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Last Movie Seen

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Re: Last Movie Seen

#2001

Post by Kublai Khan » December 6th, 2019, 3:02 am

Just finished watching Good Time (2017). Robert Pattinson really has some good acting skills when not confined to a horrible wooden vampire character.

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#2002

Post by GruesomeTwosome » December 9th, 2019, 4:29 pm

Kublai Khan wrote:
December 6th, 2019, 3:02 am
Just finished watching Good Time (2017). Robert Pattinson really has some good acting skills when not confined to a horrible wooden vampire character.
Even better in The Lighthouse, I'd say!
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#2003

Post by GruesomeTwosome » December 9th, 2019, 4:34 pm

Ivan0716 wrote:
November 27th, 2019, 4:54 pm
Knives Out (2019, Rian Johnson)

I knew when I saw Miike's First Love that it was going to be the most fun I'll have in the cinema all year, but this came pretty damn close. Can't wait to see de Armas and Craig in the new Bond now.

Take note Bong Joon-ho, this is how you do heavy-handed political statements PROPERLY.
I guess I liked Parasite more than you, but I can certainly see where you're coming from in this Knives Out/Parasite comparison (I assume that is the Bong film you had in mind). Knives Out was much better than I had expected (not a Rian Johnson fan outside of maybe Looper), and I agree that the political/class commentary was a little less clunky here than in some of Bong Joon-ho's last few films. But most of all, simply a good, fun time at the cinema, yeah.
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#2004

Post by outdoorcats » December 9th, 2019, 11:16 pm

Yeah, Knives Out was much better than I was expecting. It helped that the trailers did a good job of hiding plot developments.

[a LION eats GOD. Gunshots ring out. MATT turns around]
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#2005

Post by blocho » December 10th, 2019, 5:23 am

The Report (2019)

The titular report is the report made by the US Senate's Intelligence Committee on the CIA's torture program. I've followed the story of the CIA's torture program closely enough over the years to know that all of the major elements of this movie's narrative are accurate. The CIA did torture hundreds of people through beatings, sleep deprivation, stress positions, confinement, simulated burial, simulated execution, simulated drowning, sexual abuse, and rape. About a quarter of those people were eventually found to have had nothing to do with terrorism. And torture, of course, is illegal under US law. The CIA did pay a couple of retired Air Force psychologists more than $80 million to reverse engineer a torture program based on no actual understanding or experience of interrogation. The CIA did get rid of FBI investigators who were actually having success with interrogations. The torture program was counterproductive and did not provide useful intelligence. The CIA eventually wrote its own internal report which reached the same conclusions as the Senate report. Many actual terrorists in American custody will never go to trail because their cases would get thrown out on account of the torture they suffered--instead, they have sat in Guantanamo for nearly two decades without trial, and will continue doing so for the rest of their lives. The Bush administration was responsible for the torture program, and the Obama administration was responsible for trying to keep the cover-up going. The CIA did spy on the Senate staffers who were investigating the program. And no one in the entire United States government has gone to jail or even been charged for these activities. The current CIA director was heavily involved in the torture program.

If you want some light reading, here's the actual executive summary of the Senate report (read page 13 if you want a good indication of the findings). The complete report has never been released. The value of this movie is not in the filmmaking, which is perfunctory, or in the performances. The value is in simple historical reenactment. And as well-intentioned as that reenactment is, the value of it may be zero. My feelings on world affairs have gone savagely pessimistic recently. And while most of that thinking is related to the impending bloodbath that will be caused by climate change, a lot also has to do with the feeling that some of the institutions which hold society together no longer function, government above all. There's no accountability anymore. No truth. No consequences. None of it seems to matter.

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#2006

Post by weirdboy » December 10th, 2019, 5:34 am

outdoorcats wrote:
December 9th, 2019, 11:16 pm
Yeah, Knives Out was much better than I was expecting. It helped that the trailers did a good job of hiding plot developments.
Wholeheartedly agree!

The movie was like a donut with a hole in the middle, or something.

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#2007

Post by RBG » December 19th, 2019, 1:01 am

in an unprecedented run i have loved once upon a time in hollywood, the irishman and uncut gems. i don't watch much current cinema so i'm excited
icm + ltbxd

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#2008

Post by Ivan0716 » December 19th, 2019, 3:13 am

Uncut Gems really surprised me too, I didn't expect to like it despite all the acclaim but it had me on the edge of my seat the whole time. The organised chaos and overlapping dialogues remind me of Aleksei German.

