Movies: Last Movie You Watched and Rate It | Mid-Spring Edition. Happy Beltane!

[Pranzo Oltranzista]

Amityville: No Escape (Couto, 2016) - "The new found-footage fright flick from independent horror maestro Henrique Couto" (famousmonsters.com). I had to read twice to make sure maestro wasn't spelled moron. I checked, and this guy really made quite a few films, but honestly, he must be a prime member of the short list of the dumber moviemakers ever. The one that did Il était une fois le diable, the worst film I've seen, claiming his film would be as good as the American ones and telling his cast they would become stars might still be in the lead, but Mr. Couto musn't be that far behind. I've tried to watch these terrible pseudo Amityville sequels I hadn't seen before (see below*), and this one is just the worst yet. It's pretty obvious that the project was first a simple Blairwitch ripoff, but that they for some reason decided to add the Amityville element to it. You end up with two found footage tales, both of them amateurish to the point of malaise, and a twist that makes no sense at all (and not because it is "supernatural", but because since George watched the old tape before going, he would have known!). They don't react much when they find a body in the woods, and they decide to split up and walk alone in the darkness in order to look for a little girl they're most of the time not sure they've seen ("I think I saw her" - hey freakin' [censored pejorative slur], this is a found footage film, just look at your footage if you're not sure you've seen the girl dressed in flashy white that was just in front of your camera light). All of the characters are ridiculously dumb, probably inspired by the dimlits who wrote that crap. 0/10

-----------------------------------------------

I think the first film is ok, but I love Amityville II: The Possession (I also think the third film is pretty bad, but contains one of the finest film examples of uncanniness). Anybody can put Amityville in their film title, so there's just a lot of crap that's out there. I went through a few, and managed to find my previous comments in the search engine here, so once again:

Amityville Horror: The Evil Escapes (Stern, 1989) - Yes, the one with the infamous evil lamp. Sandor Stern is the guy who wrote the screenplay adaptation of the original Amityville film. He also directed, the year just before this one, the Canadian cult classic Pin. Yet, you'd still wouldn't believe he is not a total [pejorative slur] after seeing this non-Amityville Amityville film. As he thought the stories from the book he was hired to adapt were too weak, he decided to write an original one, "inspired" by them. In this story, priests cleanse the original Amityville house, but the evil hides in a lamp that gets sold in a yard sale and is shipped to an old lady in California. Just imagine how dumb must that book be. After that, it kind of feels like Le démon dans l'île, in which house hold appliances go rogue and terrorize an island (it's actually a pretty good film, nothing like this Amityville lamp turd). Apart from the faked original house in the beginning and the weak attempt at recreating something vaguely similar to Schifrin's amazing score, this has nothing to do with the three films that came before it. Oh, and I will spoil it for you, once again defeated (or thrown through the window by a 70 y/o lady), the evil ultimately hides in the cat. Yes. 2/10

Amityville Curse (Berry, 1990) - Is this better or worse? It's still a heck of a borefest, but it's a little funnier. Just too boring to be so bad it's good. It's kind of a never-ending Property Brothers episode. When it puts renovations aside and tries for horror, there's a few remnants of Amityville tropes. It's somewhat closer to an Amityville film than the previous entry, with zero trace of the house (didn't even bother to find something vaguely similar), luckily no trace of the lamp, but still with a poor faux-Schifrin. In fact, it seems to be the whole Amityville town that is cursed, and they put a lot of energy reminding us that we are, in fact, in Amityville (in dialogues, New York car plates, road welcome signs...). Fun thing is the film was shot just up here Northwest of Montreal (that's in fact the most fun I've had, paused it to find the exact house on Google map). 1.5/10

Amityville 1992: It's About Time (Randel, 1992) - This 6th Amityville film is based on the same book as the 4th entry (the one with the lamp, but now the evil is in an old clock). A man comes home to his kids way too old to need a babysitter with an old clock he stole from "a house he tore down". The house in question appears only in a stock shot flash overlayed to his actual atrociously ugly house, and that's it. Anyway, the evil comes from the clock and preceded the mess it caused in Amityville (still, the guy is obsessed with the Amityville house and designs miniature models of it, go figure). No time to try to make sense of this thing, even though it tries real hard to be relevant (the pun in the title came to fruition as I hoped and the film really is "about time", with a circular structure and everything). It's all very dumb, absolutely inefficient as a horror film, and it has not a thing to do with the first Amityville films. Randel is responsible for the only valid Hellraiser sequel, but here he f***s up pretty bad. Problem is, it's still kind of fun! I don't know if it's really bad enough to deserve a "so bad it's good" ranking, but that's where I'll put it for now. 1/10

