What was the last film you saw and how would you rate it? Pt. 18

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Thought I'd post this here until I hear we're doing it somewhere else....

Post the name of the latest movie you've seen and your rating out of 10. 
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Sunshine Boys (t0073766) - 7/10 - loved Burns, hated Matthau.
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Jen, Champion

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Posted 2 years ago

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joe siegel

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I've been giving a marathon in the last days of Hitchcock and the last one I saw was The Man Who Knew To Much It's not Hitchcock at its best but it has that strong suspense of its films and Jimmy Stewart gives the touch, it's not the best of Hitchcock but it's satisfying.
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NarniaisAwesome

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Have you seen The Birds yet?  I think it's one of the scariest films ever.
(Edited)
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joe siegel

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I still do not see it, I have not got it, for now I have pending Birds and Vertigo since I want to see them in the best possible quality
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NarniaisAwesome

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Oh, you'll like them - they are both very good, as is Rear Window, as well.
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joe siegel

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Sure, any Sir Hitchcock movie is great
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dgranger

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I disagree and I’m a huge Hitchcock fan. Hitchcock did not fare so well when he had tried a change of pace with “The Trouble With Harry” in which he was trying to make a comedy with suspense as the supporting part. It didn’t work that well.
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Peter, Champion

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The Other Side of the Wind, Orson Welles's last film starring John Huston, completed last year, 7/10
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Peter, Champion

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The story behind the film is at least as interesting as the film itself, as depicted in They'll Love Me When I'm Dead (2018), 8/10
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dgranger

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I had just saw “The Intruder”. 7 to 9 eventhough I knew how he was getting in. I just didn’t know where the outside entrance to his secret passageway he was using was. But Dennis Quad scares the living crap out of you. Great to masterful direction from Deon Taylor. He kept me guessing. Another example of “If you really want to do a really scary movie, go for the scary suspense than the gore.” Because suspense is scarier than gore. This film, IMHO, was better than ”Us”.
(Edited)
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Stephen Atwood

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Last Thursday:
Pokémon Detective Pikachu (2019), 5/10. Kind of fun but only when Ryan Reynolds was on the screen and improvising. Otherwise? It seemed the script was written by a 12 year old Pokemon superfan. 

Ying (2018) AKA Shadow (2018) 8/10. A definite improvement over Curse of the Golden Flower (2006) but a far cry visually, choreography, storytelling wise from House of Flying Daggers  2002 and ...
Hero (2004). Plus, the first five or so minutes was ... rather awkwardly edited and paced.  A weird blip that made me second guess for a second that this was a part two to another film (which I'm sure it isn't).
(Edited)
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NarniaisAwesome

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RiffTrax: Attack of the Puppet People (can't remember if I rated this one already) 8/10.
Character"My marionette show got great reviews on Broadway!"
Kevin: "His marionette show got great reviews on Broadway?  I'd like to hear about that, too!"

RiffTrax: The Last Shark 9/10.  Italian rip off of Jaws with a baffling scene of an Italian Bob Dylan in patriotic dress singing in a porta potty?
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Stephen Atwood

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John Wick: Chapter 3 - Parabellum (2019), 9/10. Kudos to John Wick, the Horse Whisperer.
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ElMo

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THE IRRATIONAL MAN (8.5/10)

A Woody Allen film with a linear plot and "what if" dilemmas disseminated all through its thought-provoking story, the film covers many philosophical questions about the rationality of individual "morality" and their possible interference with ethic. Abe, the philosophy teacher played by Joaquin Phoenix doesn't believe the intellectual medicine he sells to his students, his dark and brooding attitude makes up for the lack of enthusiasm in his endeavor and is enough to earn admiration, if not fascination but he remains totally unsatisfied about himself. One day, he's given a test (not a taste) of his own medicine through an intellectual challenge that could only emerge from the creativity of Woody Allen: a situation that gives its full meaning to the word existentialism, a hackneyed word that only inspired vague interpretations of the word "accomplishment" but in the film, it's shown as a moral weapon, more specifically, a double-edged sword when confused with a sort of misguided sense of entitlement, a great illustration of the idea that hell is paved by good intentions.