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#2009

Post by blocho » December 23rd, 2019, 8:52 pm

The newest Star Wars. What a turkey this movie turned out to be. Worth no one's time or money.

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#2010

Post by RedHawk10 » December 24th, 2019, 7:20 am

The Untamed - kinda interesting, kinda off-putting. Ehhh.

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#2011

Post by cinewest » December 24th, 2019, 10:13 am

outdoorcats wrote:
December 6th, 2019, 2:35 am
I just got back from Waves. Thoughts a jumble, and I am very tired, so some random stream of consciousness. Spoiler free.

-It is not an easy watch, but it is a truly Great film
-Reminded me a little of The Place Beyond the Pines. In the sense that it's very ambitious "Big" filmmaking that actually hits the mark, plus a similarity in how the story is structured (which I won't spoil as the second half of the film in particular would be best gone into as blind as possible)
-It is highly psychological and how much you get out of it (or are just bored) depends on how much you get into the characters' headspace. The heavily anxiety-inducing Nine Inch Nails soundtrack (one of Reznor and Ross' best scores IMO) helps. But I also think working in human services helped me empathize with all of the characters deeply and painfully even as they inflicted devastating pain on each other.
-The story is deceptively simple; if I were to describe it to you with just text, you'd wonder what the hoopla was about. If it had been directed by anyone but Shultz it would have been...a solid drama I suppose? But his filmmaking style* makes everything seem more epic. The film is 45 minutes shorter than The Irishman but feels like it's packed with 4 hours worth of story. I left the theater emotionally exhausted. But I also want to see it again.


*which this time around I realized sharply contrasts incredibly cinematic and "subjective" camerawork (constantly channeling characters' moods) with nautralistic, often non-dramatic and improvised dialogue and performances...which makes him sort of like Malick? Except swooping camerawork aside nothing about his films feels like Malick.
.
I've been looking forward to this one after being so impressed with Krisha, The previews for this one have also gotten my attention, and its in my top 10 of films yet to see for 2019.

Nice to hear from someone on the board about it.

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#2012

Post by Ebbywebby » December 25th, 2019, 4:46 am

I'm excited to have seen "Landscape in the Mist" last night. This intimidating, poetic title has been nagging me for years via various lists and books.

It not only was my first Angelopoulos film ever, but it was the 25th best movie I hadn't seen yet (according to TSPDT). Accordingly, it also claims to be one of the most renowned non-English films I hadn't seen.

There were some great things about the film (Roy Andersson meets Wim Wenders?), but I had trouble getting past the fundamental implausibility of the premise. I wasn't rooting for these kids to find their father -- I was just thinking "Oh, just go back home, you dummies." :)

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#2013

Post by Ebbywebby » December 26th, 2019, 9:36 pm


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#2014

Post by GruesomeTwosome » December 28th, 2019, 12:09 am

I saw Uncut Gems at the cinema today. An expectedly tense experience for sure, quite good but I definitely preferred the Safdies’ prior film Good Time, though.
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#2015

Post by maxwelldeux » December 31st, 2019, 5:57 pm

One from the Heart (1981)

The directors poll has gotten me thinking about my rankings there, and I definitely need to watch more films from my top directors - too many are sitting there with only 3 or 4 films seen, so I figured I should try and expand that. FFC's "One from the Heart" was on MUBI, and for no other reason than it looked weird, I decided to watch it last night. And it was something else... something I unexpectedly really enjoyed. The colors used for lighting were absolutely amazing at setting the mood, and the lighting itself was fun and creative. Cool shots abound in this, the music was spot-on with the feel of the film, and it was an overall visual delight with a pretty cute story. Not to mention Teri Garr acting the shit out of it.

I will say that it helped me knowing just a bit about the film. I had read MUBI's description and a bit on IMDB, which really helped set the stage and expectations for me. So knowing things like the artificial feel was intended. And that, according to IMDB trivia, this film went so far over budget that FFC had to spend the next 10-15 years making boring films to pay off his debts from this one.

All in all, great movie that pulled me right in. I actually had to switch TVs about 6min into the film because I wanted a bigger screen, better sound, etc. Very enjoyable.

