CinemaInternational

So what grade does the film get from you overall? An 8 or a 7?

It's running this year..... on AMC.... (thunderclaps and smell of doom surround the area) That said, we are getting Remember the night, and that's an absolutely beautiful film.

Looks like All That Jazz is a premiere! WOW! Also Silence of the Lambs pops up for the first time in 9 years.

I remember being terrified by Cauldron the first time around. It took me over 13 years to get back to it, and when I saw it again, I loved it. It really is super dark but unlike some other Disney films (*cough* Atlantis: The Lost Empire *cough*), its not only dark, but also sometimes darkly amusing and good-hearted over all to boot, well you know when the living skeletons aren't walking around or the horned king is on screen. And it is gorgeous, the crispest looking animated film between the late 50s and early 90s. And that super score by Elmer Bernstein was Oscar-worthy. It's actually in my top 10 for 1985 and in my top 10 favorite Disney animated films now. The left-out footage included the skeletons ripping the flesh off the bones off one of the living guards, which would have put it into PG-13 territory (cue the smelling salts!) PS: Your 80s comment reminds me of the old IMDb boards, with some people saying how they thought some recent kids films were disturbing. The 80s kids were like "You don't know about disturbing kid's films, you didn't live through the 80s, I did!" [But in general, boy do I miss the 80s and 90s films, both films for adults and for kids. They felt like the last decades of excellence]

Greta Garbo doesn't quite fit the sudden death theme, but it was her final film. She lived for 49 more years. Other people who died around the time their last film(s) were done include: Robert Donat: The Inn of the Sixth Happiness Alan Ladd: The Carpetbaggers Jill Clayburgh: Love and Other Drugs and Bridesmaids

I still hold that she could have won for Primary Colors as well, if it had been released late in the year and had been a box-office hit....... Among herunnominated performances, I'm very fond of her work in Dolores Claiborne, another Stephen King adaptation, this one like a Gothic version of Mildred Pierce.

I'd be happy if Kathy Bates makes it into the Oscar race. She's always such a wonderful actress.....

Saw 133 as well.

OK,, missed commenting for a few days. I've seen.... 101,102,103, 107,109,110, 111,112,115, 116,118,119,120, 121,122,123,124,126,127,128,129, 130, 131 (Star is Born 1937, right?), 132 (if its How Green Was My Valley), 135, 137,138,139, and 140. Lawrence, I'm with you on The English Patient. It's a wonderful film, and I do think its reputation is beginning to rise a bit again. i think it was hurt for years thanks to the Seinfeld episode and that it won over Fargo, but I think people are rediscovering how good it is.

End credits only keep getting longer.... back in 1978 there was consternation when Superman's end credits lasted for 6 to 7 minutes. Today nobody would bat an eyelash.....

I bought one more Criterion before the sale ended: In the mood for Love, along with a few non-Criterion titles, namely 1958's Tom Thumb, and a maureen O'hara triple feature: Brittania Mews/Do You love Me/Sentimental Journey.

I never saw a single episode. That said, anything with Julie Kavner can't be all bad......

102 is The Spiral Staircase.....

Actually, there was one little irony near the end of his life. The same year that he started Dallas (1978), he appeared in the film Comes a Horseman as the henchman of an odious, greedy, murderous oilman played by Jason Robards. The name of the oilman in the movie. Ewing.

Ok, let's see. I've seen 81, 83, 84, 86, 87, 88,89, 90, 91, 92, 93, 95, 96, 98, and 99

I have a feeling its Sudden Fear. Bears a resemblance to the DVD cover.

