Return of the RECENT VIEWING

..and why not?
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Snarfyguy
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Re: Return of the RECENT VIEWING

Postby Snarfyguy » 29 Jul 2017, 05:02

Matt Wilson wrote:In terms of exploitation flicks, I have a soft spot for '60s/'70s biker films. I honestly can't see myself watching something from the 21st Century with Christian Slater, Molly Ringwald, and Alicia Silverstone in it - much less when the subject is porn. :lol:

But, to each his own, right?

That might have made sense if I'd liked the movie!

Next up: Trainspotting 2
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Re: Return of the RECENT VIEWING

Postby borofan » 29 Jul 2017, 16:02

TL;DR wrote:We've been watching Northern Exposure from the start. I think I got into it much later on, so I had never seen all these early episodes.
It has a fabulous feel to it. I can't really explain what I mean. It's just immensely enjoyable.

At its best at the start. The last season, where Rob Morrow does not appear (except in a cameo in 1 episode IIRC) jumped the shark in a huge way.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 30 Jul 2017, 04:37

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The Panic in Needle Park

Relentlessly grim tale of two junkies in New York City. A pre-Godfather Al Pacino and an equally good Kitty Winn (what else did she ever do?) are the couple and if you can get past the sordidness of it all then it's quite well done. I hadn't seen it in years and I'd forgotten how well it works. I wonder how anyone could have thought this would have made money.
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Re: Return of the RECENT VIEWING

Postby Davey the Fat Boy » 30 Jul 2017, 16:14

Matt Wilson wrote:Image
Lost in America

I'm not a huge Albert Brooks fan, but I do appreciate some of his better films, this being one of them. A riff on the Easy Rider ethos of dropping out of society once you've got a little money. I saw this back when it came out and maybe once or twice since then. I dunno, Brooks can be irritating to me rather than funny, but enough gags in this picture work for it to warrant a purchase. Actually, I like Brooks in other people's movies such as Taxi Driver, Broadcast News, and Drive.


Back in my acting days, I auditioned for this. I got far enough that I actually did a screen test for Brooks himself. But alas...I did not get the part of the fast food manager at the end.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 30 Jul 2017, 16:48

Davey the Fat Boy wrote:
Back in my acting days, I auditioned for this. I got far enough that I actually did a screen test for Brooks himself. But alas...I did not get the part of the fast food manager at the end.


He said that he had the longest time with the actor that he hired for that role to get his lines right, but that he really liked him anyway.
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Re: Return of the RECENT VIEWING

Postby Davey the Fat Boy » 30 Jul 2017, 16:56

Matt Wilson wrote:
Davey the Fat Boy wrote:
Back in my acting days, I auditioned for this. I got far enough that I actually did a screen test for Brooks himself. But alas...I did not get the part of the fast food manager at the end.


He said that he had the longest time with the actor that he hired for that role to get his lines right, but that he really liked him anyway.


That explains why they kept me on the hook so long. I was told that at the end it was between me and the guy they picked. I remember that it took forever to get a final answer from them.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 30 Jul 2017, 16:58

I'm not sure if you could look as dumb/infantile as the guy they got for that part, Todd. Unless you were a hell of an actor!
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Re: Return of the RECENT VIEWING

Postby Davey the Fat Boy » 30 Jul 2017, 17:15

Oh for sure. When I saw the film, I completely got why he went the other way.

I played it kind of aggressive - like I thought I was a big deal and she was gonna be my protege. I think I was a lot funnier than that kid, but ultimately it was probably better for the film to have less of a performance and more of a normal kid.
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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 30 Jul 2017, 21:25

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An excellent, intriguingly low-key little horror/thriller/character study. Max Records (is that his real real name? Really?) is superb as a young sociopath obsessed with serial killers, in a small town being targeted by a particularly brutal killer. And, y'know, it has Christopher Lloyd, who even at the age of 167 and looking like a stretched Michael Foot, is still awesome in every film in which he appears. It slightly disappoints towards the end, if it could have completely avoided the horror pratfalls of crappy CGI and 'the supernatural being used as a resolution', it could have been a proper horror classic.
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Re: Return of the RECENT VIEWING

Postby pcqgod » 31 Jul 2017, 00:26

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The weakest of the original Police Story trilogy, I'm thinking.
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Re: Return of the RECENT VIEWING

Postby Snarfyguy » 31 Jul 2017, 16:14

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I didn't think too much of this, although I gather it was pretty well-received. I found it unengagingly rote and fundamentally pointless.

