WHAT FILMS HAVE YOU SEEN LATELY?

[Moraldo Rubini]

I saw Zodiac a few nights ago. Really liked it. Have followed the case since I was a teenager. Thought they did a great job of shooting in the City by the Bay.

This one slipped by me, Lynn! I wanted to see it, especially since I remember my elementary school days when rumors of the Zodiac would spread across the playground. Northern California was nervous about these mysterious murders; now I suppose we'll never know who he was...

[benwhowell]

Lynn, David Fincher (IMHO) is like a bee...he buzzes around and then stings you...leaving you throbbing and numb.
I was so glad to see him back in top form with "Zodiac."
I liked "Panic Room," but the story felt a little disjointed. It was a fun homage to Hitchcock and " Lady In A Cage," but it would have worked better as a short. Jodie Foster did a great job.
"Zodiac" is a dark, plodding, methodical, suspenseful exploration of one of my favorite "subjects-"obsession.
Robert Downey, Jr. and Mark Ruffalo were great, but the movie was all about Jake Gyllenhaal for me...as the comic illustrator "nerd" and devoted family man who plunges into this gruesome "world" of a serial killer!
Chloe Sevigny did a terrific job with such a small part-as his "confused" wife.
I also loved the whole late '60's thru '70's to early '80's feeling that Fincher captured with music, atmosphere and even color. The use of orange (or was it tangerine?) for the chairs in the newspaper office and hospital emergency room brought back "color" memories.
Not to mention type writers, pay phones, macrame, etc. Very well-crafted.
I'm surprised you haven't seen it, Marco. I know you'll have a great time playing "spot the location." San Francisco is a significant "character" in this movie.
Also, loved all the cameos-from Candy Clark to Philip Baker Hall.
I almost forgot about all the references to the novel/movie "The Most Dangerous Game-"including a vintage movie poster. Too cool!

[feaito]

I've just finished two films I taped off of TCM Latin last week, back to back.

Firstly "The Wreck of the Mary Deare" (1959). A widescreen film showed in a Pan & Scan version by TCM Latin (once again). I was curious about this pairing of two cinematic giants, these two sacred "monsters" of the 7th Art that are Gary Cooper and Charlton Heston. The film's OK, a rather amusing adventure film, with the two stars working very well together. Oddly enough, Coop looks younger here than he did in the 1957 "Love in the Afternoon" and he gives a sincere portrayal. Some good special effects and suspense. Many familiar faces among the supporting cast: Cecil Parker, Virginia MacKenna, Emlyn Williams, Alexander Knox and Richard Harris. Fans of Gary should watch it to see him in one of his last performances.

Secondly "The Great Sinner" (1949). Pluses: Great production values (typical of MGM), Ava Gardner's at her most alluring and a stellar cast. Cons: Extremely overlong and a little boring and predictable in some parts. Gregory Peck plays the great sinner of the title, because he's caught by the gambling casino fever. I dislike intensely people who can't stand their own ground against this horrible "vice", so I found most of the characters rather unpleasant and most of the situations too, with all kinds of people losing everything they had at the Wiesbaden Casino. Walter Huston plays Ava's dad, very skilfully as usual. Ethel Barrymore has a small role as Huston's regal mother. Frank Morgan plays one of the "lost souls" in what was must be one of his last performances. Agnes Moorehead plays a sinister pawnbroker and, last but not least, it's been the first time in which I have seen Melvyn Douglas playing a very villainous character: the Casino owner who wants to buy Gardner for himself.

[Bogie]

I saw Zodiac a few nights ago. Really liked it. Have followed the case since I was a teenager. Thought they did a great job of shooting in the City by the Bay.

Robert Downey, Jr (despite all his problems is a great actor).

I saw this movie in the theatres and loved it. Unfortunately, it seems like it didn't do too well at the box office. The movie is very moody and dark at times. There are times when it gets a little tedious but the acting was top notch. I especially liked Mark Ruffalo's performance in it.

The only thing that detracted from the film and I know why Fincher did it that way is that there was no concrete end. As we all know the real Zodiac was never captured but as was shown in the movie it's pretty clear who it was.

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[moira finnie]

I recently saw on dvd:

Breach (2007) with Chris Cooper as a real life FBI agent for a quarter of a century, Robert Hanssen, who was also selling security secrets to the Russians for much of that time. Cooper is one of the most quietly brilliant actors around. This guy can make a shrug or a disgusted sigh interesting, perhaps all the more so because of his pained visage. What is interesting is what the film only outlines discreetly: Hanssen's rabidly devout religiosity, his resentment of his superiors, his obsessions with sex and his corrosive personality, especially to his underlings. Not a pleasant man, but thanks to Cooper, a fascinating study of a soul in conflict.

