Rate The Last Movie You Saw

[Wooley]

I mentioned that one as a peripheral example. It definitely is at the outskirts of stretching the term. The relevant aspects being the grisliness of the murders (although largely inexplicit on screen) and the use of the camera to simulate "stalking". But these are not hard and fast rules, nor should they be.






Heh. Well, along the noirish themes of fate, temptation and existential dread, and the specific style of shadow composition in the genre, I still find pre-American Hitchcock and Lang well within the boundaries.

I thought you were referencing The Leopard Man because I had put it on my list of top Slashers in that thread, my bad.

[ScarletLion]

'The Turin Horse' (2011)

Directed by Béla Tarr & Ágnes Hranitzky

https://s8.gifyu.com/images/turin-horse-walk-away-girl.gif

I just got lost in this film. In a good way. Utterly transfixed by the 2 family members struggling to survive in a shack while a gale blows outside. It's mesmerizingly beautiful and minimal, just like other Tarr films I've seen. It's a very pessimistic film - most things in it refuse to work or live at some point (probably not a coincidence seeing as Tarr said this would be his final film). And the opening words state that Nietzsche's mind effectively refused to work, after seeing a horse being flogged in the streets of Turin.

Some may wonder why anyone would sit through nearly 3 hours of slow zooms, pans and leaves blowing, and barely a plot - but that is Tarr's philosophical nature. The answer is because it's pure cinema. Pure austere, unforgiving visual poetry. Like Tarkovsky and others that came before it, it is the art of film-making shoved in our faces.

4.5

[LChimp]

https://i0.wp.com/noescinetodoloquereluce.com/wp-content/uploads/2020/06/VOCES_SUELO_AAFF_NOFECHA_WEB_BIG-scaled.jpg?resize=800%2C1140&ssl=1

Good movie, one the best horror movies from NetFlix.

[gomorra82]

Le Bal (1983) Ettore Scola.
Musical. But no words spoken. The whole film is set in a dance hall, an covers different periods of music and history in France.
6

[xSookieStackhouse]

Watched Duma today. A fairly decent and enjoyable movie, with a gorgeous cat.
https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcT37lc15vdL2-tSD7csaL47qXt-sN0n7boFfA&usqp=CAU

awhhhhh his/shes sooo cute :love:

[Cobra]

Gridlock'd (1997):
A film about the adventure of 2 buddies/musicians trying to get to a detox center and the weird things they find along the way, everything from gangsters to cops. I thought this was an entertaining and funny movie, I think Tupac would've had a longer career, especially after films like this and Gang Related, he would've switched more to acting though. Great soundtrack as well, if people haven't seen the movie, then they've at least heard the soundtrack.
https://www.youtube.com/watch?v=6_j5raqC20g
8.5/10

[Marco]

Target Number One (2020)
https://upload.wikimedia.org/wikipedia/en/thumb/c/ce/Most_Wanted_%282020_film%29_poster.jpg/220px-Most_Wanted_%282020_film%29_poster.jpg
Dramatization of a true story about a heroin addict who mistakenly gets set up by Canadian SIS Authorities as a drugs kingpin so they can get major arrests under pressure from their bosses.

Atmoshpheric with a neat soundtrack. Josh Hartnett does well as the investigative journalist that helps uncover the story that the SIS authorities would rather stay buried.

Strong 3

[AgrippinaX]

I guess I'm more comfortable with just believing if a film tells me that two people complete each other, unless I am distracted by details in the film that seem to indicate otherwise.

Fair point. I need to let go of my cynicism a bit. Guilty as charged.

I think that even the film depictions of the story do a pretty good job. A great example is just the look that Darcy gives Lizzie when he realizes she hiked a huge distance by foot in a storm to come and see her sick sister--it's this mix of admiration, curiosity, and a pinch of "is this chick crazy?" and it makes complete sense as a moment that would start feelings of love.

I assume you mean the Colin Firth version? There’ve been a few, that’s all. I do like them for a rainy day, though for some utterly absurd reason, I found myself preferring the Darcy in the Keira Knightley version.

I'll admit that the "stalker as protagonist" thing has kept me away.

I thought that might have been the case. I did mostly like it as a product. It’s original, if nothing else, and there’s something utterly mad about the fact he genuinely sees ‘love’ as his motivation. But I do get how that might turn someone off. I refused to watch Breaking Bad for years because I really didn’t want to get invested in a plot that had anything to do with cancer. I guess it’s a kind of deep-rooted phobia - though I’m by no means saying every aversion stems from something like that. Anyway, You is just unusual, because typically a film shows us women obsessed with love and men who either have lust after women, or don’t care. But this thing is about a man who cares about nothing in his life except having a girlfriend/relationship/love, it just seemed utterly crazy - which says something about how attitudes still haven’t quite changed.

[Stirchley]

I assume you mean the Colin Firth version? There’ve been a few, that’s all. I do like them for a rainy day, though for some utterly absurd reason, I found myself preferring the Darcy in the Keira Knightley version.

Same here. You mean Matthew Macfadyen. So cute & handsome in P&P. Also adorably weird in Successionhbo.

Firth to me seems to have a limited range of emotions. Not my favorite actor though I like his voice.

[AgrippinaX]

Same here. You mean Matthew Macfadyen. So cute & handsome in P&P. Also adorably weird in Successionhbo.

Firth to me seems to have a limited range of emotions. Not my favorite actor though I like his voice.

Yes, exactly! I’m with you on that - and how insane, I haven’t seen that film for a decade, probably, and I had no idea it was him.

[Stirchley]

Yes, exactly! I’m with you on that - and how insane, I haven’t seen that film for a decade, probably, and I had no idea it was him.

Stick with me kid. You might learn something. :p

[AgrippinaX]

Stick with me kid. You might learn something. :p

I bet :)

[Wooley]

Harper - Paul Newman looks like he's having fun with this and that's what sells the movie. He plays worn down private detective Lew Harper who's hired by the rich and paralyzed Elaine Sampson (Lauren Bacall) to find her missing husband. As is usually the MO with PI movies the seemingly uncomplicated case turns into anything but with the usual tangled web of likely suspects. There's the rich man's personal pilot (Robert Wagner) his oversexed daughter (Pamela Tiffin) his attorney and close friend of Harper (Arthur Hill) and lots of colorful riffraff including Shelley Winters, Robert Webber, Strother Martin and Julie Harris. The cast, as you can tell, is first rate and there are plenty of red herrings and Newman's character gets the usual amount of lumps and beatings. His Harper is equal parts laconic and sardonic and altogether entertaining. 90/100
I also liked this movie a good bit. The sequel wasn't bad either (in my distant recollection) but not as good as Harper.

[StuSmallz]

I thought that might have been the case. I did mostly like it as a product. It’s original, if nothing else, and there’s something utterly mad about the fact he genuinely sees ‘love’ as his motivation. But I do get how that might turn someone off. I refused to watch Breaking Bad for years because I really didn’t want to get invested in a plot that had anything to do with cancer.Did you like it once you did watch it, though...?



= )

[Fabulous]

The Cider House Rules (1999)

3

https://image.tmdb.org/t/p/original/9VRwCkeoyfW20UxI8i5r9RHr9q3.jpg

[AgrippinaX]

Did you like it once you did watch it, though...?



= )

That’s my point.

‘Like’ is not the word. I thought whoever the **** is in charge of this universe has never before, or since, produced anything as supremely perfect. :)

P.S. not that I’m expecting that profound an impact on Takoma - Takoma11, please tell me you’re not mad at me :)

[FromBeyond]

The Witches 2020

Much like the original film but the real magic here is missing and has been replaced by cgi and a Chris Rock voice over, okay whatever.. forgettable

Bridge Of Spies 2015

It always seem when I watch a Tom Hanks film recently he need a good sleep at the end and you want that for him.. this is no exception, another predictably great performance from the main man and a quality Cold War thriller that left a tear in my eye

Gretel And Hansel

Don’t get the bad reviews, it’s not perfect but it’s really good, dark and pretty.

Ghosts Of War

Whoa,, Whoa calm the **** down.. the creepy parts were creepy and even quite disturbing but then it goes all outer limits and then it goes all (well I don’t want to give too much away but it goes places, places you don’t expect it to go and it’s kinda ****ed up.. not terrible but.. overstuffed

[WHITBISSELL!]

The House by the Cemetery - This is third Lucio Fulci movie I've seen after The Beyond and Zombie. Let's just say those were better movies. This has it's charms of course but it's also slow moving and dull in spots. A family moves to an isolated house so the dad can carry on with researching a "Dr. Freudstein". That's not even the first instance of an oddly named character. The family includes a little boy named Bob. Not Bobby or even Robbie. Bob. He's a tow headed, annoying little character with a badly dubbed voice. There are also holes in the plot that will leave you shaking your head. The wife stumbles upon a grave situated smack in the middle of their living room. It's clearly marked with the name Freudstein but when her husband later mentions that exact name she gives no sign of ever having heard of him. This being a Fulci film there's plenty of gore and dismembered body parts and plenty of gonzo moments and situations. The ending made me wonder if Rob Zombie drew inspiration from this while making House of 1000 Corpses. I suppose it can fall under the "so bad it's good" category but your enjoyment will probably depend on how far you're willing to go to overlook the dead spots. 45/100

[Takoma11]

Fair point. I need to let go of my cynicism a bit. Guilty as charged.

I think it's more that most couples I know in real life who (seem to) have very solid, loving relationships, it's not always super obvious what the deep mechanics are that make them that way. It's just more that the vibe they give off together makes sense.

I assume you mean the Colin Firth version? There’ve been a few, that’s all. I do like them for a rainy day, though for some utterly absurd reason, I found myself preferring the Darcy in the Keira Knightley version.

I was actually thinking of both. I think that it's a scene (where Lizzie arrives all muddy and soaked) that both versions do really well. I find both performances of Darcy to be pretty solid (and, honestly, both full casts).

Anyway, You is just unusual, because typically a film shows us women obsessed with love and men who either have lust after women, or don’t care. But this thing is about a man who cares about nothing in his life except having a girlfriend/relationship/love, it just seemed utterly crazy - which says something about how attitudes still haven’t quite changed.

I think that there are actually quite a few movies about men who say they want love/companionship instead of just sex (right off my head something like The Collector), often including scenes where the male character is offended/disgusted if the female character offers herself to him sexually.

I would argue that any relationship dynamic in which you are wanting a person to be "yours" without regard to their consent/desires if inherently objectifying.

Someone might say that they want love/affection/respect, but if the primary driver behind that is control of another person, it is abuse.

I think that the pattern you're picking up on maybe has more to do with the fears of the different genders. I think it's true that women fear sexual violence more than they fear an overly persistent boyfriend. And on the flip side, I think that men are more taught to fear the woman who is desperate for commitment/marriage/a baby because she will "trap" you (and then in horror movies this "trapping" often becomes literal, like in The Loved Ones).

[Stirchley]

I think it's true that women fear sexual violence more than they fear an overly persistent boyfriend.

Many times it’s one & the same thing.

[Takoma11]

Many times it’s one & the same thing.

That's fair.

I guess I just meant that for women (especially in thrillers or horror movies) the "stranger danger rapist" is a thing and it's not quite as much a thing for male characters. So you more often see overtly violent male characters in the bad guy role, while female villains are more often sneaky/manipulative. There are DEFINITELY exceptions to this rule, but I think that broadly the "lustful stranger" is more a scary thing for female characters than for male characters.

