rate the last movie you saw

[AndyDursin]

Yeah, but it *is* how I first experienced the movie on TV circa 1981 or therabouts since I never saw it theatrically. First impressions as you say, do tend to leave a lot on the viewer.

I can't understand that, though it's not really the film's problem. It'd be like me complaining about Terry Gilliam's BRAZIL and having the Universal TV edit be my first exposure to it.

When the movie was first released in '77 that wasn't the ending. When Spielberg put his preferred version on LD and again now on DVD and Blu Ray, and on TV, it's not the ending. So I can't see how it's still a valid criticism of the movie when the director has told you he didn't want it, and the movie only had it really for a set period of time.

That is something that from my standpoint *does* need to be explained, especially when the film gives us the sudden dramatic reappearance of the planes as its initial "hook".

But that's not what the film is about. The picture is essentially the story of Dreyfuss and his journey, and the first contact between man and extraterrestrial as it were. Why the aliens are abducting people is a whole other film, it's not the central story being told in the picture. Maybe they could have done a sequel all about those pilots and such -- but it wasn't what this film was about.

Anyway it's been fun reading a dissenting view of a film most seem to think is one of the great movies of the '70s. I respectfully agree to disagree as it were

[Eric Paddon]

Yeah, but it *is* how I first experienced the movie on TV circa 1981 or therabouts since I never saw it theatrically. First impressions as you say, do tend to leave a lot on the viewer.

I can't understand that, though it's not really the film's problem. It'd be like me complaining about Terry Gilliam's BRAZIL and having the Universal TV edit be my first exposure to it.

The one difference though is that with "Brazil" that's the studio controlling the edit. On CE3K, Spielberg still had control over the editing so it can still be a comment on him dropping the ball when he could have provided more clarity.

I also think re: the point that the focus is supposed to be on Dreyfuss, then narrative wise the film should have started with him. Doing it otherwise is why I expected more info regarding the matter of why have the aliens done this etc.

Okay, I have nothing more to say.

[Jedbu]

INCEPTION-brilliant and cannot wait to see it again.

[mkaroly]

FIDDLER ON THE ROOF (1971) - 5/10. Topol pretty much makes the movie for me...he's quite a magnetic figure and definitely draws the viewer's attention. I am not a big fan of musicals though, which is probably why this got a low grade. Although the songs were cool and some of the dancing sequences were cool, the film was too long and the story never lingered on the antagonistic aspects long enough for me to hold my interest or to make the film as a whole more compelling.

TOKYO STORY (1953) - 10/10. **BRIEF SPOILER BELOW** Love this movie. To me, it's the final part of a "trilogy" that began with LATE SPRING and picked up where EARLY SUMMER left off (with the dissolution of the family). TOKYO STORY ends in a manner that circles back to the opening of LATE SPRING (father and daughter living together, where daughter will have to marry one day). Beautiful, moving film. I'll never get tired of exploring it.

[mkaroly]

THE REIVERS (1969) - 9/10. What a fun, entertaining movie! What prompted me to watch it was Williams' score, which is really strong. I can definitely see what Spielberg liked in the music! The film is a fun coming-of-age story with good acting all around, great cinematography, some tenderness, and excellent music. McQueen, Vogel, and Crosse had solid chemistry and this movie was a pleasant surprise for me. I'm glad I finally got to see it. Well done.

[AndyDursin]

That's a great movie Michael. Love the wide cinematography, Burgess Meredith's narration, the performances by basically everyone -- and of course Williams' score, which adds a whole dimension, warmth and lyricism to the picture that is unheard of in today's film scoring. Apparently Lalo Schifrin wrote the original score for the movie and they tossed it -- understandable as I simply cannot fathom Schifrin providing the kind of score for THE REIVERS that Williams wrote.

[Monterey Jack]

Ocean's Eleven (2001): 10/10

One of the films that prove not all remakes suck. One of my all-time favorite "fun/cool" movies. I never get tired of it.