I went to it yesterday. It's a moving film, but probably a bit different than most would expect. Tom Hanks is quite good as Mr Rogers (even though I'd hasten to add, its a tough feat to imitate a man I, like so many others, watched when I was young. My parents actually knew the real-life man in real life.) and is the anchor of the film and the catalyst of change, but its Matthew Rhys as a cynical reporter who is the main character. His character is a broken man who, in one of the first few scenes, punches his estranged father (Chris Cooper, quite good) at a family wedding. Clearly, this man is in need of help, and the help comes when his editor (Christine Lahti, welcome back!) assigns him to interview Fred Rogers for a brief 400-word snippet of a featured article. He's not too happy about this, but the more he gets to know the real-life man, the more he is able to put his anger and inner demons aside, and to make peace with his father and the father's new wife (Wendy Makkenna, again welcome back!) and to become more understanding with his own wife (played sympathetically by Susan Kelechi Watson) So its a story of friendship and personal growth, of family ties and forgiveness. Hanks gives the best performance, underplaying nicely, and his first scene at the start of the movie brought me to weeping in the theatre.But everyone else is well cast too, and the film has to be one of the quietest and most introspective major studio releases in quite some time. It also has some patches best described as surreal, plus quite a bit of aspect ratio toggling between the old academy ratio and modern widescreen. It's a classy film, aimed at adults not children, and it is quite affecting. One other little note: The film is set in 1998, but it still surprised me when the 90s TriStar logo was brought out of retirement for the start of the film. it was replaced in 2015, so it was a surprise to see it come back.

maybe its just a random musing, but one of the films on the list is I think an example of a bit of mentality in its creation. To cut straight to the point, Elle was a French thriller with Isabelle Huppert as a 50-something rape victim who is about as agressive, if not more so than her attacker, and she ends up turning the tables on him, just not in the way one would expect. It was an exceedingly uncomfortable film, very lurid. Paul Verhoeven directed it. Of course in the 90s he was famous or infamous for Basic Instinct and Showgirls and Robocop and Total Recall during his 15 year stay in America. This was originally intended to be done in America. Sharon Stone, Nicole Kidman, Julianne Moore, and Diane Lane were considered for the leading part. But nobody was interested so they made it in France with Huppert and because of her and the provocative "continental" flair, it was acclaimed. But a part of me feels it made this list because it was transgressive and foreign-language art house. I love foreign films, but I think in this case, if it had been made in America with one of those women, it would have been dismissed as a lurid potboiler and would have been shunned. Because its in another language, and I feel bad saying this, its proclaimed as 'art" and perceived as better.

December at the Criterion Channel https://letterboxd.com/chrissweet1967/list/the-complete-list-of-films-coming-to-the-1/?fbclid=IwAR0V3m9AzBubZq278FXm4TreiQF6CK8Q6bRkjqYGxQfepff-EK4zPetehic

Missed #71 and #74. Others I saw, and Sunset Boulevard is one of my favorite films of all-time.

Lady Bird wasn't a perfect film, but Laurie Metcalf gave a beautiful performance, one of the decade's best acting jobs. It was also the only big film I actually read the script of before I saw it, so it made me get a feel for how it would go (although admittedly, what I had pictured reading it didn't often line up with what was on screen). The Master, there was a lot of hype, I know some love it, it was pretty blah about it, though I remember Phillip Seymour Hoffman was good in it. I despised The Florida Project, and everything about it except for Willem Dafoe and a brief turn by a young actor Caleb Landry Jones. Otherwise, a complete washout. I got into a big fight once on the internet over that film.

OK, then. Saw the following: 52,56,57,59, 60, 65, 67, 69, 70. Not one of my better weekends. Beau Geste is still waiting at home. Did see Portrait in Black on late night going into Friday. It was good.

It is at a time like this that I must say that I only saw two series all decade: Downton Abbey and Feud. I also saw 1 (one) and a half episode of Stranger Things and of the failed reboots of The Muppets and Murphy Brown. I'm much more a movie person....

That even goes for praised films. i remember seeing a discussion one day that I was in a very bad mood last year over who they thought would take Best Actor at the Oscars in February (everyone was still in denial over Bohemian Rhapsody). The options were Christian Bale in Vice and Bradley Cooper in A Star is Born. I typed peevedly "Who cares? Nobody will be talking about either film by this time next year". And its true. It's a feeling of throwaway entertainment anymore.

I think you're right, sorry as I am to say that. It's hard, even in film themed communities to try to muster up enthusiasm for films not currently "in the moment". The internet has become a double edged sword, it certainly brings people together, but most sites are no help in looking for the past, what with the newest and hottest movie news up front. The worst moment was a few days ago when I was on a movie page, and there was a 19 year old film fan, who said not only could some of his classmates recognize the names of classic film stars, they had never heard of Once Upon a Time in Hollywood, released only this July!