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The Giant Gila Monster (1959)

I'm a big fan of eco horror and monster movies but this one falls a little flat. A giant lumbering Gila Monster slooooowly plods through the countryside and somehow manages to eat a couple of dozen people. The cast isn't bad, the script is moderately better than a made for Syfy movie but you don't really get to see the Gila Monster interact with anyone - it's just some footage of a Gila and shots of people reacting to it. At least movies like THEM! or The Deadly Mantis try to use practical effects to put the monster in the same scene as its victims.

The train crash is hilariously bad.

I thought the scenes where the young lead crooned to his little sister and then later to the crowd was cringe inspiring.



Regarding Monsters Ball, Sonny wasn’t Hank’s son, he was his brother
I thought it was his son too. Check out the Wikipedia article.




Immaculate (2024)

Ok, so I tried to avoid all spoilers for this movie before watching it, and so I have no idea whether or not it's something that the filmmakers intended, but I can see how it can be very much interpreted as an allegory for a social issue that I won't mention specifically - partly because I don't want to inadvertently spoil it for others, and partly because I prefer to see what others get out of the movie.

In any case, there's definitely a very real sentiment throughout the movie that most would consider a bit on the anti-ecclesiastical side - and honestly I'm a bit surprised movies like this don't become the target of boycotts even while stuff like The Last Temptation of Christ did.

Given that it works effectively both in a literal reading of the film as just a horror pic, but also as an elegant allegory for something else, I think it's definitely a movie worth watching. And yes, the less you know about it going into the theater, the more you're likely to appreciate the twists and turns the movie has to offer.

I'm just gonna leave it at that.



Are You There God? It's Me, Margaret. (2023)

Cute movie, very well done and effective. Well, it is a bit scheming too, adding on the second plan some offence towards the religions which almost spoiled the film. Anyway, the main character (Margaret) is quite enjoyable to watch.
+
72/100
I really liked this picture, although I was hesitant about watching it. Some commentary:

This is a cute, witty, delightful and touching picture that will likely make a star out of the actress who played the title character Margaret, 15-year-old Abby Ryder Forston. Margaret is a young lass who, along with a few of her school friends, is facing the start of the transition to puberty, with all of its angst, excitement, and physical changes that occur with these 11 or 12 year-old girls.

Margaret is crushed when her family decides to move from Manhattan to a New Jersey suburb because she’ll lose all of her friends at that critical age. But at the new suburban high school she soon falls in with a trio of female classmates, all of whom are full of wonderment and anxiety about the physical transformation that they are about to undergo, along with their attraction to, but shyness around boys.

At one point Margaret criticizes Laura (Isol Young) --an unusually taller and physically more developed classmate-- for reportedly letting boys “feel her up”. This shames the girl, who later tells Margaret that Margaret couldn’t possibly understand how awkward and embarrassing it is for Laura to be shunned because she’s so different physically than most of the other girls. Margaret later realizes how wrong she was to criticize Laura, and that she can relate to Laura’s isolation. Margaret searches her out and pulls her into Margaret’s group.

The important subtext is Margaret’s tendency to pray to God for relief and guidance despite her confusion about what God is, all the while trying to decide to which if any religion she wants to adhere. Her father is Jewish and her mother is lightly Christian, but from strong and determined Christian parents. Margaret tries them all, even though she’s seriously pressed by her father’s (Benny Safdie) mother (Kathy Bates) to become Jewish.

Her mother (Rachel McAdams) does not encourage Margaret towards any religion at all, and she and her husband are still miffed that her mother’s folks more or less cut off relations with her because she married a Jewish man. That circumstance later comes to a head when they all squabble over which religion Margaret should follow. In the end, Margaret goes her own way.

The standout performance of course is Abby Ryder Forston’s portrayal of Margaret. Her friend Nancy (Elle Graham) is likewise enjoyable. Rachel McAdams as the mother is almost too strong a presence, both in beauty and allure. One not quite so beautiful would have been a little more fitting. Benny Safdie is almost a tack-on as the father. Possibly selected because they needed someone who looks stereotypically Jewish (Salfdie is Jewish). There isn’t a lot of chemistry between McAdams and Safdie, but their relationship is only an incidental part of the story. Kathy Bates turns in another perfect performance as Margaret’s attractive and fun grandmother.

It’s refreshing to see a successful and well donepicture made like they used to be. Despite the subject matter, they avoid low humor along with sexual displays and foul language. The screenplay by director/writer Kelly Craigperfectly relates all the travails, excitement and wonderment typically experienced by 11 or 12 year-old girls as they start the journey into sexual maturity.

