I believe you've meant Tokyo Sonata.Sabin wrote:Tokyo Story (Kiyoshi Kurosawa) - 8.5/10
Hopefully you'll be even more generous with Tokyo Story.
Last Seen Movie - The Latest Movie You Have Seen; ratings
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Big Magilla
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Orphan (2009) Juame Collet Serra 7.5/10
Surprisingly well made horror movie, especially considering the director's last film was the Paris Hilton remake of House of Wax.
A little Rosemary's Baby and The Exorcist with a lot of The Bad Seed and The Omen as Vera Farmiga and Peter Sarsgaard adopt a nine year orphan to replace a baby who died in childbirth. It has the year's best last line: "I'm not your fucking mommy!"
Surprisingly well made horror movie, especially considering the director's last film was the Paris Hilton remake of House of Wax.
A little Rosemary's Baby and The Exorcist with a lot of The Bad Seed and The Omen as Vera Farmiga and Peter Sarsgaard adopt a nine year orphan to replace a baby who died in childbirth. It has the year's best last line: "I'm not your fucking mommy!"
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Precious Doll
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Hounddog (2008) Deborah Kampimeier 1/10
What Doesn't Kill You (2008) Brian Goodman 4/10
Adoration (2008) Atom Egoyan 7/10
Blood (1989) Pedro Costa 7/10
Diamond 13 (2009) Gilles Behat 3/10
The Boys are Back (2009) Scott Hicks 1/10
Timecrimes (2007) Nacho Vigalondo 7/10
Vase de Noces (1974) Thierry Zeno 6/10
Amelia (2009) Mira Nair 4/10
Edited By Precious Doll on 1258103301
What Doesn't Kill You (2008) Brian Goodman 4/10
Adoration (2008) Atom Egoyan 7/10
Blood (1989) Pedro Costa 7/10
Diamond 13 (2009) Gilles Behat 3/10
The Boys are Back (2009) Scott Hicks 1/10
Timecrimes (2007) Nacho Vigalondo 7/10
Vase de Noces (1974) Thierry Zeno 6/10
Amelia (2009) Mira Nair 4/10
Edited By Precious Doll on 1258103301
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Torch Singer (Alexander Hall/George Somnes, 1933) 8/10
Claudette Colbert suffering throughout in a drama about mother love and the sacrifice she has to make. Superb photography by Karl Struss and gorgeous gowns by Travis Banton....and a great performance by Colbert (she gets to sing a number of songs in her own voice as well) make this pre-code melodrama a great showcase for her. Pity Ricardo Cortez doesn't have much to do as Colbert's friend.
One wonders why there were only three nominees in the best actress linup at the Oscars when there were so many good performances around that could have been honoured.
A Rather English Marriage (Paul Seed, 1998) 8/10
Two widowers strike up an unusual friendship. BAFTA winning tv film with superb performances by Albert Finney, Tom Courtenay and Joanna Lumley.
Claudette Colbert suffering throughout in a drama about mother love and the sacrifice she has to make. Superb photography by Karl Struss and gorgeous gowns by Travis Banton....and a great performance by Colbert (she gets to sing a number of songs in her own voice as well) make this pre-code melodrama a great showcase for her. Pity Ricardo Cortez doesn't have much to do as Colbert's friend.
One wonders why there were only three nominees in the best actress linup at the Oscars when there were so many good performances around that could have been honoured.
A Rather English Marriage (Paul Seed, 1998) 8/10
Two widowers strike up an unusual friendship. BAFTA winning tv film with superb performances by Albert Finney, Tom Courtenay and Joanna Lumley.
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Mister Tee
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Yeah, I plan to get more under my belt in the coming months -- though I try to space out my exposure to any filmmaker, to avoid the films running together. I'll certainy go for the ones both of you mention. I've also heard Mouchette referenced a number of times.Damien wrote:Tee. I'm delighted you responded so favorably to Balthazar. I hope this will lead you to watch ,ore Bressons. I especially love L'Argent and Pickpocket. He's a truly remarkable, unique filmmaker.
Am I misremembering, or didn't L'Argent win him a directing prize from the National Society?
Friday Night is sorta like My Blueberry Nights for me. I can watch bits and pieces of it, and enjoy the moody langour of it all, but eventually I get bored.Damien wrote:Okri, what are your reservations about the films?