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#2016

Post by funkybusiness » December 31st, 2019, 11:16 pm

Wonderful film, maxwell. I think Gloede and I share an affinity for it. One of the reasons there seems to be a disconnect between how good it is and how maligned it was critically upon release is that its current cut is not the original! I haven't been able to track down a copy of the theatrical release yet...

I mean, another reason it was poorly received might be because it's a. aesthetically very peculiar for a musical (although everyone seemed to love La La Land, maybe OftH was too far ahead of its time...) b. it's a musical in the genre sense in the '80s, far removed from the musical-adjacent pop films such as Footloose, and c. one helluva follow-up to Apocalypse Now.

The whole digital sound stage setup which bankrupted FFC was of particular interest to Godard, which is apparent in his subsequent film Passion.

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#2017

Post by maxwelldeux » December 31st, 2019, 11:50 pm

It's just so weird to me how much money and political wrangling gets involved in filmmaking. Like I get it - I understand there are serious financial implications for these things and that production costs money. But just the timing of how the industry works is so weird - like with OftH, they screened it before they had a final cut. Which is stupid. But I get it, but I don't. Like what would have happened with this film if it really got a shot at being great?

Anyway, super cool film. And one that bumped FFC up about a dozen spots in my top directors list.

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#2018

Post by GruesomeTwosome » January 6th, 2020, 4:07 am

Alex Ross Perry’s Her Smell (2018). OK, I’m officially an Elisabeth Moss fan now, she’s just fantastic in this. I’ve never seen the “self-destructive/aging rock star” film done quite like this before, there’s something unique in how Perry (with the great, claustrophobic camerawork and unnerving ambient score) depicts this kind of backstage chaos. A bit overlong maybe for this kind of content, but I feel this one will stay with me a while.
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#2019

Post by mightysparks » January 6th, 2020, 7:03 am

I watched Hunt For the Wilderpeople last night and I loved it, aside from a slightly weak ending which stopped me from favouriting it (though I may reconsider). It was wholesome and cute - not my type of film in the slightest - but full of charm and absolutely hilarious. I rarely laugh out loud during films, it’s probably been over 5 years since a film has made me laugh, and I was cracking up every scene. Usually hate child/teen actors too but the lead in this had great timing and was super likable. Highly recommend.
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#2020

Post by 45MinuteZoom » January 7th, 2020, 7:57 pm

Saw My Own Private Idaho (Gus Van Sant, 1991). My first impression is that the style of the movie feels very dated, though the magazine stand scene was cool. I was wondering what was going on with the weird Shakespearean delivery until later reading it’s sort of based on Henry IV and V. The music is a lot of fun though, I like the America, the Beautiful popping up the few times it does. For all that flack though, the scene by the campfire was brilliant, it’s easy to empathize with both River and Keanu’s positions. 6/10

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#2021

Post by maxwelldeux » January 8th, 2020, 7:09 am

6 Underground (2019)

Michael Bay being all Michael Bay-y. Stressful-ish day at work followed by moving furniture, I was in no mood for anything challenging and wanted pure escapism. Among other things, moved the TV, turned this on to retest the sound setup, and decided to just roll with it. 20 minutes into the movie the first chase sequence ended; it started when the movie started. Pure action fun and nothing more. When you want fun ridiculous over-the-top action with little substance, hard to do better than Bay.

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#2022

Post by funkybusiness » January 8th, 2020, 7:42 am

*beginning generic joke response sequence...*

is it necessary to have watched the first five Undergrounds?

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#2023

Post by GruesomeTwosome » January 8th, 2020, 1:45 pm

maxwelldeux wrote:
January 8th, 2020, 7:09 am
6 Underground (2019)

Michael Bay being all Michael Bay-y. Stressful-ish day at work followed by moving furniture, I was in no mood for anything challenging and wanted pure escapism. Among other things, moved the TV, turned this on to retest the sound setup, and decided to just roll with it. 20 minutes into the movie the first chase sequence ended; it started when the movie started. Pure action fun and nothing more. When you want fun ridiculous over-the-top action with little substance, hard to do better than Bay.


:D
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#2024

Post by maxwelldeux » January 8th, 2020, 5:37 pm

funkybusiness wrote:
January 8th, 2020, 7:42 am
*beginning generic joke response sequence...*

is it necessary to have watched the first five Undergrounds?
Nah, those are all pretty dead and buried. :P

Besides - 1, 2, 3, 4, and 5 weren't directed by Michael Bay, so they can't be good.

