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Comment on the last film you watched Anonymous 09/04/2020 (Fri) 05:38:31 No.682
What was the last thing you watched, and what did you think of it?
>>2588 I mean if you're someone who enjoys basic arthouse slice of life family drama films Go watch The Stranger(1991) it's far better written and I had seen it before handhell the scene between the mom and grandma in Disney's capeshit show Ms Marvel is better written than this regardless of quality as it's not as well written or does anything of value with editing choices or cinematography which waters down what could be a artistic technique to just that a gimmick then you can give it a watch.
>>2589 Everything All At Once: Good introduction, didnt really feel it developed from a movie act 1. Details to come.
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Just saw 12 Angry Men (1957) Its an excellent film, wouldn't bother to post about it if it wasn't, its mostly just talking, but it got really intense for me early on. Made me wonder, how far would i be willing/able to go against such pressure of majority before giving up on what i think is right and would i even try. It was time well spent, recommend.
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>>2636 Geez you guys, it is none other than Louis C.K.! What are you doing visiting this humble board about actual films and motion pictures from around the world? We've never had a celebrity visit before (other than medieval film anon) especially not one from someone who has appeared in media we certainly haven't watched but it is good thing anyways. Also what do you mean posters are mad? what is your job here? all your reply text seems confusing but i know very well who's behind the post. Have a blessed day my man
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not sure if you can call it a film, but its a series of 3 episodes around 40 mins each. i liked it to say the least! some elements were a bit too showy or dramatic even for an anime like when a massive skyscraper tilts like 35 degrees it was able to right itself with some gyroscopic control without anything breaking. i'll still say it felt like everything i wanted in an 80s/90s cyberpunk style anime and then some. loved the psychic elements to each episode, dug the action sequences, music was i guess pretty choice. didn't understand it and my translated subs version looked like it was missing the mark on lyrics idk. still highly recommend. check it out if you haven't. hopefully you'll wish it had more than 3 episodes like i do now.
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>>2634 While Sidney Lumet was a genius when it came to film making, it's clear he knows jack shit when it comes to the legal system. Even more present in his other legal drama, The Verdict (which I would highly recommend watching next).
>>2648 With 12 Angry Men I fault the writer since it was originally a play. I might say a little more about it if I have time. But what was wrong with The Verdict? I haven't seen in in a while.
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>>2649 >it was originally a play teleplay, my mistake
Watched original The Manchurian Candidate. Loved the visuals they weren't over the top and were dynamic enough. Surprised at how much depth the main character had. I feel the script is very focused and there is very little bloat. Overall I loved it, only issues I had was with Sinatras character and some of the decisions by the government pulled me out of the experience.
It was American Psycho but this was the 20th time I watched it.
Law Abiding Citizen I enjoyed the concept a lot more than the execution.
>>2696 I felt the same. Would of been much improved if it took a hard anti-establishment tone and made Gerard Butler the unquestioned hero, i.e. Death Wish.
Il mulino del Po AKA The Mill on the Po (1949) A bit of a hidden gem here -- underrated on imdb with Carlo Ponti producing a Fellini screenplay, photographed by Aldo Tonti. Factional disputes arise in a farming community along Italy's greatest river, pitting the local land baron against his peasant workers, labor organizers against individualist entrepreneurs, the king's tax collectors against a tax-dodging business, and two families of a prospective marriage. Most of these factions get a realistic rendering from Fellini, who avoids puerile advocacy for one side or another. Instead he creates characters who posses a mixture of noble intentions and moral failings, with a healthy sprinkling of provincial idiosyncrasies to keep the story entertaining. But as everything builds toward an exciting climax (and hopeful resolution to the community's many divides), the story takes a poorly-motivated divergence to an entirely new conflict, bringing the film to an unsatisfying end.
Saw The House That Jack Built (2018). It felt like jew propaganda aimed at intj types.
>>2742 It's not good, but I still think it's one of the better Lars Von Tryhard films.
