The Spectacular Now: 8/10
Wonderfully-performed teen drama about a hard-drinking, low-expectations high schooler (Miles Teller, who suggests a young John Cusack having a bad acne day) who Meets Cute with an overachieving wallflower (the excellent Shailene Woodley), and how the two fall in love and deal with their own faults and their family dramas (Mary Elizabeth Winstead has a pair of sadly-brief scenes as Teller's older sister) as they prepare for life beyond high school. Terrific performances abound in this engaging, affecting film from the director of Smashed.
rate the last movie you saw
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Monterey Jack
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AndyDursin
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Re: rate the last movie you saw
I've wanted to see it. I take it it's better than SMASHED at least. 
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Monterey Jack
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Re: rate the last movie you saw
I enjoyed Smashed mainly for the excellent performances by MEW and Aaron Paul, even if the film itself felt more like a first-draft screenplay sketch (barely running 80 minutes including end credits) than a polished final draft. The Spectacular Now is certainly a much more assured, compelling film, from the same writers as The Way, Way Back.
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AndyDursin
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Re: rate the last movie you saw
Oh really...interesting, enjoyed that film. I'll definitely check it out, I just don't know if I'll make it to theaters.Monterey Jack wrote:I enjoyed Smashed mainly for the excellent performances by MEW and Aaron Paul, even if the film itself felt more like a first-draft screenplay sketch (barely running 80 minutes including end credits) than a polished final draft. The Spectacular Now is certainly a much more assured, compelling film, from the same writers as The Way, Way Back.
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AndyDursin
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Re: rate the last movie you saw
SPECTACULAR NOW
6/10
Have to part company with MJ -- this was just another (wildly) overpraised indie film for me. I didn't care for the lead kid -- I felt the movie came off as uneven with weird gaps and logistics that didn't check out (the Aimee character wouldn't have known who he had been dating? Or his reputation? His boss wouldn't have known about his drinking issue -- why would he only mention it at the end? Meanwhile, this 17-18 year old had no issue getting served at bars all over the place?). The film never got me involved and had the same sorts of raggedness that SMASHED did. On the plus side, I love Shailene Woodley and her performance was natural and engaging...but I also couldn't understand, at all, what it was about the lead character that she found appealing, or why she'd want to be with him after all the crap he puts her through. It also has an extremely predictable arc where you're waiting for the inevitable consequences (accident, death, etc.) to happen, which it does...not much to say, I didn't really care for it. There may have been a good movie in there, but it didn't click for me and the bulk of the performances outside of Woodley didn't register.
6/10
Have to part company with MJ -- this was just another (wildly) overpraised indie film for me. I didn't care for the lead kid -- I felt the movie came off as uneven with weird gaps and logistics that didn't check out (the Aimee character wouldn't have known who he had been dating? Or his reputation? His boss wouldn't have known about his drinking issue -- why would he only mention it at the end? Meanwhile, this 17-18 year old had no issue getting served at bars all over the place?). The film never got me involved and had the same sorts of raggedness that SMASHED did. On the plus side, I love Shailene Woodley and her performance was natural and engaging...but I also couldn't understand, at all, what it was about the lead character that she found appealing, or why she'd want to be with him after all the crap he puts her through. It also has an extremely predictable arc where you're waiting for the inevitable consequences (accident, death, etc.) to happen, which it does...not much to say, I didn't really care for it. There may have been a good movie in there, but it didn't click for me and the bulk of the performances outside of Woodley didn't register.
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Paul MacLean
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Re: rate the last movie you saw
Le Professionnel (1981)
Superior espionage thriller, starring Jean-Paul Belmondo as a French agent whose own government betrays him to the despotic African dictator he was sent to assassinate. Escaping after two years in an African prison, he resolves to embarrass the government by finishing the job while the dictator is in Paris on a diplomatic visit.
