Last Seen Movie - The Latest Movie You Have Seen; ratings

[Reza]

What Happened to Monday (Tommy Wirkola, 2017) 6/10

In a dystopian future to offset the dangerous level of over population and famine governments force their people to abide by a one-child policy. A man (Willem Dafoe) hides and raises his identical septuplet grand daughters who grow up and live a life of "one" in subterfuge. Each named after the days of the week they get to live on the outside one at a time on the day they were named after. What this does is allow the star of the film - Noomi Rapace - to play seven identical sisters each with a different personality and look. The Child Allocation Bureau, run by a fierce director (Glenn Close hamming it up dreadfully), catches onto the ruse and their detectives (men-in-black) go after the sisters who try to defend themselves to the death. A great premise, bordering on camp, allows Rapace some kick-ass action sequences when one sister mysteriously goes missing and the other six attempt to find what happened to her. Rapace is great fun to watch either squabbling with herself (in the guise of different sisters) or stabbing, kicking, shooting, garotting assorted goons on their trail. This is strictly B-movie trash and very familiar - after all Bette Davis and Olivia de Havilland did a variation of this way back in the 1940s - but Rapace makes it a compelling if rather absurd ride.

[Reza]

Becoming Cary Grant (Mark Kidel, 2017) 8/10

Archibald Leach rises from poverty struck ashes in Bristol to reinvent himself as Hollywood star Cary Grant. Fascinating, informative yet veiled look at a great star - the story of his life is spoken in his own words via an unpublished autobiography and voiced by Jonathan Pryce. The documentary is interspersed with scenes from his films as his psyche is analyzed - his intense mistrust of women (he married five times) after being "abandoned" by his mother who he later found out had been put into an asylum by his father on a flimsy pretext which set the tone for his life leading to a phase of indulging in LSD when in his fifties he tried to sort out his mind. The film touches on his relationship and teaming with Hitchcock on three films - both were working class men who reinvented themselves. The film avoids delving into his sexuality and his lifelong "romantic" relationship with actor Randolph Scott with whom he lived during their early years as young actors breaking into Hollywood. This is a fine tribute to a great legend who comes off as a very human individual.

[Reza]

Detroit (Kathryn Bigelow, 2017) 10/10

Every white person in America should be forcibly made to watch this film. It took a white female director to highlight this "small" but very shocking episode that took place during civil strife that turned into violent riots in the city of Detroit during the summer of 1967. After establishing how the riots started the screenplay focuses on a horrific incident that took place at a motel where a group of black youngsters (and two white females), who were partying and having fun, were caught in a night of terror. A toy gun is fired by one of the boys in jest which results in the hotel being beseiged by the local cops and the National Guard in search of a sniper. The kids are repeatedly and viciously interrogated, tortured and abused and before the night is over three of the young men are shot dead in cold blood by the racist cops - the National Guard leave the premises letting the cops handle the situation. Later the three cops involved in the shootings are let off by a white jury when the case comes to trial. This historical incident from 50 years ago has sadly repeated with variations in the United States with alarming regularity as the issue of racist violence against black people continues unbated even today. The film puts the audience smack down into the relentless horror and Bigelow makes a great choice by intentionally not focusing on any one individual character - they all have their own small arcs (the racist cops, the two girls, the young boys and a black cop (John Boyega) who is witness to the incident and tries to help the victims - within this story. The sharp editing and the hand held camera brilliantly creates a sense of chaos. This is one of the year's best films, got great reviews but sadly flopped at the boxoffice - probably proved too intense as a cinema going experience. Not to be missed and a must-see.

[Reza]

The Snowman (Tomas Alfredson, 2017) 2/10

As a poster for Norwegian tourism this film has superb snowy views of Oslo and other cities, expansive lakes and the chilly countryside with even the Storseisundet Bridge getting a look-in as a car zooms over it followed by sinking dramatically into a frozen lake. However, as a star-studded thriller about the hunt for a serial killer this is one of the most ineptly plotted and directed film which is a shock considering the talented Alfredson is at the helm. A killer is chopping up married women living alone with young kids and leaving behind a grinning snowman as his signature. A brilliant but alcoholic gumshoe, Harry Hole (Michael Fassbender), is heading the case with his novice but sharp eyed partner (Rebecca Ferguson). The film strangely spends more time veering off into tangents involving the detective's estranged girlfriend (Charlotte Gainsbourg), his son, another cop (Toby Jones), a philanthropist (J.K. Simmons with a clipped Brit accent) and in flashback sequences a manic detective (Val Kilmer looking horrifically bloated) who was also confronted with a similar case involving a serial killer. None of these characters are well defined nor is there any chemistry between the actors. The killings are graphic and the film is beautifully shot by Dion Bebe. Pity the mystery is handled in such a lumpy disjointed manner. Based on one of the books in a famous series of detective novels by Norwegian writer Jo Nesbø. After this messy film I seriously doubt the books are going to be part of a film franchise. Such a missed opportunity.