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La Haine Someone wanted to watch this with me (very out of character, in hindsight), and I figured I'd finally give La Haine a try. It was very well done, and I wish I could give a good writeup on it for you guys, but my experience watching it was overwhelmed by one thing: Fuck the french. I really enjoyed the acting, writing, and cinematography, and it had a lot of memorable moments; the problem is that it's french lowlifes, french police brutality, and ugly french architecture. I look at the movie as a whole and instead of thinking about characters or themes (which I can think of for fragmentary moments), I find myself asking: what the fuck is wrong with France? Why are they like this? It's as though they used to have something beautiful, then pissed all over it and themselves. I realise that the filmmaker likely intended this on some level, but he and his film are part of this as well: this disgusting Parisian, post-French Revolution rot on a nation that used to be beautiful and likely still is in places. This film feels as though it is turning me into an inverse ouiaboo. It gives me a desire to seek out and learn more about the French so I can learn how they disgust me so and what they had before they succame to this disease. Yuck.
>>2752 >this disgusting Parisian, post-French Revolution rot on a nation that used to be beautiful and likely still is in places. >This film feels as though it is turning me into an inverse ouiaboo. It gives me a desire to seek out and learn more about the French so I can learn how they disgust me so and what they had before they succame to this disease. I feel the same way about America and when it wrong, and because of film, memory, and anecdotal proximity we can contrast how much had changed in 10, 40, 100 years across psyche, race, emotions, logic, and architecture among its people whereas you're going to have to crack open some books and dig on the internet for say France. As for the French what the great Aryan chimpout of 1789 entailed for the rest of the country was the genocide minorities, by tongue or lives, and Paris' cementation as the nation's cultural hegemon. Every minority language in France is dead or languishing except Elsässisch and Basque (I think) which have significantly fallen in the number of speakers whereas the rest of the country has vague or superficial notions of a true local culture like yankee v. southerner in America. Many people I feel do not understand the scope, damage, and similarity to the Russian Revolution that the French Revolution's ramifications had on a cultural level, what liberalism and nationalism were when they were new and paving the way for other petty governmental ideologies, what was lost, the insanity of the new age religions that sprang up, and what it turned the people into. Were the French always so snooty and insufferable? Or is that just Parisians, as Paris still composes and makes up the country as its cultural epicenter deeming what is and isn't and how it is like Hollywood does for American culture. How many voices have been ignored or silenced in 230+ years or tinged by perception of stereotypes of France and Paris. It puts into perspective that we've been living in the same political era for 2 centuries and that mindsets have not changed much to an extent.
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Although Loves of a Blonde was a breakout film for Milos Forman, nominated for a foreign language Oscar, it's one of the least impressive Czech films I've seen. It can't even be the best Czech film from 1965, as Intimate Lighting (directed by Loves of a Blonde co-writer Ivan Passer) and probably even The Shop on Main Street are both superior. To be fair, the film has a hilarious scene near the beginning where middle-aged army reservists attempt to woo young factory girls at a local shindig. But the film's central concern -- one girl's struggle to keep a man around for more than an evening -- just isn't very interesting, as her character has little appeal beyond her blond hair.
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I watched Crash (1996) and did not like it much. For all of the sexual content in the film it sure wasn't sexy, so I'm pretty sure the intent of the film wasn't pornographic; perhaps watching the film roughly approximates the feeling of being the only normal person at a fetish club and just witnessing everyone else. Vaughan was probably the most interesting character, with everyone else more or less just along for the ride. Probably wont' watch this one again any time soon.
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>>2921 I haven't seen it for a while. Since sexual deviancy has become more mainstream recently, I was thinking the film may provoke more disgust for helping promote it. I did enjoy The Atrocity Exhibition, more experimental and also based on Ballard.
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>>2923 >I was thinking the film may provoke more disgust for helping promote it Perhaps. I couldn't really tell if the film was some sort of weird extended metaphor or if it was just an attempt to explore/normalize bizarre fetishes and sexual depravity, much like Secretary (2002). I watched Primer (2004) yesterday and enjoyed it, but I think I'll need to watch it at least another two times before I start to get it.
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Méditerranée (1963) Postcard photography of grand sites around the Mediterranean are spoiled by the voiceover of a dour Frenchman muttering about the banality of existence. Death is a recurring theme in the collage of images, seen in a mummy's face, the grounds of a dilapidated estate, a beautiful girl on a gurney, and (most cruelly) a matador teasing and slaying a bull. This short film's influence on Godard's Contempt stems from its sunnier beach scenes and Greek architecture.
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Honestly would of been a much better overall film if the main character wasn't a dyke.
