PG Cooper
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Post by PG Cooper on Aug 14, 2022 13:50:35 GMT -5
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PhantomKnight
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Post by PhantomKnight on Aug 14, 2022 15:52:24 GMT -5
Fail Safe (1964)
Sidney Lumet's Fail Safe feels like the opposite side of the coin that Dr. Strangelove inhabits. Both observe and detail the perils of nuclear warfare, and even came out in the same year, no less, but each takes a markedly different approach to the material. Whereas Dr. Strangelove was clearly a biting satire, Fail Safe plays it totally straight. And for my money, it's the one that comes out on top. By a mile.
Granted, I've only seen Dr. Strangelove once, nine years ago, but Fail Safe's take on the subject matter just struck me as inherently more compelling. It taps into the fear, paranoia and all-too-real terror of the situation with chilling clarity, and it just spoke to me more, in that regard. Sidney Lumet also creates a very realistic atmosphere, from offering a fly-on-the-wall perspective and making the decision to use no music throughout the film, which adds to the authenticity of everything. Between the way he directs this and the way the dialogue in the script (penned by Eugene Burdick, Harvey Wheeler and Walter Bernstein) is written and then delivered by the actors, this movie is incredibly tense once the plot kicks into gear, and it manages to be that way simply through conversations. A true testament to the writing here. The film does make a point of showing just how scary technology can be, but its ultimate point is even scarier: technology isn't the problem. It's people that is the real peril here. And the way in which the film chooses to hammer that point home by the end is very powerful and haunting. To the point where I'm sure I'll be thinking about the ending for quite some time.
Fail Safe lives up to the hype. Its power lies both in its simplicity and its realism, and Sidney Lumet uses both to paint an all-too-chilling portrait.
****/****
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Doomsday
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Post by Doomsday on Aug 14, 2022 16:32:54 GMT -5
Granted, I've only seen Dr. Strangelove once, nine years ago
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donny
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Post by donny on Aug 15, 2022 8:24:24 GMT -5
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Dracula
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Post by Dracula on Aug 15, 2022 9:13:40 GMT -5
Will probably be going for Woman at War
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PG Cooper
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Post by PG Cooper on Aug 15, 2022 18:26:40 GMT -5
Sidney Lumet's Fail Safe feels like the opposite side of the coin that Dr. Strangelove inhabits. Both observe and detail the perils of nuclear warfare, and even came out in the same year, no less, but each takes a markedly different approach to the material. Whereas Dr. Strangelove was clearly a biting satire, Fail Safe plays it totally straight. And for my money, it's the one that comes out on top. By a mile. Everyone needs at least one gasp inducing hot take.
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PhantomKnight
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Post by PhantomKnight on Aug 15, 2022 18:30:13 GMT -5
Sidney Lumet's Fail Safe feels like the opposite side of the coin that Dr. Strangelove inhabits. Both observe and detail the perils of nuclear warfare, and even came out in the same year, no less, but each takes a markedly different approach to the material. Whereas Dr. Strangelove was clearly a biting satire, Fail Safe plays it totally straight. And for my money, it's the one that comes out on top. By a mile. Everyone needs at least one gasp inducing hot take. Says the guy who only rates Fail Safe a half-star lower than Dr. Strangelove?
Besides, I'm sure I have some hotter takes.
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PG Cooper
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Post by PG Cooper on Aug 15, 2022 18:33:54 GMT -5
Everyone needs at least one gasp inducing hot take. Says the guy who only rates Fail Safe a half-star lower than Dr. Strangelove? Besides, I'm sure I have some hotter takes.
Oh I love Fail-Safe, it's just unusual for it to be rated higher than Strangelove. My equivalent would probably be placing The Thin Red Line over Saving Private Ryan.
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PhantomKnight
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Post by PhantomKnight on Aug 15, 2022 18:40:23 GMT -5
Says the guy who only rates Fail Safe a half-star lower than Dr. Strangelove? Besides, I'm sure I have some hotter takes.
My equivalent would probably be placing The Thin Red Line over Saving Private Ryan. Unusual, indeed...
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thebtskink
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Post by thebtskink on Aug 18, 2022 14:00:00 GMT -5
I'll hopefully have your list tonight. Still catching back up after the most recent vacation
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PG Cooper
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Post by PG Cooper on Aug 18, 2022 15:07:58 GMT -5
I'll hopefully have your list tonight. Still catching back up after the most recent vacation No sweat man. Take your time.
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IanTheCool
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Post by IanTheCool on Aug 18, 2022 16:54:52 GMT -5
I'll hopefully have your list tonight. Still catching back up after the most recent vacation Hurry the fuck up! PG, why so cruel?
