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In Competition at Cannes - Official Challenge May 2019

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Mate_cosido
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Re: In Competition at Cannes - Official Challenge May 2019

#81

Post by Mate_cosido » May 10th, 2019, 5:35 pm

1. Los golfos - The Delinquents (1960, Carlos Saura)

2. Manbiki kazoku - Shoplifters (2018, Hirokazu Koreeda)

3. Sharaku (1995, Masahiro Shinoda)

4. Dolina miru - Valley of Peace (1956, France Stiglic)

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#82

Post by Traveller » May 10th, 2019, 6:37 pm

25. Diary for My Children (1984) - 7/10
26. Repentance (1984) - 8/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#83

Post by Coryn » May 10th, 2019, 8:33 pm

5. Mystic River (2003)
[*][*][*][*][*] Favorite
[*][*][*][*] Very good
[*][*][*] Good
[*][*] Okay
[*] Bad

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#84

Post by jeroeno » May 11th, 2019, 6:16 am

12. Elisa, vida mía (1977)
13. Garm Hava (1974)
14. Jak byc kochana (1963)

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#85

Post by Traveller » May 11th, 2019, 7:12 am

27. When Father Was Away on Business (1985) - 5/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#86

Post by Traveller » May 11th, 2019, 6:39 pm

28. A World Apart (1988) - 6/10
29. Too Beautiful for You (1989) - 6/10
30. Sex, Lies and Videotape (1989) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#87

Post by Traveller » May 12th, 2019, 6:10 pm

31. The Best Intentions (1992) - 8/10
32. The Stolen Children (1992) - 5/10
33. Faraway, So Close! (1993) - 8/10
34. Ulysses’ Gaze (1995) - 8/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#88

Post by jeroeno » May 12th, 2019, 6:21 pm

15. Les années lumière (1981)
16. Reality (2012)
17. Eu Sei Que Vou Te Amar (1986)
18. La Prima Angélica (1974)

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#89

Post by maxwelldeux » May 12th, 2019, 6:53 pm

I prefer a bottleShow
1. A Taste of Cherry (1997)
2. Z (1969)
3. The Salesman (2016)
4. Cria Cuervos (1976)

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#90

Post by jdidaco » May 13th, 2019, 5:06 am

(Screenshots from 'Prodosia' & 'Perla w koronie'),

Image

21. Madalena (Dinos Dimopoulos, 1960) 8/10
22. Ouranos (Glory Sky, Takis Kanellopoulos, 1962) 9/10
23. Prodosia (Treason, Kostas Manoussakis, 1964) 10/10 (l)
24. Morgan: A Suitable Case for Treatment (Karel Reisz, 1966) 8/10
25. Gli intoccabili (Machine Gun McCain, Giuliano Montaldo, 1969) 7/10
26. I tulipani di Haarlem (Tulips of Haarlem, Franco Brusati, 1970) 8/10
27. Zycie rodzinne (Family Life, Krzysztof Zanussi, 1971) 10/10 (l)
28. Perla w koronie (Pearl in the Crown, Kazimierz Kutz, 1972) 10/10 (l)
29. Abu el Banat (Daughters, Daughters, Moshé Mizrahi, 1973) 7/10
30. Black Joy (Anthony Simmons, 1977) 8/10