[Reza]

The Mountain Between Us (Hany Abu-Assad, 2017) 6/10

Idris Elba's choice of movies desperately need justifying his star status. However, the actor has charisma pretty much in droves. This old fashioned film is really not going to add any kudos to his resumé but his teaming with Kate Winslet certainly works - they make a great screen pairing - even though one wonders why she chose to be in this film. Presumably it was to work with Elba. The film's premise is quite far fetched - two strangers, a neurosurgeon (Idris Elba) and a freelance photographer (Kate Winslet), find themselves stranded when their flight is cancelled. Hiring a small plane they end up with a pilot (Beau Bridges) who has a stroke over the Rocky Mountains, the plane crashes (in a very non-scary way which is rather a let down) and we are in "B" movie territory straight from the 1950s. It's all very predictable - the couple start off prickly, discover each other's strengths and weaknesses and we get to see the usual lost-in-the-wilderness clichés with scenes of them sliding down precarious slopes, injury, frostbite, a curious cougar which attacks, a frozen lake that cracks and bear traps. The scenery is cold, snowy and stunning but there is no sense of danger at anytime as the two every so often sit down and chat about their lives. Keeping the two company through their trek of survival is a cute labrador. It's all pretty cheesy - we know the two are going to eventually become an item - but the two stars somehow make it work through sheer star power.

[Precious Doll]

This mark is the definition of nostalgia, isn't it?

Eyes of Laura Mars (1978) Irvin Kershner 7/10

Yes, very much so. A very beautiful Faye Dunnaway pre nipped and tucked (was there any other American actress around that period as naturally beautifully as Dunnaway?), a gritty, dirty and decaying New York, far more appealing that what it looks like it has become from what I've seen in films over the last 20 years (I haven't visited NY since 1996 and will never go back). It's also a very rare beast in that it falls very much into the Italian Giallo range of films, coming at the end of that cycle but at the same time that the slasher films of the late 1970's/early 1980's emerged starting with John Carpenters Halloween. Ironically, John Carpenter came up with the story for Eyes of Laura Mars.

And to top it off we have the theme song sung by Barbara Streisand (then partner of producer of Eyes of Laura Mars, Jon Peters). And since we are on an Oscar board I fill I should mention that the film was snubbed for costume design, music & song. I could relive that era in a continually loop forever.

I still have the soundtrack on vinyl, not sure if I have lobby cards though.

[Uri]

This mark is the definition of nostalgia, isn't it?

Eyes of Laura Mars (1978) Irvin Kershner 7/10

[Precious Doll]

Star Wars: The Last Jedi (2017) Rian Johnson 4/10
The Glass Castle (2017) Destin Daniel Cretton 1/10
Red Christmas (2017) Craig Anderson 4/10
The Devil's Candy (2016) Sean Byrne 4/10
Dark Night (2017) Tim Sutton 4/10
Mudbound (2017) Dee Rees 7/10
The Florida Project (2017) Sean Baker 9/10
Ma' Rosa (2016) Brillante Mendoza 6/10
A Blast (2014) Syllas Tzoumerkas 6/10
The Yellow Handkerchief (1977) Yoji Yamada 6/10
When You Read This Letter (1953) Jean-Pierre Melville 7/10

Repeat viewings

Alice Sweet Alice (1976) Alfred Sole 7/10
The Cardinal (1963) Otto Preminger 4/10
7 Faces of Dr. Lao (1964) George Pal 6/10
Eyes of Laura Mars (1978) Irvin Kershner 7/10
The Star (1952) Stuart Heisler 6/10

[Reza]

Man With the Gun (Richard Wilson, 1955) 6/10

Stranger in town (Robert Mitchum) is hired by townfolk to "tame" and drive out gunmen causing mayhem. Adding to the man's problems in town is his estranged wife (Jan Sterling) who runs the local saloon. Standard Western scenario is well exceuted, acted and starkly photographed by Lee Garmes.

[Reza]

The Laughing Policeman (Stuart Rosenberg, 1973) 8/10

Gritty police procedural set in San Francisco after a bus full of passengers are all shot down by a mysterious killer. The plainclothes policeman (Walter Matthau) on the case discovers his partner was also on that bus and killed when he was supposed to have been on sick leave. Tautly directed and written with authentic looking characters and filmed on actual locations. One of Matthau's rare dramatic parts - he was, at the time, shuffling through assorted Neil Simon comedies - and he is superb and ably supported by a great cast playing various cops (Bruce Dern, Anthony Zerbe, Louis Gossett Jr.).

