I saw this movie at the time and kind of liked it, but I couldn't get into it this time. I did, however, bump it up a notch for Elliott Gould. Steven Soderbergh directed.
I kind of liked the first story, about the vagrant who literally can't get arrested in this town, and who hits on Marilyn Monroe, but I wasn't at all interested in the second story of this anthology, so I gave up after half an hour. Henry Koster directed the former, Henry Hathaway the second. John Steinbeck is our host.
The musical I got annual school-sponsored naps from, now with steampunk and a creepy dad! Lasse Hallström and Joe Johnston co-directed, not the first movie for either of them in this project.
This has potential, with those stars, and it's nice that producer George Harrison included his song "Blow Away," but this just didn't click for me. Jonathan Lynn wrote and directed, about four years after Clue.
Cliched but almost intriguing. Director Sacha Gervasi co-adapted Sam Munson's novel The November Criminals (yes, with a "the"), nine years after Anvil: The Story of Anvil.
That tired, tired trope of the guy basically nagging a woman into going out with him, the '40s setting not helping here any more than it did in New York, New York. And, yes, this is another movie I dislike based on a Nicholas Sparks book, this one directed by Nick Cassavetes, a couple of years after John Q. and a few years before My Sister's Keeper.
I gave this story twenty minutes, because I thought it had potential, but I got frustrated that the thirteen-year-old teacher wasn't even trying to teach. Yimou Zhang directed, seventeen years before The Great Wall, which didn't have as much potential, although probably a much bigger budget.
A Japanese-American collaboration, alternating between the Japanese soldiers who've been shipwrecked, and the American soldiers who've crash-landed on the same island. Sinatra not only acts but directed.
It would be nice to see Amy Adams and Michael Sheen act together in a good movie, although at least I tuned out before things got too dark. Director Tom Ford adapted Austin Wright's novel Tony and Susan.
The first two hours, I wasn't sure what I thought of this movie, although I was definitely intrigued. And then in the last twenty minutes, I was on the fence between a C+ and a B-, but there was no closure, other than that these children's lives will probably go on like this, with no adult helping them in any big way, but also no adult reporting them to the authorities. Hirokazu Koreeda wrote and directed.
There was a moment in the first ten minutes when I asked aloud, "Why was this movie made?" Darren Aronofsky directed and co-wrote, three years before Mother!, and I guess this is technically based on the Bible.
I guess this turns into a political action thriller sometime after I tuned out, but what I saw was sort of a romance between two unappealing people who hook up within minutes, in a cab. This is based on the often adapted Kenneth Fearing novel The Big Clock, and directed by Roger Donaldson, over twenty years before The Bank Job.
Possibly the most unpleasant collection of Southern accents in one film. (And, yes, I tuned out long before Don Knotts.) This started out as a novel by Mac Hyman and then went through various forms before becoming a movie, so obviously a lot of people liked it roughly sixty-five years ago. Mervyn LeRoy directed.
I could see kids really liking this, but as an adult I was too distracted by things like how they got such good Internet reception on a remote South Pacific island, especially back then. This is based on the novel by Wendy Orr and co-directed by Jennifer Flackett and Mark Levin.
Although I didn't care about the story or most of the characters, I did like the best friend, the song about North Carolina, and the inn. This is based on the Nicholas Sparks novel and directed by George C. Wolfe.
Even before it got to the horror part, I didn't like any of the characters, although the sex scene about ten minutes in isn't bad. Dylan Bank directed and co-wrote.
A little flat but, yes, probably more accurate than Titanic. This is based on the book by Walter Lord, and directed by Roy Ward Baker, six years after The Snows of Kilimanjaro.
Unhappy French cops. This is based on a novel by Hugo Boris, which director Anne Fontaine co-adapted, four years after Les innocentes, and over a decade after Coco avant Chanel, which I did actually like.
Yeah, not really a movie I'd be interested in, even without the off-putting '60s "cinematic" touches in the opening credits. This is based on the novel by Hans Hellmut Kirst and directed by Anatole Litvak.
I haven't seen any of the movies in the series before, but I found this pretty flat. Robin Williams is of course the best thing about it, and he's playing an unrecognizable version of Teddy Roosevelt. (I mean characterization, not appearance.) Shawn Levy directed, and I tagged the people I recognized in the first quarter hour.
A short (half-hour), powerful film that must've been truly shocking in its initial release, when so much was still hidden about the Nazi concentration camps, and it still is heartbreaking now. I wouldn't say I "like" the movie, but I was most impressed by the contrast between individual faces and the mass graves. Alain Resnais directed.
I saw this movie at the time and enjoyed it enough to read the book, by Rachel Cohn and David Levithan, that it's based on. I think, however, unlike Juno, which Cera appeared in the previous year (and which I own and rewatched coincidentally last week), this hasn't aged as well. The clichés and oh-so-hipster '00s energy stand out more. (I was already middle-aged back then, so it's not like I've grown too "mature" for this movie or something.) And for covering less than 24 hours, it sure makes a hash of its timeline. There are still some sweet and mildly amusing moments though, and I didn't mind a rewatch today, although I'm not bothering with the vast bonus material. Peter Sollett directed.
Shrug, it's a Western, so I'm not going to be that into it, no matter who the star is. Director Paul Greengrass, who previously did Jason Bourne and Bloody Sunday, co-adapted the novel by Paulette Jiles.
The only thing I liked was that Liza's character had a bit of spunk, although I kept waiting for her to throw a drink in De Niro's face. Martin Scorsese directed, and I much prefer Alice Doesn't Live Here Anymore.
Once again, Hollywood fails to present Pocahontas as the little girl she was, but I like the scenery and Plummer is good of course. Terrence Malick wrote and directed.
Since I never watched the Elm Street movies, the main thing of interest here is that the lead is Heather Langenkamp as "Heather Langenkamp," sort of the actress of the Nightmare movies who was also the eldest Lubbock Babe on Just the Ten of Us.
I was bored by both the "real" parts and the fantasy. Director Wolfgang Petersen was one of the people who adapted the Michael Ende novel, a few years after Das Boot.
The most interesting thing here is of course the cast, and I didn't even make it to Gina Lollobrigida. This is based on the Tom T. Chamales novel and directed by John Sturges, thirteen years before Joe Kidd.
I've known of this movie for years (I mean since I was a little kid), mostly due to to its theme song, but never seen it before. Jules Dassin wrote and directed, sixteen years after The Canterville Ghost.