The updated "Choose Life" monologue was particularly irritating.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 31 Jul 2017, 17:01

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The Blob

Still one of the best '50s "horror" films (it's too camp for real scares); this was McQueen's first starring role. The color has always been interesting and the Criterion blu doesn't disappoint. Watched it last night with my youngest daughter after going to the Dodgers game (my second of the weekend) and she seemed to enjoy it.
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Re: Return of the RECENT VIEWING

Postby Snarfyguy » 02 Aug 2017, 19:26

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I'm not a fan, but PW was such a mainstay of my childhood pop-cultural experience that I thought it might be worthwhile to see what this documentary had to offer, or just have a weird ride down memory lane.

On the plus side, Williams is bright, clever and down to earth - a great subject for a doc. The downside is the guy who made the movie (Kessler) puts himself in it to such a degree (and he's really an unpleasant pest) that he nearly sinks the thing.

The backstory is that the Paul Williams was Kessler's childhood idol - which doesn't go far to explaining why he assumed Williams was dead at the beginning of the picture. A Google search could have straightened that out.

Williams is clearly pissed off with Kessler (as are we) throughout most of the proceedings, but he manages to rise above it with admirable aplomb. The needling questions about Williams' reduced circumstances (no longer the celeb he was) (but 20 years sober and at peace with himself) betray Kessler's utter lack of sensitivity/empathy for his subject. Before too long, you realize the movie is really more about the filmmaker than the subject and it's only enjoyable at all despite that.

In the end, Williams' redemption, hard-earned life lessons and humanity are the takeaway. Well, that and the wardrobe howlers in the generous amount of archival TV footage included.
Last edited by Snarfyguy on 02 Aug 2017, 20:26, edited 1 time in total.
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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 02 Aug 2017, 20:01

Image Image
Against All Odds & Jagged Edge

A Jeff Bridges double feature. I enjoyed both of these back in the day, but only Against All Odds holds up now. Jagged Edge simply has too many plot errors to be believable. Jeff is pleasantly agreeable in both films, Glenn Close reminds me of why she used to be a star, and Rachel Ward was a fine looking woman at one time. Against All Odds is an update of the superior Out of the Past, of course.
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Re: Return of the RECENT VIEWING

Postby Darkness_Fish » 03 Aug 2017, 09:17

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First viewing in ages, because the wife insisted. What a tedious bag of shite. Why am I supposed to care if this cocky shit gets an award for bestest pilot? Why is there an unexplored back-story about his dad? Why are there so many scenes with weird colour filters (normally red at the top, green below). Why are they so Mig-obsessed? What does Kelly McGillis have to do with anything?
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Re: Return of the RECENT VIEWING

Postby fire and fueryIre » 03 Aug 2017, 11:20

Snarfyguy wrote:Image

I'm not a fan, but PW was such a mainstay of my childhood pop-cultural experience that I thought it might be worthwhile to see what this documentary had to offer, or just have a weird ride down memory lane.

On the plus side, Williams is bright, clever and down to earth - a great subject for a doc. The downside is the guy who made the movie (Kessler) puts himself in it to such a degree (and he's really an unpleasant pest) that he nearly sinks the thing.

The backstory is that the Paul Williams was Kessler's childhood idol - which doesn't go far to explaining why he assumed Williams was dead at the beginning of the picture. A Google search could have straightened that out.

Williams is clearly pissed off with Kessler (as are we) throughout most of the proceedings, but he manages to rise above it with admirable aplomb. The needling questions about Williams' reduced circumstances (no longer the celeb he was) (but 20 years sober and at peace with himself) betray Kessler's utter lack of sensitivity/empathy for his subject. Before too long, you realize the movie is really more about the filmmaker than the subject and it's only enjoyable at all despite that.

In the end, Williams' redemption, hard-earned life lessons and humanity are the takeaway. Well, that and the wardrobe howlers in the generous amount of archival TV footage included.