There's a "Bourne-esque" quality to the story, Belmondo being an ingenious operative who is always two steps ahead of the police and secret service agents hot on his tail. It lacks the "slickness" of a Hollywood or Bond picture (the cutting in the action scenes could be a little tighter) but it is a first-rate script which Belmondo caries with a suave masculinity (it's not hard to see why he was a major international star -- everywhere but America at least).
Ennio Morricone's score consists of little more than the same theme repeated over and over, but it is a beautiful, elegiac melody which adds much to the overall tone of the film (though there are no action cues at all, only a trace of suspense music).
Overall an excellent thriller, well worth a look.
Superior espionage thriller, starring Jean-Paul Belmondo as a French agent whose own government betrays him to the despotic African dictator he was sent to assassinate. Escaping after two years in an African prison, he resolves to embarrass the government by finishing the job while the dictator is in Paris on a diplomatic visit.
There's a "Bourne-esque" quality to the story, Belmondo being an ingenious operative who is always two steps ahead of the police and secret service agents hot on his tail. It lacks the "slickness" of a Hollywood or Bond picture (the cutting in the action scenes could be a little tighter) but it is a first-rate script which Belmondo caries with a suave masculinity (it's not hard to see why he was a major international star -- everywhere but America at least).
Ennio Morricone's score consists of little more than the same theme repeated over and over, but it is a beautiful, elegiac melody which adds much to the overall tone of the film (though there are no action cues at all, only a trace of suspense music).
Overall an excellent thriller, well worth a look.
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Monterey Jack
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Re: rate the last movie you saw
The Family (2013): 6.5/10
Sporadically amusing mob comedy from director Luc Besson (his first directing gig in a long while) looks great and boasts a fine cast, but the laughs are mild at best, and we've seen Robert De Niro bada-binging his way through too many comic riffs on his wiseguy persona for there to be any real surprises left. The photography by Thierry Arbogast is lush, it's nice to see a still-gorgeous Michelle Pfeiffer getting work again (albeit in half-hearted efforts from aging genre filmmakers like this and Tim Burton's Dark Shadows), and there's a jaunty, Nino Rota-esque score by a pair of French composers, but by the climax, when De Niro's Witness Protection family has been tracked down by the mobsters he ratted out, the film turns into one of Besson's standard-issue Eurotrash thrillers and completely forgets whatever tenuous grasp it had on being a comedy. The film is certainly watchable, but hardly satisfying.
Sporadically amusing mob comedy from director Luc Besson (his first directing gig in a long while) looks great and boasts a fine cast, but the laughs are mild at best, and we've seen Robert De Niro bada-binging his way through too many comic riffs on his wiseguy persona for there to be any real surprises left. The photography by Thierry Arbogast is lush, it's nice to see a still-gorgeous Michelle Pfeiffer getting work again (albeit in half-hearted efforts from aging genre filmmakers like this and Tim Burton's Dark Shadows), and there's a jaunty, Nino Rota-esque score by a pair of French composers, but by the climax, when De Niro's Witness Protection family has been tracked down by the mobsters he ratted out, the film turns into one of Besson's standard-issue Eurotrash thrillers and completely forgets whatever tenuous grasp it had on being a comedy. The film is certainly watchable, but hardly satisfying.
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AndyDursin
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Re: rate the last movie you saw
SHOUT AT THE DEVIL (6.5/10)
VOYAGE OF THE DAMNED (6/10)
*Both coming on Blu-Ray from Shout Factory/Timeless Media
Shout Factory acquired Timeless Media in 2012 and only recently began using the label for Blu-Ray catalog releases – a category we’re clearly fond of here at the Aisle Seat!
Next week Timeless debuts a high-def presentation of VOYAGE OF THE DAMNED, a soapy treatment of the 1974 bestselling book. As adapted by Steve Shagan and David Butler, the film chronicles the horrifying journey of German Jews who set sail on the steamer SS St. Louis for Cuba to escape persecution at home – only to be denied refuge and eventually realize that the journey was simply an exercise in Nazi propaganda.
