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Rate the last movie you saw

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Re: Rate the last movie you saw

Postby statsman88 » Wed Jan 09, 2008 2:14 am

CheeseBeger wrote:Blade Runner 7/10

Eh didn't see what all of the hype was about. It was a lot slower than I expected.


Just got the final cut for Christmas. I love that movie-9/10 for me
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Re: Rate the last movie you saw

Postby Coppermine » Wed Jan 09, 2008 9:58 am

Wow, I don't think I've ever seen a wide-release movie get 0% before.
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Re: Rate the last movie you saw

Postby Yoda » Wed Jan 09, 2008 1:45 pm

statsman88 wrote:
CheeseBeger wrote:Blade Runner 7/10

Eh didn't see what all of the hype was about. It was a lot slower than I expected.


Just got the final cut for Christmas. I love that movie-9/10 for me


Yeah it is definitely 9+ for me as well. I've seen in dozens of times and it is very fresh every time I watch it. The atmosphere is excellent and has aged very well for a sci-fi film from the 80s. Ridley Scott is a master at creating a realistic atmosphere/environment: Blade Runner, Alien, Gladiator, Black Hawk Down, etc...
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Re: Rate the last movie you saw

Postby Coppermine » Wed Jan 09, 2008 5:42 pm

Just an interesting blurb I read today on the ending of No Country For Old Men... it has a little bit of what you might consider SPOILERS so if you haven't seen it, skip this until you do:

Scott Foundas wrote:
I received a memorable ALL-CAPS e-mail from a reader who did not "get" the ending of the new Coen Brothers film, and who, in turn, accused me of having slept through the ending msyelf or surely I would have noted in my review that the movie ended 12 minutes too soon. How exactly this temporal calculation was arrived at is something at which I do not hazard a guess. Still, this reader was hardly unique. My own father, whom I took to see No Country for Old Men (or No Place for Old Folks as he insists on calling it), remarked as the film arrived at its anti-climactic denouement: "Geez, I was really hoping he [meaning the Tommy Lee Jones sheriff character] was going to get that guy [meaning the cattle-gun-toting psycho played by Javier Bardem]." And even as far back as the film's premiere at Cannes last May, one colleague from New York wondered if the producers had considered forcing the Coens to "shoot the missing scenes" that would have allowed for the film's finale to play out on-screen in a more conventional fashion (an unlikely scenario, given that the Coens are among that elite company of filmmakers to have final cut over their work, and also given that their producer, Scott Rudin, is one of the few left in the business who seems to value art over commerce).

Now, in the interest of those readers who deem it sacrilege for a critic to reveal any "spoilers" about a movie's plot, I'll say no more about the specifics of No Country for Old Men except that certain key events in the film's third act—including the deaths of two major characters—occur off-screen, and that, for all its classical Western impulses, the film builds not to some High Noon-style shootout in the center of town, but rather to one character's discussion of a strange dream that haunted him the previous night. These are the sorts of departures from Hollywood Hitmaking 101 that tend to make studio suits nervous and leave moviegoers with their hands still in their popcorn bags and their mouths agape. And this fall, you didn't need to buy a ticket to No Country for Old Men to have that experience.

Actually, you could say that this trend toward the bleak or the simply unresolved in the movies of 2007 began with the March release of Zodiac, a movie that takes irresolution as its very subject. Then came No Country, Margot at the Wedding (which doesn't just end abruptly, but which jumps into many scenes midstride and cuts away before they've reached their logical stopping points), The Mist (a movie so unsparing in its portrait of mankind in crisis that one can scarcely believe it issued from the hand of preternaturally cheery Frank Darabont), and the granddaddy of them all, There Will Be Blood, the final 20 minutes of which are a line drawn in the sand between those who feel Paul Thomas Anderson's turn-of-the-century oil-prospecting epic goes off the rails and those who consider it one of the defining masterpieces of recent American cinema. (As one of the latter, I must direct all interested parties to Richard Schickel's superb review over at Time, with extended notes on the significance of the ending.)