I just loved the film, it caught me off-guard but there's never one false note in that sweet little campus-set symphony, especially the way it offers us a smooth and realistic transition of its main protagonist, as if we had to understand what's eating him before understanding what could regenerate his lust for life. Phoenix feels like overplaying the intellectual malcontent in quest for a meaning in the beginning and it takes not one but two women to try to break the ice and finds what's under that depressed carapace of his, Parker Posey is Rita the lively and sensual teacher who instantly falls in love and Jill is the brilliant student who has the typical crush on her charismatic teacher... yet the film offers so many common tropes to better avert them. Abe looks like your typical alcoholic womanizer but he's impotent and his suicidal impulses turn everybody off...  when eventually things go better, he's wise enough to keep it platonic with Jill, because she's engaged, and if you think Jill will abandon everything to follow her teacher and do the right thing by breaking up with the dull boyfriend, you've got anything thing coming.

As usual with the best Allen films, you have a fine set-up that introduces to characters with clearly drawn personalities but unclear motives and then there's something that changes everything, the motives get clearer and the personalities reveal new hidden depths. It's a simple conversation overheard in a café that changes the course of Abe's life, triggering a new life appetite that has its effect on Jill and Rita. It's a decision that calls for an act, one of heavy proportions but deemed necessary because wishing is useless and action is meaningful. And from that point, the film is like a great waltz under a tertiary tempo, one for the triangular love and the way Abe's charm works way too much not to be an omen for complications, one for the moral dilemmas over which I hesitated to give a definite judgment, telling myself "that better goes somewhere" and finally a response to "Match Point" where 'bad things' went unpunished, and not even suspected... the film is so smooth and engaging that the ending feels a bit hasty in its execution, sometimes the right thing to happen isn't necessarily the right one when it comes to end with a final "wow", but obviously, "Match Point" had already made its point and "The Irrational Man" needed to take us back to some sanity.

It's for movies like this that I've always admired Woody Allen and after the disappointing "You will Meet a Tall and Dark Stranger", here's one that succeeds in almost every department, not too many characters but what's there is three-dimensional, unpredictable yet consistent, a plot that goes through many fluctuations while attached to its spinal topics and that little zest of wit that tickles your intellect and makes you wonder what you'd do if you were in "their" place. The film saddened me making me think of the director's recent downfall into persona non grata territories. I've taken his last movies like consolations, if he's lost his touch then there was no need to go further, maybe his creative juice had stopped to drain such clever and brilliant films but "The Irrational Man" made me reconsider, Allen can still surprise you... and he does it so brilliantly that I would separate the art from the artist, and I wish enough actors in Hollywood would do it so the only true Hollywood auteur can make movies like this, disinterested and interesting, devoid of any calculation except for giving a shot to aspiring and "it" actresses, like Emma Stone who delivers a terrific performance one year before her Oscar-winning role in "La La Land"

The film restored my faith in Woody Allen, his "Café Society" left me cold but I guess there's a patter in his long filmography, every 2-3 years, he makes 'that' film that feels undeniably good, if not great.  "The Irrational Man" is the second high point after the 2010s after "Midnight in Paris", I wish there's enough time for Allen to make one great film, might be his last from the way things are going.
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albstein

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Rust and Bone (2012). Hard to give a rating because this great movie with raw emotional power, conflicted characterizations and an amazing performance by Marion Cotillard ends on a completely wrong note. Maybe 8/10.
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ElMo

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I didn't see it but I recognize the symptom, one of these films were we feel "betrayed" by the ending...
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ElMo

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THE CRANES ARE FLYING 10/10
Starting a new Golden Palm marathon. A true masterpiece, one of the best international war movies along with Forbidden Games and Underground a marvel of expressionist eastern cinema and neo-romanticism. Tatiana Somoilova is one of these faces you'll never ever forget...
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NarniaisAwesome

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The Cranes Are Flying: Frasier and Niles take Pilot Lessons.  :)
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joe siegel

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The guilty, I thought I had seen all 2018 and this incredible movie arrives, that kind of suspense that personally fascinates me. It is also the debut of that director and presages a lot of talent. 8/10
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ElMo

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SIGNORE & SIGNORI  9/10

So far, a marathon that fulfills its promise...