Image

SpoilerShow
1. Il relitto/To hameno kormi (The Wastrel, Michael Cacoyannis, 1961) 8/10
2. Les abysses (The Depths, Nikos Papatakis, 1963) 9/10
3. Los pianos mecánicos (The Uninhibited, Juan Antonio Bardem, 1965) 8/10
4. Feldobott kö (The Upthrown Stone, Sándor Sára, 1969) 9.5/10
5. Matzor (Siege, Gilberto Tofano, 1969) 9/10
6. The Buttercup Chain (Robert Ellis Miller, 1970) 9/10
7. Loot (Silvio Narizzano, 1970) 8/10
8. Il était une fois dans l'est (Once Upon a Time in the East, André Brassard, 1974) 7.5/10
9. Budapesti mesék (Budapest Tales, István Szabó, 1977) 7/10
10. Kravgi gynaikon/A Dream of Passion (Jules Dassin, 1978) 7/10
11. Carambolages (Carom Shots, Marcel Bluwal, 1963) 8.5/10
12. Pierwszy dzien wolnosci (The First Day of Freedom, Aleksander Ford, 1964) 9/10
13. El juego de la oca (Snakes and Ladders, Manuel Summers, 1965) 8/10
14. Último encuentro (The Last Meeting, Antonio Eceiza, 1967) 9/10
15. Polowanie na muchy (Hunting Flies, Andrzej Wajda, 1969) 7.5/10
16. Michael Kohlhaas - Der Rebell (Man on Horseback, Volker Schlöndorff, 1969) 7.5/10
17. Malatesta (Peter Lilienthal, 1970) 9/10
18. Le bateau sur l'herbe (The Boat on the Grass, Gérard Brach, 1971) 8/10
19. Les arpenteurs (The Surveyors, Michel Soutter, 1972) 8.5/10
20. Lotte in Weimar (Egon Günther, 1975) 9/10

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#91

Post by cinephage » May 13th, 2019, 6:52 am

02. Fröken Julie, by Alf Sjoberg (1951) 7/10

Nice direction, but I didn't care for the story and drama...

03. Forbrydelsens element, by Lars von Trier (1984) 6,5/10

A dark fantasy, and a hard to follow plot, but the mood set by this film was unusual and very interesting.
SpoilerShow
01. The Long Day Closes, by Terence Davies (1992) 8/10

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#92

Post by sol » May 13th, 2019, 12:08 pm

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)

12. Modesty Blaise (1966)

Image

An incoherent spy spoof. The movie looks divine with outlandish sunglasses, ridiculously large alcohol glasses, optical illusion style wallpaper throughout and a jail "cell" near the end that looks like something out of a Dr. Seuss book (see above). The visual pizzazz is hard to appreciate here though given how little sense the episodic plot makes. We never really get under the title character's skin either or ever get to see what is apparently so special about her. There are some fun campy supporting turns here from the likes of Dirk Bogarde, but this sadly rates my 7th worst film seen this year.
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#93

Post by sol » May 13th, 2019, 2:06 pm

And from one of my 10 worst first time viewings this year to one of my 10 best: :D

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)

13. Kuroneko (1968)

Image

Shot in eerie high contrast black and white, the first 25 minutes of this horror follow-up from Onibaba director Kaneto Shindô are equally as spooky and enticing as his 1964 masterpiece. Without a single line spoken for the first nine minutes and scarce dialogue afterwards, Shindô presents a very visual tale of two wronged women returning as vengeful spirits who shape-shift between cat and human form. The remainder of the film though never quite matches this intensity with a lot of dialogue heavy scenes, but the film ends very solidly, if not on quite as haunting a final note as Onibaba.
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#94

Post by sol » May 13th, 2019, 3:40 pm

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)

14. Frauds (1993)

Image

One of the most WTF films that I have seen in a long, long time. I think I really liked it, but I would prefer to reserve judgment until sleeping on it. I mean, I hated the film at first since the plot does not make sense until 35 minutes in and it is unclear who most of the characters are until shortly before that. But gee, when the film gets into the swing of things! It's sort of a Pacific Heights style horror film with a devious antagonist, and yet the whole thing is played as an absurdist comedy full of wild and imaginative interior sets that could not exist inside the apparent exteriors. The whole thing is kind of a tale of practical joking and what happens when it goes too far, but I'm not really sure if the film has any real message to it in terms of comeuppance etc. But it's one hell of a ride, as long as you're prepared for some giant tonal shifts, especially during the nonsensical first 35 minutes.
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#95

Post by OldAle1 » May 13th, 2019, 3:54 pm

How is noted thespian Phil Collins in Frauds?

Pretty much in agreement about Modesty Blaise, which isn't much apart from it's production values, and I say that as someone who probably likes eurospy more than most people here.