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I recently watched Mystery of the Wax Museum and then Doctor X, its sister movie from the year before. I'd say they're pretty standard movies, but the two-color Technicolor look is a nice gimmick. It feels really strange to see people like Fay Wray, Frank McHugh, Leila Bennett, and even Mae Busch in color back at the heights of their careers. I recall seeing Lionel Atwill in Son of Frankenstein but didn't remember what he looked like. I'd recommend Mystery of the Wax Museum over Doctor X. I found Glenda Farrell's reporter character to be more likeable than Lee Tracy's and the wax museum setting to be more memorable than the relatively run-of-the-mill medical academy featured in Doctor X. I thought the Doctor X climax was pretty good, but that to me was the best part of the story. The mad scientist equipment looked pretty cool, I'll give it that. They're nothing spectacular but are interesting for the novelty value.
>>2972 I watched Wax Museum a couple years ago. I forgot about the wisecracking reporter character. I've noticed that newspapers seemed to be a topic of great interest in films of that era. Maybe there's nothing to it -- journalism is a handy narrative device and newspapers were the primary method of mass communication at the time. But there was no similar trend of films about the television industry when that technology was eventually adopted.
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>>2973 >I watched Wax Museum a couple years ago. I forgot about the wisecracking reporter character. I've noticed that newspapers seemed to be a topic of great interest in films of that era. Maybe there's nothing to it -- journalism is a handy narrative device and newspapers were the primary method of mass communication at the time. But there was no similar trend of films about the television industry when that technology was eventually adopted. I don't know how long the trend continued for, but I immediately thought of While the City Sleeps. But I suppose that was made at a time when TV was just catching on. I do think that it's more of a narrative device than anything. In a sense the audience can put themselves in the shoes of the reporter, since both are just gradually figuring out what's really going. It's an easy way to get away with exposition that could otherwise seem clumsy and also provides motivation for a character to involve themselves in potentially dangerous situations. Incidentally, I learned that Glenda Farrell continued playing a reporter like she did in Mystery of the Wax Museum with by starring in most of the Torchy Blane movies. Her portrayal provided the basis for Lois Lane in the Superman comics. The name "Lois Lane" came from Lola Lane, who was one of the two other actress to play the role. I've never seen any of those movies, so I can't say how much they really have in common. >Big News >Robert Armstrong I should watch that one. I've always liked Robert Armstrong's over-the-top acting style in the movies I've seen him in. I should give Blood on the Sun a try at some point too. Not only does it feature Robert Armstrong, but it has him in yellowface playing Hideki Tojo. It sounds pretty wacky. Plus James Cagney's the star, and he's probably my favorite actor. Robert Armstrong was an honorary member of the "Irish Mafia," so I guess it shouldn't come as any surprise that him and Cagney had a few movies together. >Libeled Lady I feel like I watched this one years ago because William Powell was in it but unfortunately don't remember much of it. Maybe I'm confusing it with My Man Godfrey, or maybe I saw both and don't remember either of them very well.
The last movie I watched (that wasn't a rewatch) was this Invasion of the Body Snatchers copycat. While I wouldn't say it gets the feeling of hopelessness and paranoia across as well, it's a decent variant of the formula. The protagonist is the wife in a newly married couple who realizes something's wrong with her husband. He's stopped showing interest in her and comes across like a completely different man from the one she fell in love with. There seem to be homosexual undertones, and interestingly enough the actor playing the husband ended up dying of HIV-related complications in the early '90s. It can't touch Invasion of the Body Snatchers, but I think it gets a bit overlooked due to the title sounding about as cliche as you can get for a '50s science fiction movie.
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In William Wyler's The Big Country, New England seaman Gregory Peck takes a galloping stagecoach to meet his Texas fiancee, only to find her cattle baron father locked in a violent feud with a neighboring rancher. Speaking out against the use of violence, Peck becomes openly critical of his prospective in-laws as the feud escalates. Peck is supposed to garner the audience's admiration for his moral clarity. He's correct that the family is being too vindictive toward their enemies, but his aloof, antagonistic attitude towards these country folk is more annoying than any misbehavior on their part. What fun is a western move that henpecks western tropes and western people? The story tries to pump up the masculinity of wet-blanket Peck -- devising situations where he does see fit to use violence -- but this just makes his flamboyant moralizing seem arbitrary. I also note the ugly scenery of this film. There's nothing appealing about empty flatlands of dead grass stretching to the horizon. Also, most of the action takes place on a cattle ranch that is said to contain thousands of animals, Yet as characters ride horse all around the area there's not a cow in sight. A much better Gregory Peck western is William Wellman's noirish Yellow Sky, where the actor is cast against type as a bank robber on the run. I'd recommend it more than Wellman's more popular The Ox Bow Incident.
