Movie Tab II

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Bright light. Bright light. Uh oh.

Protocol (Herbert Ross, 1984)

Steve Niles’ Remains (Colin Theys, 2011)

The Desperate Trail (P.J. Pesce, 1995)

A Perfect Getaway (David Twohy, 2009)


While vacationing in Hawaii, two couples, Milla Jovovich (left) and Steve Zahn (right) and Kiele Sanchez and Timothy Olyphant (middle pair) learn that they're in the area with murdering psychopaths.
When the Boys Meet the Girls (Alvin Ganzer, 1965)

Blue Jasmine (Woody Allen, 2013)

Spores (Maksim Dyachuk, 2011)

13 Assassins (Takashi Miike, 2010)
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Following an enormous battle, samurai Kôji Yakusho duels to the death with villainous lord Arata Furuta.
The Sum of All Fears (Phil Alden Robinson, 2002)

This Property Is Condemned (Sydney Pollack, 1966)

Inside Daisy Clover (Robert Mulligan, 1965)

Barefoot in the Park (Gene Saks, 1967)


After a too-brief honeymoon, newlyweds Jane Fonda and Robert Redford argue over their next liaison - she wants it now, after his day at the law firm, but he wants to study up on his first court case scheduled for tomorrow.
Around a Small Mountain (Jacques Rivette, 2009)

Mrs. Brown, You've Got a Lovely Daughter (Saul Swimmer, 1968)

Get Yourself a College Girl (Sidney Miller, 1964)

Aliens (James Cameron, 1986)
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Space marine Vasquez (Jennette Goldstein) fires away at an army of marauding aliens.
The Chase (Arthur Penn, 1966)

Sunflower (Vittorio De Sica, 1970)

Ski Party (Alan Rafkin, 1965)
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Coffy (Jack Hill, 1973)


Coffy wants revenge on the pushers who killed her sister.
__________________
It's what you learn after you know it all that counts. - John Wooden
My IMDb page



I think that the majority of Quentin Tarantino fans think that Inglourious Basterds is better, including me. I think the people that dislike that film, and why it didn't do as well critically were slightly confused with its overall tone and comic style story set during the war, I think now people are coming to realise it as a bit of a masterpiece.
Trust me I am not.

Turning into HoneyKid here.



You mean a 12 year old who'd been a genius 8 year old, but now was just another 12 year old.
The boyish enthusiasm with which Tarantino approaches his films is one of the biggest reasons why he's one of my favorite directors.
I agree with CS about Tarantino in general, but I agree with Thursday about Django Unchained specifically. I was shocked that it was met with as much positivity (more, in some senses) than Basterds. I think it's a vastly inferior film (but then, I'm head-over-heels for Basterds), and a bit of a letdown given the kind of quality I've come to expect from the man.
I think that the majority of Quentin Tarantino fans think that Inglourious Basterds is better, including me. I think the people that dislike that film, and why it didn't do as well critically were slightly confused with its overall tone and comic style story set during the war, I think now people are coming to realise it as a bit of a masterpiece.
Trust me I am not.

Turning into HoneyKid here.
Let me see if i can do my best to act as a bridge of understanding here. It can be difficult to discuss Tarantino bc his fanbase is very loyal. So that this parlay can be constructive and enjoyable for everyone, the challenge is to be very clear as well as sincere, where i'm coming from.

Based on discussions and information made available, seems pretty well accepted that his third feature, Jackie Brown, was a turning point in the director's career. I am grossly oversimplifying here for the sake of understanding, the main point is Jackie Brown had a different kind of feel than Reservoir Dogs and Pulp Fiction. This threw audiences off a bit. It's a 'branding' concept. Tarantino could have followed down his initial Jackie Brown career path, even though that film was not as celebrated as his previous two. With Jackie Brown he showed a willingness to try and tell different kinds of stories at that point in time, stylistically.

Tarantino's response thereafter... was to basically change gears and go all-in on what we think of now as 'the Tarantino style.' If you love his brand, you love his movies. And you will be loyal and protect them to the end. It's clearly been a good business decision bc the man is clearly a highly successful director. His fans love to see the brand and so do almost all critics.

His movies DO have draw & a sort of magnetic power. At points in Pulp Fiction, Reservoir Dogs, Kill Bill 2, Inglourious Basterds, & even Django Unchained, i found myself trying to like the movies. The movies just didn't end up winning me like some others have. The discussion becomes complex bc i've got nothing against the guy, truly. He may have won me over by now had he continued down the Jackie Brown path. There IS something there to the choice that was made post-Jackie Brown. Can you call Tarantino a chameleon like you would Kubrick?

It is risky to go away from a bankable brand, i think that's what this is really about. And what makes it a complex conversation



Sorry if I'm rude but I'm right
奇妙なサーカス [Strange Circus] (2005) -





Every movie with a visual quotation from The Terrorizers has to be a good movie.

It's pretty f*cked up, too, since it's Sono.
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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.