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#96

Post by Traveller » May 13th, 2019, 4:33 pm

Kuroneko is indeed awesome, sol. :cheers:

35. Eternity and a Day (1998) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#97

Post by maxwelldeux » May 13th, 2019, 6:31 pm

I prefer a bottleShow
1. A Taste of Cherry (1997)
2. Z (1969)
3. The Salesman (2016)
4. Cria Cuervos (1976)
5. Sin City (2005)
Rewatch - probably haven't seen it in 10 years or so, and I was pretty excited to watch it again. I didn't appreciate the visual style so much during my first viewings, but loved it upon rewatch. And I think matching the visual style to the original graphic novel was brilliant - made the whole film feel fantastical and noir, yet immersive. So many cool characters in there.

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#98

Post by maxwelldeux » May 13th, 2019, 8:45 pm

In case this helps anyone...

Here is a list of films available to stream on Prime, Hulu, HBO, and/or Netflix in the US. That I haven't seen. I made this list for Wife and I, but thought someone else might find it useful.

https://trakt.tv/users/maxwelldeux/list ... t=rank,asc

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#99

Post by AB537 » May 14th, 2019, 2:45 am

7. Homicide (David Mamet, 1991)

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#100

Post by Traveller » May 14th, 2019, 4:44 am

36. Humanite (1999) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#101

Post by sol » May 14th, 2019, 1:01 pm

OldAle1 wrote:
May 13th, 2019, 3:54 pm
How is noted thespian Phil Collins in Frauds?

Pretty much in agreement about Modesty Blaise, which isn't much apart from it's production values, and I say that as someone who probably likes eurospy more than most people here.
Collins is insane. In the best possible way. Overall film is too, kinda. I've decidedly that I definitely would recommend it, especially to fans of the director's latter Priscilla, Queen of the Desert since Frauds is even more outrageous.

Production values, yup. I'm a big fan of elaborate and imaginative set designs, also more than most, so it feels really weird to put down Modesty Blaise as a dislike, but the fact that it failed to engage me even with such visual delights says quite a lot. I don't know if you are a big fan of the 1967 Casino Royale, but I absolutely love it with its kooky sets, even kookier costumes and energetic performances all round. I was hoping for Modesty Blaise to be something similar, which it very much is not. :shrug:

Oh, and I'm way too tired/stressed from work to reply to you on the weekly thread but thanks as always for posting there.
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#102

Post by OldAle1 » May 14th, 2019, 2:13 pm

sol wrote:
May 14th, 2019, 1:01 pm
OldAle1 wrote:
May 13th, 2019, 3:54 pm
How is noted thespian Phil Collins in Frauds?

Pretty much in agreement about Modesty Blaise, which isn't much apart from it's production values, and I say that as someone who probably likes eurospy more than most people here.
Collins is insane. In the best possible way. Overall film is too, kinda. I've decidedly that I definitely would recommend it, especially to fans of the director's latter Priscilla, Queen of the Desert since Frauds is even more outrageous.

Production values, yup. I'm a big fan of elaborate and imaginative set designs, also more than most, so it feels really weird to put down Modesty Blaise as a dislike, but the fact that it failed to engage me even with such visual delights says quite a lot. I don't know if you are a big fan of the 1967 Casino Royale, but I absolutely love it with its kooky sets, even kookier costumes and energetic performances all round. I was hoping for Modesty Blaise to be something similar, which it very much is not. :shrug:

Oh, and I'm way too tired/stressed from work to reply to you on the weekly thread but thanks as always for posting there.
We did correspond a little about Casino Royale, a film I really don't remember much - you almost convinced me to just buy it but there's too much out there, I'm either waiting for it cheap or finding an alternative means. Actually need to check the library, its not available locally but maybe somewhere in the state. I may prioritize it, along with other 60s eurospy stuff like the (original, 1960s) OSS 117 series for the low ratings challenge.

