DVD Talk Forum - Last DVD you watched?

Haven't posted in a while (three or so weeks). Watched LOTS of stuff:

GIGI (1949): good God, this French version (there's also a 20's version) is deadly-dull and boring. I'm not a fan of the Caron musical but at least it tries to entertain; this was torture to sit through.
Anthony Mann's MAN OF THE WEST (1958): Gary Cooper is miscast in the title role and there's not enough drama or action to sustain its padded running time. I expected more given Mann's reputation and cast (Lee J. Cobb, Julie London, Jack Lord, etc.).
Robert Bresson's MOUCHETTE (1967): second viewing with Tony Rayns' commentary improves an already fascinating flick. But that comment from Rayns about Bresson being a 'gay icon' sure comes out of nowhere!
PERFORMANCE (1970): Mick Jagger's best performance on film (including his concerts) is here during the 'Memo from Turner' show-stopping number in the middle of an otherwise-psychodelic but hypnotic gangster-meets-rock-star fable. Nic Roeg's co-direction and photography here lay the ground for a great directorial career ahead.
Nicolas Roeg's DON'T LOOK NOW (1973): weakest of the Roeg movies I've seen (basically all his work up until "Bad Timing" in '80) even though it has an excellent opening scene that promises so much more than its (long-delayed) payoff delivers. Lovely on-location Venice photography though, and even on a studio 'psychic thriller' Roeg is already showing his knack at erotic cross-editing.
DARKTOWN STRUTTERS (1975): trashy blaxploitation flick that's equal parts "The Apple" and a really unfunny (and politically incorrect) live-action Roadrunner cartoon.
Pier Paolo Pasolini's SALO, OR THE 120 DAYS OF SODOM (1975): no surprises for me (knew ahead of time what I was in for) but still a powerful experience to see this (in a theater full of equally-prepared-but-still-stunned patrons) and realize the depths of anger and artistic skill Pasolini put into what would become his signature film. I will have to get this on Criterion DVD because I want to see those documentaries/booklet.
John Landis' AN AMERICAN WEREWOLF IN LONDON (1981): did Jenny Agutter love to take her clothes off on-screen or did directors hire her because they assumed she didn't mind doing it? Regardless, saw the movie from Alex's POV (instead of David's or rotting Jack's) and had a blast. They don't make them like this anymore.
Brian DePalma's THE UNTOUCHABLES (1987): Morricone's score is one of the coolest ever recorded; without the 'March of the Righteous' mix the shootout in the court house would be lame as heck.
Andrew Davis' ABOVE THE LAW (1988): Davis does for Segal (who can't act but can lay a mean smackdown on unsuspecting extras) what he did for Chuck Norris in "Code of Silence." Man, 80's movies haven't aged well at all (especially the crappy film stock during night shoots) and it really stands out in high-def. :(
Lawrence Kasdan's WYATT EARP (1994): ponderous Costner-Kasdan bioepic whose every second weighs a ton, but is actually fun if you want your Western myths de-mystified rather than exploited (ala "Tombstone"). A cast of bad-ass men (Madsen, Hackman, Quaid as Doc Holliday, etc.) compensate somewhat for the crappy female roles (good actresses are wasted) and Kevin's typical ego trip of grandiosity.
Wong Kar-Wai's CHUNGKING EXPRESS (1994): seen it four times already, one of my new favorite movies ever. Forget 'California Dreaming' (yes, I know you can't after seeing this), Faye Wong's voice in the soundtrack covering the Cramberries' 'Dreams' is the song that is stuck on permanent rotation in my head (and MP3 player). Second story is better than the first, but the magic of Kar-Wai's skill is that it retroactively makes the first story seem better. A modern-day classic.
MST3K #616: RACKET GIRLS (1994/1951): don't let your daughters grow up to become female wrestlers or they might get made fun of by two robots and one guy in a jump suit. Dreadful movie (Ed Wood-ian almost) but the short accompanying is even better; the 'disappearing' elastic band had me laughing out loud.
Brian Synger's THE USUAL SUSPECTS (1995): John Ottman doesn't get the credit he deserves for scoring and editing this flick to within an inch of perfection (couple of continuity errors notwithstanding). No matter how many times I've seen it, when Chazz drops his cup (and Dan Hedaya disappears! :p) it's just a mesmerizing feeling of cinematic bliss.
MST3K #1009: HAMLET (1999/1961): as usual, I fell asleep midway through this boring German B&W made-for-TV dubbed version of The Bard's best-known tale. And yet I always rewatch the parts that I missed afterwards and still think this is an underrated and fun "MST3K" experiment that gets a raw deal from fans. Hearing the voices of John Banner and Ricardo Montalban in the U.S. dub (along with M&TB's riffs) is always surreal.
Kevin Costner's OPEN RANGE (2003): a more humble and older Costner shares the screen with Robert Duvall and both end up bringing the best out of each other and Annette Bening. Decent story and acting (though Michael Gambon overacts a storm as the baddie) leading up to one of the greatest Western shootouts ever filmed. Will your subwoofer and tweeters survive the wrath of Kevin's shotgun?
QUEEN ROCK MONTREAL & LIVE AID (2007): not a Queen fan but this is a great time capsule concert of the group at its absolute prime. Mercury is such a showman you can't take your eyes off of him as he prowls the stage like a lynx while having a stadium full of fans eating out of his palm.
SUMMER HOURS (2008): Ozu-esque French drama that yields great drama and pathos out of side-stepping the cliches of the story it tells (grown kids dealing with the inheritance of their mother). A little on the tedious side but the final two scenes (one inside a museum) tie the story's threads up neatly; it not only rings true but feels authentic.