Films you've seen lately

[Stanfordian]

'Blinded by the Light' - 2019 British comedy-drama film directed by Gurinder Chadha. I enjoyed this at the cinema yesterday.

l'll give it 6.5 out of 10. It's quite similar to 'Bend it like Beckham'.

[LMcD]

'Peterloo'. Visually stunning, but by no means Mike Leigh's finest film. The exposition of the issues that preceded the 'Massacre' went on for far too long, with the various facts and arguments being trotted out repeatedly just in case we didn't get the message first time round. Interesting to see Gary's friend from 'Goodnight Sweetheart' as a pretty convincing 'heavy'. Jeff Rawle from 'Drop The Dead Donkey' also featured as one of the Dastardly Men Upstairs nerving themselves to send in the troops. Maxine Peake was the pick of the cast in my opinion.

[Serial_Apologist]

'Peterloo'. Visually stunning, but by no means Mike Leigh's finest film. The exposition of the issues that preceded the 'Massacre' went on for far too long, with the various facts and arguments being trotted out repeatedly just in case we didn't get the message first time round. Interesting to see Gary's friend from 'Goodnight Sweetheart' as a pretty convincing 'heavy'. Jeff Rawle from 'Drop The Dead Donkey' also featured as one of the Dastardly Men Upstairs nerving themselves to send in the troops. Maxine Peake was the pick of the cast in my opinion.

I haven't seen this, but I can understand Mike Lee wanting to present the issues behind the massacre, given that events are largely presented through today's media with little if any explanation let alone examination.

[muzzer]

Quentin Tarantino's latest, 'Once Upon a Time... in Hollywood' follows the plan of his previous three films, a slow, self-referencing and episodic build-up; culminating in gratuitous, bloody, comic-book violence. But this time he's produced a masterpiece. Set in the Hollywood of 1969, it episodically follows the fading movie/TV star Rick Dalton (played by Leonardo DiCaprio in what could be an award winning performance) and his stunt-man double and odd-job man Cliff Booth (Brad Pitt, playing a likeable laid back charmer/tough-guy). Although rambling and picaresque, it's highly structured using different movie narrative techniques within and across the episodes, most prominent of which is the Western (even the title references Leone). These episodes touch or intersect upon members of the Manson clan, and we know how the film will end insofar as Rick lives next door to Sharon Tate (played by the luminously beautiful Margot Robbie). The countdown to that fateful night borrows from the climax of Goodfella's, and is even more intense. But it's a Tarantino film, so one shouldn't necessarily expect the expected.

It looks gorgeous, shot in 35mm (see it on a big screen) in saturated sun-drenched colour by day and luminous neon by night. The detail is staggering, and the soundtrack of popular music of the (slightly dislodged) time is skilfully integrated into the narrative. Some of the tracking camera shots take the breath away. As ever with Tarantino's films there is much to offend and take exception too if you are that way inclined, but also much to enjoy and admire. Stick around for the credits to role.

I’m not a massive fan of QT, but I saw this in 35mm and loved it. Masses to enjoy and digest.

[Nick Armstrong]

’Once Upon a Time... in Hollywood'

Agree with you and muzzer. Enjoyed this hugely.

[LMcD]

I haven't seen this, but I can understand Mike Lee wanting to present the issues behind the massacre, given that events are largely presented through today's media with little if any explanation let alone examination.

I can understand his wanting to present the issues, but I feel that, in doing so repeatedly, with the help of some pretty clunky dialogue, he runs the risk of hiding his own message or causing the audience's attention to wander.

[johncorrigan]

.

... Almodóvar's Pain and Glory. Loved it. Banderas magnificent. A generous love-letter to films and film-making, and a lesson in pain and forgiveness and memory. Gorgeous use of colour and framing.

https://en.wikipedia.org/wiki/Pain_and_Glory

https://www.youtube.com/watch?v=ANBz73hVbtU.


.

Agree wholeheartedly, vinteuil. Wonderful performances throughout and it looked so great. It was also a lesson in storytelling and had me leave at the end with a strong sense of satisfaction. Some fine tunes in there too.

[alywin]

'Blinded by the Light' - 2019 British comedy-drama film directed by Gurinder Chadha. I enjoyed this at the cinema yesterday.

l'll give it 6.5 out of 10. It's quite similar to 'Bend it like Beckham'.

Probably better appreciated with an audience which fancies a bit of a singalong? (Mine didn't :) )

[DublinJimbo]

.

... Almodóvar's Pain and Glory. Loved it. Banderas magnificent. A generous love-letter to films and film-making, and a lesson in pain and forgiveness and memory. Gorgeous use of colour and framing.

https://en.wikipedia.org/wiki/Pain_and_Glory

https://www.youtube.com/watch?v=ANBz73hVbtU.

Oh yes! I saw this last week and agree with everything you say. The meshing of past and present was wondrously handled — and that final scene! : such cinematic mastery.

[Stanfordian]

Probably better appreciated with an audience which fancies a bit of a singalong? (Mine didn't :) )

We didn't either. We are not really great Springsteen fans.