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thebtskink
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Post by thebtskink on Aug 18, 2022 21:06:45 GMT -5
I'll do Stagecoach
For you, let me know if you need a new list:
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PG Cooper
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Post by PG Cooper on Aug 18, 2022 23:12:48 GMT -5
Will do either The Night Comes for Us or The Drop.
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IanTheCool
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Post by IanTheCool on Aug 22, 2022 11:33:23 GMT -5
Weathering With You
The latest film from Makoto Shinkai again sees a relationship in contemporary Tokyo play out involving supernatural circumstances. In this case, one of the characters is known as a "sunshine girl" and can affect the weather on her own. And as Japan seems to be under non-stop rain, this becomes a valuable skill that the two main characters cash in on. Both characters are wither orphans or runaways, so this idea of making it on your own is a main theme of the movie, though I dont know how well explored it is.
As seems to be the case for Shinkai films, Weathering With You is loaded with gorgeous animation. The details of the city locations and props are exquisite. There is one particular shot over the city during a fireworks festival that is out of this world. Shintai also has a knack for understanding how to develop power in particular moments through the right combination and timing of shots and character motions synced with music beats. He is very good at this.
The film does fall short of the other Shinkai films I've seen, mind you. The main reason is its lack of focus. The story certainly has progression, but there are a lot o threads that feel like they stray, making the central ideas hard to grasp. For example, there's a whole subplot revolving around a handgun that seems superfluous and out of step with the rest of the film. The ending also feels confused not fully thought through.
7/10
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donny
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Post by donny on Aug 28, 2022 10:40:53 GMT -5
From last round.
Young Mr. Lincoln
Directed by John Ford and starring Henry Fonda, Young Mr. Lincoln is an American classic I have overlooked up until now. As the title would imply, YML is focused on the early years of the 16th President of the United States, well before he earns this title. Opening with a quote from Rosemary Benét's poem Nancy Hanks (about Honest Abe's mother), this helps set the tone of what YML aspires to be about, and it give you a good idea, as a reminder, of what we think Abe to be all these years later.
YML begins in the early 1830's in New Salem, Illinois, and we see Abe, introduced through his friend John Stuart (No, not that one), announcing his candidacy for the legislature. Here, for the first time, we see Abe, as Ford cuts from Stuart to Abe, sitting outside a wooden cabin, waiting for his chance to address the small crowd. It's a great opening, as Ford keeps you away from Fonda just long enough, and introduces him in a quiet, yet memorable fashion. After seeing a poor family recently arrive in New Salem, we see Lincoln help provide them with some groceries in favor of some books in the back of their carriage, which includes some Law material. As we eventually see, and what we know about Lincoln's life, this is a big moment for him, as we eventually fast forward to 1837 when Lincoln and Stuart establish their own law firm in Springfield, Illinois.
Once in Springfield, the real crux of the film happens after an Independence Day celebration goes wrong. A small fight turns deadly when three men of the town get into a scuffle, and Skrub White, who attempts to pull out a gun, is apparently killed by the other two men, who are brothers. Again, this another expertly crafted scene from Ford, as it cuts between the fight between the men, and the brothers mom, who catches wind of the attack. While the film wants you to think one of the brothers is guilty, Ford never shows you how White dies. You know a gun goes off, and you know that White dies, but you never see it, you just hear it, along with the reaction of the two boys mother. Eventually this leads to more townspeople coming to the sound of the gun, and before you know it, a mob is ready to lynch the two brothers, until that is, our friend Abe shows up.
This leads to a lot of interesting dilemmas and conflicts for the final hour or so of the movie. We do eventually get to see Lincoln in court, and we get to see his interactions with Mary Todd, as a result of Abe's courage to stand up and question the mob. Though different in a number of ways, by the time we get to the back section of YML, I couldn't help but think of another film in Fonda's oeuvre, 12 Angry Men. There's a similar sense of fighting for what's right that run's through not only both films, but both of Fonda's performances. Fonda had a history of playing these types of earnest, well to do characters, and he typically does a great job in bringing out their humanity in situations where people are often at their worst, or most complex. When everyone else around him gets heated, he seems to remain calm in the face of adversity. It did take me sometime to adjust to the prosthetics or makeup required to make him look like Abe, particularly around the nose. But that's also nitpicking.
Overall this a strong film from Lincoln and Fonda, who only a year later teamed up for The Grapes of Wrath. I've been doing a lot of Ford watching since the Pandemic, so as always, I love to see his collaboration with Ward Bond, who always ends up in somewhere in Ford's films.
Moon Bright
8.5/10
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Doomsday
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Post by Doomsday on Aug 30, 2022 18:43:46 GMT -5
Overall this a strong film from Lincoln and Fonda, who only a year later teamed up for The Grapes of Wrath. I've been doing a lot of Ford watching since the Pandemic, so as always, I love to see his collaboration with Ward Bond, who always ends up in somewhere in Ford's films. Have you seen The Informer? I've been waiting for Criterion to ball up and release that one for ages. Not sure if it's a rights or studio thing but come on now.