The rest of the review goes into a theory on our unresolved conflict in Iraq acting as the basis for a slew of unresolved films; but the point I think is simply that changing the ending to what audience want would not necessarily be a 'better' ending.
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Re: Rate the last movie you saw

Postby Amazinz » Wed Jan 09, 2008 8:01 pm

I really don't think unresolved stories or plots is something that is more prevalent now then say ten years ago. He listed four movies, three of which I have not seen. The other is Zodiac, a movie which I think is nearly flawless. I believe that there is a (sometimes fine) distinction between plot and story and this is the difference between Zodiac and NCFOM. Zodiac is an unresolved story but the plots and subplots are all resolved. NCFOM is a polar opposite from my perspective since the story is completely resolved (some information I have due to the book may influence that) while one of the plots is not. Just my two cents.
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Re: Rate the last movie you saw

Postby mweir145 » Thu Jan 10, 2008 4:45 am

Coppermine wrote:Just an interesting blurb I read today on the ending of No Country For Old Men... it has a little bit of what you might consider SPOILERS so if you haven't seen it, skip this until you do:

Scott Foundas wrote:
I received a memorable ALL-CAPS e-mail from a reader who did not "get" the ending of the new Coen Brothers film, and who, in turn, accused me of having slept through the ending msyelf or surely I would have noted in my review that the movie ended 12 minutes too soon. How exactly this temporal calculation was arrived at is something at which I do not hazard a guess. Still, this reader was hardly unique. My own father, whom I took to see No Country for Old Men (or No Place for Old Folks as he insists on calling it), remarked as the film arrived at its anti-climactic denouement: "Geez, I was really hoping he [meaning the Tommy Lee Jones sheriff character] was going to get that guy [meaning the cattle-gun-toting psycho played by Javier Bardem]." And even as far back as the film's premiere at Cannes last May, one colleague from New York wondered if the producers had considered forcing the Coens to "shoot the missing scenes" that would have allowed for the film's finale to play out on-screen in a more conventional fashion (an unlikely scenario, given that the Coens are among that elite company of filmmakers to have final cut over their work, and also given that their producer, Scott Rudin, is one of the few left in the business who seems to value art over commerce).

Now, in the interest of those readers who deem it sacrilege for a critic to reveal any "spoilers" about a movie's plot, I'll say no more about the specifics of No Country for Old Men except that certain key events in the film's third act—including the deaths of two major characters—occur off-screen, and that, for all its classical Western impulses, the film builds not to some High Noon-style shootout in the center of town, but rather to one character's discussion of a strange dream that haunted him the previous night. These are the sorts of departures from Hollywood Hitmaking 101 that tend to make studio suits nervous and leave moviegoers with their hands still in their popcorn bags and their mouths agape. And this fall, you didn't need to buy a ticket to No Country for Old Men to have that experience.

Actually, you could say that this trend toward the bleak or the simply unresolved in the movies of 2007 began with the March release of Zodiac, a movie that takes irresolution as its very subject. Then came No Country, Margot at the Wedding (which doesn't just end abruptly, but which jumps into many scenes midstride and cuts away before they've reached their logical stopping points), The Mist (a movie so unsparing in its portrait of mankind in crisis that one can scarcely believe it issued from the hand of preternaturally cheery Frank Darabont), and the granddaddy of them all, There Will Be Blood, the final 20 minutes of which are a line drawn in the sand between those who feel Paul Thomas Anderson's turn-of-the-century oil-prospecting epic goes off the rails and those who consider it one of the defining masterpieces of recent American cinema. (As one of the latter, I must direct all interested parties to Richard Schickel's superb review over at Time, with extended notes on the significance of the ending.)


The rest of the review goes into a theory on our unresolved conflict in Iraq acting as the basis for a slew of unresolved films; but the point I think is simply that changing the ending to what audience want would not necessarily be a 'better' ending.

I've seen No Country for Old Men and There Will Be Blood, and I had no problem with either ending. In fact, I thought both of them were very fitting.
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Re: Rate the last movie you saw

Postby Coppermine » Thu Jan 10, 2008 6:40 pm

It's so sad that great films like "There Will Be Blood" are hardly playing anywhere, while "One Missed Call" is playing everywhere.
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Re: Rate the last movie you saw

Postby Amazinz » Thu Jan 10, 2008 7:34 pm

Coppermine wrote:It's so sad that great films like "There Will Be Blood" are hardly playing anywhere, while "One Missed Call" is playing everywhere.

Wide release in FEB according to IMDB. I agree it sucks. I guess they wanted the Oscar buzz to build prior to releasing it to the masses. :-/
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Re: Rate the last movie you saw

Postby Mookie4ever » Thu Jan 10, 2008 8:30 pm

I will watch anything with Keanu Reeves in it.
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Re: Rate the last movie you saw

Postby Amazinz » Thu Jan 10, 2008 9:01 pm

The "The Day the Earth Stood Still" remake is on the horizon. ;-D
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