"The Birds, the Bees and the Italians" is a delightful and enjoyable comedy of manners "Italian Style" with a kitschy and catchy soundtrack that gets stuck in your mind like melted cheese on a plate after the pasta's gone. Speaking of the music, it's playful and irresistible and somewhat irritating but it does serve a purpose: to give a playful resonance to a rather serious approach from film-maker Pietro Germi, too serious to be treated with solemnity, the days of neo-realism were over, comedy became the key. So the music is comedic because the whole attitude of Italian bourgeois people is tragicomic from our perspective.

https://www.youtube.com/watch?v=yHiEpcm2c_U
(the soundtrack)

Indeed, under their facade of marital respectability, social conventions, white coats or gray-flanneled suits,  they want to have fun, they want to have sex and for the most tragic cases, they want to find true love. What have all these elements in common, they involve friends and mistresses, which means they generally do without the "Mrs.", seen like a social convenience or a burden. Indeeed, in their dreams of social escapism, religion and appearances are a jail and the wife is the chain with the ball. That the topic is treated in a lighthearted way doesn't deprive the film from the criticism regarding its male-centered version of a hedonistic life, but one shouldn't get the wrong idea about it, the title is there to show that the film give as much balance to the influence of women than men.

Maybe because Germi is a man after all and has a more acute perception of the weaknesses of his peers, but the fact that men are the main protagonists is not saying much, they all have jobs, good situations, a social importance and the confidence of self-accomplishment in their 40s/50s but they're closer to "Pagliacci" figures than Roman warriors. Their ordeals are all portrayed in a way that makes us laugh with them and at them too. The film is divided in three acts: in the first one, a man's impotence is treated like a running gag and a deserved subject of mockery (there's a nice twist at the end). Then the second story focuses on a husband who's stopped wearing the pants and endures his wife's insults and condescending comments with stoicism... and ear plugs.

Gestone Moschin is the most endearing figure of the film, and the most memorable, a tall man built like a Commendatore (he was the intimidating Fanucci in "The Godfather Part II") but who becomes Pinocchio when he's confronted to his nagging wife. The way he falls in love with the little cashier girl is adorable and sweet, almost Comedia Dell'Arte, that story could have been treated with darker tones but Germi resists the temptation and makes it even more effective by sticking to comedy. The wife can be regarded as a villain in the film but she's only good as using the system as an instrument to avenge her hurt pride, it's fair game in an arena where it's all a matter of pride after all. Another wife will punish her husband's infidelity by showing her naked body in a balcony. And these reactions denounce a recurring if not defining motif in the film: hypocrisy.

The worst possible thing that can happen isn't the fault itself but the lack of discretion. It's one thing to fool around, even the Carabinieri will understand, but to expose it in front of everyone is provocation. Germi's not just peeking in the keyhoole to see what's behind the good society's curtain, he literally kicks the hornet nest and reveal how in fact everything doesn't revolve around morality and principles but sex and money, pride and honor are just smokescreens between these two worlds... and the final act of the film was the best way to wrap up this social exploration by showing that even women can be loose-moralled after all, and not just the mistresses, that little twist at the end was the little extra spice the film needed, not to lose its savor. And the finale is all music and laugh again, to reassess the detachment of the director, he's a social painter (one with gusto and great comedic instinct) of people's morality, but certainly not a moralist!

By the way, it seems like there’s just enough space in movie lovers’ memory to include such Italian directors’ names as Fellini, De Sica, Antonioni, Rossellini or Visconti and it takes that little special gourmet taste to appreciate the likes of Pietro Germi, more craftsmen than artists, but maybe because they never felt overwhelmed with some sense of self-grandeur that they could make little movies with higher scopes. A documentary in the DVD bonus feature of “Signore & Signori” just made me want to discover Germi's work, especially "Divorce, Italian Style".