Stuart Rosenberg directed the Associated General production of “Voyage of the Damned,” which boasts an all-star cast (Max Von Sydow as the understanding captain of the St. Louis; Faye Dunaway, Oskar Werner, Lee Grant and Sam Wanamaker as some of the refugees onboard; and a huge supporting cast including Orson Welles, James Mason, Ben Gazzara, Malcolm McDowell, and a young Jonathan Pryce) in a film that feels like an abbreviated TV series. The script is honorable in its intentions but hokey in places and downright unbelievable in others, particularly with its chiseled, stock Nazi villains and melodramatic passages that seem primarily intended to giving actresses like Dunaway and particularly Grant some scenery-chewing moments (for Grant, it worked, with the actress winning a Supporting Actress Oscar for her efforts here). There are certainly some effective moments, and the story itself is compelling and worthwhile, but “Voyage of the Damned” isn’t a great movie, and has, since its original release, fallen through the cracks into becoming a footnote, however erroneous it may be, in the long line of ‘70s all-star “disaster movies.”
Timeless’ Blu-Ray includes a 1080p AVC encoded presentation of the movie’s theatrical release print (157 minutes). “Voyage of the Damned” was apparently cut down for its original U.S. run, and the Blu-Ray preserves the theatrical version in a transfer that’s crisp and freed from DNR, though the source print utilized is banged up and seems to have suffered from the ravages of time, showing faded colors and other issues. (Interestingly, the movie was expanded by over 20 minutes for its original network TV broadcast, but that version was only released once on home video – in an early VHS release from Magnetic Video). The trailer, a photo gallery, and a standard def DVD round out Timeless’ combo package.
One of those movies that sounds a lot more fun than it actually is, SHOUT AT THE DEVIL brings together the contrasting screen personas of Lee Marvin (as, of course, a drunken scoundrel in 1913 German East Africa making things difficult for the Krauts) and Roger Moore, essaying a proper Englishman en route to Australia who gets involved in Marvin’s poaching raids. Moore also falls for Marvin’s headstrong daughter (a particularly lovely Barbara Perkins) while the duo cause trouble for the sadistic German Commandant (Rene Kolldehoff), who eventually exacts his revenge at a terrible personal cost for our protagonists.
Peter Hunt, 007 veteran, directed “Shout at the Devil,” a production of Michael Klinger, who previously worked with Hunt, Moore and others on “Gold” a few years prior. Like “Gold,” “Shout at the Devil” was based on a book by Wilbur Smith, and critics of the novel called it a “bloodbath” – a term that’s difficult to apply to the movie’s bouncy first half, which plays like a sub-par John Ford movie with Marvin and Moore applying every ounce of their respective screen charismas to sell an African adventure with thundering elephants, hungry alligators, ethnically stereotyped locals (including Ian Holm’s pantomime turn as “Mohammed”), and an occasional chuckle or two. Things take a more serious, and less satisfying, turn, once the Germans raid Marvin’s compound, taking the life of Moore and Perkins’ baby and draining the fun out of the rest of the picture.
“Shout at the Devil” was cut heavily for its U.S. release (somewhat understandably given its lethargic pacing) and was never released on DVD at all domestically. MGM HD began airing a restoration of the movie’s original, 149-minute version a couple of years ago, and this master has been brilliantly brought to Blu-Ray by Timeless and Shout Factory. In fact, this is one of the best catalog transfers I’ve seen on Blu-Ray in some time, offering crystal clear detail and fresh colors. The mono sound, featuring a score by Maurice Jarre that works overtime to give the movie some energy, is fine, and extras are limited to a photo gallery.
VOYAGE OF THE DAMNED (6/10)
*Both coming on Blu-Ray from Shout Factory/Timeless Media
Shout Factory acquired Timeless Media in 2012 and only recently began using the label for Blu-Ray catalog releases – a category we’re clearly fond of here at the Aisle Seat!
Next week Timeless debuts a high-def presentation of VOYAGE OF THE DAMNED, a soapy treatment of the 1974 bestselling book. As adapted by Steve Shagan and David Butler, the film chronicles the horrifying journey of German Jews who set sail on the steamer SS St. Louis for Cuba to escape persecution at home – only to be denied refuge and eventually realize that the journey was simply an exercise in Nazi propaganda.