[Reza]

Porgy and Bess (Otto Preminger, 1959) 7/10

Gershwin's controversial 1935 black folk opera finally came to the big screen as a full blown musical with stylized sets and familiar score pretty much intact if partly changed to dialogue. The story centers on the residents of a slum called Catfish Row where they live in a perpetual state of poverty, violence and drugs - Porgy (Sidney Poitier), a crippled beggar, is in love with Bess (Dorothy Dandridge), a tortured drug addict and floozy who, in turn, is the mistress of Crown (Brock Peters) who is a violent hoodlum. Surrounding them are equally colorful characters - the dandy drug pusher Sportin' Life (Sammy Davis Jr. who has fun with the part but comes off too much like a member of the Rat Pack in this period piece). Both Pearl Bailey and Diahann Carroll (who gets to sing the standard "Summertime") play supporting roles. The film is overloaded with black stereotypes but this rare film (which has been suppressed more often than shown since it came out in 1959) has a magnificent score and a great cast even though both leads come off looking like movie stars. One also needs to ignore the difference between the film's spoken dialogue (with perfect diction) and liberreto (sung in cringingly broken English). The film won an Oscar for Andre Previn for adapting the music score.

[Reza]

Star Wars: The Last Jedi (Rian Johnson, 2017) 6/10

It's been a very long time coming - Luke Skywalker (Mark Hamill) brandishing a lightsaber high above his head and standing in familiar dramatic pose ready for battle. Unfortunately that image comes at the end of a very long movie which just goes on and on. And despite the noisy action I kept dropping off to sleep during the first hour which sets up all the characters. There are three main stories running simultaneously along with mini bits going on to the side with some of the peripheral characters - cute but annoying little furry creatures plus the usual suspects, R2D2, C3P0, Chewie and Yoda. There is a lot of spectacle throughout punctuated by the obligatory John Williams score. On a desolate island the budding Jedi, Rey (Daisy Ridley), tries to persuade a reclusive Skywalker to come back with her to rejoin the fight with Princess Leia (Carrie Fisher) and the Rebels. She also tries to "convert" the evil Kylo (Adam Driver) back to the "Force" leading to a fantastic gladatorial battle with lightsabers as Supreme Leader Snoke (Andy Serkis) watches. Meanwhile Leia and the brave but reckless Poe (Oscar Isaac) try to find a safe haven for the Rebel Army and Finn pairs up with Rose (Kelly Marie Tran) to infiltrate the First Order battle ship where they bump into a scoundrel (Benicio Del Toro) who helps them. There are far too many characters - all very politically correct, of course, in their diverse ethnicity - and too much goes on all at once that it becomes a little difficult to keep a track of what is happening between the various battles involving hurtling spaceships. Although an over stuffed plot is pretty common with all middle installments of trilogies. There is a strong sense of melancholy running through the film - all the scenes with the late Carrie Fisher are poignant. However, it is Mark Hamill whose presence is front and center of this eighth installment and he gives an excellent account as the wizened old Jedi who provides the requisite gravitas not only to the budding Jedi but holds this production together through sheer "character" presence happily recalling his role as the moral center of this series. This could have been a far better film with tighter editing and a less inclination to throw everything and the kitchen sink into the mix with far too many cooks stiring the broth.

[Reza]

Force of Arms (Michael Curtiz, 1951) 4/10

Old fashioned WWII yarn dealing with the Italian campaign. Battle heroics during the first half has a Sergeant (William Holden) saving his platoon followed by the second half where he romances a WAC (Nancy Olson). This very ordinary film and the bland leading lady cannot dampen Holden's magnetism and great screen presence. This was probably an attempt to cash in on the success of Holden and Olson's teaming in the previous year's "Sunset Blvd" but the producers forgot that it wasn't Olson but Gloria Swanson who created the actual sparks with Holden in that classic. Strictly routine.

[Reza]

Desperate Search (Joseph H. Lewis, 1952) 5/10

Strictly a programmer with Howard Keel trying his hand at drama in between his actual calling as a great musical film star. Two kids survive a plane crash in the British Columbia wilderness and their father (Howard Keel), step mother (Jane Greer) and bitchy mother (Patricia Medina) flap around trying to rescue them. Good location work, some lectures on feminism and alcoholism in the script, a menacing mountsin lion and the three stars make this predictable rescue drama bearable. Otherwise strictly routine.

[Reza]

Dark Passage (Delmer Daves, 1947) 3/10

Third (of four) and worst teaming of Bogie and Bacall. Extremely talky script that tends to bore instead of providing thrills in this tale of an escaped convict (Humphrey Bogart) who gets a face makeover in order to find the murderer of his wife. He is helped by a sexy babe (Lauren Bacall), who materializes out of nowhere to offer help, and two shady characters - shrewish Agnes Moorehead and small-time crook Clifton Young - who cause him hindrance. The film's big gimmick is not being able to see Bogart for the first hour as the events are seen from his point of view with just his voice heard on the soundtrack. The film is shot on location on the streets of San Francisco which is the only plus in thus film noir which is full of hot air.