The story is told from the viewpoint of a young FBI man (Ryan Phillipe, who's good too), who is planted in Hanssen's office to observe his activities. Filmed in part in recognizable neighborhoods in Toronto and Washington DC, the film is also interesting because of the bleak wintry palette of the cinematography, the sterile government offices with that awful fluorescent lighting, and the cramped apartment of the young lead.

[feaito]

I just finished watching a TV Movie titled "The Five People You Meet in Heaven". Its well over two hours long, but it was absolutely worthwhile. Very touching and acted with much sentiment by Jon Voight. It's all about the meaning of life. Recommended viewing.

[traceyk]

I haven't seen the movie, but the book was hilarious. Except for the ending, which was heart-wrenching, the nanny having to leave that darling little boy with those two self-absorbed monsters.

I have the book next in my to-read queue, and have been assured by friends that it's better than the movie. I had the opposite experience with last year's The Devil Wears Prada, a book that I thought was poorly written, but transferred to the screen nicely (thank you, Meryl Streep). I'll be interested to see if the book was written from the anthropology point of view. During the movie, the audience is left wondering why the heroine doesn't just find another job. The cast was swell though. Great to see Broadway's Donna Murphy on the screen; and I love Laura Linney (and Scarlett Johansson).


Didn't bother to read The Devil Wears Prada. I liked the movie too, and thought I'd pick up the book, but I read an excerpt online and was so annoyed by the lousy writing that I didn't bother. Can't stand to read a poorly written book.

[movieman1957]

Moira:

Looking forward to seeing "Breach." My mother really enjoyed it but with your word I'll be moving it up my list.

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Two I've seen recently are Harold Lloyd comedies from his box-set. The first is "Dr. Jack." A pleasant comedy with some fun stuff but not among the great works. The second is "Feet First." If it wasn't his first "talkie" it was close. While he slips well into sound the movie doesn't make much of it. At 85 minutes it is a bit long for him. It certainly takes a while to get rolling. A reworking of "Safety Last" in the last part seems just that. Of course, for 1930 audiences I guess they might have been happy to see more thrilling comedies. A step down from his best work.

[Sue Sue Applegate]

I first took notice of Chris Cooper in Lonesome Dove. He makes you watch everything he does. I don't think he ever even wastes a gesture or a breath, and he is never disappointing.

[Lzcutter]

Chris,
He is wonderful as July Johnson.

Speaking of Chris Cooper, the first time I saw him on film was in John Sayles' wonderful film Matewan where he co-starred with James Earl Jones. Cooper played a Union Organizer trying to organize the Coal Miners.

I thought of that film often when I watched him in the wonderful October Sky about ten years ago. That's the first film I remember seeing Jake Gyllenhaal in.

[jdb1]

I thought Cooper was pretty hot in Adaptation, even without teeth.

He's got that Sam Shepard-Scott Glenn quality that I find very attractive, harking back to some of my favorites from the previous era, such as Jim Davis, Royal Dano and Fess Parker. I suppose such laconic cowboy types seem very exotic to a girl from Brooklyn.

[feaito]

Last night I watched "Fracture", suspenseful and OK, but too implausible and far-fetched IMO. Anthony Hopkins seemed to be playing Hannibal Lecter all over again. I hated the shallowness and emptiness of all the people related to the law firm Ryan Gosling was going to work at. And what is sad is that many people are like that.

Today in the morning I saw the amusing and hansome-to-look-at "When A Man Loves". It must have been an expensive film for Warners to produce. Although not one of John Barrymore's best silents, it is still worthwhile to check. Myrna Loy appears unbilled in the last scenes onboard the ship. Dolores Costello looks very pretty.

[benwhowell]

"Adaptation" was the movie that (officially) introduced me to Chris Cooper. I didn't even realize he played Col. Frank Fitts in "American Beauty" until later.
I'm not a big Nicolas Cage fan, but I think he did a fantastic job in "Adaptation."
Actually, I pop that movie in from time to time to "study" the great performances from Cooper, Cage and Meryl Streep.
Cooper really deserved that Oscar. His performance was so honest and real-I feel a little uncomfortable watching -like I'm some "peeping tom."
I totally get why "Susan Orlean" would fall for him...
Not to mention the brilliant screenplay from Charlie Kaufman!

[feaito]

Last night I watched two Warner Bros. films released in 1932, in a row:

"Week-end Marriage" (1932). A very good programmer starring Loretta Young, Aline MacMahon, Norman Foster and George Brent. I did not recognize Vivienne Osborne in a supporting role, she looks so different with blond hair. I must say I liked best the first half of the film, especially the scenes in which miss MacMahon appears. She is simply superb! A scene stealer. Non-stop wisecracks and ironic comments. Loretta is also very good, giving a natural, unaffected performance and she has a wonderful scene with Miss MacMahon, where the latter teaches her how to trick a man into marriage. On the other hand, the premise that women who have a career are not entitled to be happy in their respective marriages may be quite insulting to nowaday female audiences.