Stuart Rosenberg directed the Associated General production of “Voyage of the Damned,” which boasts an all-star cast (Max Von Sydow as the understanding captain of the St. Louis; Faye Dunaway, Oskar Werner, Lee Grant and Sam Wanamaker as some of the refugees onboard; and a huge supporting cast including Orson Welles, James Mason, Ben Gazzara, Malcolm McDowell, and a young Jonathan Pryce) in a film that feels like an abbreviated TV series. The script is honorable in its intentions but hokey in places and downright unbelievable in others, particularly with its chiseled, stock Nazi villains and melodramatic passages that seem primarily intended to giving actresses like Dunaway and particularly Grant some scenery-chewing moments (for Grant, it worked, with the actress winning a Supporting Actress Oscar for her efforts here). There are certainly some effective moments, and the story itself is compelling and worthwhile, but “Voyage of the Damned” isn’t a great movie, and has, since its original release, fallen through the cracks into becoming a footnote, however erroneous it may be, in the long line of ‘70s all-star “disaster movies.”
Timeless’ Blu-Ray includes a 1080p AVC encoded presentation of the movie’s theatrical release print (157 minutes). “Voyage of the Damned” was apparently cut down for its original U.S. run, and the Blu-Ray preserves the theatrical version in a transfer that’s crisp and freed from DNR, though the source print utilized is banged up and seems to have suffered from the ravages of time, showing faded colors and other issues. (Interestingly, the movie was expanded by over 20 minutes for its original network TV broadcast, but that version was only released once on home video – in an early VHS release from Magnetic Video). The trailer, a photo gallery, and a standard def DVD round out Timeless’ combo package.
One of those movies that sounds a lot more fun than it actually is, SHOUT AT THE DEVIL brings together the contrasting screen personas of Lee Marvin (as, of course, a drunken scoundrel in 1913 German East Africa making things difficult for the Krauts) and Roger Moore, essaying a proper Englishman en route to Australia who gets involved in Marvin’s poaching raids. Moore also falls for Marvin’s headstrong daughter (a particularly lovely Barbara Perkins) while the duo cause trouble for the sadistic German Commandant (Rene Kolldehoff), who eventually exacts his revenge at a terrible personal cost for our protagonists.
Peter Hunt, 007 veteran, directed “Shout at the Devil,” a production of Michael Klinger, who previously worked with Hunt, Moore and others on “Gold” a few years prior. Like “Gold,” “Shout at the Devil” was based on a book by Wilbur Smith, and critics of the novel called it a “bloodbath” – a term that’s difficult to apply to the movie’s bouncy first half, which plays like a sub-par John Ford movie with Marvin and Moore applying every ounce of their respective screen charismas to sell an African adventure with thundering elephants, hungry alligators, ethnically stereotyped locals (including Ian Holm’s pantomime turn as “Mohammed”), and an occasional chuckle or two. Things take a more serious, and less satisfying, turn, once the Germans raid Marvin’s compound, taking the life of Moore and Perkins’ baby and draining the fun out of the rest of the picture.
“Shout at the Devil” was cut heavily for its U.S. release (somewhat understandably given its lethargic pacing) and was never released on DVD at all domestically. MGM HD began airing a restoration of the movie’s original, 149-minute version a couple of years ago, and this master has been brilliantly brought to Blu-Ray by Timeless and Shout Factory. In fact, this is one of the best catalog transfers I’ve seen on Blu-Ray in some time, offering crystal clear detail and fresh colors. The mono sound, featuring a score by Maurice Jarre that works overtime to give the movie some energy, is fine, and extras are limited to a photo gallery.
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Paul MacLean
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Re: rate the last movie you saw
I saw Shout at the Devil years ago on PBS -- I recall enjoying it. I tried to watch it again with a couple of friends of mine about two years ago -- but one of them fell asleep about 40 minutes into it, so we decided to call it a night!