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#2025

Post by Onderhond » January 8th, 2020, 5:44 pm

maxwelldeux wrote:
January 8th, 2020, 5:37 pm
weren't directed by Michael Bay, so they can't be good.
If only he'd be a bit more elitist, he could do a Dogme-like checklist for entertaining action cinema.

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#2026

Post by Coryn » January 9th, 2020, 6:49 am

Kimi no na wa / Your Name 8,5/10

It's not often that I think a movie is not long enough but this one has done it. Probably the most beautiful animation I've seen and the story is simply amazing. I'm going to hop along the Hollywood haters here and sincerely hope this won't get a Disney remake, let alone a non-animation remake.
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#2027

Post by RedHawk10 » January 10th, 2020, 7:01 am

Of all the mainstream 2019 films I would've guessed might potentially steer into surreal territory while primarily being about the pain of repressed feelings, A Beautiful Day in the Neighborhood would not have been one of them, lol. This was really good!

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#2028

Post by Onderhond » January 10th, 2020, 7:11 am

RedHawk10 wrote:
January 10th, 2020, 7:01 am
Of all the mainstream 2019 films I would've guessed might potentially steer into surreal territory while primarily being about the pain of repressed feelings, A Beautiful Day in the Neighborhood would not have been one of them, lol. This was really good!
You should see Cats.

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#2029

Post by RedHawk10 » January 10th, 2020, 8:45 pm

Onderhond wrote:
January 10th, 2020, 7:11 am
RedHawk10 wrote:
January 10th, 2020, 7:01 am
Of all the mainstream 2019 films I would've guessed might potentially steer into surreal territory while primarily being about the pain of repressed feelings, A Beautiful Day in the Neighborhood would not have been one of them, lol. This was really good!
You should see Cats.
I'm a little worried that one might trigger a descent into madness for me.

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#2030

Post by Coryn » January 13th, 2020, 6:59 pm

I've only write here if I see a very good or very bad movie and gosh BlackKklansman was such a let down...

Honestly, if it wanted to be a fun drama with little bits of comedy it didn't succeed as the story was a mess and there were no laughs from my side. Next to that no memorable scenes whatsoever. If it wanted to be a touching or eye-opening experience on racism then it didn't succeed either in my opinion. I'm far away from all the racism issues America is having but I'm definitely aware and can be influenced by a good documentary or hell even a melodramatic movie like American History X but BlackKklansman ??? The only thing I saw was White bad Black good.

Not to talk about the ending ... Some people saying this ending was amazing ? Spike Lee simply let a video play of someone being run over by a lunatic racist.. just the way it was probably shown on the news ? Where is the originality in this ?


If you want to have an ending showing stuff that happened in real life correlating to your movie, at least be a little original like following example from Come and See by Klimov

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#2031

Post by blocho » January 13th, 2020, 7:42 pm

Coryn wrote:
January 13th, 2020, 6:59 pm
I've only write here if I see a very good or very bad movie and gosh BlackKklansman was such a let down...

Honestly, if it wanted to be a fun drama with little bits of comedy it didn't succeed as the story was a mess and there were no laughs from my side. Next to that no memorable scenes whatsoever. If it wanted to be a touching or eye-opening experience on racism then it didn't succeed either in my opinion. I'm far away from all the racism issues America is having but I'm definitely aware and can be influenced by a good documentary or hell even a melodramatic movie like American History X but BlackKklansman ??? The only thing I saw was White bad Black good.

Not to talk about the ending ... Some people saying this ending was amazing ? Spike Lee simply let a video play of someone being run over by a lunatic racist.. just the way it was probably shown on the news ? Where is the originality in this ?


If you want to have an ending showing stuff that happened in real life correlating to your movie, at least be a little original like following example from Come and See by Klimov

Spike is the most unsubtle of filmmakers. Not that subtlety is a virtue in its own right, but when I see some of Spike's movies, the basic message I get is: "Did you know racism is happening? And that it's bad? You need to know this!" In the theater of public discourse, I understand the value of such work, but it feels like an article from Slate come to life. Blackkkkkkkkklansman had one interesting element: the tension between the more militant and more accommodationist facets of the Civil Rights movement, and that was an element that was never fully explored.