Amityville: A New Generation (Murlowski, 1993) - So we had the Amityville evil hiding in a lamp (4th), coming from a clock (6th), and now I guess also coming from a mirror, not clear. What is clear is we have three films either adapted (6th) or inspired (4th and 7th) by the same book: co-producer of the three film's John G. Jones' own masterpiece. This one is the worst of the lot. I guess I was served, praising Ruiz's in-camera and practical effect and the rarity of this way of doing things, well we have here one crafty director (seriously, the shot I posted above is very cool - but don't get excited, absolutely nothing else is cool about this film, that's it, this one shot). Again, the Amityville house is on the movie poster but only appears in a stock shot flash (in the mirror this time), and the film fails at producing any type of lineage - in tone, pace or themes - with the first three entries of the series. And it's no fun. 1.5/10 (I keep my 1/10 for the "so bad it's good" films, so 1.5 is really the worst rating I can give a film)

The Amityville Haunting (Meed, 2011) - A found footage film in the Amytiville house? I guess I'm in. The house on the poster is clearly neither the Amityville house nor the house used in the film, and they didn't bother either to get their facts straight in the opening title cards (saying the Lutz lived in the house for 2 years instead of 28 days, making it... less scary?), so no surprise at all when you confirm right away that this is of abysmal amateurish levels. Not without a little drama (the realtor falls dead in the driveway when visiting and one of the movers falls to his death in the stairs with an empty box), a family of very poor actors moves into the house and the teenager son records everything, secret conversations and all. It's just terrible. 1.5/10 (but really, 0/10)

Amityville: The Awakening (Khalfoun, 2017) - First half lacks on atmospheric buildup and relies on easy scare tactics, but is still kind of efficient for me, mainly on one thing: that damn house. It felt good to be back (most of the post-1983 sequels don't seem to use it, and the house in the remake was just not the Amityville house). The last 30 or 40 minutes are a complete miss and waste. The film suffers mainly from being teen-oriented and wanting to be somewhat auto-referential and metatextual, with no point or payoff (oh, and in what must be one of the most "I should never have risked it" scene ever, they discuss the previous films - yes, that meta - and say the remake sucked... but wait, the remake made 23M$ on opening weekend, while this new and already forgotten "reboot" made a whooping 742$ on opening weekend in the US...

). It kind of tries to be edgy and polemic, with quite a few references to Amityville II, but it never gets even near to it. The last sequences are still pretty violent for a PG13 film and I guess the film would have been a lot more interesting had it kept the almost 15 minutes that were cut to avoir the R rating. 3.5/10 (with that extra 0.5 just for using a house close enough to the original films)

 

[Chili]

And now, another list...

A vintage HM list, beyond several already mentioned (Casablanca, Lilies of the Field, The Longest Day....)

The Lodger-1926
The Gaucho-1927
The Iron Mask-1929
The March of the Wooden Soldiers-1934
Captain Blood-1935
Les Miserables-1935
A Night at the Opera-1935
A Tale of Two Cities-1935
The Petrified Forest-1936
The Adventures of Robin Hood-1938 (also like the 1922 film)
Stagecoach-1939
Going My Way-1944
Odd Man Out-1947
Ma & Pa Kettle-1949 Howdy!
Niagara-1953
Stalag 17-1953
Rebel Without a Cause-1955
The Defiant Ones-1958
The One that Got Away-1958
Hud-1963
A Hard Day's Night-1964
The Train-1964
The Hill-1965
Von Ryan's Express-1965
Midnight Cowboy-1969
Five Easy Pieces-1970

 

[Spring in Fialta]

I just finished Un zoo la nuit by Jean-Claude Lauzon. Better than I remembered it and I already thought the world of it.

 

[kihei]

I’ve come to realize that I’ve never watched a Kubrick movie. I’ve seen tiny bits of Eyes Wide Shut and A Clockwork Orange and much of The Shining (which I plan on watching in full soon,) but never anything fully. I don’t know if it’s been on purpose or not. Maybe part of me feels like I’m going to be left annoyed after one of his films. I don’t know. I have access to watch A Clockwork and 2001 right now. Which one would you guys recommend to watch for just a regular type guy like myself?

I don't think you can go wrong with either. Whichever catches your interest most, go with that one.