You pretty much nailed my issues with Trouble Every Day. Gallo just bugs me in virtually everything he does, and the pervasive feeling of detachment just removes me from the equation. I did mean to rewatch both these films after getting more Denis under my belt (the aforementioned three and Chocolat are the only ones I've seen).
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As for Bresson, A Man Escaped remains my favourite, but I really liked L'Argent and Pickpocket. Balthazar, though, bored me out of my skull.
Tee. I'm delighted you responded so favorably to Balthazar. I hope this will lead you to watch ,ore Bressons. I especially love L'Argent and Pickpocket. He's a truly remarkable, unique filmmaker.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Mister Tee
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At the risk of re-igniting a flame war...I watched Au Hasard Balthazar over the weekend.
Put me clearly in the "Wow -- what a film" camp. I confess I'd steered clear of Bresson all these years because I kept hearing his stye described as "austere" -- which to me suggested arty and boring, not my favorite style. And certainly there's no mistaking this for anything but an art film. But, boring? Not a bit. An incredibly tough-minded, structurally impressive film.
I know Penelope meant to be snarky referencing Black Beauty, but, in fact, the film does share a subject/framework with the Sewell classic. Which only goes to show there is no limitation on what an artist can do with any subject matter. What Bresson does is weave his Story of a Donkey through multiple human lives and obliquely observe/comment on the ways in which they undo their own hopes. At first it seemed like a La Ronde sort of story -- Balthazar the link as we passed from segment to segment -- but later it became clear we were never going to drop characters; we'd return to them at intervals, sometimes after key moments in their stories had passed, and gradually grasp the fullness of their shattered lives. Is it a reach to say that some of Altman's films made use of this same structural pattern?
And, at the center of it all, Balthazar. In more than one shot I got the idea he was the eye of god, observing all this human folly. But I also thought, seeing how poorly/cruelly the donkey was treated by most of the characters, that he might be Christ on the road to Calvary -- suffering his painful fate so that mankind might be redeemed, while undeserving mankind (committing most of the deadly sins during the film's running time) proceeeds obliviously on its self-destructive path.
A truly remarkable film.
Put me clearly in the "Wow -- what a film" camp. I confess I'd steered clear of Bresson all these years because I kept hearing his stye described as "austere" -- which to me suggested arty and boring, not my favorite style. And certainly there's no mistaking this for anything but an art film. But, boring? Not a bit. An incredibly tough-minded, structurally impressive film.
I know Penelope meant to be snarky referencing Black Beauty, but, in fact, the film does share a subject/framework with the Sewell classic. Which only goes to show there is no limitation on what an artist can do with any subject matter. What Bresson does is weave his Story of a Donkey through multiple human lives and obliquely observe/comment on the ways in which they undo their own hopes. At first it seemed like a La Ronde sort of story -- Balthazar the link as we passed from segment to segment -- but later it became clear we were never going to drop characters; we'd return to them at intervals, sometimes after key moments in their stories had passed, and gradually grasp the fullness of their shattered lives. Is it a reach to say that some of Altman's films made use of this same structural pattern?
And, at the center of it all, Balthazar. In more than one shot I got the idea he was the eye of god, observing all this human folly. But I also thought, seeing how poorly/cruelly the donkey was treated by most of the characters, that he might be Christ on the road to Calvary -- suffering his painful fate so that mankind might be redeemed, while undeserving mankind (committing most of the deadly sins during the film's running time) proceeeds obliviously on its self-destructive path.
A truly remarkable film.
Yes. They were OK.Reza wrote:But didn't you think Jill Clayburgh and Candice Bergen were good?mlrg wrote:Starting Over (1979) - Alan J. Pakula
5/10
rather mediocre and dated. Burt Reynolds is terribly miscast.
But I hated Reynolds. He looked a ghost wandering through the film not showing the slightest emotion on his face.
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Cinemanolis
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Totally agree. What a wonderful film. Romain Duris was indeed excellent in it.Sabin wrote:The Beat My Heart Skipped (Audiard) - 8.5/10
This is an incredibly physical study of anxiety. It's not a simple study of hands, but also of coiled energy in the head, in the eyes. I'm going to go rent Read My Lips. Was 2005 the greatest year for lead male actors ever or what?