Doc’s rating: 9/10



I forgot the opening line.
Regarding Monsters Ball, Sonny wasn’t Hank’s son, he was his brother
Sonny was Hank's son. That's why Hank says to Leticia "I just lost my son", and why Hank was so strict with Sonny. They were father and son.

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Road House (2024)

We all knew Amazon's Road House remake wasn't exactly likely to be an Oscar contender, so, like, no one should be surprised that it delivers exactly what it promised?

Yes, the movie is definitely as dumb and gratuitously violent as you'd expect it to be; it is, in fact, so inherently stupid and grotesquely bloodthirsty that I feel a solid case could be made that it would make a Neanderthal blush.

Let's look at the bright side: the sunny locations (the Dominican Republic doubling for the Florida keys) are very pretty, and Daniela Melchior as the required love interest is, well, easy on the eyes.

Other than that, there's nothing in the movie that merits a long write-up or, for that matter, a whole lot of thought.

If there was some kind of cinematic award for movies that are meant to be watched with your brain turned off, then this new Road House would likely be as utterly undefeatable as its protagonist.
FilmBuff, is this based on the flick? If so, no Sam Elliot I'm out!




Eternally Yours (1939)
Eternally Yours starts out promisingly with Eve Arden and Billie Burke kibitzing at a ladies brunch. Why is it that Eve Arden can say anything and it sounds like an amusing quip? Its some kind of superpower. This is a romantic comedy starring Loretta Young and David Niven, two of the most charming leads in the movies at that time. The premise was kind of fun. But the script stinks. Definitely a waste of an excellent cast.



On the Monsters Ball tack, Halle Berry also does a good turn in "Things we lost in the fire" (2007). Benicio Del Toro acts his ass off but she is a good foist to him.



FilmBuff, is this based on the flick?
Yes.



I forgot the opening line.

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The Spectacular Now - (2013)

I know I say this too often perhaps, but I really didn't expect The Spectacular Now to be anything other than fluff - and I was proven wrong. Instead it takes sure aim at a personality type, problem and experience troubling in a coming of age sense these days. Sutter Keely (Miles Teller) is a confidant kid nearing the end of his high school days who seems to have it made - but his confidence and personable nature put an artificially glossy sheen on a life heading in a bad direction. When he meets Aimee Finecky (Shailene Woodley) he's recently broken up with his beautiful girlfriend, and considers her only a friend - but their relationship will be the catalyst for changes and discoveries that might see him spiral into full-on self-destruction. Great supporting turns from Jennifer Jason Leigh, Kyle Chandler and Bob Odenkirk turned this from a casual watch into a full-on concentrating on the film watch - quite unexpectedly.

7.5/10


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Dawn of the Dead - (2004)

Obviously, if I make my review of Dawn of the Dead a full-on comparison between this and George A. Romero's 1978 film I won't be speaking too well about what I saw last night. But by itself, Zack Snyder's Dawn of the Dead is a perfectly serviceable zombie film with great zombies (but not enough gory horror - which makes it feel a little limp in comparison with the genre as a whole.) I can't deny it the fact that it sets up and executes some very exciting and terribly tense and nerve-wrecking scenes. I think we needed more of the likes of Ty Burrell, who is loads of fun, and less plain vanilla boring Jake Weber. Props to whomever thought of the baby zombie scenario.

6/10


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Cowboys & Aliens - (2011)

I thought this might be fun when it came out - I suggested to my friends that we all go see it, and I was wrong. I tell you, Cowboys & Aliens hits that deadly middle ground when it comes to films like this. It's not so bad that it's a goofy good time, and it's not good enough to be enjoyable. It starts out in pure western mode and feels like it might be a pretty good movie (a shame Paul Dano disappears early) - but when the alien aspect is fully introduced, and all of the various characters expand into having plot arcs, it's a trudge. The film loses it's way I feel because we just stay so distant from everyone - there's no real people here, just cardboard cut out western tropes. I feel near-nothing for any of the characters - all of the attention has been paid to special effects and visuals, and the film tries to do way too much. The film's first 15 minutes or so tell a different story - but once the action starts, this becomes a bit of a visually attractive bore - which is a shame.

5/10


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S1M0NE - (2002)

Either Al Pacino will feature in anything as long as he's paid enough, or else he's a terrible judge of scripts. Anyway, I don't want to pile on here. S1M0NE is an interesting concept which this film turns into a limp, flaccid comedy. Pacino gives an unusually awful performance. The film picks up a little near the end, but not nearly enough to make up for what was a painful watch.