 

[ItsFineImFine]

A Letter To Three Wives (1949) - 7.5/10

Solid grounded but smart Mankiewicz film, as good as All About Eve imo even without the same level of polish. I do think that the flashback concept is a bit inconcise and I start thinking that the premise is really just a premise to give an excuse for those long flashbacks but it ties together decently well together albeit in a hasty way. Good enough to make me finish in one sitting though and delay watching the TB v Fla game I meant to.

 

[Spring in Fialta]

Un zoo la nuit (1987) - First feature film by rockstar French-Canadian director Jean-Claude Lauzon, who died prematurely in 1997 in a plane crash at the age of 43 while flying with his girlfriend, famous youth actress Marie-Soleil Tougas. Unrelated to the film itself but a tidbit that I just remembered, it also seems to be the first media news that I distinctly remember having heard in real-time. The second that I can remember is listening to King Hassan II's death announcement in July '99 while I was in Casablanca for the summer, mad at my grandmother because she'd dragged me to the barbershop for a head shave. Anyways.

The film's strength lays not in the story it tells but in how it compacts it expertly while managing constant and numerous tonal shifts. Marcel, a criminal, is soon to be released from Montreal's Bordeaux prison and is hounded by two crooked creeps - one a sleek, sadistic cop who seems to have a bizarre crush on Marcel and the other more of an everyman crook who seems slightly less insane next to his partner - for cocaine and money. Meanwhile, Marcel tries to reconnect with a meek father filled with regret and his prostitute girlfriend. As an example of the movie's extreme shifts, the film starts with Marcel's rape in his prison cell and ends with him washing his dying father. None of it ever feels clunky or forced. Lauzon's script and direction is equally effective at sleazy cool and heartwrenching melodrama, but a melodrama that feels appropriate considering the skates and works with small quirks guided by two great lead performances between father and son. As an example, when the gay cop, George, wants to go after Marcel during a visit after the latter beat him up earlier in the film, his partner holds down George and begs him to calm down, telling him to consider the great smoked meat lunch he just bought him for twelve bucks. It seems to kind of work in calming him down. I don't know if it was meant to fall that way on purpose, but it was a moment of great inspiration. Not long after that, Marcel, a man in his late thirties, asks his father if he wants to go to Australia with him, a country his father has only vague awareness of even existing. Marcel laying his head on a park bench and looking up, admiring his dad (who he usually finds petulant) as if he was seven is a small touch that makes all the difference in a scene that could have easily been corny. The film is filled with moments like that. The way its characters switch from speaking English and French is a sonic touch whose intonations bring immense pleasure as a trilingual speaker. It reminded me of that sex worker in Ichi the Killer who speaks English while everyone else around her speaks Japanese. The score was better than I remembered, including the few Quebec pop songs in more emotional moments.

I'll readily admit that its father and son theme is one that resonates close to home and might make me overly charitable towards the storyline. I am usually, if not always, perfect at dissociating myself from relatability with either themes and/or characters in art. This one is a bit more difficult to do so. From my experience, there is little sadder than watching an old, meek man filled with regret and longing. Roger Lebel, who plays Marcel's father Albert, knocks it out of the park. Kind but filled with a self-pity that's hinted not to be fully-justified, he tries hard to be his son's friend and to impress him. Stupidly - and thankfully, without consequences - he tries to meet his son at his release from prison (late to the punch) and later tells Marcel that he showed up at the gates with his son's fat, dirty bankroll and a jug filled with cocaine (!) to show him he's not a cornball. By the end dying, the emotional climax of the film comes when Marcel, whose father is now too weak to go hunting, takes him to the Granby Zoo (having blown coke in his face to try and get him fit enough if only for the night) has him shoot an elephant in a scene of monumental impact, all in its writing, acting and imagination. It's probably my favorite in Quebec cinema. An imagination that comes out in both sordid and endearing ways. A great film.

 

[Chili]

Mrs Miniver-1942

Many war films tell the story from the battlefield. This film is from the viewpoint of a family trying to survive as WWII evolves and literally comes to their doorstep. A son enlists in the air force, father joins those in Dunkirk evacuation fleet meanwhile mother comes face to face with a downed enemy airman. And later the blitz. A church service in the ruins of a bombed out church a moving image. Great cast, well told.

Was trying to think similar themed films??? (i.e. war from the home front perspective). Do remember a well done mini series called Les Plouffe set in Québec.

