Films you've seen lately

[Belgrove]

Dr Zhivago is on re-release at selected cinemas in glorious 70mm. In truth, it's not a very good film, being little more than a soap-opera with dangling plot lines and a ludicrous end. But it is executed with great technical and visual skill by David Lean, and contains some very strong performances (and some pretty duff one's too). The 200 minutes flew by, a mark of good story telling. The images that I recall from previous viewings are still as memorable as any in cinematic history - the frost flowers on window panes melting in the candlelight, Strelnikov's armoured train thundering through the steppe, the fairy-tale frost-encrusted dacha and, of course, Julie Christie's staggering beauty. The best performances are her's, Rod Steiger as the complex and unsympathetic Victor, and the ever subtle Alec Guinness as the half-brother of the (rather wet) eponymous hero. For all its faults, it deserves to be seen on the big screen.

[Serial_Apologist]

Just been watching my home DVD of "Cathy Come Home" (1966). Recalling the political hoo-hah that greeted it, it's easy to paint pictures of a rosier, more caring era, while at the same time forgetting that little has ben done in the meantime to alleviate situations of the kind Loach wanted to draw to public attention, nor address housing issues.

[Belgrove]

Watching Bridge of Spies, the thought occurred that were this a painting, it would be by Whistler and entitled 'Meditation in Grey and Grey'. There are a couple of points of colour, courtesy of the Coen Brothers contribution to the dialogue, but these fail to illuminate a dull and dreary film of what is an extraordinary true story. Tom Hanks reprises his good old American boy act. He has a couple of decent speeches when acting as defence council for the spy Abel, but he's basically Woody from Toy Story with a Trilby instead of a Stetson. Mark Rylance as the spy reprises his Thomas Cromwell enigmatic act, with Scots accent (sic) and without a codpiece. There was no tension, no drama, no distinctive visual style, unusual for a Spielberg film. See The Spy Who Came In From The Cold for a real sense of drama, subterfuge and the desperation that characterised the age.

[johncorrigan]

Not at the cinema, and not C4's first terrestrial showing of Disney's magnificent 'The Jungle Book' this afternoon; but Beeb 4's showing of Wim Wenders' terrific film 'Pina: Legend of Dance' this evening for those that haven't seen it...and those who have.

http://www.bbc.co.uk/programmes/b06ryjfl

[Stanley Stewart]

Yes, indeed, on both counts. Recorder set for 'Pina' but I'll manually record 'Jungle Book' to edit the commercials on C4. A first rate double-bill.

[Nick Armstrong]

Disney's magnificent 'The Jungle Book'

What a gem. It's been deep in my psyche since being taken to the Futurist cinema in Nottingham to see it, presumably in the weeks following its release in November 1968 i.e. I was 7 or 8. Apart from the sheer brilliance of the musical numbers (is there anything more grin-inducing in cinema than "King of the Jungle"?), the vultures' dialogue passed into our family vernacular, for use in moments of indecision ... "What we gonna to do then?" "I dunno, what you wanna do?" &c &c...

[Nick Armstrong]

Latest 007 "SPECTRE" - an absolute classic, now perhaps my favourite Bond film. Engrossing action, style, plot, wit (the best-written Bond film by some margin, I think), with Andreas Scholl singing Vivaldi thrown in at one point.

What a great way to start the New Year!! (Omelette Arnold Bennett and a Chateaubriand at the Savoy Grill afterwards not bad either - following a failed attempt to get into Rules, which features in the fillum).

Surprising that none of you culture vultures have commented on the new Bond film! Whilst not up to its sublime, almost art-movie, predecessor, Spectre is a fun-filled spectacle and is exceptionally well crafted. There's even a Proustian reference for those nerdy enough to spot these things, which is entirely fitting with its underlying plot theme. You can also play Bond Bingo, ticking off the visual references to previous films in the canon, going right back to From Russia With Love. But it also makes a significant nod to a couple of Orson Welles' 'B-movie' thrillers too. The sequence in Rome manages to avoid all the visual cliches, providing a sumptuous feast in sepia and old gold. I was surprised by the level and nastiness of the violence given the certificate. But I guess kids see far worse in computer games, which after-all, is what this movie is. Sam Mendes has done a good job in managing to make the films in Daniel Craig's incarnation as Bond appear as separate volumes of a grander work.

Dammit, missed the Proustian thing. Let me think.... (should have done my homework and searched this thread before seeing it... )

[johncorrigan]

I went to see 'Star Wars - The Force Awakens' on Hoggers. I've seen all of them pretty much when they came out, though the last three were generally various shades of pants. The new one was good entertainment and I'm sure I'm not spoiling anything by saying that it is essentially a remake of the original. Still it beat BBC Scotland Hogmanay fare hands down...though I think it cost a bit more.

[Dave2002]

Bridge of Spies.

Very good - though the plane crash is somewhat, er "surreal".

[teamsaint]

Inside Out.
Anybody else seen it ?

[Belgrove]

Quentin Tarantino would appear to be cannibalising his own work in his latest The Hateful Eight, which is entertaining enough but says nothing new nor portrays it with fresh eyes. The theme running through all Tarantino's films is the redemptive power of revenge. The Revenant addresses this too, but makes of it something awesome and terrifying. It casts Tarantino's latest effort into the shade, making it appear self-indulgent and rather childish.

The Revenant is the most gruelling film I can recall seeing. But it is a magnificent telling of a simple story, apparently based on fact. Like the recently rebooted Mad Max, it's essentially a silent movie, the story told with images alone - pure cinema. Hugh Glass, played by Leo DiCaprio, is a trapper on the run from natives who is savaged by a Grizzly Bear and is left for dead by a thoroughly nasty piece of work (Tom Hardy - who murders Glass' son while he's about it). Glass survives and then seeks his revenge. That's it - but the hardships that Glass must overcome to achieve his aim leaves one drained and wrung out. The second half of the film becomes strangely metaphysical as Glass recalls his previous happy life with his native wife, but through the altered states induced by his physical suffering and shamanistic medications. This really is the Wild West, whose terrain and climate is unforgiving and dangerous, the sublime at its most terrible. The last shot is freighted with more meaning than Tarantino has managed in his entire work.

[Richard Tarleton]

Not a film I'm likely to see, even less so after reading about this - an 1870s guitar on loan from a museum was smashed on set. Apparently there was supposed to be a cut, and a cheap guitar substituted for the smashing, but nobody had told Kurt Russell.

[Eine Alpensinfonie]

Off to see Dad's Army later this week. Walmlington-on-Sea is now Bridlington Old Town.

[Stanfordian]

Bridge of Spies.

Very good - though the plane crash is somewhat, er "surreal".

Hiya Dave,

We seem to be a minority but I loved it.

[johncorrigan]

Mrs JC was working today so Master C and I took the chance to catch 'The Revenant'. Not sure I've seen better cinematography in a film and the music was pretty good too. Great film which held me gripped throughout its two and a half hours despite some minor quibbles. Did remind me of a few other movies I've seen through the years, but great performances...and DiCaprio was really excellent. My boy said he couldn't remember a film he'd enjoyed more. I'm glad Mrs C missed it - pretty brutal in places - don't think she would have lasted the pace.