[HollowMan]

Rush Hour (1998).
https://images-na.ssl-images-amazon.com/images/I/914TkDIG1nL.jpg

4/5 Stars.



Rush Hour 2 (2001).

http://resizing.flixster.com/EpAQ-uVI5RT7chIxw8Su1RI-YQ4=/800x1200/dkpu1ddg7pbsk.cloudfront.net/movie/11/16/97/11169765_ori.jpg

4/5 Stars.



I've always loved these films. They're silly and ridiculous but funny, easy to watch and very entertaining; sometimes that's all you want after a hard day at work, movie comfort food. The third one is just plain bad though, it's a Godfather Part III situation.

[AgrippinaX]

I think it's more that most couples I know in real life who (seem to) have very solid, loving relationships, it's not always super obvious what the deep mechanics are that make them that way. It's just more that the vibe they give off together makes sense.

Sure. That’s what we call chemistry, and I guess it really can’t be explored on screen apart from just showing it. But I’d like to see a film that gives it a try. After all, very deep films about friendship (you and I both appreciate Moorhead & Benson) usually do manage to somehow address why these two people get along like a house on fire. At least a few short, paradoxical lines.

I was actually thinking of both. I think that it's a scene (where Lizzie arrives all muddy and soaked) that both versions do really well. I find both performances of Darcy to be pretty solid (and, honestly, both full casts).

Haven’t seen either in a while, but I do remember they were high-quality adaptations. It was the first time I admitted to myself Keira could teach herself to act.

I think that there are actually quite a few movies about men who say they want love/companionship instead of just sex (right off my head something like The Collector), often including scenes where the male character is offended/disgusted if the female character offers herself to him sexually.

I would argue that any relationship dynamic in which you are wanting a person to be "yours" without regard to their consent/desires if inherently objectifying.

Someone might say that they want love/affection/respect, but if the primary driver behind that is control of another person, it is abuse.

I think that the pattern you're picking up on maybe has more to do with the fears of the different genders. I think it's true that women fear sexual violence more than they fear an overly persistent boyfriend.

Yes, that’s kind of what I think it’s getting at. That men who demonstrate excessive care are creepy. It’s unfair, and sexist, and whatnot, but it works to create tension, that’s all I meant. Despite yourself, you find the protagonist’s attention to women profoundly weird long before he does anything. That’s been my experience, anyway. You actually find him more creepy the nicer he acts. That’s kind of the point of it, a little like Ripley (not that it comes anywhere near).

And on the flip side, I think that men are more taught to fear the woman who is desperate for commitment/marriage/a baby because she will "trap" you (and then in horror movies this "trapping" often becomes literal, like in The Loved Ones).

I wouldn’t argue with that. But the distinction between ‘You’ and things like ‘The Collector’ is the sort of naïveté the protagonist has about his actions (at least in season 1). It makes me think more of Norman Bates. I’ve always found narratives that try to get you to sympathise with the charismatic antagonist pretty interesting. Not to say you have to be on his side.

(I’m not selling it to you by any means - just trying to think why I liked it).

The closest thing to it, to my mind, is actually not ‘The Collector’ or Bates, but ‘Phantom of the Opera’. The Schumacher adaptation may have been awful, but the story exists in all kinds of forms, and I think the Phantom’s interest in Christine was always just as much about being petted and indulged by her as controlling her. ‘You’ is a bit similar. I felt it was pretty unusual. Not groundbreaking, or anything.

[Takoma11]

That men who demonstrate excessive care are creepy. It’s unfair, and sexist, and whatnot, but it works to create tension, that’s all I meant. Despite yourself, you find the protagonist’s attention to women profoundly weird long before he does anything. That’s been my experience, anyway. You actually find him more creepy the nicer he acts. That’s kind of the point of it, a little like Ripley (not that it comes anywhere near).

I agree that it's a gross double standard, but I think it depends on how you define "excessive". I know relationship where the male half is the more caring/demonstrative. What makes it creepy is when you sense that a person has a mental math equation about how it works. I'm trying to remember the quote, but someone said something like "Some men treat women like vending machines. You put enough kindness in and sex falls out." It's the idea that you can just do a certain number of nice things and by some abstract chemistry a person will then fall in love with you--like you can "buy" love with X number of kind gestures. That, for me, is what is often behind the "person seems more creepy the nicer he acts". It's because the niceness doesn't seem genuine.

I wouldn’t argue with that. But the distinction between ‘You’ and things like ‘The Collector’ is the sort of naïveté the protagonist has about his actions (at least in season 1). It makes me think more of Norman Bates. I’ve always found narratives that try to get you to sympathise with the charismatic antagonist pretty interesting. Not to say you have to be on his side.

I get what you mean. And I agree that when someone genuinely doesn't understand how to approach a loving relationship it is tragic. But I will always have more sympathy for the person who ends up on the receiving end of this kind of person.

[Fabulous]

Big Eyes (2014)

2.5

https://image.tmdb.org/t/p/original/zJeYB7rX1kg5kVmzB0kxbvxmYOl.jpg

[pahaK]

The House by the Cemetery - The family includes a little boy named Bob. Not Bobby or even Robbie. Bob. He's a tow headed, annoying little character with a badly dubbed voice.

That is some seriously horrible dubbing indeed. If I ever watch that film again, I'll do it with Italian audio.

[ThatDarnMKS]

MANK

****/*****

It’s a fine film that feels stifled by its relatively modest sensibilities.

[John-Connor]

Say Anything… 1989 Cameron Crowe

69692

4+

69694

69695

[AgrippinaX]

I agree that it's a gross double standard, but I think it depends on how you define "excessive". I know relationship where the male half is the more caring/demonstrative. What makes it creepy is when you sense that a person has a mental math equation about how it works. I'm trying to remember the quote, but someone said something like "Some men treat women like vending machines. You put enough kindness in and sex falls out." It's the idea that you can just do a certain number of nice things and by some abstract chemistry a person will then fall in love with you--like you can "buy" love with X number of kind gestures. That, for me, is what is often behind the "person seems more creepy the nicer he acts". It's because the niceness doesn't seem genuine.

I think (and I’m trying to keep the conversation rooted in film rather than ‘life’ as such) there is a cultural expectation of reciprocity that goes both ways. That, in itself, is not sexist, it just is what it is. A person invests in another person, be it money, care or something else, and expects something in return. It can be sex, or it can be something worse. It certainly is a selfish, unreasonable expectation, but I’m wondering whether this isn’t just how the human mind works?

I remember reading The Help about 7 years ago. The film was fine, I didn’t like it much, but it was competently made, and Octavia Spencer is a treasure. But I also thought the subplot with what’s-her-name, Skinner (?) (the lady who writes the book) and the guy named Stuart (?) was surprisingly deep. It explored, albeit briefly, precisely that kind of reciprocity expectation that remains normal today. The Stuart person had invested his time in whatever-her-name-was. While he was described as a legitimately ‘nice’ guy, give or take (apart from his views on Civil Rights/the humanity of ‘the help’, which were the dealbreaker for her), I remember how well it showed her trying to extricate herself from his expectation that if he’s nice to her, there may be something there in future. It definitely is creepy and unwarranted, but I think people try to create guarantees in life, and that applies to anything. It’s the same way we make ‘deals’ with the universe/God/whatever you want to call it, as in, ‘If I do this, x must definitely happen. If I put in all this effort, I must get somewhere, promise?’ On a totally irrelevant note, what I loved about I, Tonya was how it annihilated that worldview.

I get what you mean. And I agree that when someone genuinely doesn't understand how to approach a loving relationship it is tragic. But I will always have more sympathy for the person who ends up on the receiving end of this kind of person.

Of course. I guess it shows these kinds of narratives ‘work’ on me, whereas you have a more deconstructionist approach. I really respect that. There are narratives which I start deconstructing immediately, but I guess these ones I just take at face value. No one is going to know what I’m talking about here, but I can’t not mention it.

There was this Russian book - and, subsequently, a film - in the broad Fifty Shades tradition, I’m afraid - called Dukhless/Soulless (2012), which was surprisingly well received. Rotten Tomatoes loved it. But if you’re aware of Russian/post-Soviet culture, you see how utterly awful this thing is on a meta-level. It’s about an absolute monster of a guy - I’m talking, every misogynist male lead bastard amplified tenfold, because this is Russia - who torments his female love interest for the entirety of that monstrosity, and then in the final act, goes to lie down on the train tracks, and she saves him. It also annoys the **** out of me that it’s described as a ‘comedy’ in some places, as most people would see it as a ‘‘‘thriller’’’ (triple quotes intended). I remember when I did watch it, I thought it was beyond awful, again, on a meta-level. The most extreme version of the vending machine parable: I’ll make you take care of me (i.e., I won’t actually be nice to you but super-mean), but the grand total of this uncalled-for attention will make you interested enough to save me from the train tracks.

[FromBeyond]

Ender’s Game 2013

This movie came on very late last night as I was just going to bed but then found myself watching it for the second time. I love this movie and its ideas. I am unbeaten on some computer games but I wish sometimes it could have some real life use or implications, that in fact it takes much skill but is kind of pointless and wasteful. I was kind of renowned by my group of friends in high school on some games. Well here it is utilised and I feel a slight envy. I wanted to be Enders. I had no high expectations when I first watched this movie, I thought just a teeny movie but it’s a legitimately intelligent film and I like how it also plays with the idea of being perfect, so astute and highly tuned and how this is most prevalent in certain young people which in this world is fully realised. And that ending is such a WTF moment, epic and devastating but then ending with a ray of light. also by nearly all accounts a great book to film adaptation.

I can’t find any qualms with this movie at all for what it is, it achieves and give it full marks. Highly recommended if you haven’t already seen this little sci fi gem which truly the whole family will enjoy.

[gomorra82]

La Cena (1998) Etorre Scola.
We spend an evening at an italian restaurant, and get to know the staff and customers. Comedy/drama.
7,5

Fellini’s Roma (1972) Federico Fellini.
A presentation of life in Rome, around the time Fellini grew up, up until he is a man, i think. For some reason i have neglected most of Fellini’s movies, and only other film i have seen is 8 1/2.
69696
9

[Takoma11]

I think (and I’m trying to keep the conversation rooted in film rather than ‘life’ as such) there is a cultural expectation of reciprocity that goes both ways. That, in itself, is not sexist, it just is what it is. A person invests in another person, be it money, care or something else, and expects something in return. It can be sex, or it can be something worse. It certainly is a selfish, unreasonable expectation, but I’m wondering whether this isn’t just how the human mind works?

It totally is. And it is, to an extent, a reasonable way to approach life (even non-romantic life). If I am nice to other people, hopefully they will be nice to me.

But love is different from gratitude/appreciation. That's what I think is hard to capture on film. Love is that extra intangible that is NOT just a simple case of reciprocity. I think that most people understand how to cultivate relationships of care and respect (the very simple formula of loyalty + kindness + gratitude), but no one can manufacture love in another person.

I think that this is easiest to understand in a film when there's an explicit way that one character "completes" another. For example, in Secretary, where the two characters are literally the two halves of a functional kink relationship. Or in something like Haywire, where two characters develop a deep bond over their shared understanding/experience of a very specific, unique lifestyle.

But the love that most people feel doesn't come from the simple dynamic of being "completed" by another person, or at least not in a way that can be summarized as simply as the complimentary nature of the characters in Secretary.