I love 80s period pieces that aren't neon NYC hair metal yuppie sludge or member berries porn. This film's apart of that 2000s fad of documentary style cinematography, with shaky cam and varied camera angles that are more observational and not slick and cool. It works here in a way that something like Taken or that Will Smith Muhammad Ali couldn't handle well. It feels 80s like a McDonalds ash tray, but Billy Bob Thorton and the soundtrack is what really raises the movie from another Remember The Titans. Having this ambient rock soundtrack really adds onto the visuals. Though honestly, I bet people prefer the fictional tv show to the biopic movie
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Arsenal (1929) was a struggle to finish. I could barely understand what was happening and quickly didn't care. The basic story is of veterans returning from war and randomly becoming commies The film goes though wild mood swings, with wide-eyed closeups and frenzied action that starts and stops on a whim. The more emotional they get, the more confused you get. At one point a team of horses runs at full gallop to carry a dead soldier to his gravesite as fast a possible because his dying wish was to be buried within half an hour. Why is this important to him or to the viewer? In another scene, disgruntled veterans launch an armed attack on the rich people of their city. Those rich people had done nothing particularly harmful to the veterans, who seem entirely motivated by a few declarations of boilerplate Bolshevism. Despite several instances of impressive photography, I can't recommend watching this.
>>3002 It has to be said that Dovzhenko is hailed that a hero of Ukrainian cinema, yet this film is explicitly against Ukrainian sovereignty. His 1930 film Earth is anti-kulak propaganda in service of the forced starvation of the Ukrainian people. I wonder if he disavowed these messages later in life.
Day of the Dead (1985) it was pretty good, but not even close to the first one it's just that it was more spectacle than anything else Touch of Evil (1958) one of Orson's best, just be sure to watch the reconstructed version it has really nice camera techniques and a really kino tale of corruption
>>3037 >just be sure to watch the reconstructed version Do I understand that to mean this one, Anon? : https://en.wikipedia.org/wiki/Touch_of_Evil#1998_release
>>3038 Yes
>>3037 Day of the Dead was a grower for me. I disliked it the first time I watched, but when I saw it again years later with tempered expectations I think I actually preferred it to Dawn of the Dead. What turned me against it the first time I saw it was that despite that cool opening, most of the movie was set indoors and felt claustrophobic. When I rewatched it, I just treated it like a more standard post-apocalyptic survival drama that just happened to have zombies in it. Also, John Harrison's music is pretty good. Night of the Living Dead is still my favorite of the trilogy, although second place is up for grabs.
I don't have the patience for this type of rudderless film anymore. The director seems to be on vacation in Bruges with the loosest possible plan for making a movie. As if it wasn't obvious enough, the film follows the uninspired formula of a film about a director struggling to make a film. In practice this amounts to dull chats in cafes after several takes of filming an actress meander across a bridge. Eventually the distributor shows up to demand better product, but alas, his wishes are futile.
>>3050 At least tell me he got someone else to play the director.
I just watched Heart of Glass to familiarize myself with Werner Herzog's work more and didn't really care for it. There were some nice shots of nature, but it felt too out there for my tastes and I didn't really get a lot of it.
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>>3071 Since I made this post, I followed Heart of Glass up with Woyzeck, Fitzcarraldo, Burden of Dreams, and then rewatched My Best Fiend. I didn't think Woyzeck was amazing or anything, but I can see myself coming back to it eventually. I enjoyed the scenery of the little Czech town they filmed in. I was also surprised at how much better Eva Mattes looked than in Stroszek, which was shot two years earlier. Fitzcarraldo I think I liked more. Going in I pictured a decent chunk of the movie spent dragging the boat along through the jungle for whatever reason. It's probably a good thing it wasn't like that. One thing that surprised me was the presence of Miguel Angel Fuentes. I thought I was crazy for thinking he was the guy from The Pumaman, but it turned out that was exactly who he was. It's a good movie, but out of Herzog's two Amazon River flicks with Kinski I prefer Aguirre. Burden of Dreams is a good supplement to Fitzcarraldo. It shows all the trials that went into making the movie. It's kind of surprising the movie wasn't a failure with how troubled the production was. I have to say, I think it's it's for the best that Jason Robards and Mick Jagger left the production. My Best Fiend is well worth watching for insight into the kind of weird relationship that Herzog and Kinski had with each other and to see what kind of a maniacal prima donna Kinski really was.
