Last (x) movies you saw

Great posts Telephone thing - even if i disagree a .5 either way on most of yr ratings. I love Giallo but for some reason find it exceptionally difficult to remember what I have and haven't seen - the similarity of the titles/plotlines/mise en scene etc, i think. Feels like the intricacies of dub reggae or microhouse, say, where you have to really immerse yourself in the genre to appreciate all the (sometimes minute) variations on a theme. Bava and Argento and Fulci I remember instantly - but their great films all stand slightly to one side of mainstream Giallo anyways.

Is Tourist Trap the Chuck Connors creepy waxworks movie? I remember Stephen King raving about it in Danse Macabre, and seeking it out as a UK video rental back in the nasty days, but I couldn't swear to its undying power to terrify 30 plus years on

Zama (Lucretia Martel, 2017) - a very smart adaptation of a not v filmable book where Martel is bringing in her own eye to this skeleton of a story of an utterly ordinary man who cannot go back home. Shades of Apocalypse Now (without the hippie-dom) and Coup de Torchon but its very much its own thing.

I'm way off my usual pace -- this handful is a couple months' worth.

Avengers: Infinity War (Russo/Russo, 2018)
Love Meetings (Pasolini, 1964)
Bill Frisell, a Portrait (Franz, 2017)
Manifesto (Rosefeldt, 2017)
Je t'aime, je t'aime (Resnais, 1968)
Baal (Schlondorff, 1970)
The Killing of a Sacred Deer (Lanthimos, 2017)

The Friends of Eddie Coyle
Sympathy for the Devil?: The True Story of the Process Church of the Final Judgment

xpost Ward: yup, it’s the creepy mannequin movie. I’m not sure how it made its way onto my list as I haven’t read Danse Macabre, though that’s no doubt responsible for most of its continuing cachet.

I don’t know if I’d call it *scary* per se but it does some really, really interesting things both structurally as a slasher movie post-Chainsaw and with leaning hard into the uncanny in a very specific Freudian way.

Between it, the ending sequence of Hellraiser 2 and some other 70s/80s examples I can’t immediately bring to mind, I’m wondering where the very similar visual language for telekinesis in these movies (character looks away, cut to object being manipulated, repeat) originated. Carrie?

And Strange Color... is totally riffing on the interchangeability of most gialli! The plot dissolves into a total soup of story elements and signifiers (and even pulls in some non-giallo sources like Laura and/or Twin Peaks) and even the title is a cut-up (Strange Vice of Mrs Wardh, All the Colors of the Dark, What Are Those Strange Drops of blood Doing on Jennifer’s Body, etc)

Western (Grisebach, 2017) 9/10
Beast (Pearce, 2017) 6/10
Kill Baby, Kill (Bava, 1966) 8/10
The Battle of the Sexes (Crichton, 1960) 5/10
Le Diner de Cons (Veber, 1998) 5/10
The Killing of a Chinese Bookie (Cassavetes, 1976 version) 8/10
Greaser's Palace (Downey, 1972) 9/10
The Golden Coach (Renoir, 1952) 8/10
Muriel, or the Time of Return (Resnais, 1963) 8/10
The Three Musketeers (Lester, 1973) 5/10
The Road to Hong Kong (Panama, 1962) 4/10
The Night of the Living Dead (Romero, 1968) 8/10 - the very fine-looking new Criterion Blu-ray
The Wall (Polsler, 2012) 8/10
Zama (Martel, 2017) 9/10

hey, this is the first time I've ever looked at this thread. Here's my May:

The Lady Vanishes (1938, Hitchcock)
The Green Fog (2017, Maddin)
Suspicion (1941, Hitchcock)
Salesman (1968, Maysles Brothers)
Suspiria (1977, Argento)
Galaxy Quest (1999, Parisot)
Stage Fright (1950, Hitchcock)
Bad Samaritan (2018, Devlin)
Serial Mom (1994, Waters)
Sweet Country (2017, Thornton)
Catwalk: Tales From the Cat Show Circuit (2018, McNamara & Hancox)
Hurricane Bianca: From Russia With Hate (2018, Kugelman)
Three Identical Strangers (2018, Wardle)
Industrial Accident: The Story of Wax Trax! Records (2018, Nash)
Highlander, but with the soundtrack and 94% of the dialogue removed, and an all-Queen soundtrack DJed live over the top (1986, Mulcahy)
Breath (2018, Baker-Denny)
The Big Lebowski (1998, Coen Brothers)
Belle De Jour (1967, Bunuel)
Being Frank: The Chris Sievey Story (2018, Sullivan)
Mutafukaz (2017, Nishimi & Renard)
The Long Dumb Road (2018, Fidell)

all DCP except the Hitchcocks, which were 35mm

quite a spree, sic!