The treatment of Meg Ryan's fiance, Walter, in Sleepless in Seattle is a great example of a writer understanding this. Walter is goofy and nice. Ryan's character even acknowledges that they make a lot of sense as a couple. He is capable of kind and romantic gestures. But she just doesn't feel that spark with him. Ryan's character hears Hanks speaking on the radio and something in her just clicks. The "why" is to some degree unknowable.

[Wooley]

The House by the Cemetery - This is third Lucio Fulci movie I've seen after The Beyond and Zombie. Let's just say those were better movies. This has it's charms of course but it's also slow moving and dull in spots. A family moves to an isolated house so the dad can carry on with researching a "Dr. Freudstein". That's not even the first instance of an oddly named character. The family includes a little boy named Bob. Not Bobby or even Robbie. Bob. He's a tow headed, annoying little character with a badly dubbed voice. There are also holes in the plot that will leave you shaking your head. The wife stumbles upon a grave situated smack in the middle of their living room. It's clearly marked with the name Freudstein but when her husband later mentions that exact name she gives no sign of ever having heard of him. This being a Fulci film there's plenty of gore and dismembered body parts and plenty of gonzo moments and situations. The ending made me wonder if Rob Zombie drew inspiration from this while making House of 1000 Corpses. I suppose it can fall under the "so bad it's good" category but your enjoyment will probably depend on how far you're willing to go to overlook the dead spots. 45/100

Yeah, HbtC has moments that make it worth watching for me but because it is so nonsensical (in exactly the way you've described and a few more) I'm not sure I would even sit through the whole thing anymore, rather I might do it in a double-feature on a night when I didn't have the full run-time to spend and just fast-forward through about 1/3 of the movie.
It kinda feels like Fulci filmed the scenes he wanted to film and then set about putting them together in some kind of way, in some cases filming additional sequences to tie them together and in others... not.
But it has its pleasures.

I wanted to comment that you are the first other person I have ever heard mention Ho1kC with relation to this, a parallel I immediately drew when I saw this film (I saw Zombie's film first) and immediately thought this was his inspiration. It is also my favorite part of the movie and I feel like if there had been a little more focus in this direction, Fulci would have really had something. It is funny that Zombie also, then, pops the top of this gag at the very end, but at least he alludes to it throughout so it makes a tiny modicum of sense.

[Wooley]

I'm trying to remember the quote, but someone said something like "Some men treat women like vending machines. You put enough kindness in and sex falls out." It's the idea that you can just do a certain number of nice things and by some abstract chemistry a person will then fall in love with you--like you can "buy" love with X number of kind gestures.

I remember this conversation and it was a dark one.
I actually got chills reading it because I realized how true it was and how many men I've known (passingly, I'm pleased to say) or at least encountered who felt this way, that "nice" behavior toward women was supposed to be reciprocated with sex and/or appreciation/reciprocation and when it wasn't then it wasn't that the machine was broken (or that it's just not a real machine) but that the woman was transgressing, breaking the rules of how the machine is supposed to work. This includes a not so subtle suggestion that at that point it is perhaps ok if the man then takes what he has clearly paid for or at least bangs on the machine to try to make the sex (and appreciation/reciprocation) fall out.
Damn, I'm gettin' grossed out by it all over again.

[Wooley]

Ender’s Game 2013

This movie came on very late last night as I was just going to bed but then found myself watching it for the second time. I love this movie and its ideas. I am unbeaten on some computer games but I wish sometimes it could have some real life use or implications, that in fact it takes much skill but is kind of pointless and wasteful. I was kind of renowned by my group of friends in high school on some games. Well here it is utilised and I feel a slight envy. I wanted to be Enders. I had no high expectations when I first watched this movie, I thought just a teeny movie but it’s a legitimately intelligent film and I like how it also plays with the idea of being perfect, so astute and highly tuned and how this is most prevalent in certain young people which in this world is fully realised. And that ending is such a WTF moment, epic and devastating but then ending with a ray of light. also by nearly all accounts a great book to film adaptation.


Watch The Last Starfighter.

[Wooley]

It totally is. And it is, to an extent, a reasonable way to approach life (even non-romantic life). If I am nice to other people, hopefully they will be nice to me.

But love is different from gratitude/appreciation. That's what I think is hard to capture on film. Love is that extra intangible that is NOT just a simple case of reciprocity. I think that most people understand how to cultivate relationships of care and respect (the very simple formula of loyalty + kindness + gratitude), but no one can manufacture love in another person.

I think that this is easiest to understand in a film when there's an explicit way that one character "completes" another. For example, in Secretary, where the two characters are literally the two halves of a functional kink relationship. Or in something like Haywire, where two characters develop a deep bond over their shared understanding/experience of a very specific, unique lifestyle.

But the love that most people feel doesn't come from the simple dynamic of being "completed" by another person, or at least not in a way that can be summarized as simply as the complimentary nature of the characters in Secretary.

The treatment of Meg Ryan's fiance, Walter, in Sleepless in Seattle is a great example of a writer understanding this. Walter is goofy and nice. Ryan's character even acknowledges that they make a lot of sense as a couple. He is capable of kind and romantic gestures. But she just doesn't feel that spark with him. Ryan's character hears Hanks speaking on the radio and something in her just clicks. The "why" is to some degree unknowable.

Yeah, I think you've hit the nail on the head here.
It is reasonable, if you are nice to someone, to expect them to be nice in return, and if they aren't, that's probably on them.
It is NOT reasonable, if you love someone, no matter how ****ing nice you are or whatever it is you think you give them, to expect them to love you in return. And if you do, that's on you. And this can actually be a dangerous situation, for both sexes, although the physical danger is certainly greater for women.

[Takoma11]

Yeah, I think you've hit the nail on the head here.
It is reasonable, if you are nice to someone, to expect them to be nice in return, and if they aren't, that's probably on them.
It is NOT reasonable, if you love someone, no matter how ****ing nice you are or whatever it is you think you give them, to expect them to love you in return. And if you do, that's on you.

Even outside of the horror/thriller genre, this rears its head in film.

For example, in Pitch Perfect, we are supposed to want the main character to get together with the nice guy. She is, instead, drawn to the DJ dude (it's been a while since I've seen the film). But I remember this scene where the male lead throws a little hissy fit because she doesn't like him. DUDE, she just doesn't like you that way! (Only it's a movie so at the end she does).

I think it's true that if you are a nice person who does good things you will find *a* person who loves you for it. But I don't think you can bank on compelling a *specific* person to love you for it. That's where it crosses the line into controlling and weird. And obviously someone (of any gender) trying to MAKE you be with them is really off-putting. I still cringe thinking about someone in high school who I was trying to avoid who managed to catch me alone in the hallway and told me "You know you want me." Or my poor, oblivious middle school self who was handed a rose by a boy in the middle of wood shop. And after saying thank you and how beautiful it was, etc (I totally did not get that this was an "I like you" thing, I thought it was a nice friend thing) I put it down on the table and he was instantly really mad at me (I guess I was supposed to . . . hold the rose while also assembling my cabinet?). I remember this deep confusion that I thought I'd done what I was supposed to, and he clearly expected something MORE and I just didn't know what that was.

And maybe that's what I find so hard about many romantic comedies. They so often begin with someone chasing after a specific person. I keep going back to Secretary, but part of why it makes sense is that these two people don't go out looking for love, they just happen to stumble across someone who is their compliment.

The absolutely great Brief Encounter does a wonderful job of showing how that initial spark (and an act of kindness NOT motivated by hoping for reciprocity) can develop into something deeper.

[WHITBISSELL!]

It kinda feels like Fulci filmed the scenes he wanted to film and then set about putting them together in some kind of way, in some cases filming additional sequences to tie them together and in others... not.
But it has its pleasures.This explains so many of the head scratching moments. Dead ends and non sequiturs. I thought I had missed a scene or something but really didn't want to go back and rewatch.

I wanted to comment that you are the first other person I have ever heard mention Ho1kC with relation to this, a parallel I immediately drew when I saw this film (I saw Zombie's film first) and immediately thought this was his inspiration. It is also my favorite part of the movie and I feel like if there had been a little more focus in this direction, Fulci would have really had something. It is funny that Zombie also, then, pops the top of this gag at the very end, but at least he alludes to it throughout so it makes a tiny modicum of sense.
Agreed. The name Freudstein is thrown around so much and his nefarious history teased that it makes no sense to trot him out at the last second.

[Jinnistan]

I thought you were referencing The Leopard Man because I had put it on my list of top Slashers in that thread, my bad.
That was probably what brought it to mind but, in fact, I've seen Leopard Man associated with slashers for years, and without much controversy.


Anyway, I may have jinxed the slasher thread by association :drevil:

[pahaK]

Hoax (2019)
2
I rarely bother with the Bigfoot films, but this one had at least a couple of recognizable names in it. It's not bad for a new B-horror, and it's positively campy. Nothing new, nothing great, but sort of passable 90 minutes anyway.

[Tramuzgan]

The good, the bad and the ugly - 96/100


It's ****ing sweet. I might do a review on it soon, since there's a lot to say here. Way too much to fit into this post.

[SpelingError]

The good, the bad and the ugly - 96/100


It's ****ing sweet. I might do a review on it soon, since there's a lot to say here. Way too much to fit into this post.

Definitely my favorite Western of all time. The Wild Bunch is a close second.

[LChimp]

https://www.satusfaction.com/wp-content/uploads/2017/11/mosul3.jpg


Great movie!

[CharlesAoup]

Day Of The Warrior, 1996 (B+)

A cheesy Andy Sidaris action movie about a white, part native apparently, wrestler criminal ringleader who hacks into the computer of a cheesy action movie agency, leading them to rush to save their infiltrated agents before they get discovered.

The movie isn't terribly coherent, with the ex-CIA, half-native, Siberian diamond smuggling, Pre-columbian artifacts stealing, art counterfeiter, porn studio owner, general movie pirating wrestler bad guy and a cast of characters which are, I presumed, better presented in other movies. It's tons of fun though. It has slapstick, explosions, super dumb action scenes where no one can aim, etc. I enjoyed it quite a bit.

[Fabulous]

Black Snake Moan (2006)

3.5

https://image.tmdb.org/t/p/original/ab9at2wlmHC1cX34reyVgNHp4JH.jpg

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/thumb/9/9a/Happiest_Season_poster.png/220px-Happiest_Season_poster.png

3.5

Snooze factor rating = Z



[Snooze Factor Ratings]:
Z = didn't nod off at all
Zz = nearly nodded off but managed to stay alert
Zzz = nodded off and missed some of the film but went back to watch what I missed
Zzzz = nodded off and missed some of the film but went back to watch what I missed but nodded off again at the same point and therefore needed to go back a number of times before I got through it...
Zzzzz = nodded off and missed some or the rest of the film but was not interested enough to go back over it

[Takoma11]

I am watching Blue Vengeance because someone told me to. WHO. WAS. IT? And WHAT is happening in this movie?! *eyes Crumbsroom suspiciously*

https://www.denofgeek.com/wp-content/uploads/2020/10/The-Wolf-Of-Snow-Hollow-Lindhome-Cummings.jpg?resize=768%2C432

Wolf of Snow Hollow, 2020

This is my second film from Jim Cummings, and it's pretty clear that the guy has his shtick. It's this middle aged male character (complete with daughter and ex-wife) who is a mix of repression and explosiveness. Unable to say what he needs, and yet all too quick to vent his frustration and disappointment on others. Speaking personally, I think that Cummings is very, very funny.

Whether you vibe with Cummings' sensibilities will probably go along way toward whether or not you will enjoy Wolf of Snow Hollow (or his earlier feature, Thunder Road). It's a very specific brand of quirk.