Nevertheless I do have a soft spot for this film. I'd have to say it is one of Roger Moore's best non-007 outings (though I suppose that's not saying much!). The tone of the film is uneven -- as you point-out Andy, the first part is lighthearted fun, then it suddenly assaults you with the grisly plantation attack scene. Then it turns silly again as Moore flies the reconnaissance plane, etc. But I enjoyed it. It's a guilty pleasure I suppose. And Maurice Jarre's score is terrific.
Nevertheless I do have a soft spot for this film. I'd have to say it is one of Roger Moore's best non-007 outings (though I suppose that's not saying much!). The tone of the film is uneven -- as you point-out Andy, the first part is lighthearted fun, then it suddenly assaults you with the grisly plantation attack scene. Then it turns silly again as Moore flies the reconnaissance plane, etc. But I enjoyed it. It's a guilty pleasure I suppose. And Maurice Jarre's score is terrific.
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AndyDursin
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Re: rate the last movie you saw
I liked the first half well enough, though with a better script, the movie could've been great. There's not enough humor or characterization for a movie as long as it is, and the jarring shifts in the tone are just weird. At least the ending wasn't as downbeat as the book -- both the Moore and Barbara Perkins characters died along with the Lee Marvin character at the end of the novel apparently!
The transfer is spectacular.
The transfer is spectacular.
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Eric Paddon
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Re: rate the last movie you saw
Actually, Grant won the Oscar for "Shampoo".AndyDursin wrote:(for Grant, it worked, with the actress winning a Supporting Actress Oscar for her efforts here).
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AndyDursin
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Re: rate the last movie you saw
Whoops, she was only nominated. I will fix. Wasn't Shampoo the year before?Eric Paddon wrote:Actually, Grant won the Oscar for "Shampoo".AndyDursin wrote:(for Grant, it worked, with the actress winning a Supporting Actress Oscar for her efforts here).
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Eric Paddon
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Re: rate the last movie you saw
Yeah, that was it. Won in 75 for "Shampoo" nominated only for "Voyage."
I found the clip of her winning the Oscar and a funny gaffe took place where when the nominees were read, the camera for some silly reason gave a shot of Susan Sarandon instead of Ronee Blakely who'd been nominated for "Nashville".
I found the clip of her winning the Oscar and a funny gaffe took place where when the nominees were read, the camera for some silly reason gave a shot of Susan Sarandon instead of Ronee Blakely who'd been nominated for "Nashville".
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Monterey Jack
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Re: rate the last movie you saw
Passion (2013): 6.5/10
The latest masturbatory bit of self-plagarism from Brian De Palma, Passion plays like a Greatest Hits compilation of all of his usual stylistic tics and thematic obsessions, all set to a sensuous Pino Donaggio score hyping up the lurid proceedings like the Second Coming, whereas the movie is more like the Twentieth Coming. Still, as an avid De Palma fan, even his weaker thrillers have their pleasures, and the absolutely NUTS second half of the film offers some clever/baffling plot convolutions. I can't in good conscience call this "good", but it's mildly tasty trash from an aging auteur whose best days seem sadly behind him.
The latest masturbatory bit of self-plagarism from Brian De Palma, Passion plays like a Greatest Hits compilation of all of his usual stylistic tics and thematic obsessions, all set to a sensuous Pino Donaggio score hyping up the lurid proceedings like the Second Coming, whereas the movie is more like the Twentieth Coming. Still, as an avid De Palma fan, even his weaker thrillers have their pleasures, and the absolutely NUTS second half of the film offers some clever/baffling plot convolutions. I can't in good conscience call this "good", but it's mildly tasty trash from an aging auteur whose best days seem sadly behind him.
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AndyDursin
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Re: rate the last movie you saw
I thought his best days were behind him when CASUALTIES OF WAR came out...and that was 1989!I can't in good conscience call this "good", but it's mildly tasty trash from an aging auteur whose best days seem sadly behind him.