What Was The Last Movie You Watched?

[SamMarlowPI]

Kill Bill: Vol. 1

 

[imoldfashioned]

I didn't like it the first time. Saw it twice more and it's grown on me. A lot!

Same here--I really didn't "get it" the first time I saw The Third Man which was really disappointing because Joseph Cotten and Orson Welles are two of my favorite actors. I gave it another chance though and something clicked--it's one of my favorite movies now. Holly Martins is one of my favorite screen characters and Anna's line "A person doesn't change just because you find out more" has always stuck with me from that film.

The Critereon version is marvelous (all of their products are) but if you ever get the chance to see it in a movie theater it's just amazing. The cinematography of the film is such that when you see it in a theater you really feel especially enveloped by the events on the screen.

 

[Hondo]

Nacho Libre

This movie left me feeling something was missing, I expected more
from Jack Black, I mean after "School of Rock" and Shallow Hal,
now those were funny :eusa_clap
it also had to be one of the cheapest or lowest budgeted film ever made to reap $$$$. I like it but...felt it could have been better.

Quote:

Nacho: "My mother was a Lutheran missionary from Scandinavia and my father, a deacon from Mexico. They tried to convert each other, but they got married instead. And then they died."

 

[ohairas]

Fur with Nicole Kidman. Quite bizaar, but I liked it.
Nikki

 

[Marlowe P.]

Yeah yeah on seeing it in cinema, I can only imagine. I just love the scene with the shadow coming and the well dressed Brits officers are getting more and more tense ... and then balloons! It is a new favorite.

Same here--I really didn't "get it" the first time I saw The Third Man which was really disappointing because Joseph Cotten and Orson Welles are two of my favorite actors. I gave it another chance though and something clicked--it's one of my favorite movies now. Holly Martins is one of my favorite screen characters and Anna's line "A person doesn't change just because you find out more" has always stuck with me from that film.

The Critereon version is marvelous (all of their products are) but if you ever get the chance to see it in a movie theater it's just amazing. The cinematography of the film is such that when you see it in a theater you really feel especially enveloped by the events on the screen.

 

[SamMarlowPI]

Kill Bill: Volume II

 

[Quigley Brown]

'The Kitchen Toto' (1987) - Set in 1950s Kenya (before it became independent), it's about a young Kenyan boy hired as a 'kitchen toto'...he does all the small house chores...for a British family in their rural home. It's not a happy film and it doesn't have a happy ending.

 

[Luddite]

THE ILLUSIONIST

I watched The Illusionist last night, and have to say it's a splendid film, and one I think many Loungers will enjoy (I searched this thread and was surprised by the sparsity of returns). Perhaps not so much for the dialogue or even plot - which is at best transparent, but the camerawork, direction and production are superb. It's set in Vienna, in the late 1800s, and the film is made to have the feeling of an early movie, with sepia tones, hand-tinting, centre fades etc. Has anyone else enjoyed this film?

 

[Doctor Strange]

I loved it. My only significant complaint is that the movie technology that was supposedly used to create the main illusion didn't exist at anything close to that level of sophistication in 1900 Vienna... or anywhere else.

I don't know why your searches failed. There's a full thread about it here:

http://www.thefedoralounge.com/showthread.php?t=11461

And it was also discussed in the thread dedicated to The Prestige, and in other places.

 

[Luddite]

I don't know why your searches failed.

Sheer incompetence, I'm afraid. I have a history of it!

Thanks for the link, I managed to work it all by myself

 

[imoldfashioned]

I loved The Illusionist--gorgeous sets and cinematography. I expected Edward Norton and Paul Giamatti to be good but Jessica Biel was a pleasant surprise. Rufus Sewell was excellent too.

 

[Doctor Strange]

Rufus Sewell reminds of what they used to call Conrad Veidt in the 1940s - "the man you love to hate!" He's always outstanding as the haughty villain...

Has he ever played a hero, apart from in (the gorgeous and fascinating) Dark City?!?

 

[imoldfashioned]

Rufus Sewell reminds of what they used to call Conrad Veidt in the 1940s - "the man you love to hate!" He's always outstanding as the haughty villain...

Has he ever played a hero, apart from in (the gorgeous and fascinating) Dark City?!?

Good question. He was in a British miniseries about Charles II that I always wanted to see but I don’t know about heroism there. He was also in a “blink and you’ll miss him” role in the enjoyable cheesefest The Holiday. I googled him and he’s to play Alexander Hamilton in a biopic of John Adams. Interesting.

I've never seen Dark City, I'll have to check it out.

 

[Doctor Strange]

Dark City is a must-see: it's kind of similar to The Matrix (better, to my way of thinking) and has outstanding neo-noir production design.

And I guess I wasn't sufficiently caffeinated before: it occurs to me that "The Man You Love To Hate" was actually Erich Von Stroheim... D'oh!

 

[SamMarlowPI]

My only significant complaint is that the movie technology that was supposedly used to create the main illusion didn't exist at anything close to that level of sophistication in 1900 Vienna... or anywhere else.

for me that is what made the film that much more interesting because it's kind of like..."wait a second, could he have actually...?"

 

[Doctor Strange]

Nobody had invented color film - much less sophisticated hidden projection techniques - at that point, so pretty much, NO.

But, compared to the absurd psuedoscience explanations of how the trick was done in The Prestige, it's actually not too much of a leap of suspending disbelief on this point. Considering all the other suspensions required for the story (e.g., that Sophie and Eisenheim had known each other as children and then just happened to run into each other as adults, not realizing their current stations despite both being famous individuals), it wasn't that hard to swallow.

Of course, a 1900 audience - most of whom had never seen any kind of film projection - would have been adequately fooled by a b/w image, but today's film viewers wouldn't realize or accept that point. After all, 1903 audiences panicked when the desperado in The Great Train Robbery turned his gun on the audience and fired, despite it being a grainy, flickering, colorless image on a screen, which just seems hopelessly naive and silly to us now.

 

[Jovan]

Yeah, but there was red blood painted onto that if I remember correctly. Certainly would have scared the pants off of me back then.

 

[zaika]

The original Wicker Man. What a wierd a$$ movie...didn't finish it as I decided to go out. lol

I also saw Great Balls of Fire. Irritating movie. Cool sets and stuff, of course...but I could have punched Dennis Quaid in the teeth.

 

[imoldfashioned]

The original Wicker Man. What a wierd a$$ movie...didn't finish it as I decided to go out. lol

I also saw Great Balls of Fire. Irritating movie. Cool sets and stuff, of course...but I could have punched Dennis Quaid in the teeth.

Oh, Zaika, that movie is extremely weird but you've gotta watch the end of Wicker Man--one of the best creepy scenes ever (in my opinion)!

 

[skyvue]

On Tuesday, I watched NO MARGIN FOR ERROR, based on Clare Booth's Broadway. It starred Milton Berle as a Jewish beat cop in NYC who's assigned to serve as bodyguard to the German consul (Otto Preminger) in the final days of the United States' neutrality in WWII.

It's a pretty strange movie, but diverting enough.

Yesterday, it was THE BOURNE ULTIMATUM, which seemed to me to be nearly plotless -- as if it were merely the second half of the previous Bourne movie. Which is not to say I didn't enjoy it well enough.

Today, it's BEFORE THE DEVIL KNOWS YOU'RE DEAD, which has a certain neo-noir quality to it (though it doesn't really have a noir look to it, and I cannot recall a classic noir that relied so heavily on flashbacks -- THE KILLERS, maybe).