wow, lucky duck re: those Hitchcock movies in 35mm. only copy of Stage Fright I could find just looked awful.

and yeah that is a great run of movies, i'm especially fond of Galaxy Quest, haven't seen it in too long

if I can manage it, this week alone might be almost that full: I have 11 tickets and eight days left for SIFF, two first-week SIFF films have gone to multiplexes already, the Hedwig/Gaiman is at an arthouse, and an indie is running the Black & Chrome cut of Fury Road.

they missed an opportunity by not calling it the Shiny & Chrome cut imo

I was disturbed by that French cinema icon in the final scene, particularly the giant tropical fruit he has for a nose now.

You weren't exaggerating. The last nose like that I saw was on terminal-stage W.C. Fields.

Made on Broadway (Beaumont, 1933)
A Jazzed Honeymoon (Roach, 1919)
The Bees' Buzz (Sennett, 1929)
April Maze (Sullivan, 1930)
Don't Play Bridge With Your Wife (Pearce, 1933)
The Return of Bulldog Drummond (Summers, 1934)
Caro Nome (DuPar, 1926)
Max's Vacation (Linder, 1914)
A Sammy in Siberia (Roach, 1919)
Bet Your Life (Yates, 1948)
First Reformed (Schrader, 2017)
Let the Sunshine In (Denis, 2017)
Minnie the Moocher (Fleischer, 1932)
Beautiful Clothes (Berne, 1942)
Beggars in Ermine (Rosen, 1934)

May 5 - June 3 in theaters:

Tully - 6/10
El Topo (1970) - 7/10
Disobedience - 5/10
Life of the Party - 3/10
To Joy (1950) - 8/10
Ivan’s Childhood (1962) - 10/10
Deadpool 2 - 4/10
Let the Sunshine In - 9/10
Beast - 6/10
How to Talk to Girls at Parties - 8/10
First Reformed - 9/10

captain america: the first avenger (2011) 5/10
*the damned united (2009) 7/10
sex lies and videotape (1989) 8/10
*get carter (1971) 8/10
prevenge (2017) 7/10
the rum diary (2011) 6/10
the greasy strangler (2016) 6/10

Women in Love - 7/10
Rusty Knife - 6/10
Young Mr. Lincoln - 7/10
Starlet - 3/10
Take Aim at the Police Van - 6/10
Vertigo - 10/10
Antichrist - 7/10
Meantime - 8/10
Clouds of Sils Maria - 9/10
Torn Curtain - 6/10
La Vie de Bohéme - 9/10
Uncle Boonmee Who Can Recall His Past Lives - 9/10
Leningrad Cowboys Go America - 10/10
Fanny and Alexander - 10/10
The Steel Trap - 7/10
The Actress - 7/10
An Autumn Afternoon - 9/10
Leningrad Cowboys Meet Moses - 10/10
Le Havre - 9/10
Shadows - 10/10
Martha - 9/10
Cabaret - 8/10

A Few Good Men (7.0)
Borg vs. McEnroe (5.0)
Here to Be Heard: The Story of the Slits (6.5)
Casino (7.5)
The Beatles, Hippies and Hells Angels: Inside the Crazy World of Apple (6.5)
Tully (4.0)
The Gospel According to Andre (7.0)
RBG (6.5)
Deep End (7.0)
L’eclisse (7.5)

Saw the last two on consecutive nights, and the ratings are for basically the same things: incredible cinematography, the audacious endings, and the lead actresses. L’eclisse seemed less impressive to me second time around. (The guy who prompts Monica Vitti to say "He's got a beautiful face" when he walks past her, I could have sworn it was Keir Dullea. Can't find anything online. Same year as David and Lisa...seems improbable.)