[vinteuil]

Quentin Tarantino's latest, 'Once Upon a Time... in Hollywood' follows the plan of his previous three films, a slow, self-referencing and episodic build-up; culminating in gratuitous, bloody, comic-book violence. But this time he's produced a masterpiece. Set in the Hollywood of 1969, it episodically follows the fading movie/TV star Rick Dalton (played by Leonardo DiCaprio in what could be an award winning performance) and his stunt-man double and odd-job man Cliff Booth (Brad Pitt, playing a likeable laid back charmer/tough-guy). Although rambling and picaresque, it's highly structured using different movie narrative techniques within and across the episodes, most prominent of which is the Western (even the title references Leone). These episodes touch or intersect upon members of the Manson clan, and we know how the film will end insofar as Rick lives next door to Sharon Tate (played by the luminously beautiful Margot Robbie). The countdown to that fateful night borrows from the climax of Goodfella's, and is even more intense. But it's a Tarantino film, so one shouldn't necessarily expect the expected.

It looks gorgeous, shot in 35mm (see it on a big screen) in saturated sun-drenched colour by day and luminous neon by night. The detail is staggering, and the soundtrack of popular music of the (slightly dislodged) time is skilfully integrated into the narrative. Some of the tracking camera shots take the breath away. As ever with Tarantino's films there is much to offend and take exception too if you are that way inclined, but also much to enjoy and admire. Stick around for the credits to roll.

... we saw it this afternoon : it is wonderful, and I agree with everything Belgrove says.

Loved it.

.

[Belgrove]

There have been various incarnations of Apocalypse Now over the years, and the latest 'Final Cut' has a limited showing to mark the fortieth anniversary of its initial release. Aficionados will know it contains no previously seen footage, being a conflation of the premier release and heavily edited material from the Redux version. But it's a treat to see it on an IMAX screen with the still sophisticated (and highly influential) remastered sound design displayed to glorious effect. The negative has been cleaned up, and the vivid colours pop the eye. The images the film conjures astonish. They become increasingly psychedelic, abstract and balefully beautiful the further up the river Willard progresses towards his destination to assassinate Col Kurtz in his jungle lair. Coppola was wise to adapt and update Heart of Darkness rather than give a literal portrayal. It allowed him to weave in the later literary accretions the tale inspired, and then some more for good measure, to create an even greater sense of allusion and mystery. It's a film that would not be made nowadays - it's too complex, serious, oblique and unclassifiable for today's risk adverse studios to contemplate. It's one of cinema's greatest achievements.

[Tevot]

There have been various incarnations of Apocalypse Now over the years, and the latest 'Final Cut' has a limited showing to mark the fortieth anniversary of its initial release. Aficionados will know it contains no previously seen footage, being a conflation of the premier release and heavily edited material from the Redux version. But it's a treat to see it on an IMAX screen with the still sophisticated (and highly influential) remastered sound design displayed to glorious effect. The negative has been cleaned up, and the vivid colours pop the eye. The images the film conjures astonish. They become increasingly psychedelic, abstract and balefully beautiful the further up the river Willard progresses towards his destination to assassinate Col Kurtz in his jungle lair. Coppola was wise to adapt and update Heart of Darkness rather than give a literal portrayal. It allowed him to weave in the later literary accretions the tale inspired, and then some more for good measure, to create an even greater sense of allusion and mystery. It's a film that would not be made nowadays - it's too complex, serious, oblique and unclassifiable for today's risk adverse studios to contemplate. It's one of cinema's greatest achievements.

Hello there,

I think it is a tremendous film. I first saw it on TV (BBC2?) I think around 1984 or 1985. The end credits particularly struck me where essentially a B-52 bombing raid reduces the Montagnard camp to a broiling inferno. The images of the jungle being blasted apart at night and engulfed in flame are indeed hellish. Strangely the version I saw in the cinema in late 1985 didn't have that end scene and iirc the versions I have on DVD and torrent don't have it either. I wonder Belgrove whether it is in the Final Cut? I must admit I never liked the score in the film ( apart from the Wagner that is) but the percussive music that accompanied the nightmarish end credit of the version I first saw to me was perfectly pitched.

Fast forward to September 2019 I've read intriguing and enticing reviews of "The Painted Bird" which very recently according to The Guardian ruffled some feathers at The Venice Film Festival as well as getting rave reviews.

Best Wishes,

Tevot

[Belgrove]

... I wonder Belgrove whether it is in the Final Cut?

Best Wishes,

Tevot

It's a bit complicated Tevot! The original release in 1979 had two versions. The one used in cinemas without large screens and state of the art Dolby sound systems had the version you mention that later appeared on TV (Coppola had to dismantle the sets constructed in the Philippines, but decided to blow them up and film the destruction - he later disowned this ending). The other used in suitably equipped cinemas had no final credits, but the audience was given a booklet, like a theatre programme, containing the cast list and biographies, production information and stills from the film. This version did not have Kurtz's compound being razed, but a subtle visual montage of Willard's face merging into that of a stone Khmer deity, overlaid by the ghostly silhouettes of two helicopters: the implication being(?) that the ordered aerial strike was on its way. It is this version that is also used in the Redux and Final Cut versions. The last image in this version is of Willard heading even further up the river in the patrol boat - he's gone beyond Kurtz... .

[Stanfordian]

Yesterday I saw Tarantino's 'Once Upon a Time... in Hollywood'

Rather too long for comfort. Some people did walk out. I didn't

Tarantino has a predilection for violence and I wondered when it would occur and it did.

Strangely I still can't decide if I liked it or not.

Would I watch it again? No!