So speaking as someone who very much appreciates the way that Cummings pulls together timing, tone, and physical comedy, I quite enjoyed this film.

Cummings plays John Marshall, a recovering alcoholic whose small town is rocked by a series of brutal murders that seem to be attacks by an animal. A very, very large animal. As the pressure mounts on Marshall to solve the murders, he also has to contend with his father's failing health, his daughter's looming departure to college, and an addiction that comes creepy-crawling back into his life.

Cummings holds the center of the film just fine, but the supporting cast is also very strong, especially Riki Lindhome as the quietly competent deputy who ends up doing most of the real work on the case. Also worth mentioning is Kelsey Edwards as a woman who has a frightening encounter with a strange man. She reports it to the police, but she's one of a dozen people claiming they "know who the killer is", and her warnings go essentially unheard.

The sequence with Edwards' character is actually a real standout. The film manages to convey both perspectives with empathy: Edwards just wants someone to listen to her story and to understand how sure she is that the guy was up to no good. The police, on the flip side, are being swamped with information, and Edwards is unable to give them hardly any specific details about the man ("He was wearing a hood" she finishes lamely).

The gore is decent, but at its heart this isn't really a horror movie. It's more of a dark comedy wrapped in a werewolf flick.

If Cummings' approach to comedy does it for you, this one is definitely recommended. If his brand of quirk doesn't vibe with you, you'll probably be disappointed. The character dynamics are the heart of the film. If you do enjoy this one, be sure to check out Thunder Road which, unburdened by such a heavy main plot, is able to take more time to give the viewer insight into the main character and his personal unraveling.

4.5 (subtract one star if an intense, panicked stare from Jim Cummings doesn't make you giggle)

[pahaK]

4.5 (subtract one star if an intense, panicked stare from Jim Cummings doesn't make you giggle)

I'm sorry, but math is hard and I ended up subtracting three stars ;)

[Takoma11]

I'm sorry, but math is hard and I ended up subtracting three stars ;)

We can't all be rocket surgeons.

[AgrippinaX]

https://m.media-amazon.com/images/M/MV5BODQ3Nzg1NjkyNl5BMl5BanBnXkFtZTcwMzEyOTQzOQ@@._V1_.jpg
4.5
Gorgeous. My favourite Kim Ki-duk so far.

[xSookieStackhouse]

Rush Hour (1998).
https://images-na.ssl-images-amazon.com/images/I/914TkDIG1nL.jpg

4/5 Stars.



Rush Hour 2 (2001).

http://resizing.flixster.com/EpAQ-uVI5RT7chIxw8Su1RI-YQ4=/800x1200/dkpu1ddg7pbsk.cloudfront.net/movie/11/16/97/11169765_ori.jpg

4/5 Stars.



I've always loved these films. They're silly and ridiculous but funny, easy to watch and very entertaining; sometimes that's all you want after a hard day at work, movie comfort food. The third one is just plain bad though, it's a Godfather Part III situation.

gosh loved rush hour movie trilogy. hope u gonna watch rush hour 3!

[Nux]

rating_4_5
https://megafilmes.org/wp-content/uploads/2020/12/502033.jpg

rating_4
https://pm1.narvii.com/6178/17f2ef22fa845bfec6493c5efb0c4f9c47c0e3c9_00.jpg

rating_3
https://www.bigpicturebigsound.com/artman2/uploads/5/man-body.jpg

[Iroquois]

The Godfather Coda: The Death of Michael Corleone - 4

geez, spoiler alert, Francis

[martyrofevil]

Quick update:

Center Jenny (Ryan Trecartin, 2013) - 8/10
Band of Outsiders (Jean-Luc Godard, 1964) - 8/10 (rewatch)
Magnificent Warriors (David Chung, 1987) - 7/10
Sweet Friday (Keiichi Tanaami, 1975) - 8/10
Rehearsals for Retirement (Phil Solomon, 2007) - 8/10
*Corpus Callosum (Michael Snow, 2002) - 6/10

[Takoma11]

https://images.static-bluray.com/reviews/16852_1_large.jpg

Blue Vengeance, 1989

Nothing like seeing a title of a film, thinking "Oh! Someone said that was . . . something I should watch", and then realizing, ah, this is Troll 2 territory.

Mark Trax is an out-of-his mind murderer who lives in a fantasy world that bleeds out into the real world--a fantasy centered on the lyrics and music of a heavy metal band. When Trax escapes prison, ex-police officer Mickey McCardle is hot on his trail.

The film is not without its over-the-top charms, including "turned up to 11" performances at times and some outrageous gore/violence set-pieces that at least speak to some creativity. At every turn Trax is knocking out teeth or using a shard of mirror to stab someone in the face. The finale may or may not involve jousting and/or a motorcycle.

Like many cult classics, the movie tends to drag between its murders. The performances are big, but they aren't, you know, good.

It does contain my favorite gloriously sexist trope: the one where a male protagonist saves a woman from being raped, then she expresses fear about him being a pervert, and then he sassily tells her that no one would want to rape her as if that wasn't something that the movie showed us not 30 seconds ago.

How to rate something like this? I don't know. Probably best to see it with friends who are ready for a laugh and the kind of movie you don't have to pause when someone needs to go to the bathroom.

2

[crumbsroom]

I am watching Blue Vengeance because someone told me to. WHO. WAS. IT? And WHAT is happening in this movie?! *eyes Crumbsroom suspiciously*



Not me. The only way I can make anyone watch a movie I recommend is to bribe them with some arbitrary points in an arbitrary game I'm only arbitrarily keeping score of.

Headless Eyes (full movie) view count on Youtube thanks you for your participation though. It's probably now up to 12.

[LChimp]

https://bingeddata.s3.amazonaws.com/uploads/2020/11/The-Call-Netflix-Movie-Review-An-Engaging-And-Satisfying-Thriller-4.jpg

The korean one. Not to be confused with:

https://assets.nflxext.com/us/boxshots/hd1080/70267128.jpg

Or

https://m.media-amazon.com/images/M/MV5BMzAxYWM3Y2MtNGU2Mi00ZDNjLWI0NDktMDRhN2VjZDAzZjMwXkEyXkFqcGdeQXVyMjUxOTAxNzI@._V1_.jpg

[Wooley]

I am watching Blue Vengeance because someone told me to. WHO. WAS. IT? And WHAT is happening in this movie?! *eyes Crumbsroom suspiciously*

https://www.denofgeek.com/wp-content/uploads/2020/10/The-Wolf-Of-Snow-Hollow-Lindhome-Cummings.jpg?resize=768%2C432

Wolf of Snow Hollow, 2020

This is my second film from Jim Cummings, and it's pretty clear that the guy has his shtick. It's this middle aged male character (complete with daughter and ex-wife) who is a mix of repression and explosiveness. Unable to say what he needs, and yet all too quick to vent his frustration and disappointment on others. Speaking personally, I think that Cummings is very, very funny.

Whether you vibe with Cummings' sensibilities will probably go along way toward whether or not you will enjoy Wolf of Snow Hollow (or his earlier feature, Thunder Road). It's a very specific brand of quirk.

So speaking as someone who very much appreciates the way that Cummings pulls together timing, tone, and physical comedy, I quite enjoyed this film.

Cummings plays John Marshall, a recovering alcoholic whose small town is rocked by a series of brutal murders that seem to be attacks by an animal. A very, very large animal. As the pressure mounts on Marshall to solve the murders, he also has to contend with his father's failing health, his daughter's looming departure to college, and an addiction that comes creepy-crawling back into his life.

Cummings holds the center of the film just fine, but the supporting cast is also very strong, especially Riki Lindhome as the quietly competent deputy who ends up doing most of the real work on the case. Also worth mentioning is Kelsey Edwards as a woman who has a frightening encounter with a strange man. She reports it to the police, but she's one of a dozen people claiming they "know who the killer is", and her warnings go essentially unheard.

The sequence with Edwards' character is actually a real standout. The film manages to convey both perspectives with empathy: Edwards just wants someone to listen to her story and to understand how sure she is that the guy was up to no good. The police, on the flip side, are being swamped with information, and Edwards is unable to give them hardly any specific details about the man ("He was wearing a hood" she finishes lamely).

The gore is decent, but at its heart this isn't really a horror movie. It's more of a dark comedy wrapped in a werewolf flick.

If Cummings' approach to comedy does it for you, this one is definitely recommended. If his brand of quirk doesn't vibe with you, you'll probably be disappointed. The character dynamics are the heart of the film. If you do enjoy this one, be sure to check out Thunder Road which, unburdened by such a heavy main plot, is able to take more time to give the viewer insight into the main character and his personal unraveling.

4.5 (subtract one star if an intense, panicked stare from Jim Cummings doesn't make you giggle)

I hadn't seen Cummings before but I thought this film was pretty good and would recommend it. I watched it with a couple of friends and we all thought it was a good film from script to acting, to directing to editing. Good story, well-executed, and I agree Lindhome was perfect for her role.
I'm comfortable calling this one of the good Werewolf movies.

[Takoma11]

I hadn't seen Cummings before but I thought this film was pretty good and would recommend it. I watched it with a couple of friends and we all thought it was a good film from script to acting, to directing to editing. Good story, well-executed, and I agree Lindhome was perfect for her role.
I'm comfortable calling this one of the good Werewolf movies.

If you enjoyed the humor/vibe, Thunder Road is a stronger film.

[mark f]

Marry the Girl (William McGann, 1937) 2 5/10
Onus (Alex Secker, 2020) 1.5+ 4.5/10
There Goes the Groom (Joseph Santley, 1937) 2+ 5/10
Freaky (Christopher Landon, 2020) 3 6.5/10
https://d13ezvd6yrslxm.cloudfront.net/wp/wp-content/images/freaky-review-700x321.jpg
Serial killer Vince Vaughn and high schooler Kathryn Newton intersect in more ways than one in very gory but funny slasher.
Wallflower (Frederick De Cordova, 1948) 2+ 5/10
Wander (April Mullen, 2020) 2.5 6/10
Woman Is the Future of Man (Hong Sang-soo, 2004) 2 5/10
Red, White and Blue (Steve McQueen, 2020) 3 6.5/10
https://i1.wp.com/awardsradar.com/wp-content/uploads/2020/10/redwhiteandblue-boyega-faceoff-700x318-1.jpg?resize=662%2C301&ssl=1
John Boyega [right] joins the London Metropolitan Police to help his community and avenge his father.
Motel Hell (Kevin Connor, 1980) 3 6.5/10
The Undertaker and His Pals (T.L.P. Swicegood, 1966) 1.5 4/10
Wise Girls (E. Mason Hopper, 1929) 2 5/10
Rebuilding Paradise (Ron Howard, 2019) 3+ 6.5/10
https://i2.wp.com/www.samdb.co.za/blogs/wp-content/uploads/2020/10/RebuildingParadise.jpg?resize=580%2C242
The death and rebirth of the California city is horrifying and awe-inspiring.
The New Bauhaus (Alysa Nahmias, 2019) 3+ 6.5/10
Liberté (Albert Serra, 2019) 1.5 4/10
Disco (Jorunn Myklebust Syversen, 2019) 2.5 5.5/10
Black Bear (Lawrence Michael Levin, 2020) 3 6.5/10
https://www.mercurynews.com/wp-content/uploads/2020/12/sjm-eview-Black-Bear_79198073.jpg?w=620
Audrey Plaza in an original take on relationships and the moviemaking process... and bears.
Che? AKA What? (Roman Polanski, 1972) 2+ 5/10
King of Knives (Jon Delgado, 2020) 3 6.5/10
Break Even (Shane Stanley, 2020) 2 5/10
Mank (David Fincher, 2020) 3.5 7/10
https://64.media.tumblr.com/424237db55e74e6352bb264cbf45dee3/1812a2e8421c1c2c-0d/s500x750/0ff619983c461b890e7f020e8c509deb0056cf29.gifv
Marion Davies (Amanda Seyfried) and Herman J. Mankiewicz (Gary Oldman) share a personal moment at Hearst Castle in the 1930s.