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PhantomKnight
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Post by PhantomKnight on Aug 30, 2022 18:54:38 GMT -5
Weathering With You
The latest film from Makoto Shinkai again sees a relationship in contemporary Tokyo play out involving supernatural circumstances. In this case, one of the characters is known as a "sunshine girl" and can affect the weather on her own. And as Japan seems to be under non-stop rain, this becomes a valuable skill that the two main characters cash in on. Both characters are wither orphans or runaways, so this idea of making it on your own is a main theme of the movie, though I dont know how well explored it is.
As seems to be the case for Shinkai films, Weathering With You is loaded with gorgeous animation. The details of the city locations and props are exquisite. There is one particular shot over the city during a fireworks festival that is out of this world. Shintai also has a knack for understanding how to develop power in particular moments through the right combination and timing of shots and character motions synced with music beats. He is very good at this.
The film does fall short of the other Shinkai films I've seen, mind you. The main reason is its lack of focus. The story certainly has progression, but there are a lot o threads that feel like they stray, making the central ideas hard to grasp. For example, there's a whole subplot revolving around a handgun that seems superfluous and out of step with the rest of the film. The ending also feels confused not fully thought through.
7/10
I definitely feel more strongly about it than you do, but still, glad you liked it.
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donny
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Post by donny on Aug 30, 2022 19:46:57 GMT -5
Overall this a strong film from Lincoln and Fonda, who only a year later teamed up for The Grapes of Wrath. I've been doing a lot of Ford watching since the Pandemic, so as always, I love to see his collaboration with Ward Bond, who always ends up in somewhere in Ford's films. Have you seen The Informer? I've been waiting for Criterion to ball up and release that one for ages. Not sure if it's a rights or studio thing but come on now. Yes, by chance I have! Years ago it was on TV, but I didn’t realize it was John Ford. I’ll have to watch it again. I loved Victor McLaglen in it.
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Doomsday
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Post by Doomsday on Sept 7, 2022 13:40:55 GMT -5
5 days left.
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thebtskink
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Post by thebtskink on Sept 7, 2022 22:04:36 GMT -5
Stagecoach (1939)
I probably didn't see my first full western until I was 12 or 13 or so, and I'm pretty sure it was Unforgiven or The Good, the Bad, and the Ugly (my dad has great taste). This is to say that like many others of my age, my introduction to westerns was of the "anti-" variety.
Stagecoach spends its 96 minute wisely for much of the film - the first 20 minutes or so introduces the characters adeptly, with each given their own personality and attractions or grudges towards another. While some of the characters grate (Buck) or are just kinda there (Curley), most of them pop. In top billing we've got Claire Trevor, adroit in her sympathetic portrayal of a woman cast out by the society women of the initial town. We only pick up through her interactions with others, context clues, and the similar treatment of the town drunk doctor that she's a prostitute. John Carradine captures the eyes of the viewer as the southern gentleman gambler/ne'er-do-well, and a certain up-and-coming B movie actor Marion Robert Morrison as the Ringo Kid holding his own but stealing the show as the love interest of Claire Trevor's Dallas. While it's easy to see why this movie made John Wayne a star, the interactions between the characters on the Stagecoach make them all seem like real people.
The movie bogs down a bit in one of the towns, and sometimes its easy to lose track what the original purpose of the expedition was; however, we know each character has a motivation here, be it as simple as John Carradine's horniness, or the banker caricature's obvious embezzlement scheme. I'm not expecting marvelous direction in a movie this old, but Ford has some cool matte painting shots and use of the Arizona scenery throughout the journey. The camera and stuntwork in the Apache showdown in A+, but the concluding showdown in the last town really brings it home. There's some frame-rate tricks, excellent use of shadows, and most of all the inter-character relations payoff in this last section. The character journeys are earned, despite 1 or 2 corny sendoffs.
I kinda fell asleep during some of the stint at the Mexican guy's inn.
Still a solid 8/10. I can definitely see why this is considered so influential and its got a lot to love.
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Doomsday
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Post by Doomsday on Sept 13, 2022 0:53:43 GMT -5
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PG Cooper
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Post by PG Cooper on Sept 13, 2022 5:09:32 GMT -5
Out of town for a funeral. So I'll be a bit.
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Doomsday
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Post by Doomsday on Sept 13, 2022 9:41:52 GMT -5
Sorry to hear that, hope everything is going alright.
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Dracula
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Post by Dracula on Sept 13, 2022 9:50:03 GMT -5
I've watched my movie, it's in line for review
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