Young Mr. Lincoln - 7/10
Clouds of Sils Maria - 9/10
Leningrad Cowboys Go America - 10/10
Leningrad Cowboys Meet Moses - 10/10

i'm not sure you get John Ford, flapp

only other Ford I've seen besides Stagecoach (which I love)

OK, here's my first nine days of June:

Hal (Scott, 2018)
Lemonade (Uricaru, 2018)
Being There (Ashby, 1979)
Sorry To Bother You (Fromthecoup, 2018)
Fury Road: Black & Chrome (Miller , 2015/2017)
The Crime Of Monsieur Lange (4K restoration) (Renoir, 1936)
How To Talk To Girls At Parties (Mitchell , 2018)
The Producers (4K restoration) (Brooks , 1967)
The Changeling (4K restoration) (Medak, 1980)
Tyrel (Silva , 2018)
Zombillenium (du Pins et Ducord, 2017)
Cinderella The Cat (Rak & Cappiello & Guarnieri & Sansone, 2017)
First Reformed (Schrader, 2017)
Beast (Pearce , 2018)
The Taste Of Betel Nut (Bing Lang Xue) (Hu, 2017)
This One's For The Ladies (Graham , 2018)
Upgrade (Whannell, 2018)

all DCP, Cinderella The Cat was the only one masked. First Reformed is in Academy ratio, and was not only not masked, but the house lights weren't dimmed all the way, so many square metres of the screen were glowing grey on both sides throughout.

Powder and Smoke (Parrott, 1924)
Copy (Houston, 1929)
The River (Borzage, 1929)
A Night in a Dormitory (Delmar, 1930)
*Opening Night (Mack, 1931)
Action Point (Kirkby, 2018)
Sleepy-time Squirrel (Lundy, 1954)
More About Nostradamus (1941)
The Saddle Buster (Allen, 1932)
The Broken Wing (Corrigan, 1932)
The Unknown Soldier (Laine, 1955)

Le Cercle Rouge (Melville, 1956) 8/10
Bob le Flambeur (Melville, 1970) 8/10
Written on the Wind (Sirk, 1956) 7/10
Audition (Forman, 1963) 6/10
The Awful Truth (McCarey, 1937) 7/10
Zama (Martel, 2017) 8/10
There’s Always Tomorrow (Sirk, 1956) 6/10
The Tarnished Angels (Sirk, 1957) 8/10
Pandora’s Box (Pabst,1929) 9/10
Taipei Story (Yang, 1985) 9/10
The Other Side (Minervini, 2016) 8/10
A Time to Love and a Time to Die (Sirk, 1958) 8/10

watched COUNT THE HOURS (1953) last night, i'm trying to watch as many of Teresa Wright's movies as I can. innocent man damned by gossipy town and sent to hang, his wife (Wright) and a benevolent lawyer (Macdonald Carey) determined to prove his innocence. besides SHADOW OF A DOUBT this is the best one - so strange, dreamlike in its weirdness and a frequent inability of the characters to complete/pass/move forward. fairly risque too - lots of innuendo and characters constantly on the verge of infidelity, tempted by characters that appear seemingly out of nowhere as if in a dream. a lot of the strangeness may come down to a so-so script, but it's shockingly well made, hints of German Expressionism and pretty sophisticated editing & tracking shots. anyway I realized it was one of Don Siegel's early movies. highly recommended if you're into the persecuted innocent man nightmare. also Teresa Wright is really great as always.

http://rarefilm.net/wp-content/uploads/2015/09/Count-the-Hours-1953-11.jpg

who, or what, comprises rex reed's readership? he's so stupid it's hard to believe he's not being satirical

outpatients

lmao

Imitation of Life - 9/10
Strange Wilderness - 8/10
Vivre Sa Vie - 10/10
Lights in the Dusk - 9/10
Hiroshima Mon Amour - 8/10
The Man Without a Past - 8/10
The Third Generation - 9/10
The Killing of a Chinese Bookie (1976 cut) - 9/10
Count the Hours - 9/10
Identification of a Woman - 10/10
Total Balalaika Show - 8/10

First Reformed (Schrader, 2018)
Annihilation (Garland, 2018) 6/10
Solo: A Star Wars Story (Howard, 2018) 5/10
Let the Sunshine In(Denis, 2018) 7/10
You Were Never Really Here (Ramsay, 2018) 8/10
RBG (Cohen, West, 2018) 6/10
Baal (Schlöndorff, 1970)
* Women in Love (Russell, 1970) 6/10
Fellini Satyricon (Fellini, 1968) 5/10
* Belle de Jour (Buñuel, 1968) 10/10
* Giant (Stevens, 1956) 6/10
The Flavor of Green Tea over Rice (Ozu, 1952) 7/10
* Black Narcissus (Powell-Pressburger, 1944) 8/10

still pondering 2 of those ratings, eh

http://www.byislam.com/en/wp-content/uploads/2015/08/images1.jpg

Sandra (1965, Visconti) 6/10
*Night of the Living Dead (1968, Romero) 9/10
*The Color of Pomegranates (1969, Parajanov) 8/10
Kung-Fu Master! (1988, Varda) 7/10
La Belle Noiseuse (1991, Rivette) 6/10
*The Virgin Suicides (1999, Coppola) 9/10
*A Foreign Affair (1948, Wilder) 9/10
*Multiple Maniacs (1970, Waters) 7/10
Brawl in Cell Block 99 (2017, Zahler) 6/10
*Tombstone (1993, Cosmatos) 7/10