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#2032

Post by OldAle1 » January 26th, 2020, 11:10 pm

Two new films seen in the cinema this week deserve mention here -

Tenki no ko / Weathering With You (Makoto Shinkai)

There were moments that I really loved, and there wasn't much that I disliked, but this latest fantasy-romance doesn't come close to the level of Kimi no na wa. It's too cluttered and focused on characters away from the main couple for a 2-hour film I think; there are moments where I wondered if he hadn't planned a much longer, sprawling epic sort of work with even more of the environmental concerns and more of the Sunshine Girl mythology. That might be something really special. As it is, I liked it - I dig everything I've seen from Shinkai and his particular romanticism/sentimentality fits in well with my own - but I didn't love it.

Little Women (Greta Gerwig)

I'm going to write more about this at some point, maybe after I see it a second time, but suffice it to say on one viewing this is easily my favorite film of 2019, and while the cast is quite terrific Gerwig's direction and the editing by Nick Huoy are really what make the film and what deserve all the nominations. I'm certainly in absolutely the right space for this - the book was one of my mom's favorites, and I was looking forward to seeing this with her, and was thinking about her throughout the film - but I think even apart from the personal connection Gerwig's use of time and memory, in particular in evoking the writing/creative process, really hit me also. I'm not absolutely positive I like a couple of the last sequences - or maybe not sure what they're meant to say - but overall, just great. This actually makes me want to watch the Oscars now, hoping that GG can at least win the screenplay award which she absolutely deserves (she is currently the favorite according to Goldderby).

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#2033

Post by OldAle1 » January 27th, 2020, 4:51 pm

Forgot to mention the strange set of trailers in front of Little Women. Now this was an 11 AM weekend matinee, and the audience was - as you'd expect for this kind of film in middle America - a bunch of older and probably mostly conservative white people. I'm 54 and I think I was the youngest person there. These were the trailers we got:

Sonic the Hedgehog (semi-animated)
I Still Believe (conservative Christian film)
Respect (Aretha Franklin biopic)
In the Heights (Hispanic pro-immigration musical)
The Spongebog Movie: Sponge on the Run (animated)
Call of the Wild (the one trailer that really seemed to fit, maybe)
Peter Rabbit 2 (animated)
Ghostbusters Afterlife

What a melange of disparate demographic oriented material! Typically I find that at least half the trailers, often most or all of the trailers, seem to go with what you'd expect the general audience for the film in question would be. Not this time - is it just impossible to find enough trailers that fit a literary adaptation with an older, female-skewing audience? I gotta wonder what some of the people in the audience were thinking during this - and EIGHT trailers in front of a 2 1/4 hour film is adding insult to... whatever.

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#2034

Post by GruesomeTwosome » January 27th, 2020, 5:51 pm

OldAle1 wrote:
January 27th, 2020, 4:51 pm
Forgot to mention the strange set of trailers in front of Little Women. Now this was an 11 AM weekend matinee, and the audience was - as you'd expect for this kind of film in middle America - a bunch of older and probably mostly conservative white people. I'm 54 and I think I was the youngest person there. These were the trailers we got:

Sonic the Hedgehog (semi-animated)
I Still Believe (conservative Christian film)
Respect (Aretha Franklin biopic)
In the Heights (Hispanic pro-immigration musical)
The Spongebog Movie: Sponge on the Run (animated)
Call of the Wild (the one trailer that really seemed to fit, maybe)
Peter Rabbit 2 (animated)
Ghostbusters Afterlife

What a melange of disparate demographic oriented material! Typically I find that at least half the trailers, often most or all of the trailers, seem to go with what you'd expect the general audience for the film in question would be. Not this time - is it just impossible to find enough trailers that fit a literary adaptation with an older, female-skewing audience? I gotta wonder what some of the people in the audience were thinking during this - and EIGHT trailers in front of a 2 1/4 hour film is adding insult to... whatever.
Heh, it's been a few weeks since I saw Little Women, but I definitely did not get that mix of trailers you describe. I'm pretty sure I DID get that trailer for I Still Believe (ugh) though, and I think that trailer also played in front of Just Mercy when I went to see that. Boy is that trailer cloying.