(Edited)
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NarniaisAwesome

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Holmes and Watson, 1 (okay, 2 to be generous) stars.  I expected more from Will Ferrell as Sherlock Holmes!

Glass, 4 stars.  Okay film, not what I expected for the finale.  Plot didn't seem to go anywhere except for the last few minutes or so, and even then I expected a different "twist."
(Edited)
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dgranger

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Glass had two twists. She had a super power too. Ever noticed how everyone froze at her supposed ‘meetings’ and nobody said a word? She definitely had some sort of mind-reading / telepathy ability. She was a superhuman that she was supposedly trying to fight against.
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NarniaisAwesome

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Huh???  You mean the doctor lady that was running the facility?  I didn't notice that!  Okay, that's interesting.
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Stephen Atwood

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No. I beg to differ. Dgranger? You clearly never been in group therapy. I doubt your interpretation of the character. Dead stop. The behavior of all three characters is pretty dead on regarding other patients in group therapy (regardless of the setting and their personalities and superpowers).
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NarniaisAwesome

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I took dgranger to mean that everyone froze in the other scenes, where she would address I'm assuming people who were her co-workers/bosses? everyone would stare at her and not say a word.  I don't think he meant she used her powers (if she had them) on Mr. Glass and the other two.
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dgranger

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Steven Atwood, NarniaIsAwesome is right. I was talking about her meetings with her co-workers in the restaurants. But I do think there is one scene that I suspect she had used her power on Glass. It was where she is in the room alone with him. At first, I too had thought she was monologuing and giving Glass a lecture. But then I had realized that the director was using a freeze frame on Glass. Even a paralyzed person blinks his eyes. The question was, “Did Glass catch on to her powers?”
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ElMo

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DETECTIVE PIKACHU 4/10

Watched it just because my daughter loved the trailer, it was plain awful! In fact, "Detective Pikachu" reminded me of that scene where Lisa Simpson tried to stop girl from buying the new Malibu Stacy because she was still embodying awful stereotypes, but then Smithers points out that "she's got a new hat" and that's all it takes for the better Lisa Lionheart doll to be ignored.

I had my reservations but I was afraid "Aladdin" would be too 'hardcore' and I already had a huge disappointment with "Dumbo" so I gave Pikachu a chance expecting a fine tribute to the universe of the Pokemon, with such a crazy premise it deserved a shot. The first scene didn't really enhanced my expectations, you know there's a problem when the moments that are supposed to be funny fall flat and the comments on the "jokes" don't make it better. I expect the first ten minutes to make me care for the hero, I don't think it made me care for the story either.

And it didn't get any better after. In fact, the film embodies all the worst clichés about action-comedy-pictures aimed for a younger audience: since they can't drop F-bombs, they think they should compensate with chase scenes, explosions, pseudo-suspenseful sequences where we've got to follow people walking for endless minutes before "something" happens, cute romantic innuendo and the most possibly prefabricated sad backstory applied to a main character in order to provide him three-dimensionality. Sure, Tim had "depth" but then how about casting an actor who doesn't have the same range of emotions than Psyduck?

But who cares about Tim, Pikachu has got a new hat!

That's how it works, Pikachu, one of the cutest and most lovable animated character of all-time, has his cuteness level pushed to eleven with that detective hat... and he talks! I wonder what's the worse thing about that: that the producers thought such a cheaply-gimmicked film would be enough to drain a maximum of viewers or that the viewers proved them right!  It doesn't take an expert to figure that the film tries to be "Ted" but it takes a more mature mindset to realize, it should have been more "Roger Rabbit", it should have cared about having a better lead character because no matter how memorable Pikachu is (and the premise got rapidly tiresome), the film needed a solid duo like in the two aforementioned films. It takes two to make a buddy movie.