Titicut Follies (1967) 4/5
Key Largo (1948 (4/5)
Zama (2017) 4/5
Evil Genius (2018) 2.5/5
Judex (1963; rewatch) 4/5
Alexander Nevsky (1938) 3/5
Ant-Man (2015) 3/5
First Reformed (2017) 3.5/5

Taipei Story (Yang, 1985) - this is a masterpiece
L'avventura (Antonioni, 1960)
Solo: A Star Wars Story (Howard, 2017)

Careful Please (Taurog, 1926)
*Sea Spiders (1932)
Manslaughter (DeMille, 1922)
At First Sight (Howe, 1924)
The Poor Fish (McCarey, 1924)
The Scarlet Pimpernel (Young, 1934)
Beer and Pretzels (Cummings, 1933)
Señorita (Badger, 1927)
The Great BK Mystery (Sprocketts, 2017)
Midnight Lovers (Dillon, 1926)
Nertsery Rhymes (Cummings, 1933)
A Trip Down Market Street Before the Fire (Miles, 1906)
The Adventures of Robinson Crusoe (Méliès, 1903)
Detained (Pembroke & Rock, 1924)
*A Trip to the Moon (Méliès, 1902)
*The Battle of the Century (Bruckman, 1927)

i think i am seeing that Melies/Detained program in NY this week

Serge Bromberg, Saved From the Flames? This time the National Gallery actually let him light up a scrap of nitrate film to show how quickly it burns.

Game Night
Heard it was quite fun

Nightmare City (Lenzi, 1980)- shit city

Head of the Family (Band, 1996)- gotta make that Full Moon trial membership earn the $0 it cost me; I am not at all on Band's wavelength but this was an agreeable enough waste of like 80 minutes. would watch if bored in a motel

The Pit and the Pendulum (Gordon, 1991)- this, on the other hand! Lance Henriksen is a treat, Jeffrey Combs is always welcome, Gordon manages to make Full Moon's Romanian (iirc) castle location look good, and it's just a nasty piece of work in the grand tradition of yr Witchfinders General and yr miscellaneous Vincents Price

*Hellraiser III: Hell on Earth (Hickox, 1992)- shamefully, aggressively stupid, fully makes Pinhead into a witless slasher and Cenobites into a shitty punchline, all to chase those Freddy Krueger dollars that were already starting to dry up. Even the Image Animation fx guys turn in subpar work, between the, as I mentioned, stupid as a bucket of rocks Cenobites and some particularly cringey early CGI

Leviathan: The Story of Hellraiser and Hellbound: Hellraiser II (McDonagh, 2015)- some regrettable stuff (framing archival interview footage in really hacky comic-panel frames, overlong "artsy" credits, etc) but- with the notable exception of Barker- the breadth and depth of the interviews over this four-hour monster is really something special. Bonus points for contrasting Doug Jones' starry-eyed nostalgia for all things Pinhead with Image Animation folks saying "It's shit. Stop making Hellraiser movies until you can fucking do it right."

Out of the Blue (Hopper, 1980)- Still processing this incredibly bleak film. I want to compare it with a certain set of other films (Welles, Godard, Cammell, a couple others I can't immediately recall right now) but will leave it at least a little cryptic if anyone cares about spoilers. The kind of self-indulgent mess where a scene plays dialogue-free with Dennis Hopper driving a trash compactor to THE ENTIRETY of Neil Young's "Thrasher" but somehow it works? Anyway, I have some hope that this one might be more widely available soon- there was no like Janus logo or anything, and the introduction at Philly's Lightbox/IHP didn't mention restoration, but this was an absolutely pristine 35mm print that looked brand new.