[Eric Paddon]

20,000 Leagues Under The Sea (1954). 10 of 10. The greatest Disney movie ever made IMO.

[Eric Paddon]

The Birds (1963). 8 of 10. I may have reviewed this before in this thread awhile back but I can't remember what I said then number wise. At any rate, on the our new TV set the old DVD looks even better. The lack of music and the fact that it takes a while before we get our first moment of ominous foreshadowing really enhances the film IMO.

[AndyDursin]

Saw two comedies in the last week with some young friends from Chicago who have been here on vacation. It was good to get out but...

THE OTHER GUYS 7/10 - About an hour of really funny material is compromised by a lame last half-hour that turns into a straight ahead, bad action movie. And then to have a pretentious commentary on ponzi schemes that we're supposed to take seriously on top of it? Too bad they didn't quit while they were ahead...but there are some gems along the way and a hysterical scene where Ferrell brings Wahlberg home to meet his wife (Eva Mendes). Mendes is great playing opposite each of them, and that sequence alone makes it worth watching (as is Rock and Sam Jackson's memorable "exit"). Unfortunately, overall, most of the movie felt like some hilarious sequences with a lame, boring plot running underneath it...one which eventually engulfs the whole project. Oh well, at least it was nice to laugh at something Michael Keaton did on-screen for the first time in, what, 20 years? Worth a rental.

DINNER FOR SCHMUCKS 3/10 - Painful is the first word that describes this labored, unfunny bomb that manages to waste Paul Rudd (who looks completely disinterested) and Steve Carrell, who tries (And fails spectacularly) to provide a comedic creation along the lines of Bill Murray's (What About) "Bob". Almost nothing works, and a protracted cameo from Zach Galifinakis feels like something that was assembled in the editing room. Avoid at all costs.

[Eric Paddon]

Although that maddening "RIG-eldy, RAG-eldy, MEOW-MEOW-MEOW...!" source music while Tippi Hedren is waiting outside the schoolhouse is weirdly effective as we see the birds touching down on the jungle gym in the baclground while Hedren obliviously smokes a cigarette.

Related to my viewing of "The Birds" last night I counted the number of chourses/verses (I forget which would be the right term) of this "Knickety Knackety" song the kids sing in all and it amounted to 12 all told and it could have been more since they had already started when Tippi arrives!

I think the only time I have ever heard a song go on longer to a seemingly interminable length in any film or TV show was on a "Columbo" from 1975 where a cruise ship singer who Robert Vaughn is about to bump off does a version of "Volare" that lasts SEVEN MINUTES according to the timing counter (given that it must allow time for Vaughn to slip out of the ship's hospital and make his way down to her cabin undetected).

[mkaroly]

DINNER FOR SCHMUCKS 3/10 - Painful is the first word that describes this labored, unfunny bomb that manages to waste Paul Rudd (who looks completely disinterested) and Steve Carrell, who tries (And fails spectacularly) to provide a comedic creation along the lines of Bill Murray's (What About) "Bob". Almost nothing works, and a protracted cameo from Zach Galifinakis feels like something that was assembled in the editing room. Avoid at all costs.

You're a brave man Andy...lol...I couldn't watch this film if someone paid me to see it.

[AndyDursin]

Truth be told Michael, I didn't want to go -- and neither did Joanne -- but some friends of ours from Chicago were here with their two, high school-aged sons, so they kind of made the call on that one and we reluctantly tagged along. Also it was a good excuse to get out of the house as they left this morning after being here for 2 weeks.

[Monterey Jack]

It always sucks when you're stuck seeing a movie you'd rather not due to the company you keep.

Good thing I don't have any friends...!

[Monterey Jack]

The Reivers (1969): 9.5/10

An absolutely wonderful, joyous film, boasting one of John Williams' most ebullient scores. I've always enjoyed the music on CD ever since I bought the Sony reissue fifteen years ago(!), but finally seeing/hearing the music in context has only increased my appreciation for Williams' work. Here's hoping for an expanded soundtrack release someday (there's a lot of great music left off the CD).