"Scarlet Dawn" (1932). An unusual film for Warners (at least in this period), set during the Russian Revolution with Douglas Fairbanks Jr. at his dashing, devil-may-care best. He plays a Russian nobleman who escapes his country in company of a loyal servant, beautifully played by Nancy Carroll, who reminded me so much of Claudette Colbert in this film (her voice, her round heart-shaped face...). The film was too short for my tastes (at only 57 minutes) to fully develop the story and characters and seemed to rush into conclusion. Lilyan Tashman is very good as a sophisticated "woman of the world".

[Moraldo Rubini]

I'm surprised that no one has mentioned the Teddington pictures anywhere in the Oasis (or did I miss the posting?). TCM featured three last Monday, and will show another trio this coming Monday. Am I the only one who's excited about seeing this British rarities? I watched last Monday, but only "connected" with one of them.

Something Always Happens attracted me because Michael Powell directed it. It was interesting to see a young Ian Hunter, before he went on to A Midsummer Night's Dream and Adventures of Robin Hood. This "quota quickie" was barely over an hour long, yet still barely kept my interest. I thought the opening was interesting, juxtaposing the idle rich playing cards through the night while outside gritty shots of working class children playing on the concrete playground. But the rich-girl-in-disguise and Hunter's phoenixian rise in the business world didn't really hold my attention.

William Forde's The Peterville Diamond held more promise. Bookended with one of my favorite sexual metaphors of the train entering the tunnel ( ); the beautifully phony model at the beginning of the picture is actually misleading, as the honeymooning couple is decidely not making whoopee. Rather, the master of the couchette is toiling with his assistant, as his ignored wife (Anne Crawford) waited impatiently in their bed. Anyone familiar with Crawford? I think this was her movie debut. She was charming, even if her character was spoiled and tedious.

Things were coming along okay, with the introduction of a charming jewel thief -- a civilized Noel Coward-type -- but once everyone was introduced, this picture began to lose me too.

Best of the bunch, was Michael Powell's Hitchcockian Crown vs. Stevens. Interesting sets and props: Loved the gothic arches framing the loan shark who kept a stuffed alligator on his desk while his Buddha watched over the proceedings. Lots of interesting Hitchcock themes here: the flawed innocent man trying to keep clear of the police; rather than building suspense on the "good guy", we find ourselves worried that the "bad guy" will get caught -- in this case, a murderous femme fatale. Bits of reality crowded in on the movie: the persistent jackhammers of road construction was not only a great aural touch, but it served to mask the gunshot of murder. Lesson learned: When throwing the murder weapon off a bridge, first ensure there is no boat underneath to catch it. Anone know who played the villainess' glamorous, gold digging friend?

Since these were Warner Bros. movies, it was fun to pick out the songs from their library as they popped up on the soundtrack. Raymond Scott's "Powerhouse" was used to funny effect in a chase sequence; Warren & Dubin's "I've Got to Sing a Torch Song" (originally from Gold Diggers of 1933) was heard in a cafe orchestra, and their "Don't Say Goodnight" crept in there somewhere...

Last night, I ventured out to see Julie Taymor's new musical based on songs by the Beatles: Across the Universe. Slow to start, then rising to brilliance, but ultimately too long, it's not easy to rate this one. It was most enjoyable just hearing these great Lennon/McCartney melodies given new life and meaning. "I Want to Hold Your Hand" becomes a wistful song of longing, rather than a celebration of requited love. It works. Taymor also made Frida and the horrifying Titus, but is probably best known for her Broadway staging of The Lion King. Her trademark use of puppetry pops up here, along with her vivid and imaginative visuals. The movie takes place during the turbulent 1960's, and the gospel version of "Let It Be" while the Detroit riots are blazing was a moving highpoint. The psychadelic bus trip makes this movie a must for the BIG screen, as it would be wasted on a lowly home entertainment system. Julie continuously nudges us with Beatles trivia: an artist working on a still life of a green apple, then slices it in half to remind us of the Beatles' record label; we see Maxfield hammering, but the song never comes up; we meet Rita, but it isn't clear that she's a meter maid. I'm not sure if the following would be considered a spoiler -- I won't give away the plot, but I was surprise by the fantastic appearance of Joe Cocker, singing his heart out; Bono taking us on a trip; and gorgeous Salma Hayek as a chorus of nurses. The very last scene had me rolling my eyes at the hokum, but over all this was a great ride.