[WHITBISSELL!]

World Without End - I'm always getting Hugh Marlowe and Richard Carlson confused. Marlowe stars along with Rod Taylor in this lightweight 1956 sci-fi as astronauts mapping the surface of Mars. To clarify, Marlowe is probably best known for playing Patricia Neal's boyfriend in The Day the Earth Stood Still and for Earth vs. the Flying Saucers. Carlson was in Creature from the Black Lagoon (along with ... wait for it ... Whit Bissell!) and It Came from Outer Space.

Anyway, on the way back to Earth the four man crew is caught in a time warp. You can tell because there are 4th of July sparklers and the model ship wiggles around like it’s suspended on wires. Probably because it is. They land on a planet that looks remarkably like Earth, because it is Earth. Or rather a future earth with Cyclopean cavemen types who take an immediate dislike to the newly arrived visitors. The crew takes shelter in a cave where they discover another civilization living underground. It apparently consists of super models in cocktail dresses and stilettos while the men run around in tights and shiny skullcaps. The statuesque women go crazy over the supposedly virile newcomers because their males are weak and can’t kill spiders or something. This is silly nonsense even by 50’s standards and is maybe targeted at adolescent boys. Watch it just to be able to say you did. 60/100

[Captain Terror]

I'm always getting Hugh Marlowe and Richard Carlson confused.

ha ha, same here. If I ever find a film with both of them in it my brain will melt.

[mark f]

I'm always getting Hugh Marlowe and Richard Carlson confused.
ha ha, same here. If I ever find a film with both of them in it my brain will melt.
Only if you watch the war propaganda For God and Country (1943). :cool:

[pahaK]

L'isola degli uomini pesce (1979)
aka Island of the Fishmen, Screamers, etc.
3
Surprisingly entertaining pulp adventure that isn't ashamed of being just that. Italian horror meets The Island of Dr. Moreau meets the adventures of Jules de Grandin. Not for the art film snobs, but a pretty decent option for those looking for entertainment.

[Marco]

Vincent N Roxxy (2016)
https://upload.wikimedia.org/wikipedia/en/b/b1/Vincent_N_Roxxy_poster.jpg
A decent film that cried out for a better story and storyline. It's simplicity ultimately undermines it as there is no real depth in the story. Wanted to like this more than I did but it drifted off into very predictable territory.

1.5

[Takoma11]

https://static.rogerebert.com/uploads/review/primary_image/reviews/carol-2015/Carol-2015.jpg

Carol, 2015

Aspiring photographer Therese (Rooney Mara) works in a department store and it is clear that her life is missing something. Then, one day, she crosses paths with Carol (Cate Blanchett), an older woman in the middle of a tense separation and custody dispute with her husband. As Therese and Carol tentatively explore their romance, the forbidden nature of their love (the film is set in the 50s) threatens both of their well-being.

One of the most captivating things about the movie is how embedded the filming is with the character of Therese, and specifically how the camera takes us inside her point of view at times. The first time she sees Carol the camera moves past her, but then comes back to find her. My favorite shot came toward the end, when something that I thought was a "neutral" shot suddenly began to move, and I realized that we were inside Therese's point of view. Through this subjective camera, we are able to understand Therese's adoration (and intimidation!) in regard to Carol, who is this glamorous, mature woman.

From a storytelling point of view, something I really appreciated was that Therese's attraction to Carol is not presented as an alternative to horrible men, or something she's driven toward by abuse. Therese has two, by almost any standard, really nice guys in her life. The first is her boyfriend, Richard (Jake Lacy), and it only takes a few scenes to understand that he is steering their relationship while she is in cruise control, passively allowing him to make decisions (and assumptions) about where they are going. Therese also has a friend, Dannie, who encourages her in her photography and is pretty perceptive. The closest thing that the film has to a "bad" male character is Carol's husband, Harge (Ron Livingston), but even he is regarded with a degree of sympathy. Carol being forced to deny "her grain" puts her and her husband and their child in a hard situation. It's true that Harge uses his social leverage to punish Carol for leaving him, but the film makes space to acknowledge his feelings. (At the same time, the film doesn't sugarcoat just how horrible it is for Carol that being gay makes her an "unfit parent").

Performance-wise, it's all very strong across the board. Blanchett's performance is pretty masterful: a woman who is so used to performance, that everything she does has an air of calculation. Words chosen very carefully. Furtive glances around a restaurant. When she finally begins to loosen up, you watch as carefully cultivated mannerisms fall away just a little bit.

It's also worth mentioning Sarah Paulson's performance as Abby, Carol's lover before she met Harge. Carol and Abby have become confidants--something that speaks to their chemistry but also to the challenge of finding a queer ally in such a closeted situation. She's a great character because she serves as an interesting counter-point to both Harge and Therese, and gives Carol some much needed background.

My one complaint would be that at times the film gets too drawn in to Carol and Harge's separation. The film feels incredibly grounded in its scenes with Therese, and her burgeoning awareness of the structure of her own life. Scenes of Carol working things out with her lawyer advance the literal plot, but they pull away from the Therese's arc.

Overall a lovely little film with strong performances and a compelling story.

4.5

[Fabulous]

The Master (2012)

3

https://image.tmdb.org/t/p/original/haw9CNlQrRFlBOJdogW0LDZHWrj.jpg

[Thief]

https://static.rogerebert.com/uploads/review/primary_image/reviews/carol-2015/Carol-2015.jpg

Carol, 2015



Glad you liked this. I thought it was pretty darn good.

[the samoan lawyer]

https://cdn.vox-cdn.com/thumbor/wufuKoPkMs9J-RsDUtBa-0dOP9Q=/1400x0/filters:no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/19154863/SH_TANA_Gallery_Photo_Edits_5.jpg (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.theverge.com%2F2019%2F9%2F5%2F20841541%2Ftigers-are-not-afraid-review-mexican-drug-war-guillermo-del-toro-issa-lopez&psig=AOvVaw0HuAyrbS9DG1639g0FbmYX&ust=1607425101287000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCPipjaTbu-0CFQAAAAAdAAAAABAK)
Tigers Are Not Afraid (2017)


rating_3


https://www.austinchronicle.com/binary/d6b0/mortuary_collection_03web__large.jpg (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.austinchronicle.com%2Fdaily%2Fscreens%2F2019-09-21%2Ffantastic-fest-interview-every-body-has-a-story-in-the-mortuary-collection%2F&psig=AOvVaw0KpLEtcCP_sFHcpQa-AqT6&ust=1607425233968000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCIj09ePbu-0CFQAAAAAdAAAAABAP)
The Mortuary Collection (2019)


rating_2_5


https://variety.com/wp-content/uploads/2020/09/12-hour-shift.jpg?w=681&h=383&crop=1 (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fvariety.com%2F2020%2Ffilm%2Freviews%2F12-hour-shift-review-1234757707%2F&psig=AOvVaw2Z6j3H6Vl5lBi6Bz9CBa_S&ust=1607425358215000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCPC6rZ7cu-0CFQAAAAAdAAAAABAK)
12 Hour Shift (2020)
rating_3

[xSookieStackhouse]

Back To The Future 1-2-3 all 10/10 i wanted to rewatch it again AND MY FAVORITE MOVIE TRIOGLY :)
https://cdn11.bigcommerce.com/s-l71eudan7b/images/stencil/1280x1280/products/779/1378/51VLaiKIRHL__26097.1586531548.jpg?c=2 https://www.allaboutmovies.com.au/media/k2/items/cache/138574a67ecd6937bf3d0b9332c1c71a_XL.jpghttps://cdn.shopify.com/s/files/1/1148/8924/products/MPW-71464-a_1024x1024.jpg?v=1571439869

[ScarletLion]

'Beanpole' (2019)

Kantemir Balagov

https://s8.gifyu.com/images/beanpole-green-swirl.gif


It's incredible that a 27 year old has enough guile to make any feature film yet alone one this good. And it's Kantemir Balagov's second feature. How does one so young get the life experience, technical know how, intellect, ideas and confidence to accomplish this project? I have no idea.

It's a tale of two women rebuilding their life after the war in the barren, torn apart Stalingrad, but could also be an analogy for how the city or even Russia itself begins to heal wounds and give itself new life after conflict. The film is bathed in a rich green colour palette to perhaps symbolise peace / fertility / hope / a new era etc. The performances by Viktoria Miroshnichenko and Vasilisa Perelygina are completely off the charts. They portray these broken women searching for any way to become fixed, if that's even possible. A search for new life after all the death they must have encountered.

Although the final 20 minutes is a tiny bit flawed, this is a stunning piece of work by someone who's seemingly one of the most promising young directors around.

4.5

[Cobra]

Caddyshack (1980):
A classic comedy which started off the film careers of such legends such as Bill Murray, Chevy Chase, and Rodney Dangerfield. Without this film the comedy genre would be much different. Harold Ramis, Brian Doyle-Murray and Doug Kenney put together a great script that is immensely quotable.
9.5/10
National Lampoon's Vacation (1983):
Harold Ramis and John Hughes put together one of the greatest Road Trip comedies of all time, aged quite well and filled with cameos throughout by many SCTV and SNL cast members such as Brian Doyle- Murray, John Candy, Randy Quaid, and Eugene Levy.
9.5/10

[the samoan lawyer]

:D'Beanpole' (2019)

Kantemir Balagov

https://s8.gifyu.com/images/beanpole-green-swirl.gif


It's incredible that a 27 year old has enough guile to make any feature film yet alone one this good. And it's Kantemir Balagov's second feature. How does one so young get the life experience, technical know how, intellect, ideas and confidence to accomplish this project? I have no idea.

It's a tale of two women rebuilding their life after the war in the barren, torn apart Stalingrad, but could also be an analogy for how the city or even Russia itself begins to heal wounds and give itself new life after conflict. The film is bathed in a rich green colour palette to perhaps symbolise peace / fertility / hope / a new era etc. The performances by Viktoria Miroshnichenko and Vasilisa Perelygina are completely off the charts. They portray these broken women searching for any way to become fixed, if that's even possible. A search for new life after all the death they must have encountered.

Although the final 20 minutes is a tiny bit flawed, this is a stunning piece of work by someone who's seemingly one of the most promising young directors around.

rating_4_5


For a while, this film was everywhere I looked but regretfully I never actually took the opportunity to watch it. Will get round to it soon enough. Was waiting on your endorsement :D

[ScarletLion]

:D


For a while, this film was everywhere I looked but regretfully I never actually took the opportunity to watch it. Will get round to it soon enough. Was waiting on your endorsement :D

It's a cracker in my opinion.

[Stirchley]

69763

A sanitized version of the book. Usually I prefer the movie to the book, but the reverse is true in this case. Worth seeing, but it skirted around many parts of the book.

69764

Re-watch. Still a very good movie.

[WHITBISSELL!]