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#103

Post by OldAle1 » May 14th, 2019, 2:28 pm

Cant' Can Cannes, Can We?Show

1. Pale Rider (Clint Eastwood, 1985) (re-watch)
2. The Man Who Knew Too Much (Alfred Hitchcock, 1956) (re-watch)

RIP Doris Day

Image

Probably only 2nd viewing but maybe 3rd - this is a hard one to remember in detail, because I don't like it that much, though I guess it improved a little on this viewing. The good: Robert Burks' cinematography is solid, with his usual beautiful representation of color in shadow; Bernard Herrmann's score is pretty swell, probably not among his very best from this, his best period, but that's not much of a criticism - the combination of his moody mysterious low-key passages when Day or Stewart are walking along a street alone, that's the thriller mood at it's best and he gets as much credit as Hitch for that I think. And I actually like Day a lot in this film in a role that is pretty thankless - apart from getting to sing Que Sera Sera a couple of times she's mostly crying, screaming or being put down or sedated by asshole husband James Stewart. And there's the biggest problem - not necessarily Stewart's performance, though this is one case where I think switching him out for Hitch's other favorite star of the period, Cary Grant, would have been beneficial - but the really aggressive, sexist, ugly American character that he's playing. So unnecessary unless Hitch or any of the many writers involved are trying to make some sort of critique of this behavior but there's not much evidence of that; Stewart played a lot of anti-heroes in the 50s for both Hitch and Anthony Mann, but usually there's a pushback to his negative behavior and he either learns something, or pays a price for his obnoxiousness and bitterness; not here. I guess in a sense Day's more empathic and less aggressive approaches to solving their problem - getting back their missing son and not causing harm to anyone else - works in the end, and it turns out she is more correct in her decisions and hunches throughout the film, but Stewart never gets his comeuppance in the end. So while I grudgingly can admit at this point that the direction and general production values are good enough to work on me to a certain extent, it still leaves more than a bit of a bad taste in my mouth. The earlier version is much, much better IMO and gives the female lead more agency and equality with her husband.

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#104

Post by Traveller » May 14th, 2019, 5:47 pm

37. The Son’s Room (2001) - 7/10
38. The Child (2005) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#105

Post by hurluberlu » May 14th, 2019, 6:58 pm

2. A Place in the Sun (George Stevens, 1951) 8
3. The Long, Hot Summer (Martin Ritt, 1958) 8-
4. It's Only the End of the World / Juste la fin du monde (Xavier Dolan, 2016) 5-
#JeSuisCharlie Liberté, Liberté chérie !

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#106

Post by albajos » May 14th, 2019, 9:27 pm

06. The Long Riders (1980) USA 3 official lists 1 005 checks [double]

Off. list progress:
+1 Cannes Film Festival - Palme d'Or (59,3%)

So Many Cannon films were sold at CannesShow
01. The Sun Shines Bright (1953) USA 4 official lists 379 checks [double]
02. La escondida (1956) Mexico 11 checks [double]
03. Friendly Persuasion (1956) USA 3 official lists 694 checks [double]
04. The Beguiled (2017) USA 1 747 checks
05. Jeremiah Johnson (1972) USA 1 988 checks [double]

bonus
The Heart Is Deceitful Above All Things - side competition in 2004

!seen 6

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#107

Post by AB537 » May 15th, 2019, 2:03 am

8. Lawless (John Hillcoat, 2012)

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#108

Post by Traveller » May 15th, 2019, 5:42 pm

39. The Wind That Shakes the Barley (2006) - 5/10
40. Flanders (2006) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#109

Post by jeroeno » May 16th, 2019, 5:17 am

19. Le lieu du crime (1986)
20. Aprile (1998)

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#110

Post by flavo5000 » May 16th, 2019, 2:44 pm

5. Modesty Blaise (1966)
6. Mouchette (1967)
7. Borgman (2013)
8. Le passé (2013)
SpoilerShow
1. Friendly Persuasion (1956)
2. The Pumpkin Eater (1964)
3. Vizi privati, pubbliche virtù (1976)
4. Woyzeck (1979)
5. Modesty Blaise (1966)
6. Mouchette (1967)
7. Borgman (2013)
8. Le passé (2013)