 

[Osprey]

Mrs Miniver-1942

Many war films tell the story from the battlefield. This film is from the viewpoint of a family trying to survive as WWII evolves and literally comes to their doorstep. A son enlists in the air force, father joins those in Dunkirk evacuation fleet meanwhile mother comes face to face with a downed enemy airman. And later the blitz. A church service in the ruins of a bombed out church a moving image. Great cast, well told.

Coincidentally, I've been meaning to watch this soon, myself. In fact, I've been meaning to get around to it for years, since it's a Best Picture winner that I haven't seen and I like William Wyler.

Speaking of war films at home, I've always wanted to see one that takes place partly in the London underground during the blitz. The tunnels were supposedly packed with people and I've always wondered what that was like, with people huddling in the dark and around lanterns while bombs and rockets landed above them. I feel like that would be an interesting setting, and different, since not many war films take place at home, as you said.

 

[kihei]

Killer of Sheep (1977) Directed by Charles Burnett 9B

Killer of Sheep is an extraordinary movie. Borrowing very heavily from Italian neo-realism, the movie is a portrait of a man and his family living in Watts where each day is a bone-weary struggle to make ends meet. Shot in black and white on a $10,000 budget, Killer of Sheep looks like a rougher version of The Bicycle Thief, that is until one notices the beautiful composition of so many wonderful shots and sequences in the movie. The images are often amazing to behold--I wouldn't mind perusing many of them on an art gallery wall. Stan is not the sharpest knife in the drawer but he works hard at a very unforgiving job in a sheep slaughterhouse. He has energetic kids and a wife who is closing in on depression herself. Yes, the sheep symbolism is heavy-handed, but the movie manages to show the vitality and humanity of people who are stuck in a rut from which there is almost no chance of escape. Surprisingly, Killer of Sheep is not a downer; rather it is more like a tribute to human resilience in the face of despair.

Sidenote: The film has a backstory too long for me to go into, but it is an interesting one. Anyone interested in finding our more about this film can check this out:

Killer of Sheep movie review & film summary (1977) | Roger Ebert

 

[Spring in Fialta]

Killer of Sheep (1977) Directed by Charles Burnett 9A

Killer of Sheep is an extraordinary movie. Borrowing very heavily from Italian neo-realism, the movie is a portrait of a man and his family living in Watts where each day is a bone-weary struggle to make ends meet. Shot in black and white on a $10,000 budget, Killer of Sheep looks like a rougher version of The Bicycle Thief, that is until one notices the beautiful composition of so many wonderful shots and sequences in the movie. The images are often amazing to behold--I wouldn't mind perusing many of them on an art gallery wall. Stan is not the sharpest knife in the drawer but he works hard at a very unforgiving job in a sheep slaughterhouse. He has energetic kids and a wife who is closing in on depression herself. Yes, the sheep symbolism is heavy-handed, but the movie manages to show the vitality and humanity of people who are stuck in a rut from which there is almost no chance of escape. Surprisingly, Killer of Sheep is not a downer; rather it is more like a tribute to human resilience in the face of despair.

Sidenote: The film has a backstory too long for me to go into, but it is an interesting one. Anyone interested in finding our more about this film can check this out:

Killer of Sheep movie review & film summary (1977) | Roger Ebert

One great touch to the writing is how Stan's dignity and sanity is never at stake. Like, there's never any suggestions that he might f*** up or veer off the deep end which in a way makes the story more poignant. Surprised you have it as an A, though. I think less experienced moviegoers wouldn't find it all that accessible. It's almost plotless and the pacing isn't as digestible as more recent, mainstream films.

 

[kihei]

One great touch to the writing is how Stan's dignity and sanity is never at stake. Like, there's never any suggestions that he might f*** up or veer off the deep end which in a way makes the story more poignant. Surprised you have it as an A, though. I think less experienced moviegoers wouldn't find it all that accessible. It's almost plotless and the pacing isn't as digestible as more recent, mainstream films.

Good point and good point. I'll definitely change it to a "B."

 

[Puck]

And now, another list...

A vintage HM list, beyond several already mentioned (Casablanca, Lilies of the Field, The Longest Day....)