The film takes us back to a universe where Pokemon exist but it seems like the team of writers were so obsessed by the structural elements of the story: hero/ quest/ pivotal moments/ twist and redemption that the 'Pokemon' universe was part of the dressing rather than the actual meal,  as if the investigation was too important to let some "predictable" recreation of the Pokemonverse interfere with it, so instead of a predictable but enjoyable live-action version of the original story, what we get is a novelty on the paper but eventually a boring character investigating on an uninteresting case and with a fun sidekick.

How about making other Pokemons talk? How about trying to do justice to the legacy of the Pokemon instead of some CGI-blockbuster ersatz? How about  making something that kids would enjoy, since it can't be "Deadpool"? I think this is a fine candidate for the Razzies and at least Street Fighter tried something and its villain was bad-ass!


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albstein

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It must be said though that Bergman, Kurosawa and Fellini were never really Hollywood directors, and I guess we have directors with similar creative freedom in Europe and Asia.
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ElMo

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And yet they did influence Hollywood, especially Kurosawa :)
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dgranger

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Spielberg? Scorsese? Eastwood?
BTW. I saw Aladdin and I will say there are good and bad parts to it. It is definitely the Broadway stage show on film since it has new songs that are not in the original film. Guy Richie was the perfect director for it considering his style. While you can’t replace a Robin Williams, Will Smith did a great job. And for those who complain that Smith has been to serious and pompous in his films lately, well his role as Deadshot cracking a wisecracks in [b]Suicide Squad[/b] as a sign of him loosening up and returning to his old form that made him a star, well be glad that he is all the way back in this film. He is loose, singing, dancing, cracking jokes and having fun. May this Will Smith stay and the other Will Smith never return! But sadly, Guy Richie did not find a replacement for Gilbert Gottfried for the role of Iago, and it was noticeable as the bird’s role was reduced to one or two words at a time. I had liked it despite that “You Never Had A Friend Like Me” falling a little flat (As I said, you can’t replace a Robin Williams) . 7 to 8 out of 10
(Edited)
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ElMo

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Seriously, no matter how good or spectacular the outcome is, I don't get the point of "making" a film that will inevitably be compared to a pre-existing one rather than on its own account. I know it's a matter of money, I know it's a business cash cow but it's also a bad encouragement for creative directors to "sell out" instead of trying to be consistent within a specific artistic endeavor.

Of course not anyone can afford the combination of commercial success with an artistic vision like some directors do but with a script that only needs rewriting and let's just say a little socially relevant twist* with a casting that needs to be approved by Disney big shots, with songs that are already staples of pop culture, with millions of viewers whose curiosity is already earned and most of all, with all the money and the marketing publicity, what is the director's room for manoeuvre? what is the accomplishment? what is the satisfaction?

(though I don't expect Jasmine to renounce marriage because she wants to be free, like the Genie... see the real "lamp" was the institution of marriage, clever metaphor)
(Edited)
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ElMo

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Well, we finally closed the "Pikachu vs. Aladdin" debate today, we went to see the second film and overall, I think we enjoyed it. She asked me how much time was left but that was because the film was too long, not a comment on its enjoyability.

Maybe the story occupies such a warm spot in my heart than any version will hit a sensitive chord, I grew up with the unknown French animated film of 1969 which made me enjoy the Disney version even more, and I guess that's the way it works, and maybe that's the reason why this "remaking" trend is a sure bet for Disney studios, they work on a Madeleine Prout level. Many parents in the theater were my age and were obviously the same age than their children when they saw "Aladdin" so for them, it's a sort of renaissance (a word that used to mean something else) and for kids, it's a fun movie they'll enjoy regardless of their knowledge of the original. Yeah, we can call it a win-win situation.

It shows enough respect to the original as if we were all to agree that nothing will replace Robin Williams' performance but it treats the material with enough special effects and costumes (obviously an Oscar contender on that category) to make for spectacular entertainment, though the singing moments proved that there's a limit to the level of extravaganza you can reach... not with special effects but with live-action looking stuff. No matter how cute Abu is, you can't make an animal look as expressive as its cartoon version, the example of Iago is even more baffling, this parrot isn't Iago and is an insult to Iago. So that's the real problem with these remakes, the mix of computer-aided animation and live-action can create spectacular results but sometimes, it feels limited.