It Came from Beneath the Sea - Ray Harryhausen's six tentacled (budget constraints) giant octopus is the primary reason to watch this. Because outside of that it doesn't have all that much to offer. The casting is solid enough with sci-fi stalwart Kenneth Tobey, along with Faith Domergue and Donald Curtis. The three form this amorphous kind of romantic triangle which fills in all the non-octopus moments. Unfortunately it's kind of perfunctory even for one of these fill-some-screentime romances. Script-wise Domergue isn't given much help with her character. Even though she's supposed to be a respected researcher in her field she's portrayed as an indecisive vamp who's not above using her "feminine wiles". It's aggressively 50's with only Harryhausen's marvelous creation to satisfy the viewer. Which is thankfully enough. 65/100

[CharlesAoup]

It Came from Beneath the Sea - Ray Harryhausen's six tentacled (budget constraints) giant octopus is the primary reason to watch this. Because outside of that it doesn't have all that much to offer. The casting is solid enough with sci-fi stalwart Kenneth Tobey, along with Faith Domergue and Donald Curtis. The three form this amorphous kind of romantic triangle which fills in all the non-octopus moments. Unfortunately it's kind of perfunctory even for one of these fill-some-screentime romances. Script-wise Domergue isn't given much help with her character. Even though she's supposed to be a respected researcher in her field she's portrayed as an indecisive vamp who's not above using her "feminine wiles". It's aggressively 50's with only Harryhausen's marvelous creation to satisfy the viewer. Which is thankfully enough. 65/100

I would have liked this one a lot more if it wasn't for the sexism. It's bad even for the time. The scene where the lady says she doesn't want to dance, or something, and the guy says not to lister to her to the other guy. Urrrgh. Harryhausen's movies otherwise always come through as upper tier 50's sci-fi. Not sure why, but they always have above average production quality.

[WHITBISSELL!]

I would have liked this one a lot more if it wasn't for the sexism. It's bad even for the time. The scene where the lady says she doesn't want to dance, or something, and the guy says not to lister to her to the other guy.Or the scene where she gets the crewman from the sunken freighter to talk by doing everything but fluttering her eyelashes at him. Hard not to notice.

[StuSmallz]

That’s my point.

‘Like’ is not the word. I thought whoever the **** is in charge of this universe has never before, or since, produced anything as supremely perfect. :)

P.S. not that I’m expecting that profound an impact on Takoma - Takoma11, please tell me you’re not mad at me :)Eh, I see no reason to think that Takoma11 wouldn't love it the same as anyone else. I know she was hesitant to start it because of the vocal (but very small) minority of Skyler-manhaters out there, when those guys completely missed the point of the show anyway (that Walter is the real bad guy in the end); it's like not wanting to check out Taxi Driver despite all the praise for that movie just because a few people somehow manage to idolize Travis. It's like, did you guys watch the same movie that I did?

[AgrippinaX]

Eh, I see no reason to think that Takoma11 wouldn't love it the same as anyone else. I know she was hesitant to start it because of the vocal (but very small) minority of Skyler-manhaters out there, when those guys completely missed the point of the show anyway (that Walter is the real bad guy in the end); it's like not wanting to check out Taxi Driver despite all the praise for that movie just because a few people somehow manage to idolize Travis. It's like, did you guys watch the same movie that I did?

Hmm, my communications skills this week have already proven... limited, and were less than 24 hours in?.. Basically, I’d beg to differ, but this probably isn’t the place or time. I’m no incel Walter White fan, but god, I hated Skyler. I would more or less agree that she works as a character to propel the plot - and everything in that show is meticulously done - but I really truly disliked every bit of her, and I dare you to tell me how on Earth that means I missed ‘the point of the show’. It’s a personal experience of the character, in the end.

As for Takoma11, I was joking - of course Takoma probably appreciates more things than I do. If something is brilliant, I doubt that disagreeing with it ideologically can really ruin the enjoyment. (Takoma, do show your face when you feel like it, as I feel a bit awkward talking about you in third person.)

P.S. Far more importantly, ‘You’ is no ‘Breaking Bad’. My original post was about the potential impact of ‘You’ on Takoma, which I couldn’t possibly compare on the impact ‘Breaking Bad’ had on me.

ADMIN EDIT: continued in the Breaking Bad thread, here: https://www.movieforums.com/community/showthread.php?p=2149053#post2149053

[Olivier Parent]

The thin red line
5/5

[WHITBISSELL!]

On Dangerous Ground - 1951 Nicolas Ray noir starring Robert Ryan as Detective Jim Wilson, an embittered and callous NYC cop. He's had so many brutality complaints that his supervisor (Ed Begley) sends him out of town to help out with an investigation. A young girl has been murdered and when he arrives at the small and snowy mountain town he finds most of the men beating the brush for the suspect. This include the girl's enraged father (Ward Bond) who vows to kill the man when he finds him. He and Wilson pair up and soon enough are on the suspect's trail which leads them to the home of Mary Malden. She's played by Ida Lupino (or Ida Lupini as Fred Sanford used to call her on Sanford & Son) and turns out to be blind and alone. She eventually admits however to living with her brother Danny. The denouement unfolds as expected but with added gravitas provided by the heartfelt script and Ryan, Lupino and Bond.

This is a surprisingly overlooked film but also singular in that it starts out as a hard boiled noir but morphs into an emotionally resonant treatise on loneliness, hope and repentance. Lupino allegedly directed part of this when Ray fell ill during production. 90/100

[Fabulous]

The Longest Yard (1974)

3

https://image.tmdb.org/t/p/original/tIXJy1WbgtILBrD1HALZiBhlfAD.jpg

[Takoma11]

As for Takoma11, I was joking - of course Takoma probably appreciates more things than I do. If something is brilliant, I doubt that disagreeing with it ideologically can really ruin the enjoyment. (Takoma, do show your face when you feel like it, as I feel a bit awkward talking about you in third person.)

Stu is referring to my very negative reaction to the harassment that Anna Gunn received because of playing the character. When I build negative associations with art, for whatever reason, it looms really large in my vision. My family are all pretty big fans of Breaking Bad, including my sister who has really similar taste. I'm sure I'll get around to it in ten years or so. :)

Also, it's not yet a film I watched, because I'm in the middle of it, but I'm very intrigued by The Ninth Configuration. I can't quite get a grasp on how I feel about it. I'l be interested to hear other thoughts when I'm done.

[crumbsroom]

Stu is referring to my very negative reaction to the harassment that Anna Gunn received because of playing the character. When I build negative associations with art, for whatever reason, it looms really large in my vision. My family are all pretty big fans of Breaking Bad, including my sister who has really similar taste. I'm sure I'll get around to it in ten years or so. :)

Also, it's not yet a film I watched, because I'm in the middle of it, but I'm very intrigued by The Ninth Configuration. I can't quite get a grasp on how I feel about it. I'l be interested to hear other thoughts when I'm done.
I've watched Ninth Configuration a few times and I still don't know how I feel about it

[AgrippinaX]

Stu is referring to my very negative reaction to the harassment that Anna Gunn received because of playing the character. When I build negative associations with art, for whatever reason, it looms really large in my vision. My family are all pretty big fans of Breaking Bad, including my sister who has really similar taste. I'm sure I'll get around to it in ten years or so. :)

Also, it's not yet a film I watched, because I'm in the middle of it, but I'm very intrigued by The Ninth Configuration. I can't quite get a grasp on how I feel about it. I'l be interested to hear other thoughts when I'm done.

Sorry, I get it now - I hadn’t realised you haven’t actually watched it. I totally get that - as I mentioned, I avoided watching it for years for my own reasons. No one could persuade me otherwise. The harassment was awful, of course. But I guess the character always grows on the performer, unfortunately, especially when it lasts this long.

I think I’ve seen The Ninth Configuration, but it must have been some time ago, as I remember very little. How are you finding it? Are you at least interested?

[SpelingError]

Also, it's not yet a film I watched, because I'm in the middle of it, but I'm very intrigued by The Ninth Configuration. I can't quite get a grasp on how I feel about it. I'l be interested to hear other thoughts when I'm done.

The Ninth Configuration didn't do a whole lot for me. Here's what I wrote on it last year or so:

The elements for a great film are certainly here, but while it had a handful of standout moments and a promising setup, I can't say I liked it and it ultimately failed to connect with me by the time it was over. For instance, it definitely took its sweet time to get going as most of the buildup detailed the various shenanigans of the patients who acted under Kane's treatment. While this buildup wasn't necessarily bad or anything (a few scenes of the patients interacting with the staff members and the people outside the asylum brimmed with a delightful sense of awkwardness), there were many moments where it seemed to be restating this premise without expanding much upon it, causing it to grow somewhat thin at times. Also, the fact that the plot twist was predictable given how each flashback only served to make it more and more obvious didn't help with my appreciation of this section. Once the film got to the twist, it certainly got a lot more interesting with the highlight being the uncomfortably tense bar fight. Overall though, I was ultimately left indifferent to how this was handled since it seemed to jumped right into the final act after the big reveal, sacrificing a lot of time which could've been used to flesh out Kane and his newly discovered mental state in the process, and how the payoff to the film was telegraphed far ahead of time in a rather awkward way. In short, the film suffered quite heavily from a ton of bloat.

[Takoma11]

I've watched Ninth Configuration a few times and I still don't know how I feel about it

Ha! I was going to finish it tonight, but I went to the gym for the first time in 10 months and the vibe in my house right now is very much

https://media.giphy.com/media/YwEHgiGXyj4Ck/giphy.gif

[Fabulous]

An Angel at My Table (1990)

3

https://image.tmdb.org/t/p/original/aS1ukVi4ciRvrdEZ0PZsEQLvKC3.jpg

[Takoma11]

Sorry, I get it now - I hadn’t realised you haven’t actually watched it. I totally get that - as I mentioned, I avoided watching it for years for my own reasons. No one could persuade me otherwise. The harassment was awful, of course. But I guess the character always grows on the performer, unfortunately, especially when it lasts this long.

I'm also, if I'm honest, not overly interested in it.

I think I’ve seen The Ninth Configuration, but it must have been some time ago, as I remember very little. How are you finding it? Are you at least interested?

I'm certainly interested by it. More a question of whether it's going anywhere and whether (if it is a case of style over substance) the weirdness will be enough to carry it.

Stu: I'll come back and read your thoughts when I've finished it.

[Cobra]

Animal House(1978):
One of the funniest films of all time, a collaboration between Harold Ramis and John Hughes, it shows the start of a great comedian with a promising career ahead (John Belushi, R.I.P). Holds up quite well and has a simple premise.
9/10
Weird Science(1985):
John Hughes best teen comedy. Had a huge crush on Kelly LeBrock (still do). Wish Anthony Michael Hall had more of a career then he did. Also has a really good soundtrack though short, still has a huge impact on the film.
9.5/10

[StuSmallz]

I'm also, if I'm honest, not overly interested in it.Just because of the Skyler-haters? Don't let them ruin a great show for you, now!

[Gideon58]

https://static.rogerebert.com/uploads/movie/movie_poster/after-hours-1985/large_qpr5tRmvyx4rbv1gKMKbW1v5JUC.jpg



3.5

[SpelingError]

Stu: I'll come back and read your thoughts when I've finished it.

I'm not Stu (provided you're referring to TNC), but thanks!

[Takoma11]

Just because of the Skyler-haters? Don't let them ruin a great show for you, now!