The Lodger-1926
The Gaucho-1927
The Iron Mask-1929
The March of the Wooden Soldiers-1934
Captain Blood-1935
Les Miserables-1935
A Night at the Opera-1935
A Tale of Two Cities-1935
The Petrified Forest-1936
The Adventures of Robin Hood-1938 (also like the 1922 film)
Stagecoach-1939
Going My Way-1944
Odd Man Out-1947
Ma & Pa Kettle-1949 Howdy!
Niagara-1953
Stalag 17-1953
Rebel Without a Cause-1955
The Defiant Ones-1958
The One that Got Away-1958
Hud-1963
A Hard Day's Night-1964
The Train-1964
The Hill-1965
Von Ryan's Express-1965
Midnight Cowboy-1969
Five Easy Pieces-1970

Aye Caramba! I've seen everything on that list. Maybe I am a closet cinephile, or you made up a very good list of old classics

 

[Pranzo Oltranzista]

Amityville: Dollhouse (White, 1996) - On the grounds of a burned down house where a family burned alive, a guy decides to build his reconstituted family's new home. For some reason, he decides to use the fireplace that's (the only thing) still standing from the previous house. There's an old shed next to the house, and for some reason he never goes inside until the family's finally moved in. There, he finds an Amityville-house dollhouse replica, for some reason. There's never a mention of Amityville, of its haunted house or of the DeFeo murders. There's just this unexplained evil dollhouse, that he offers to his daughter. Obviously, trouble ensues: his wife starts fantasizing on his son, his stepson's mouse turns into a giant monster, his son's girlfriend burns alive, and his wife's ex-husband comes back from the grave as a zombie without makeup on the palms of his hands. Also, demons. Like most of the Amityville "sequels", it never feels like an Amityville film, in fact it feels like a weak episode of Freddy's Nightmares or something equivalent. Still, as terrible as it is, it's one of the "better" ones - at first it almost feels like a real movie. 2/10

First screenplay of the guy who ended up directing Swing Vote and Jobs!

 

[Chili]

Coincidentally, I've been meaning to watch this soon, myself. In fact, I've been meaning to get around to it for years, since it's a Best Picture winner that I haven't seen and I like William Wyler.

Speaking of war films at home, I've always wanted to see one that takes place partly in the London underground during the blitz. The tunnels were supposedly packed with people and I've always wondered what that was like, with people huddling in the dark and around lanterns while bombs and rockets landed above them. I feel like that would be an interesting setting, and different, since not many war films take place at home, as you said.

Seem to remember seeing one or two films like that years ago. British, made during the war years, with the blitz as the backdrop. Googled ``films about the blitz` the only familiar name was Tonight and Every Night, don`t have much memory of that film other then Rita Hayworth was in it.

 

[KallioWeHardlyKnewYe]

Same with the Coen brothers.

I couldn't pick one so I copped out!

 

[kihei]

Seem to remember seeing one or two films like that years ago. British, made during the war years, with the blitz as the backdrop. Googled ``films about the blitz` the only familiar name was Tonight and Every Night, don`t have much memory of that film other then Rita Hayworth was in it.

Unless my memory is playing tricks on me, I think Atonement has a key scene in the Underground during the Blitz. Hope I don't have it mixed up with another movie. It's a movie definitely worth seeing, though. 7A

Three other "war at home" movies that I can think of:

Hope and Glory (1987)--kids got to have a childhood, even if it takes place during the bombing of England. Very different vibe and a very good film 8A

Yanks (1979)--dimly remembered, a middling romance set in England during the war with Richard Gere and Lisa Eichhorn 4A

Their Finest (2016)--a light film about a woman who is hired as a scriptwriter for propaganda during World War II 6A

Hope and Glory is the gem, though.

 

[Pink Mist]

Fahrenheit 451 (2018) directed by Ramin Bahrani

In the near future where firemen start fires instead of putting them out and burn books to prevent people from thinking critically, a fireman (Michael B Jordan) begins to question his duty as a fireman. Not even normally great actors Michael B Jordan and Michael Shannon can rise above the mess of a script this movie has. The film inelegantly transports Ray Bradbury’s cold war era story to the anxieties of the Trump years replacing Bradbury’s paranoia of mass entertainment from televisions to concerns about social media, “cancel culture”, and overmedication. If you want a taste of how poor and on the nose this script is, at one point some of the firemen chant “Make America Burn Again”. The production level is good, and it is for the most part competently shot, but boy is the script ever bad and underwhelming. Worst part is, this version will almost certainly be shown to high school students today in English classes reading the novel instead of the much better Truffaut version.

 

[Spring in Fialta]

Michael B. Jordan has a generational nose for shit projects.