Trash Humpers (2009) - Harmony Korine



5 Broken Cameras (2012) - Emad Burnat/Guy Davidi



Ivan the Terrible, Part II (1958) - Sergei M Eisenstein



Brand Upon the Brain (2006) - Guy Maddin

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Phantasm (1979) - Don Coscarelli

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Anvil! The Story of Anvil (2009) - Sacha Gervasi



Bringing Up Baby (1938) - Howard Hawks

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I'm Here (2010) - Spike Jonze

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I'm not old, you're just 12.
Into the Woods - Really fun musical starring Meryl Streep, Emily Blunt, Anna Kendrick, and Chris Pine as fairy tale characters who's lives collide in the titular woods. Johnny Depp has a fun, creepy cameo as a pedophile Big Bad Wolf (in a Disney movie? Wow). Lots of great songs from Stephen Sondheim too.
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"You, me, everyone...we are all made of star stuff." - Neil Degrasse Tyson

https://shawnsmovienight.blogspot.com/



Whiplash (Chazelle, 2014)


Whiplash seems to be making a major splash among audiences, and pulling it self forward into a likely best picture winner. Considering director's Damien Chazelles greatest work before this is writing the screenplay for The Last Exorcism Part II, it's rather impressive how well this movie is doing. In all technical aspects this film is great. Credited for film editing, Tom Cross did phenomenal in this department. Cinematography by Sharon Meir, flashy when it needs to be (musical scenes) while elegant during the simpler scenes (Dates, dinners). In all the production departments this film is exactly where it needs to be. My issue really lies with the characters of the movie. While this is strongly against the narrative, I find both the student (Andrew) and professor (Fletcher) predictable and one dimensional. While Chazelle tries to portray them as insane and impulsive, I find everything they do over the course of the film match what I'd expect from the character from the first impression. And I do understand what Chazzelle shows about Andrew and Fletcher in the intense finale scene, I just felt both their motives were always obvious. And this is to no fault of Miles Teller or J.K. Simmons who acted their hearts out. This film makes drumming more intense than I ever imagined, it also has some strong dramatic scenes. But, I see a strong craving for depth in this film, I just don't see the depth.

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Big Night (Scott & Tucci, 1996)

This film is beautiful when it's showing the art of Italian cuisine. The film is heart warming when it shows the struggle two brothers face trying to run a genuine restaurant in America. It's a pleasent watch when it brings a feel-good dining atmosphere. But when it tries to go into tragedy, Big Night becomes a chore to watch.
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Yeah, there's no body mutilation in it



I Wanna Be Loved By You
Blue Velvet (1986), directed by David Lynch,

Lost Highway (1997), directed by David Lynch,
City of God (2002), directed by Fernando Meirelles and Kátia Lund,
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Ghost (1990), directed by Jerry Zucker,

Aliens (1986), directed by James Cameron,
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The Elephant Man (1980), directed by David Lynch,
Gone Girl (2014), directed by David Fincher,

Trainspotting (1996), directed by Danny Boyle,

La grande bellezza (2013), directed by Paolo Sorrentino,

Volver (2006), directed by Pedro Almodóvar,

Erin Brockovich (2000), directed by Steven Soderbergh,
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Meet the Robinsons (2007), directed by Stephen J. Anderson,

Inside Llewyn Davis (2013), directed by Joel Coen and Ethan Coen,

The Fighter (2010), directed by David O. Russell,

The Girl with the Dragon Tattoo (2011), directed by David Fincher,
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Monty Python and the Holy Grail (1975), directed by Terry Gilliam and Terry Jones,
__________________
"After all... tomorrow is another day."



Bright light. Bright light. Uh oh.

The Disappearance of Eleanor Rigby: Them (Ned Benson, 2014)

Old Gringo (Luis Puenzo, 1989)

Gunman’s Walk (Phil Karlson, 1958)
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A Raisin in the Sun (Daniel Petrie, 1961)


The family inspects their new backyard: Mama (Claudia McNeil) sitting in the middle, surrounded by [from left to right] grandson Stephen Perry, daughter-in-law Ruby Dee, daughter Diana Sands and son Sidney Poitier.
Hot Rhythm (William Beaudine, 1944)

Leave It to the Irish (William Beaudine, 1944)

Shadow of Suspicion (William Beaudine, 1944)

The Vanishing Virginian (Frank Borzage, 1942)
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A pre-WWI Virginia family has their ups and downs – father Frank Morgan, older daughter Kathryn Grayson, her beau Johnny Mitchell, younger daughter Natalie Thompson, her suitor Mark Daniels and mother Spring Byington.
What a Man! (William Beaudine, 1944)

The Face of Marble (William Beaudine, 1946)

Mr. Hex (William Beaudine, 1946)

In the Mouth of Madness (John Carpenter, 1994)


A weird Byzantine church in the middle of nowhere holds a key to the mystery insurance investigator Sam Neill and book editor Julie Carmen are seeking to unravel.
47 Ronin (Carl Rinsch, 2013)
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Bluebeard (Jean Painlevé, 1936)

The Fourth Dimension (Jean Painlevé, 1937)

Voyage to the Sky (Jean Painlevé, 1937)
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Our trip past Mars and the asteroid belt takes us to the moons and rings of Saturn.
Similarities Between Length and Speed (Jean Painlevé, 1937)

Stickelback Eggs (Jean Painlevé, 1929)
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Experimental Treatment of a Hemorrhage in a Dog (Jean Painlevé, 1930)

The Struggle for Survival (Jean Painlevé, 1937)
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Organisms compete for living space and resources in an attempt to find equilibrium.
Siege of the Saxons (Nathan Juran, 1963)
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Blue Streak (Les Mayfield, 1999)

Winter’s Tale (Akiva Goldsman, 2014)

Navajo Joe (Sergio Corbucci, 1966)
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Navajo Joe (Burt Reynolds) carves his mark in a baddie's forehead.