The "Prince Ali" and "A Friend Like Me"... in fact, even the "Whole New World" sequences, anticipated from the minute the Genie popped up, weren't disappointing but fell flat because they could never go as over-the-top as the laws of hand-drawn animation permitted... because you just can't handle real-life characters like animated props. The actor who plays Aladdin is terrific as far his looks go (and his acting is decent) but once he starts to act like an animated character, the sight is just puzzling to say the least. This is why I actually liked the Jafar actor even more because he maintained a sense of dignity even within his aura of vileness, which made him credible and oddly sexy. Even the sultan was good and wasn't treated like the buffoon of the 1992 film.

But I guess it all comes down to one performance: Will Smith, you couldn't replace Robin Williams but  Will Smith proves that he's an actor Hollywood should rely on when they need a funny street-smart acolyte with a soul, that's important. There were times where he even managed to be more compelling than the original because his zaniness wasn't overplayed and because he had the expressions of a human. Will Smith made the live-action more effective than the original at some parts, too few unfortunately because (and that's something I could see coming), the remake had to give a more substantial role to Jasmin, who was an already strong-willed character to begin with. Indeed, the twists on the Genie were so well-thought and effective that we didn't need to have a rewriting on Jasmin.

The 'revisions' on Jasmin didn't affect her character anyway and Naomi Scott did justice to the first animated character I had a crush on, but I wish the film wouldn't get so overboard with it, there's a moment where she's literally pulling a 'Let it Go' at perhaps the most unneeded moment and it's like the writing was so sensitive about not offending the status of Jasmin as a strong princess that any conspiracy theorist would believe that the sole purpose of these remakes is to serve some feminist agenda. But you know what, I don't care if it's true or not, I won't pollute the review with such thoughts, I just watched yesterday a documentary about the hellish life in ISIS-occupied territories so it would be indecent to comment on the way 'women's right of speech' can be promoted in movies, no matter how unsubtly.

Maybe there's "good propaganda" after all. And I'd rather have Arabs or Muslims be associated to the colorful though stereotypical images conveyed by these '1001 Nights' movies than any Middle-East black-clad reality, maybe there's also "good stereotyping" after all. Anyway, it's a good film and kudos for Disney for casting ethnic actors for the part, "Aladdin" surprised me in the way it didn't make me complain about political correctness. And it delivers a powerful message to children and adult, more sophisticated than the usual "be yourself", it's "whatever you get by not being yourself, you'll lose inevitably".

Maybe the film didn't try to be something other than "another of these lousy remakes", but within that limited range of creativity, it succeeded admirably.
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Stephen Atwood

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Avengers: Endgame (2019), rewatch on Friday... 9/10.
Sunday: She Demons (1958), 1\10; Rifftrax commentary, 9/10.

Today: Brightburn (2019), 8/10.
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Ed Jones (XLIX)

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Dr. Zhivago.
Probably the 30th time I have watched this and I still catch something new in the directorial style of David Lean that I had not noticed earlier.
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ElMo

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Steiger and Sharif were robbed Oscar nominations
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Ed Jones (XLIX)

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Yes they were.
You know, I always found the scene when Steiger comes to warn them that they are in danger (Christie and Sharif) and that he can provide them safe passage to the east coast, at how fast he got stumbling drunk! He went from coherent to not in 5 minutes at best!
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ElMo

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He was the unsung hero of the film (Zhivago is a rather passive character when you think about it) and not just plot-wise, Steiger injected life, lust and a welcomed dose of vulgarity in what could have been a beautifully made but rather dull film.