 

[NyQuil]

Unless my memory is playing tricks on me, I think Atonement has a key scene in the Underground during the Blitz. Hope I don't have it mixed up with another movie. It's a movie definitely worth seeing, though. 7A

Three other "war at home" movies that I can think of:

Hope and Glory (1987)--kids got to have a childhood, even if it takes place during the bombing of England. Very different vibe and a very good film 8A

Yanks (1979)--dimly remembered, a middling romance set in England during the war with Richard Gere and Lisa Eichhorn 4A

Their Finest (2016)--a light film about a woman who is hired as a scriptwriter for propaganda during World War II 6A

Hope and Glory is the gem, though.

I immediately thought of Hope and Glory.

Bonus points for a Canadian soldier as a love interest.

 

[Pink Mist]

Michael B. Jordan has a generational nose for shit projects.

He's a charismatic actor but yeah he really needs to hire an agent who can pick better scripts for him

 

[Pranzo Oltranzista]

Amityville Island (Polonia, 2020) - Now this must be some kind of breaking point. There's no way you can go lower than this, right? A lady goes mad and kills her family after buying an evil doll at a yardsale at the Amityville house (well, the house stays offscreen, so you have to imagine it's the one). Next thing you know, she's on death row, but the prison guards who organize chick fights between the condemned killers (they film the lame fights for big money, all shot in absurd close-up from 2 1/2 feet) sell her to an evil scientist doing genetic experiments in order to create a woman able to give birth to super soldiers. I shit you not. Oh, the scientist is on an "island" in the middle of the ocean which is clearly a lake, and some kind of zombies walk around, failed previous experiments wearing two wigs and not bothering to put on their cheap masks correctly. Not exactly "so bad it's good", because it's so, so bad, but I did laugh out loud at a few things (the commodore 64 shark that hunts in the lake is quite something). Acting might be even worse than in Robot Ninja, and that's hard to beat. 0.5/10

 

[kihei]

Death Will Come and Shall Have Your Eyes (2019) Directed by Jose Luis Torres Leiva 7B

Arresting title, no? Maria and Ana are long-time lovers and now Maria is dying, entering the last stages of a cancer that will not be delayed. Death Will Come and Shall Have Your Eyes is a quiet, sensitive look at their relationship in its last days. Facing the end in the rain forest of Chile, Ana tries to comfort Maria whose depression sometimes overpowers her. Gentle inclusions of family stories give part of the movie a slight Apichatpong Weerasethakul feel (Uncle Boonme Who Can Recall His Past Lives; Tropical Malady; Cemetery of Splendour), reality mixed with something slightly more mystical. It is a slow, quiet film but very nicely done.

I don't remember ever hearing about a respectful gay-themed movie until I saw a moving film about the AIDS crisis called Longtime Companion in 1989. Before there were very few films with gay characters to choose among--like none-- that weren't homophobic, often virulently so. Seeing Death Will Come and Shall Have Your Eyes reminded me how many fine LGBTQ+ films there have been since then, films that hold appeal to a broad audience (to name just some): Talk to Her; All about My Mother (a lot of Almodovar in general); Before Night Falls; Tomboy; Brokeback Mountain; A Single Man; Stranger by the Lake; A Fantastic Woman; Portrait of a Lady on Fire; and Moonlight. And in Canada, Heartbeats, I Killed My Mother; Tom at the Farm (and a lot of Dolan in general); C.R.A.Z.Y.; and Closet Monster. In my younger days, though liberal-minded, I would have shied away from gay-themed films, I'm sorry to say; I wasn't anti-gay, but I wasn't completely comfortable with gay-themed art either. To have such a hang up now would be to miss a lot of great movies. Social progress is possible, and I think film helps it along. It certainly did in my case.

subtitles

MUBI

 

[nameless1]

I just finished Un zoo la nuit by Jean-Claude Lauzon. Better than I remembered it and I already thought the world of it.

Man, I have failed to find it so far. Is it from your personal collection?

I also got curious about Leolo too after I read up on the director. Hopefully I can find them one day.

 

[Spring in Fialta]

Man, I have failed to find it so far. Is it from your personal collection?

I also got curious about Leolo too after I read up on the director. Hopefully I can find them one day.

I have a Macbook for work and it's available for rent in good quality on Apple TV. Never seen Leolo though. Let us know what you think you can watch either though.

 

[Pranzo Oltranzista]

Man, I have failed to find it so far. Is it from your personal collection?

I also got curious about Leolo too after I read up on the director. Hopefully I can find them one day.

I can find pretty much anything if you're really stuck.