Times Square (Moyle, 1980)- moony-eyed and sentimental and romanticizing homelessness but I don't care because feelings, basically, and the unfuckingbelievable soundtrack- which I imagine is what's been keeping it off home video formats for ages; if this comes out with a fake soundtrack a la Return of the Living Dead I will scream- which carries the weight of the storytelling so much more than the script, to the point where there are multiple editors credited specifically with the musical sequences in the end credits. The nearly back to back sequences of "Down in the Park" and "Pissing in a River" might be one of my favorite film moments of my year so far. No such luck with the print this time; it was faded and pink, which added to the pre-Giuliani grime of it all, but it's a shame that this isn't easier to see.

Lu Over the Wall (Yuasa, 2017)- SEE THIS FUCKING MOVIE OH MY GOD OH MY GOD SEE IT ON THE BIGGEST SCREEN
It's a little plotty and exhausting but Yuasa is my shit and this is revolutionary. I didn't even fully understand what was going on until I read about the use of Flash (!) and hand-drawn keyframes to make this incredible, fluid Tex Avery-looking thing. It has all the detail and solid worldbuilding of, let's say Tekkonkinkreet, one of my go-to examples in feature animation, but feels like A Cartoon in the western sense as well.

I mean just look at it
https://www.youtube.com/watch?v=uIJ8z34dvE0

Knight Duty (Gillstrom, 1933)
The Love Nest (Kline & Keaton, 1923)
In the Dough (McCarey, 1932)
Secrets (Borzage, 1933)
*Fatty's Tintype Tangle (Arbuckle, 1915)
Mabel and Fatty’s Wash Day (Arbuckle, 1915)
Cliff Edwards and His Buckaroos (Negulesco, 1941)
Stagecoach (Ford, 1939)
Transatlantic (Howard, 1931)
A Bedroom Scandal (Raymaker, 1921)
Shadows in Paradise (Kaurismäki, 1986)
*Le Havre (Kaurismäki, 2011)

Breathless - 8/10
Faces - 9/10
Twixt - 1/10
Red Desert - 10/10
To Live and Die in L.A. - 10/10
Opening Night - 10/10
Pioneers in Ingolstadt - 8/10
The Exorcist - 8/10
A Woman Under the Influence 9/10
White Material - 8/10
Gentlemen Prefer Blondes - 9/10

Body of Lies (Scott)
The Last Boy Scout (Scott)
Sweeney Todd (Burton)
Hollow Man (Verhoeven)
Remember (Egoyan)
In My Father’s Hands (Vinge)
Hjerter Dame (Detlefsen & Schepelern)
No Stone Unturned (Gibney)
Citizen Jane: Battle for the City (Tyrnauer)
Austerlitz (Loznitsa)*
Safari (Seidl)
Images of Liberation (von Trier)
The Idiots (von Trier)*
Nymphomaniac (von Trier)*
The Early Years: Erik Nietzsche part 1 (Thuesen, script by von Trier)
Cairo Station (Chahine)
The Land (Chahine)
The Sparrow (Chahine)
The Nightingale’s Prayer (Barakat)
Caramel (Labaki)
Rock the Casbah (Marakchi)
Outside the Law (Bouchareb)
Omar (Abu-Assad)
The Message: The Story of Islam (Akkad)
Al Medina (Shargawi)
Before Snowfall (Zaman)

Secret Ceremony (1968, Losey) 4/10
Summer 1993 (2017, Simón) 7/10
*Next Stop, Greenwich Village (1976, Mazursky) 8/10
Ludwig (1973, Visconti) 7/10
Ash Wednesday (1973, Peerce) 5/10
*They Shoot Horses, Don’t They? (1969, Pollack) 9/10
*Eyes Wide Shut (1999, Kubrick) 8/10
I, the Worst of All (1990, Bemberg) 7/10
*The Nutty Professor (1963, Lewis) 9/10
*Life of Brian (1979, Jones) 8/10
*Dick Tracy (1990, Beatty) 7/10

*Dick Tracy (Beatty, 1990) 4; down from 6, last seen in 1990
Dressed to Kill (De Palma, 1980) 5
Mary and the Witch’s Flower (Yonebayashi, 2017) 6
Hail, Caesar! (Coens, 2016) 5
Hereditary (Ari Ansel, 2018) 8
36 Hours (George Seaton, 1964) 4; incompetent second half

Ari Aster

are asterisks rescreens?

yes

whoa @ the 9 for They Shoot Horses.

It'd be a great '30s literary-bummer double bill with The Day of the Locust. Possibly a career peak for both Fonda and Pollack (not to mention Gig Young and Red Buttons).

I'd deduct a couple points for the horse symbolism (Pollack isn't the director for mystification), agree on career-high work by the actors.