Nah. Even pre-fanbros it wasn't a story that appealed to me. Drama TV is maybe my least favorite genre. It tends to lack the element of escapism and/or comfort that I look for in my TV viewing. Also, meth had a pretty horrible impact on several of my students and their families, and I'd just be on edge watching a show with that in the center.

https://static.rogerebert.com/uploads/movie/movie_poster/after-hours-1985/large_qpr5tRmvyx4rbv1gKMKbW1v5JUC.jpg



3.5

Watched this semi-recently and I was pleasantly surprised by how fun it was.

I'm not Stu (provided you're referring to TNC), but thanks!

Oops! I'm really sorry.

[SpelingError]

Oops! I'm really sorry.

Yeah, I don't want to be conflated with that loser.

Jk, I love you Stu if you're reading this! :up:

[ThatDarnMKS]

Sullivan's Travels

*****/*****

A thoroughly charming and classic film about making movies that flirts with metafiction that dominates this style of film nowadays.

[SpelingError]

Sullivan's Travels

*****/*****

A thoroughly charming and classic film about making movies that flirts with metafiction that dominates this style of film nowadays.

Yep, great film and one of my favorite first time watches of this year.

[ThatDarnMKS]

Yep, great film and one of my favorite first time watches of this year.
Same. I've got Lady Eve ready for a Sturges follow up. Somehow, the only film of his I've seen previously was The Beautiful Blonde from Bashful Bend, which while a perfectly fine and charming film in its own right, seems to be along his lesser works.

[SpelingError]

Same. I've got Lady Eve ready for a Sturges follow up. Somehow, the only film of his I've seen previously was The Beautiful Blonde from Bashful Bend, which while a perfectly fine and charming film in its own right, seems to be along his lesser works.

I'll have to check out Lady Eve someday. It's been on my watchlist for some time. Haven't given it much priority.

[ThatDarnMKS]

I'll have to check out Lady Eve someday. It's been on my watchlist for some time. Haven't given it much priority.
I'm trying to watch Classics and Criterions for my theme this Christmas season. Lady Eve fits the bill for both and it's around 90 mins so it's a shoe-in

[Fabulous]

Marnie (1964)

3

https://image.tmdb.org/t/p/original/p7Om7uhWRSJOAKFNRw6mZpoKjo8.jpg

[StuSmallz]

Nah. Even pre-fanbros it wasn't a story that appealed to me. Drama TV is maybe my least favorite genre. It tends to lack the element of escapism and/or comfort that I look for in my TV viewing. Also, meth had a pretty horrible impact on several of my students and their families, and I'd just be on edge watching a show with that in the center.Well, while I'm disappointed that those reason might make you miss out on one of the greatest shows of all time, I can still understand/respect them personally.

[the samoan lawyer]

https://www.japansociety.org/resources/legacy/event/mk2_cure6_450.jpg (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.japansociety.org%2Fevent%2Fthe-cure&psig=AOvVaw2PoOCS2q7TP2Sav_svWFyO&ust=1607507801995000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMDhj6-Pvu0CFQAAAAAdAAAAABAE)
Cure (1997)


Highly rated thriller and rightfully so. Gripping from start to finish, where it ends absolutely majestically.


4

[ScarletLion]

https://www.japansociety.org/resources/legacy/event/mk2_cure6_450.jpg (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.japansociety.org%2Fevent%2Fthe-cure&psig=AOvVaw2PoOCS2q7TP2Sav_svWFyO&ust=1607507801995000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMDhj6-Pvu0CFQAAAAAdAAAAABAE)
Cure (1997)


Highly rated thriller and rightfully so. Gripping from start to finish, where it ends absolutely majestically.


4

I watched this recently too. Very good. Only one of his I've seen but he seems quite an eclectic filmmaker. Got Pulse and Tokyo Sonata lined up.

[the samoan lawyer]

I watched this recently too. Very good. Only one of his I've seen but he seems quite an eclectic filmmaker. Got Pulse and Tokyo Sonata lined up.


I didn't really like Pulse but willing to give it another go after watching this. Tokyo Sonata sounds really interesting.

[Ultraviolence]

https://fanart.tv/fanart/movies/3512/movieposter/under-siege-2-dark-territory-53274110ef45e.jpg
The mad scientist could control weapons of mass destruction orbiting earth, control military missiles and hack US defense system inside a train with his 1GB RAM computer... But he can't play Cyberpunk 2077 though, what a loser.
2

[Daniel M]

Mank (David Fincher, 2020) 3

https://img.cinemablend.com/filter:scale/quill/c/b/5/8/a/7/cb58a7114055aebbf130b23ede7b6b8b95b42859.jpg?mw=600

I went into this almost ready to dislike it, as someone who sits firmly on the side of Orson Welles and not Pauline Kael and her discredited take on the movie. I'm glad that Fincher largely avoids the issues of script ownership and conflict between Mank and Welles, instead focussing more on Mank's life, his influences, why he writes the movie.

It works more as an ode to storytelling, to screenwriting, and to Hollywood. It doesn't matter to me what's true and what isn't in this film, the script can be exposition-heavy with lots of long monologues but they're done very affectionately and were enjoyable to me at least. I think someone not really interested in films or the making of Citizen Kane could struggle a bit. The performances are fun, especially Oldman and Burke. One thing I was disappointed with was that although it looks pretty visually, it doesn't use any visual imagery to actually tell the story. Perhaps I was focussed on this aspect more because of the visual amazement of Kane but it's really noticeable how the story is only really told through the script and not direction.

[telugumovies]

I have watched Tenet (2020) in Theaters after a long gap due to lockdown in India.

My rating is 6/10

I do watch Hollywood movies, mostly Christopher Nolan and Tarantino films..

[Marco]

Troy (2004)
https://upload.wikimedia.org/wikipedia/en/b/b8/Troy2004Poster.jpg
This had good elements and iffy ones. Not being a scholar of Grecian history I will say that it was a good ride. The action is first class and believable (between Hector and Achilles especially). Ends up, as do many, being a "blockbuster" painted into a smaller palette. Enjoyable.

3

[gomorra82]

The Return (2003) Andrey Zvyagintsev.
8

The Science of Sleep (2006) Michel Gondry.
Not first viewing. Gondry uses some very interesting animation styles when he let us take part in Stephanes ( Gael Garcia Bernal) dreams.
69831
I had almost forgotten Stephanes entertaining colleague, Guy.

8,5

[Thief]

Troy (2004)
https://upload.wikimedia.org/wikipedia/en/b/b8/Troy2004Poster.jpg
This had good elements and iffy ones. Not being a scholar of Grecian history I will say that it was a good ride. The action is first class and believable (between Hector and Achilles especially). Ends up, as do many, being a "blockbuster" painted into a smaller palette. Enjoyable.

3

I haven't seen this in a good while, but saw it in theaters and maybe, once or twice after, and always remember Pitt being miscast in the role. On the other hand, Eric Bana was excellent.

[skizzerflake]

🍿🍿🍿🍿

This is pretty good, a 2019 version of Dickens' David Copperfield, available on Amazon Prime. It's fairly low budget, mainly acting and locations, mainly British actors, and completely enjoyable, with a cast that seemed to love the story. It's the umpteenth movie version of the story that was a fictionalized autobiography of the great author himself. I have to admit that while I have always liked Dickens and especially his big characters who wore their spiritual condition like clothing, somehow, I never read Copperfield.

Settle in for a two hour voyage back to 19th century England. It's not a free movie on Prime, but well worth a few bucks. It's not the musical show, but an adaptation of the novel. Accents are heavy and sometimes difficult from my side of the ocean, but given the story and the body language, that's not a problem. Most of the cast is unknown to me aside from Tilda Swinton as Betsy Trotwood and Hugh Laurie is Mr Dick. It's interesting that the production is deliberately multi-racial. Visually, you can't miss that a number of cast members don't look like my idea of 19th century Brits, but past the first 5 minutes, it no longer matters.

https://www.youtube.com/watch?v=l4GfEi_GyyU

[SpelingError]

Road to Perdition (2002) - 3

It's fine, I guess. I loved the cinematography and I enjoyed the occasional stylistic flourishes of the shootouts in terms of how music and sound effects were used to ramp up tension. Also, though I'm not the biggest fan on Tom Hanks, I thought his everyday man persona worked well for this film since a central theme for his character was how he tried to shield his son from violence and from going down the same path he took. I also enjoyed the opening 40 or so minutes quite a bit which had a compelling show, don't tell approach to exploring John Rooney's favoritism of Sullivan over his actual son rather than relying on clunky expository lines of dialogue. Once this segment ended though, I felt like the film declined in quality and, after finishing it, I felt kind of unsatisfied by it. Like, yes, the themes are, in fact, in this film and, yes, they do get a proper resolution. The emotional register of the film just feels really blunt. At its core, this was the summary of the main theme: Will Sullivan be able to prevent his son from going down the path he took? Answer: Yes. It just didn't seem to amount to much. Overall, it was competently directed, but it ultimately didn't connect with me as well as it could've.

[Torgo]

Beetlejuice - 4

This imaginative and hilarious horror comedy about that most threatening scourge of the late '80s, yuppies, still holds up very well after 30+ years. Michael Keaton's performance as the titular bio-exorcist remains my favorite of his career. He disappears so deeply into the role that I always forget that he's playing the character every time I watch it and his funniest lines - many of which Keaton improvised - are ones I still use in conversation. The supporting cast is also nothing to sneeze at, my favorite being Catherine O'Hara, who plays what may be the baddest of her many bad moms. As for the duo of Tim Burton and composer Danny Elfman, the movie provides an ideal canvas for their talents. Whether it's the look of Saturn or Elfman's music during the fly sequence, there's a sense that you're seeing their rawest, most unfiltered imagination on display. I've heaped lots of praise upon the movie, but it has noticeable flaws, particularly in its final act. Its contrivances and worldbuilding that seems like it should have come earlier stick out like sore thumbs, and while the city and country folk come to an understanding and the epilogue is a delight, I'm left with a bad taste in my mouth every time. The movie still acheives classic status, not to mention a spot on my short list of great horror comedies.

[Thunderbolt]

69852
High Plains Drifter (1973)
A fantastic Western that got me into Westerns. Who is the Stranger? A former dead Marshal of Lago, or someone else seeking revenge?

4.5

[Torgo]

Road to Perdition (2002) - 3I'm not a big fan either. It put too much effort into coming across as prestigious than being emotionally satisfying. In other words, it's as if too much time and effort were spent making it look and feel like it was set in the 1930s and wooing cinematography and production design Oscar voters and not enough was spent on giving us reasons to make us care what happens to anybody. In short, it's a prime example of the scenery chewing the actors.

[Olivier Parent]

https://www.japansociety.org/resources/legacy/event/mk2_cure6_450.jpg (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.japansociety.org%2Fevent%2Fthe-cure&psig=AOvVaw2PoOCS2q7TP2Sav_svWFyO&ust=1607507801995000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMDhj6-Pvu0CFQAAAAAdAAAAABAE)
Cure (1997)


Highly rated thriller and rightfully so. Gripping from start to finish, where it ends absolutely majestically.


4

I love that movie. By the way it is in the top 5 of bong joon ho

[SpelingError]

I'm not a big fan either. It put too much effort into coming across as prestigious than being emotionally satisfying. In other words, it's as if too much time and effort were spent making it look and feel like it was set in the 1930s and wooing cinematography and production design Oscar voters and not enough was spent on giving us reasons to make us care what happens to anybody. In short, it's a prime example of the scenery chewing the actors.

Yeah, agreed. I cared more for the technical aspects than for the characters in the film.