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#111

Post by Traveller » May 16th, 2019, 5:59 pm

41. Gomorra (2008) - 5/10
42. The Class (2008) - 4/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#112

Post by jeroeno » May 17th, 2019, 3:26 am

21. Bian zou bian chang (Life on a String) (1991) (l)

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#113

Post by sol » May 17th, 2019, 10:36 am

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)

15. Car Wash (1976)

Image

Best known nowadays for its iconic title song, this ensemble comedy has very limited narrative structure and few characters who we get to know in depth, playing out as if it was written as the filmmakers went along. There are certainly some funny bits and a subplot involving a suspected bomber is both humorous and utterly intense. Other sequences though are groan-inducing with a kid vomiting feeling particularly long and drawn out. The car wash workers are a likeable bunch though, and their varying dedication to their work is curious. Richard Pryor appears - but for under five minutes.
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#114

Post by sol » May 17th, 2019, 2:23 pm

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)

16. Splitting Heirs (1993)

Image

This convoluted comedy -- written by and starring Eric Idle -- has right ingredients are certainly here with a talented supporting cast and some Fish Called Wanda style stabs at prim and proper British mannerisms versus American customs/values, but Idle looks far too old to be playing someone nearly half his age and it is hard to root for his attempts to murder Rick Moranis when Moranis only ever plays a likeable and charismatic guy. John Cleese on the other hand is very funny as an unwanted accomplice and yet he receives very little screen time except towards the end.
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#115

Post by maxwelldeux » May 17th, 2019, 5:04 pm

I prefer a bottleShow
1. A Taste of Cherry (1997)
2. Z (1969)
3. The Salesman (2016)
4. Cria Cuervos (1976)
5. Sin City (2005)
6. Elephant (2003)
Wow that took me back... I felt like I knew all those people. This captured high school completely - all the weirdness that comes off as normal, things out of your control, all the different sorts of people, everything. And just the stark realism of the shooting made it terrifying and fascinating at just how easily things like this can happen. I, somewhat sadly, know people who have been on both sides of the school shooting, and this film nailed it.

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#116

Post by Traveller » May 17th, 2019, 5:43 pm

43. A Prophet (2009) - 7/10
44. Of Gods and Men (2010) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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#117

Post by AB537 » May 18th, 2019, 3:36 am

9. The Sweet Hereafter (Atom Egoyan, 1997)

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sol
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#118

Post by sol » May 18th, 2019, 5:03 am

In a world in which nobody KAHN pronounce CannesShow
1. Pale Rider (1985)
2. Good Time (2017)
3. The Sun Shines Bright (1953)
4. The Three Burials of Melquiades Estrada (2005)
5. Tell Me That You Love Me, Junie Moon (1970)
6. Fear and Loathing in Las Vegas (1998) REVISION
7. White Hunter, Black Heart (1990)
8. The Long Riders (1980)
9. The Homesman (2014)
10. The Nickel Ride (1974)
11. Sons and Lovers (1960)
12. Modesty Blaise (1966)
13. Kuroneko (1968)
14. Frauds (1993)
15. Car Wash (1976)
16. Splitting Heirs (1993)

17. The Salesman (2016)

Image

Asghar Farhadi shrouds this film about a sexually assaulted actress in mystery as we never see the assault ourselves. Why does she want the matter dropped? Why does she keep changing her mind as to whether she saw her assailant's face, and why did he flee without his keys, phone and car? The solution is not as intriguing as the build-up with several red herrings, but the plot turns result in complex moral dilemmas as Farhadi encourages us to see all sides. The assault itself becomes a tad trivialised, but there is lots to like in the shades of grey here and lead actor Shahab Hosseini is superb.
Former IMDb message boards user /// iCM | IMDb | My Top 500+ Favourite Films /// Long live the new flesh!
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#119