4/10


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Vigil - (1984)

New Zealand arthouse mood film about a young girl coming of age on an isolated farm when her father dies and is replaced by an unwanted interloper. Dark and unusual movie. Full review here, on my watchlist thread.

8/10



THE AFTER
(2023, Harriman)



"I just miss the life... that he's never gonna have."

The After follows Dayo (David Oyelowo), an executive-turned-Uber-driver. The above quote is part of an unrelated conversation he overhears between two of his passengers, but it's a trigger for him. You see, Dayo is still trying to cope with life "after" tragedy has struck his family.

Grade:



Full review on my Movie Loot
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Oppenheimer (2023)




I feel like I've gone to the dark side with my recent dislike for many large scale Hollywood movies. To me this was a stereotypical best picture winner and that's not a complement. I'd much rather watch an independent, foreign language, or classic film any day of the week over an elitist circle jerk like this. Spare me anymore biographies of uninteresting "complicated" people. It wasn't a terrible watch, but to me it was because of the impact of the story, meaning the endgame resulted in horrible destruction and suffering. The film gets no credit for that. It's made well with fine performances I guess, but nothing stood out and there was nothing worth remembering.



Spare me anymore biographies of uninteresting "complicated" people. It wasn't a terrible watch, but to me it was because of the impact of the story, meaning the endgame resulted in horrible destruction and suffering. The film gets no credit for that.
Well, overall my rating of the film is about the same as yours; I definitely don't think it hits the bullseye.

However, I think you're wrong on a couple of points. If you're saying that Robert Oppenheimer was "uninteresting", I would definitely say you're wrong. He was definitely an interesting person - reading American Prometheus, the book the film is based on, gives you a much better understanding of the fascinating nature of the man himself.
As for the "horrible destruction and suffering"? That happens with any major war. What made WW2 different is that scientists around the world understood that an atomic bomb was almost definitely feasible; it was just a question of who'd develop it first. And for the most of the war, it was really impossible to say with any certainty that Nazi Germany wouldn't have the bomb first.
And if Nazi Germany had gotten the atomic bomb first, then things would have been much, much worse than what we got.
So imho I think the movie misses on several counts, but I don't agree that it was because Oppenheimer himself wasn't a fascinating mess of contradictions (though not necessarily all of them make for a compelling movie) and definitely not because any such bomb would have been likely used by whomever was the first country to develop one.



However, I think you're wrong on a couple of points. If you're saying that Robert Oppenheimer was "uninteresting", I would definitely say you're wrong. He was definitely an interesting person - reading American Prometheus, the book the film is based on, gives you a much better understanding of the fascinating nature of the man himself.
When I say he's not interesting, it's not that I think he is completely uninteresting, it's just that I think being interesting is very normal for human beings. I don't find him unique in that regard, or to be 1 in a million so to speak. What makes him unique in my eyes is his prominence, which is of course is the reason this character headlines a film like this.

As for the "horrible destruction and suffering"? That happens with any major war. What made WW2 different is that scientists around the world understood that an atomic bomb was almost definitely feasible; it was just a question of who'd develop it first. And for the most of the war, it was really impossible to say with any certainty that Nazi Germany wouldn't have the bomb first.
And if Nazi Germany had gotten the atomic bomb first, then things would have been much, much worse than what we got.
Yes of course. All I'm saying is that any tension or unease that I felt was baked in because I already knew what was going to happen. If a film tells a behind the scenes or largely unknown story, and it's done in a powerful manner, I'm more likely to give credit for that. Any feelings that I had for this movie were already a given before it even started.



What makes him unique in my eyes is his prominence
And his prominence was a direct result of his being a unique genius among atomic scientists, as well as his public persona.

Which imho automatically makes him an interesting person.



And his prominence was a direct result of his being a unique genius among atomic scientists, as well as his public persona.

Which imho automatically makes him an interesting person.
We differ there but that's alright.



The Bib-iest of Nickels
Leprechaun Origins - 2/10
Coincidentally, I just watched the first Leprechaun today. I have never ventured beyond the first film, but I was hoping to go through and watch all of them in something of a "segmented binge".

I still don't think Leprechaun is a great movie or anything, but I liked it a lot more than what I remembered. It really does have that Full Moon / Empire style charm to it, and leans heavily into the cartoon sensibilities that the slasher genre sometimes has (i.e. Child's Play or Elm Street).