Anyways, I like your take on Little Women, it was far better than I expected. The back-and-forth shifts in time worked surprisingly well, and upon re-watching the 1994 version of Little Women after seeing the new film, I thought Gerwig's approach was able to flesh out the sisters and some of the other characters much better than the '94 film. I had a rather dim yet fond memory of the '94 film, but after seeing it again, Gerwig's film kinda blew it out of the water, to be honest.
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#2035

Post by OldAle1 » January 27th, 2020, 9:06 pm

GruesomeTwosome wrote:
January 27th, 2020, 5:51 pm

Heh, it's been a few weeks since I saw Little Women, but I definitely did not get that mix of trailers you describe. I'm pretty sure I DID get that trailer for I Still Believe (ugh) though, and I think that trailer also played in front of Just Mercy when I went to see that. Boy is that trailer cloying.

Anyways, I like your take on Little Women, it was far better than I expected. The back-and-forth shifts in time worked surprisingly well, and upon re-watching the 1994 version of Little Women after seeing the new film, I thought Gerwig's approach was able to flesh out the sisters and some of the other characters much better than the '94 film. I had a rather dim yet fond memory of the '94 film, but after seeing it again, Gerwig's film kinda blew it out of the water, to be honest.
It is hard for me to describe how Little Women affected me - again I'm sure part of it is the personal stuff, but I don't think that's really inflating my opinion. I'll probably see it again later this week to be sure though, and because I want to work through the ending better. As it is I can't think of a new film that's had this particular kind of impact on me in ages.

I thought I remembered seeing several of the earlier versions, but as it is the only one I have checked/rated is the 1933, which I saw 5 years ago or so with my mom, and which we both liked but didn't love. Katharine Hepburn strikes me as about the best choice from that era for Jo, and Joan Bennett a good fit for Amy but I dunno, it didn't quite come all together. If I saw the 49 it's been ages - looking at the cast I think wow, great, until I look at Jo being played by June Allyson, surely my least-favorite female star of that era. Still, Elizabeth Taylor, Janet Leigh and Margaret O'Brien as the other three sisters can't be too bad. And the '94 I would have sworn I'd seen in the cinema, with my mom, but I don't have it checked. I may have forgotten it when I put in all my ratings on IMDb in the first place in 2004-5 I suppose, I didn't have perfect paper or computer records and when it comes to stories filmed many times I know I made a couple of mistakes - had one of the wrong Christmas Carol's rated for example.

In any case I have both the 49 and 94 coming from my library system, hopefully they'll get here before the new film leaves and I can watch them all in close proximity.

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#2036

Post by Good_Will_Harding » January 28th, 2020, 2:10 am



Here's a pretty good video that compares and contrasts the four major Hollywood versions of Little Women with one another (I believe a similar video for A Star is Born was made when the 2018 version was released), and it gives some background information as to the nature of the book's ending (which unsurprisingly was a result of meddling from the publishers to give Jo a love interest in the end), which Greta Gerwig very wisely (imo) turns into a meta critique of itself for the conclusion of her adaptation.

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#2037

Post by GruesomeTwosome » January 28th, 2020, 2:39 am

@ OldAle1: Nice, I’d be interested to hear how you think the ‘94 film compares to Gerwig’s. I just looked ahead at the TCM schedule, figuring they’re likely playing the ‘33 and ‘49 films since Little Women is back en vogue, and sure enough they’ll both be airing next month. I haven’t seen either of those, so I’ll be sure to record them.
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#2038

Post by OldAle1 » January 28th, 2020, 6:12 pm

Good_Will_Harding wrote:
January 28th, 2020, 2:10 am

Here's a pretty good video that compares and contrasts the four major Hollywood versions of Little Women with one another (I believe a similar video for A Star is Born was made when the 2018 version was released), and it gives some background information as to the nature of the book's ending (which unsurprisingly was a result of meddling from the publishers to give Jo a love interest in the end), which Greta Gerwig very wisely (imo) turns into a meta critique of itself for the conclusion of her adaptation.
Thanks for that, and for anyone else who is starting to get obsessed with this film or it's director, here's an hour of her in a really good conversation from December -


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#2039

Post by matthewscott8 » January 30th, 2020, 4:43 pm

Ivan0716 wrote:
December 19th, 2019, 3:13 am
Uncut Gems really surprised me too, I didn't expect to like it despite all the acclaim but it had me on the edge of my seat the whole time. The organised chaos and overlapping dialogues remind me of Aleksei German.
High praise indeed. Gotta watch it now.

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#2040

Post by Cinepolis » January 30th, 2020, 7:05 pm

I'm gonna watch "Tajouj" in cinema tomorrow. One day later and it would fit the Africa challenge, but what can you do, right?

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