Post by jdidaco » May 18th, 2019, 5:10 am

Screenshots from 'Ådalen 31' & 'Een vrouw tussen hond en wolf',

Image

31. Kam cert nemuze (When the Woman Butts In, Zdenek Podskalský, 1960) 7.5/10
32. Het mes (The Knife, Fons Rademakers, 1961) 8/10
33. Harry og kammertjeneren (Harry and the Butler, Bent Christensen, 1961) 8.5/10
34. Harry Munter (Kjell Grede, 1969) 8.5/10
35. Ådalen 31 (Bo Widerberg, 1969) 9/10
36. Magasiskola (The Falcons, István Gaál, 1970) 9/10
37. A Fan's Notes (Eric Till, 1972) 7/10
38. Un divorce heureux/En lykkelig skilsmisse (A Happy Divorce, Henning Carlsen, 1975) 8/10
39. Egy erkölcsös éjszaka (A Very Moral Night, Károly Makk, 1977) 8.5/10
40. Een vrouw tussen hond en wolf/Femme entre chien et loup (Woman Between Wolf and Dog, André Delvaux, 1979) 9/10

Image

SpoilerShow
1. Il relitto/To hameno kormi (The Wastrel, Michael Cacoyannis, 1961) 8/10
2. Les abysses (The Depths, Nikos Papatakis, 1963) 9/10
3. Los pianos mecánicos (The Uninhibited, Juan Antonio Bardem, 1965) 8/10
4. Feldobott kö (The Upthrown Stone, Sándor Sára, 1969) 9.5/10
5. Matzor (Siege, Gilberto Tofano, 1969) 9/10
6. The Buttercup Chain (Robert Ellis Miller, 1970) 9/10
7. Loot (Silvio Narizzano, 1970) 8/10
8. Il était une fois dans l'est (Once Upon a Time in the East, André Brassard, 1974) 7.5/10
9. Budapesti mesék (Budapest Tales, István Szabó, 1977) 7/10
10. Kravgi gynaikon/A Dream of Passion (Jules Dassin, 1978) 7/10
11. Carambolages (Carom Shots, Marcel Bluwal, 1963) 8.5/10
12. Pierwszy dzien wolnosci (The First Day of Freedom, Aleksander Ford, 1964) 9/10
13. El juego de la oca (Snakes and Ladders, Manuel Summers, 1965) 8/10
14. Último encuentro (The Last Meeting, Antonio Eceiza, 1967) 9/10
15. Polowanie na muchy (Hunting Flies, Andrzej Wajda, 1969) 7.5/10
16. Michael Kohlhaas - Der Rebell (Man on Horseback, Volker Schlöndorff, 1969) 7.5/10
17. Malatesta (Peter Lilienthal, 1970) 9/10
18. Le bateau sur l'herbe (The Boat on the Grass, Gérard Brach, 1971) 8/10
19. Les arpenteurs (The Surveyors, Michel Soutter, 1972) 8.5/10
20. Lotte in Weimar (Egon Günther, 1975) 9/10
21. Madalena (Dinos Dimopoulos, 1960) 8/10
22. Ouranos (Glory Sky, Takis Kanellopoulos, 1962) 9/10
23. Prodosia (Treason, Kostas Manoussakis, 1964) 10/10
24. Morgan: A Suitable Case for Treatment (Karel Reisz, 1966) 8/10
25. Gli intoccabili (Machine Gun McCain, Giuliano Montaldo, 1969) 7/10
26. I tulipani di Haarlem (Tulips of Haarlem, Franco Brusati, 1970) 8/10
27. Zycie rodzinne (Family Life, Krzysztof Zanussi, 1971) 10/10
28. Perla w koronie (Pearl in the Crown, Kazimierz Kutz, 1972) 10/10
29. Abu el Banat (Daughters, Daughters, Moshé Mizrahi, 1973) 7/10
30. Black Joy (Anthony Simmons, 1977) 8/10

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#120

Post by Traveller » May 18th, 2019, 7:10 am

45. Once Upon a Time in Anatolia (2011) - 7/10
ICM
July Challenge: Image
But at the bottom, the immanent philosopher sees in the entire universe only the deepest longing for absolute annihilation, and it is as if he clearly hears the call that permeates all spheres of heaven: Redemption! Redemption! Death to our life! and the comforting answer: you will all find annihilation and be redeemed!

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