>>3072 Plebbit tier
>>3073 In what sense?
Watched Cobra Verde last night. I enjoyed it quite a bit. It doesn't seem to get as much attention as the other two Herzog-Kinski collaborations with South American connections, but I really liked the premise of an outlaw getting a job as a plantation overseer, getting sent to Africa for knocking up the master's mulatta daughters, and then going Lawrence of Arabia with a force of Dahomey Amazons. The only remaining Herzog movie with Klaus Kinski for me to see is the Nosferatu remake, but I think I'll pass on that one. I wasn't impressed with the little bit I've seen compared to the original.
>>3076 I think the Klinski dracula added quite a bit to the original
>>2971 Agreed. The story felt like it was clearly written for a man. Wish they'd made it with a good lead; now it's just another oscar bait that has been completely forgotten.
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Some of the films I watched the past couple of months. Satantango -- watched it in a cinema like a retard and fucked up my neck for 2 weeks afterwards. It rains, there's mud, peasants are cruel, people were audibly upset at that one scene and someone who probably spoke hungarian was laughing at the dialogue so it's potentially quite funny. Communism is mostly about walking everywhere and then trusting a petty criminal with your future before you get drunk and try to forget about it all. As I watched it I kept thinking about how Tar fully foresaw the streaming miniseries format of extensive walking shots as filler. What a genius. The Chaser -- up there with I Saw the Devil in terms of pure south korean cynicism. Was it good? Yes. Would I recommend it? eh watch the Wailing instead it's at least fun. Noriko's Dinner Table -- You've got to appreciate the ability to perfectly characterize someone in less than a minute. Or introduce an extremely novel plot point and then make it seem oddly normal, if that isn't an oxymoron. Antichrist -- there's a part in this where dafoe is being attacked by a crow in foxhole and I just kept thinking about how good it would be if Miike had directed this.
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>>3079 >The Chaser Watched it way back after someone recommended it in the old place, it's the korean school of pain and misery but without the comedy that characterized the early attempts like 2002's Public Enemy which i find similar. >Would I recommend it? I would, it's well made if a bit of a downer for the normalfags due to being "pure south korean cynicism", it's not a K-Drama, it's people getting fucked and fucking others although i've heard people talk about some of their gook series and being mildly appalled at the details they mention, maybe they are as cynical as the 00's movies were. >The Wailing Many mention the need or at least the familiarity with gook customs to be able to fully enjoy it but i haven't even checked it despite being in my folder for a really long time.
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I watched the Serb film Nacionalna klasa (1979) because I heard the cool theme tune ( https://invidious.private.coffee/watch?v=gMY9L9hJ9rY ) that suggests a racecar driver. The driver turns out to be a deadbeat, an irresponsible 27 year old hoping for glory at the local racetrack while scamming and leeching his way through life. It's hard to empathize with such a selfish louse with few redeeming qualities, so I think this film's popularity (8.4 imdb) is partially nostalgia-based and partially lost in translation. Nacionalna klasa brought to mind Otar Iosseliani's superior Once lived a song-thrush (1970) featuring a similar lazy, parasitic main character. Iosseliani's situation is more comical, showing a timpani player who puts minimal effort into his craft. Given a musical score with a long period of rest, the timpanist leaves the concert hall entirely to (hopefully) return when he's supposed to beat the drums at the concert's finale.
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Matrix should have stopped at one WB movie...
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Bad Boy Bubby (1993) This nihilistic comedy about an abused retard stumbling around Adelaide is a thinly-veiled platform for enlightened boomer atheism. At first it's subtly critical of Christianity, but eventually an arch-rationalist leads the titular retard out of a church and into a power plant (a church of science) not to calmly state his worldview but to unleash a frenzied blasphemous diatribe, denying God's existence while damning God at the same time. Later there's a speech about how every religion keeps killing every other religion, and wouldn't society be better if we got rid of that old-fashioned nonsense? Based on reviews, a lot of the audience was lapping this shit up as peak intellectualism. In spite of Rolf de Heer's proto-Redditism, the story is still interesting because it's unpredictable by nature. During the credits I noticed a long list of cinematographers--unbeknownst to me, each scene had been shot by a different one of them. I can't think of another film with this approach, which is seamlessly blended together while producing distinctive visual flairs throughout.
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Cars & Cars3 are lit. There was no Cars2.

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