter and pithier than Loathsome People (Not Everyone) Photographed Dreamily. American Honey, for me, is the pinnacle, but I usually come away with something. I'd include the Clickettes here, a girl group I don't think I'd ever heard before.

and The Florida Project!

I listed that at first, then took it out for Bully--only because so much was focussed on the kids, otherwise it fits for sure.

Between Zola and American Honey, I hope someone's working on a Riley Keough-Elvis thesis of some kind.

Speaking of Florida Project, anyone see Red Rocket yet?

The Saturday Night Kid (Sutherland, 1929)
*Night Parade (St. Clair, 1929)
The Last of the Mohicans (Beebe & Eason, 1932)
Crashing Hollywood (Arbuckle, 1931)
Three Women (Lubitsch, 1924)
Absinthe (1913)
The Spectacle Maker (Farrow, 1934)
A Warm Corner (Saville, 1930)