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Ed Jones (XLIX)

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Lets not forget McDowell either. His part was small but a good performance too. David brings out the best in all actors/actresses.
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joe siegel

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Grave Of Fireflies, for the second time in my life I see this movie and I think it was a bad decision, it is probably one of the saddest in history, it will cost me a bit to recover emotionally.
This movie made me hate wars, it made me hate the world, and I would include it among the movies that changed my way of seeing life, human and viscera, it seems that we are seeing a fictional story but no, it is real and we continue living it, It is our own fault and we do nothing to stop it, this monster of wars is our creation and there is nothing we can do.
A man is a wolf to another man. 10/10
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ElMo

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MELINDA & MELINDA (9/10) : this is why I am and will always be a fan of Woody Allen, not his best but more creative and thought-challenging than anything made today by directors who should be at the peak of their inspiration. People are trashing his name right now, but at least, he's one of the few directors (like Tarantino) who doesn't make movies the producers want, or the audiences want, but the movies HE want (and he's more prolific than QT)
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Stephen Atwood

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Bingeing all four seasons so far of Superstore (TV Series 2015– ) as of recently? 10/10.

Final season of Veep (TV Series 2012–2019), 9/10. Overall, a 10/10 for the entire series.

Thursday: Godzilla: The King of the Monsters, 6/10.
Tonight: Blood Theatre (1984) ? -1000000/1000000; Rifftrax commentary? Priceless.


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joe siegel

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Rocketman
I do not know if I'm exaggerating but I think this is the best movie I've seen of this 2019, it must be school for future musical biopics, particularly it seemed a million times better than Bohemian Raphsody, SPOILER while I was watching the movie, when it started the scene of gay sex between Richard Madden and Egerton a group of people left the room disgusted, it seemed incredible to see this in 2019, if they went to see a movie by Elton John should have expected this and more.

8.5/ 10 an incredible experience
(Edited)
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albstein

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Just saw the best Avengers film ever. 7/10.
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NarniaisAwesome

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Yeah, that was pretty fun... and the ending was priceless!  :D
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ElMo

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Love that kind of nonsense, proof that you can make awesome mummies with toilet paper...
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NarniaisAwesome

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Give some people cardboard and watch them soar...
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Dan Dassow, Champion

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ElM wrote:
Love that kind of nonsense, proof that you can make awesome mummies with toilet paper...
In college (a long time ago), I wrapped myself in computer printout paper for a Halloween mummy costume. The campus audio equipment store was giving away headphones to anyone showing up in costume.
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ElMo

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I was talking from experience, did that for a B-movie project, the toilet-paper man who'd appear if you said his name 5 times and half but only in a bathroom mirror... it sucks that the clip was lost, it was filmed with the little VHS tapes implanted in the camera, probably got lost somewhere among other relics from the early 2000s.
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Stephen Atwood

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rubyfruit76, Champion

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I'm looking forward to seeing this. It's been at my favorite theater in my city for a few weeks and, thankfully, still is. 
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Stephen Atwood

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Dark Phoenix (2019), 7/10. Being a bit generous here.
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NarniaisAwesome

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Stephen,
RiffTrax LIVE! Star Raiders was shown the other night, and will be again on the 11th.  Unfortunately, my theater doesn't get them :/ but maybe yours does!  Just thought you might want to know in case you didn't already!  :)
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Stephen Atwood

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Several of us were waiting in the theater Thurs when a theater attendee cam in to tell is that "show was cancelled" despite the fact that the preshow slideshow was playing.

They kicked 10 of us out of theater and gave us a free movie pass.

I later purchased a ticket for this Tuesday replay.
(Edited)
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NarniaisAwesome

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Oh my goodness that's terrible!!!  :O  I'm so glad you got the pass for next time!  When I saw RT Samurai Cop at the theater, during the short the video went out for a few seconds.  Short time, but enough to make me gasp, "Oh, come on!!!"  :D 
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joe siegel

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Ma 1/10
Ironically the last time I went to the movies I found what became my favorite movie of the year so far (Rocketman) and this time is one of the ones I consider the worst of what is 2019.
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Stephen Atwood

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The Dark Crystal (1982) on rewatch ... from 8/10 to 9/10.
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rubyfruit76, Champion

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