Last Movie You Watched

[Karl Henning]

Hi Karl,
Yes indeed I did see it at the cinema. Thought it was a great film with a fine soundtrack (playing non-stop). There were complaints that it ignored the French but French soldiers are featured fighting on at the start whilst the British head for the beaches. Some controversy over the role of the RAF, who faced criticism from the soldiers being straffed on the beaches for not being in evidence. The RAF were there, however, keeping the Luftwaffe off as far as possible although this wasn't always seen from the beaches. I think that Admiral Ramsay who coordinated the evacuation featured more in 'Darkest Hour' than in 'Dunkirk' but like 'Darkest Hour' I thought that 'Dunkirk' successfully conveyed the spirit of those momentous weeks in 1940 despite inevitable historical oversights and inaccuracies.

Thanks!  I need not feel 'historical guilt' in my enjoying it, then

[André]

Hi Karl,
Yes indeed I did see it at the cinema. Thought it was a great film with a fine soundtrack (playing non-stop). There were complaints that it ignored the French but French soldiers are featured fighting on at the start whilst the British head for the beaches. Some controversy over the role of the RAF, who faced criticism from the soldiers being straffed on the beaches for not being in evidence. The RAF were there, however, keeping the Luftwaffe off as far as possible although this wasn't always seen from the beaches. I think that Admiral Ramsay who coordinated the evacuation featured more in 'Darkest Hour' than in 'Dunkirk' but like 'Darkest Hour' I thought that 'Dunkirk' successfully conveyed the spirit of those momentous weeks in 1940 despite inevitable historical oversights and inaccuracies.

This was precisely Nolan's intent, and what we see on the screen: show only what was visible for the men on the beaches/boats, not what was happening on other theaters of events (other battlefield, aerial or on the ground). By strictly restricting the scenario to the men's specific viewpoint he avoided making choices about who, what, where and how to show this or that if it was not something the soldiers on the ground could see.

Similarly, the intrusion of Churchill's famous speech as they land is just a voice over, as it was heard on the radio waves. No need to see Churchill. He's even more present through his voice only. A brilliant move if you ask me. I don't know if Nolan will win on Oscar night, but IMO he has every right to be hopeful.

[vandermolen]

Thanks!  I need not feel 'historical guilt' in my enjoying it, then

On the contrary Karl you should enjoy it without reservation.

[vandermolen]

This was precisely Nolan's intent, and what we see on the screen: show only what was visible for the men on the beaches/boats, not what was happening on other theaters of events (other battlefield, aerial or on the ground). By strictly restricting the scenario to the men's specific viewpoint he avoided making choices about who, what, where and how to show this or that if it was not something the soldiers on the ground could see.

Similarly, the intrusion of Churchill's famous speech as they land is just a voice over, as it was heard on the radio waves. No need to see Churchill. He's even more present through his voice only. A brilliant move if you ask me. I don't know if Nolan will win on Oscar night, but IMO he has every right to be hopeful.

This is a much more eloquent and insightful analysis of the appeal of the film - spot on in all respects.

[Ken B]

This was precisely Nolan's intent, and what we see on the screen: show only what was visible for the men on the beaches/boats, not what was happening on other theaters of events (other battlefield, aerial or on the ground). By strictly restricting the scenario to the men's specific viewpoint he avoided making choices about who, what, where and how to show this or that if it was not something the soldiers on the ground could see.

Similarly, the intrusion of Churchill's famous speech as they land is just a voice over, as it was heard on the radio waves. No need to see Churchill. He's even more present through his voice only. A brilliant move if you ask me. I don't know if Nolan will win on Oscar night, but IMO he has every right to be hopeful.

Yes. The silliest criticism I heard was that no actor was shown as Churchill. Nolan's idea was brilliant ant just right.
It's an amazing script, proving the old adage that screenwriting is construction. There are two peaks in the story. The first, to avoid spoilers, is a single word. The second is the speech, illuminating that word.

[SonicMan46]

Tonight -looked on Amazon to see what might be available for streaming on my 'Movies to See' list - watched the one below:

American Made (2017) w/ Tom Cruise - ratings: 7.2/10, IMDB; 87%, Rotten Tomatoes - about a TWA pilot, Barry Seal, turned to the CIA + drug/gun transport - involved w/ the Columbian Medellin cartel - assassinated in 1986 at 46 years of age - colorful telling of this story w/ Cruise doing a good job - recommended only if interested in the true character and Tom in the role - Amazon rating 4*/5* - I'd do at least a 3 1/2* - entertaining watch - Dave

Barry Seal, a TWA pilot, is recruited by the CIA to provide reconnaissance on the burgeoning communist threat in Central America and soon finds himself in charge of one of the biggest covert CIA operations in the history of the United States. The operation spawns the birth of the Medellin cartel and almost brings down the Reagan White House.