Vavien (2009) - Durul Taylan/Yagmur Taylan

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A Man Escaped (1956) - Robert Bresson




The Gunfighter (1950) - Henry King

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Rocky Balboa (2006) - Sylvester Stallone

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Cliffhanger (1993) - Renny Harlin

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Ratatouille (2007) - Brad Bird/Jan Pinkava

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Sentimental Romance (1930) - Grigori Aleksandrov/Sergei M Eisenstein

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Do the Right Thing (1989) - Spike Lee

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Sorry if I'm rude but I'm right

三月のライオン [March Comes In Like a Lion]
(1992) -
(Truly one of the most underseen and unknown masterpieces ever! I just don't know what to say, I'm speechless. Just watch it! And if you know the name of this Andean Flute Theme, let me know!)

俺にさわると危ないぜ [Black Tight Killers] (1966) -
(one of the most entertaining films I've seen lately! Kitschy eye-candy extravaganza for quality entertainment lovers!)

につつまれて [Embracing] (1992) -

陽は傾ぶき [Sun on the Horizon] (1996) -

天、見たけ [See Heaven] (1995) -


Naomi Kawase figures out to be a very interesting director, indeed. I think I'll go chronological with her works. Her debut, Embracing, was a great piece of filmmaking, so was ten minute long experimental See Heaven, but it's Sun on the Horizon that touched me the most. With her hand-held camera blurry zooms she creates autobiographical documentary essay films and meditates on life.

I'm happy like a little kid now. "I don't watch bad movies".



Good whiskey make jackrabbit slap de bear.
A Hard Day's Night (1964)

Lord Of The Rings: The Fellowship Of The Ring (2001)

Lord Of The Rings: The Two Towers (2002)

Mission To Mars (2000)

Thir13en Ghosts (2001)

Sneakers (1992)

Last Vegas (2013)

Extreme Movie (2008)
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"George, this is a little too much for me. Escaped convicts, fugitive sex... I've got a cockfight to focus on."



Bright light. Bright light. Uh oh.

That Awkward Moment (Tom Gormican, 2014)

Finding Vivian Maier (John Maloof & Charlie Siskel, 2014)

Wild (Jean-Marc Vallée, 2014)

A Most Violent Year (J. C. Chandor, 2014)


In 1981, NYC trucking executive Oscar Isaac and his bookkeeper wife Jessica Chastain try to withstand an onslaught on their business from crooks and cops alike.
Rio 2 (Carlos Sadanha, 2014)

Forget Me Not (David Sieveking, 2013)

Keane (Lodge Kerrigan, 2004)
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The Tale of The Princess Kaguya (Isao Takahata, 2013)
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The strange, windswept princess is drawn impressionistically in the form of Japanese watercolors.
The Legend of Hercules (Renny Harlin, 2014)

Must Love Dogs (Gary David Goldberg, 2006)

Phantoms, Inc. (Harold Young, 1945)
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King Kong (Peter Jackson, 2005)


Kong and Ann Darrow (Naomi Watts) share a quiet romantic moment early in the morning on the Empire State Building.
Escape Plan (Mikael Hĺfström, 2013)

Soft in the Head (Nathan Silver, 2013)
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Divergent (Neil Burger, 2014)

Gravity (Alfonso Cuarón, 2013)
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Medical engineer Sandra Bullock spins out of control when some space debris hits the space shuttle during a Hubble Telescope repair mission.
16 Blocks (Richard Donner, 2006)

Blended (Frank Coraci, 2014)
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Maximum Overdrive (Stephen King, 1986)

Logan’s Run (Michael Anderson, 1976)


Carousel, the supposed rebirth ceremony, is really the end of every 30-year-old in the underground metropolis of the future.



2022 Mofo Fantasy Football Champ
Hangover 3
REWATCH
Alyce Kills

Moonstruck

Birdman

Nosferatu the Vampyr
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Guardians of the Galaxy
REWATCH
Dumbo
REWATCH
A Tale of Two Sisters

I Heart Huckabees
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The Croods
REWATCH
Selma



I have noticed a pattern in mark's ratings. Most of the times it is the extremely entertaining and fun movies that gets the high rating. Looks like he really likes to have fun more than anything else, which is completely fine.

Point Break I didn't like, but I understand that people love it for the fun of it, because it is not a well written or acted movie. Love the foot chase scene though. King Kong I personally love as well, but that is also mainly high entertainment value. Gravity's weakest thing is its script and overall story, while the visuals and sound design are both stunning! So what's up mark? Why the lesser ratings to impressive and well made stories with originality?