Jesus, I hadn't thought about PW for years, he was over everything back in the 70s like rash. Guess will probably have to wait for this to come on BBC4 or Netflix to find out where it all went wrong*.

* Would imagine shedloads of coke and booze would be involved somewhere
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Re: Return of the RECENT VIEWING

Postby Jeemo » 03 Aug 2017, 11:32

fueryIre wrote:
Snarfyguy wrote:Image

I'm not a fan, but PW was such a mainstay of my childhood pop-cultural experience that I thought it might be worthwhile to see what this documentary had to offer, or just have a weird ride down memory lane.

On the plus side, Williams is bright, clever and down to earth - a great subject for a doc. The downside is the guy who made the movie (Kessler) puts himself in it to such a degree (and he's really an unpleasant pest) that he nearly sinks the thing.

The backstory is that the Paul Williams was Kessler's childhood idol - which doesn't go far to explaining why he assumed Williams was dead at the beginning of the picture. A Google search could have straightened that out.

Williams is clearly pissed off with Kessler (as are we) throughout most of the proceedings, but he manages to rise above it with admirable aplomb. The needling questions about Williams' reduced circumstances (no longer the celeb he was) (but 20 years sober and at peace with himself) betray Kessler's utter lack of sensitivity/empathy for his subject. Before too long, you realize the movie is really more about the filmmaker than the subject and it's only enjoyable at all despite that.

In the end, Williams' redemption, hard-earned life lessons and humanity are the takeaway. Well, that and the wardrobe howlers in the generous amount of archival TV footage included.


Jesus, I hadn't thought about PW for years, he was over everything back in the 70s like rash. Guess will probably have to wait for this to come on BBC4 or Netflix to find out where it all went wrong*.

* Would imagine shedloads of coke and booze would be involved somewhere


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Re: Return of the RECENT VIEWING

Postby echolalia » 04 Aug 2017, 00:52

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The unloved Topaz. Its only fault is it lacks the obsession factor of Vertigo and Psycho etc. It’s Hitchcock at the top of his game – excellent stuff. A French spy finds himself dans une situation where his loyautés are seriously divisées – and maybe the international spy intrigue is a metaphor for much homelier things. Lots of venetian blinds.

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Good Lord I loved this film. It’s funny as fuck – not in the dialogue but in the actual pictures. The tunnel scene just after they interrupt “Roma’s Got Talent” to announce the Allies have invaded Sicily is one of the most memorable parts. And the underground and motorway bits. With cameos from Gore Vidal (talking shite) and Anna Magnani.

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Re: Return of the RECENT VIEWING

Postby Matt Wilson » 04 Aug 2017, 15:28

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Complete Jacques Tati

Superb little box of all of Tati's films plus the shorts. The first four essential pictures (Jour de Fete, Monsieur Hulot's Holiday, Mon Oncle, and PlayTime) and then the lesser works (Traffic, and Parade). The classic pictures are all enjoyable of course (I'd never seen Jour de Fete before), but for some reason I don't put Tati on the same level as Chaplin, Keaton, Lloyd, etc. I don't laugh at him for one, the pacing is rather slow for another, and the lack of traditional plot doesn't really help either. PlayTime is the acknowledged high point, yet I prefer Mon Oncle. He spent so much money on PlayTime, that when it bombed he was, in effect, financially ruined and never really recovered. Pity.
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Re: Return of the RECENT VIEWING

Postby joels344 » 06 Aug 2017, 01:39

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A mesmerizing, intense, compelling, and physically driven piece of war cinema with an atmospheric soundtrack just as harsh as the unrelenting landscape the characters suffer through. Absolutely devastating and brilliantly crafted from beginning to end. People often compare this film to the work of Tarkovsky, while there are similarities, I would say it's more of a precursor to the work of Béla Tarr with how Shepitko utilizes a more contemplative approach to capture austere and bleak black and white imagery. Same can be said of Tarkovsky, but I'd say this film is more stylistically similar to (even though she came first) Tarr (a la The Turin Horse). Unfortunately, The Ascent seems to be a criminally unacknowledged film, but thanks to the Criterion Collection, we have an excellent restoration of two Larisa Shepitko films.


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