 

[aligreto]

84 Charing Cross Road....

[milk]

This was precisely Nolan's intent, and what we see on the screen: show only what was visible for the men on the beaches/boats, not what was happening on other theaters of events (other battlefield, aerial or on the ground). By strictly restricting the scenario to the men's specific viewpoint he avoided making choices about who, what, where and how to show this or that if it was not something the soldiers on the ground could see.

Similarly, the intrusion of Churchill's famous speech as they land is just a voice over, as it was heard on the radio waves. No need to see Churchill. He's even more present through his voice only. A brilliant move if you ask me. I don't know if Nolan will win on Oscar night, but IMO he has every right to be hopeful.

Yes, that's it. For me, this kind of thing really hits the spot. I also think it's a high degree of difficulty to pull this off. I often dislike movies that try to show many perspectives or that try to portray a "biography" of an event. I like an experience. I think this comes from my bias towards the various movements of realism in cinema. Nolan gives us an experience that we can feel - sitting in a crowded theater. If people want explanations they can certainly read a hundred books on the topic. I hope this one wins the Oscar (though my favorite movies often don't get past the nominations).

[aligreto]

The Hand That Rocks the Cradle....





Remember that one?

[NikF]

The Hand That Rocks the Cradle....





Remember that one?

Yeah, I remember it. And although I can't remember his name right now (and I'm too lazy to take a few seconds to find it!) it was photographed by the same guy who did a cool film titled 'Desert Hearts'.

[Karl Henning]

I watched Intolerable Cruelty again last night.  Just good fun.

[aligreto]

The Finest Hours....

[Draško]

Polina, danser sa vie is a French film about young Russian ballet dancer searching for her artistic path, as well as her life path, from the Bolshoi school through French modern ballet troupe, through waitressing in Berlin, while doing improvisatory dance to becoming a choreographer. It's a beautifully choreographed film by Angelin Preljocaj, the dancing narrative of her search is quite well done and feels true, even when the story of her life part can get bit abrupt at times without proper build up to certain key moments. Always a plus when making a film about dancing is to cast dancers who can act a bit, rather than actors who can dance a bit (Shevtsova is a dancer from the Bolshoi and the male lead is principal dancer of the Paris Opera Ballet).   

[James]

The Shape of Water
2017 ‧ Drama/Fantasy ‧ 2h 3m

Elisa is a mute, isolated woman who works as a cleaning lady in a hidden, high-security government laboratory in 1962 Baltimore. Her life changes forever when she discovers the lab's classified secret -- a mysterious, scaled creature from South America that lives in a water tank. As Elisa develops a unique bond with her new friend, she soon learns that its fate and very survival lies in the hands of a hostile government agent and a marine biologist.

[asin]B07923YGB4[/asin]

[NikF]

Polina, danser sa vie is a French film about young Russian ballet dancer searching for her artistic path, as well as her life path, from the Bolshoi school through French modern ballet troupe, through waitressing in Berlin, while doing improvisatory dance to becoming a choreographer. It's a beautifully choreographed film by Angelin Preljocaj, the dancing narrative of her search is quite well done and feels true, even when the story of her life part can get bit abrupt at times without proper build up to certain key moments. Always a plus when making a film about dancing is to cast dancers who can act a bit, rather than actors who can dance a bit (Shevtsova is a dancer from the Bolshoi and the male lead is principal dancer of the Paris Opera Ballet).   

Interesting. I'll check it out.
Also, welcome back.

[Ken B]

The Guns Of Navarone (1961)

One of the big, big movies of the era. Like all old spectacles and action movies it shows its age. But it holds up a lot better than say Spartacus.

[Mirror Image]

Just finished:



One of the best Spider-Man movies I've seen. Michael Keaton did a fantastic job as The Vulture. Holland is, of course, an excellent Spider-Man.

[ritter]

On Saturday afternoon at a local cinema:


The film did not live up to my expectations... . I tend to agree with a reviewer who said it seems that the film's only aim is to provide its lead actor with a vehicle for oscarization. And I must say I'm personally growing a bit weary of this recent plethora of "nostalgic propaganda" coming out of the UK's film industry.

[Karl Henning]

[...] And I must say I'm personally growing a bit weary of this recent plethora of "nostalgic propaganda" coming out of the UK's film industry.

I see your point, but with the Brexit rannygazoo and the Cloud of Uncertainty, the Britons need some positive reinforcement. It is not nice to deny it them in these circs.

[GioCar]

I see your point, but with the Brexit rannygazoo and the Cloud of Uncertainty, the Britons need some positive reinforcement. It is not nice to deny it them in these circs.

Nice word. I had to google it for the meaning.