[Fabulous]

The Bad News Bears (1976)

3.5

https://image.tmdb.org/t/p/original/1TIre35XRpFFhZpzHrB3l65eTJC.jpg

[matt72582]

Ore wa matteru ze - 6.5/10
Started out really good, but when it they took the focus from the man-meets-woman-and-helps-her kinda story to something abstract (in that you couldn't see the third character of the triangle, although it made no difference that she was a serendipitous link)

[WHITBISSELL!]

Road to Perdition (2002) - rating_3At its core, this was the summary of the main theme: Will Sullivan be able to prevent his son from going down the path he took? Answer: Yes. You should check out Max Allan Collins' Road To Perdition book series. Even though the movie was adapted from his graphic novel the prolific and talented Collins wrote several followups. But Michael Sullivan did end up following in his father's footsteps though. First as a war hero then a gangster of sorts but with a conscience and finally taking on the mantle of his late father as avenging angel. I thought it was great series but then I've always been partial to Collins pulpy, propulsive style.

[SpelingError]

You should check out Max Allan Collins' Road To Perdition book series. Even though the movie was adapted from his graphic novel the prolific and talented Collins wrote several followups. But Michael Sullivan did end up following in his father's footsteps though. First as a war hero then a gangster of sorts but with a conscience and finally taking on the mantle of his late father as avenging angel. I thought it was great series but then I've always been partial to Collins pulpy, propulsive style.

Is what you're describing in the spoilered bit in reference to the comic book? In the film, Sullivan had his son act as a getaway driver a few times, but other than that, kept him out of the line of fire. After his father dies, he says he never picked up a gun again. With the movie, it was just a clear and blunt "Yes, he kept his son from going down his path."

I also didn't like how it took 3/4 of the film for this theme to take prominence with Sullivan and Rooney's conversation in the church basement. Hell, even after that, this theme wasn't really developed again until the final 5 or so minutes.

[Mr Minio]

Ore wa matteru ze - 6.5/10 gr8 flick but the director made some better ones

[matt72582]

gr8 flick but the director made some better ones


It seems so, because the first 20 minutes or so had me hooked. What did you think about the shift from "the girl" (who becomes nothing but a candle in the background in the last hour) to the brother who was "the candle" during conversation. The trading of emphasis didn't work too well.


Which movies of his would you recommend? I just told MovieGirl an hour ago that the most recent Japanese movie I loved was recommended by you, "The Yellow Handkerchief"

[Takoma11]

https://www.japansociety.org/resources/legacy/event/mk2_cure6_450.jpg (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fwww.japansociety.org%2Fevent%2Fthe-cure&psig=AOvVaw2PoOCS2q7TP2Sav_svWFyO&ust=1607507801995000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCMDhj6-Pvu0CFQAAAAAdAAAAABAE)
Cure (1997)


Highly rated thriller and rightfully so. Gripping from start to finish, where it ends absolutely majestically.


4

I also really enjoyed it.

My one complaint (possibly down to the print I saw), was that I had a hard time seeing the shot at the end with the wife in the wheelchair. It was kind of quick and muddy and I had two watch it twice and then finally resort to a Wiki summary to make sure I was understanding that part correctly.

[Fabulous]

Dirty Harry (1971)

3.5

https://image.tmdb.org/t/p/original/4mC7ibIXtqVWuIjTkkq3sTTI6Gb.jpg

[WHITBISSELL!]

Is what you're describing in the spoilered bit in reference to the comic book? No. All that happened in successive novels which were collectively known as The Road To Perdition series. The graphic novel and the film ended in that specific way but I suppose Collins felt Michael Sullivan Jr. was too compelling a character to just walk away from.

[Wooley]

I'll have to check out Lady Eve someday. It's been on my watchlist for some time. Haven't given it much priority.

I wrote a paper about it in college. The whole movie hangs, not on Fonda's performance, which is a little too earnest, but on Stanwyck's, who steals every scene and really is just the backbone of the whole thing.
Of course, if you've seen Double Indemnity, this will come as no surprise.

[Thief]

Road to Perdition (2002) - 3

It's fine, I guess. I loved the cinematography and I enjoyed the occasional stylistic flourishes of the shootouts in terms of how music and sound effects were used to ramp up tension. Also, though I'm not the biggest fan on Tom Hanks, I thought his everyday man persona worked well for this film since a central theme for his character was how he tried to shield his son from violence and from going down the same path he took. I also enjoyed the opening 40 or so minutes quite a bit which had a compelling show, don't tell approach to exploring John Rooney's favoritism of Sullivan over his actual son rather than relying on clunky expository lines of dialogue. Once this segment ended though, I felt like the film declined in quality and, after finishing it, I felt kind of unsatisfied by it. Like, yes, the themes are, in fact, in this film and, yes, they do get a proper resolution. The emotional register of the film just feels really blunt. At its core, this was the summary of the main theme: Will Sullivan be able to prevent his son from going down the path he took? Answer: Yes. It just didn't seem to amount to much. Overall, it was competently directed, but it ultimately didn't connect with me as well as it could've.

I'm a fan. Not only of its technical merits, which I find to be great, but I also like how the story unfolds. Yeah, I agree it's not that subtle, but it worked for me.

Here's something I wrote years ago, in case you're interested...

Road to Perdition: No turn around (https://hubpages.com/entertainment/Road-to-Perdition-No-turn-around)

[Wooley]

https://static.rogerebert.com/uploads/movie/movie_poster/after-hours-1985/large_qpr5tRmvyx4rbv1gKMKbW1v5JUC.jpg



3.5

My favorite Scorsese.

[Wooley]

Beetlejuice - 4

This imaginative and hilarious horror comedy about that most threatening scourge of the late '80s, yuppies, still holds up very well after 30+ years. Michael Keaton's performance as the titular bio-exorcist remains my favorite of his career. He disappears so deeply into the role that I always forget that he's playing the character every time I watch it and his funniest lines - many of which Keaton improvised - are ones I still use in conversation. The supporting cast is also nothing to sneeze at, my favorite being Catherine O'Hara, who plays what may be the baddest of her many bad moms. As for the duo of Tim Burton and composer Danny Elfman, the movie provides an ideal canvas for their talents. Whether it's the look of Saturn or Elfman's music during the fly sequence, there's a sense that you're seeing their rawest, most unfiltered imagination on display. I've heaped lots of praise upon the movie, but it has noticeable flaws, particularly in its final act. Its contrivances and worldbuilding that seems like it should have come earlier stick out like sore thumbs, and while the city and country folk come to an understanding and the epilogue is a delight, I'm left with a bad taste in my mouth every time. The movie still acheives classic status, not to mention a spot on my short list of great horror comedies.

Interesting. I was with you until you said you didn't like the final act. The more times I watch Beetlejuice, which is basically annually at this point, the more I think it is quite likely perfect.

[Wooley]

I'm not a big fan either. It put too much effort into coming across as prestigious than being emotionally satisfying. In other words, it's as if too much time and effort were spent making it look and feel like it was set in the 1930s and wooing cinematography and production design Oscar voters and not enough was spent on giving us reasons to make us care what happens to anybody. In short, it's a prime example of the scenery chewing the actors.

And now I agree with you completely.

[SpelingError]

There's a lot to respond to so I'll multi-quote:

No. All that happened in successive novels which were collectively known as The Road To Perdition series. The graphic novel and the film ended in that specific way but I suppose Collins felt Michael Sullivan Jr. was too compelling a character to just walk away from.

I see. I'll have to check out the graphic novels then to see what I think of them. Though I wasn't a big fan of how the film handled the character dynamics, the graphic novels may resonate with me more.

I wrote a paper about it in college. The whole movie hangs, not on Fonda's performance, which is a little too earnest, but on Stanwyck's, who steals every scene and really is just the backbone of the whole thing.
Of course, if you've seen Double Indemnity, this will come as no surprise.

Double Indemnity has been on my watchlist for some time. I'll have to check both those films out then. Admittedly, acting is something I typically don't pay attention to, but I'll watch them anyways.

I'm a fan. Not only of its technical merits, which I find to be great, but I also like how the story unfolds. Yeah, I agree it's not that subtle, but it worked for me.

Here's something I wrote years ago, in case you're interested...

Road to Perdition: No turn around (https://hubpages.com/entertainment/Road-to-Perdition-No-turn-around)

Nice review! Thanks for sharing it. You make some good points and I agree that the dynamic between Rooney and his son was handled really well in the opening 40 or so minutes. I just didn't care for the way Sullivan and his son's relationship was handled. As I mentioned upthread, Sullivan fearing that his son will go down the same path as him didn't take prominence until 3/4 into the film with the church basement scene and wasn't explored again until the final scene, with a very blunt resolution.

[Torgo]

Interesting. I was with you until you said you didn't like the final act. The more times I watch Beetlejuice, which is basically annually at this point, the more I think it is quite likely perfect.I wasn't crazy about Otho suddenly being an "expert" on the occult, and maybe it's my bad attention span, but the stipulation that Beetlejuice has to get married seemed to come out of nowhere. I'm probably being too nitpicky, but these "wait, what?"-isms never felt right.

[cricket]

Lolita Vibrator Torture (1987)

3-

https://i.pinimg.com/564x/a6/9e/e0/a69ee019567cb240f47a565b4a190d60--sato-lolita.jpg

Much better than I expected, but of course it's still not for most viewers. It's an above average extreme film that actually has some craft and thought behind it.

[Jinnistan]

I wasn't crazy about Otho suddenly being an "expert" on the occult, and maybe it's my bad attention span, but the stipulation that Beetlejuice has to get married seemed to come out of nowhere. I'm probably being too nitpicky, but these "wait, what?"-isms never felt right.
Maybe that's why you shouldn't do two shows a night anymore.

[Fabulous]

Lord of War (2005)

2.5

https://image.tmdb.org/t/p/original/9fnCC4vAyn1eClbTPK8YBRy2f13.jpg

[Cobra]

Half Baked (1998):
Great stoner comedy which is pretty accurate on stoner culture at the time, made me fear prisons though when I was younger. Had a great laugh during some of the scenes. Awesome cameos throughout. Bob Saget has a great cameo in the film, you’ll have to see to believe.
8.5/10

[WHITBISSELL!]

I see. I'll have to check out the graphic novels then to see what I think of them. Though I wasn't a big fan of how the film handled the character dynamics, the graphic novels may resonate with me more.No, I'm actually talking about books. Actual novels as opposed to graphic novels. He's so active a writer that he may well have cranked some of those out too but I never read any of them including Road To Perdition.

[SpelingError]

No, I'm actually talking about books. Actual novels as opposed to graphic novels. He's so active a writer that he may well have cranked some of those out too but I never read any of them including Road To Perdition.

Aye, I see what you mean. I'll keep an eye out for them.

[ThatDarnMKS]

ANNA AND THE APOCALYPSE

**/*****

It's what you get when you combine a mediocre zombie film with a bad high school musical and make virtually no effort to blend the pieces together. It being relatively competent also sucks out any unintentional enjoyment to be had.

[Wooley]

Double Indemnity has been on my watchlist for some time. I'll have to check both those films out then. Admittedly, acting is something I typically don't pay attention to, but I'll watch them anyways.
[/SPOILER]

Double Indemnity is really good. You should also see The Big Heat if you haven't, just another standout in the genre.
I hear ya about acting but when a performance is a real standout, as Stanwyck almost always was, it's worth noting.

[Wooley]

I wasn't crazy about Otho suddenly being an "expert" on the occult, and maybe it's my bad attention span, but the stipulation that Beetlejuice has to get married seemed to come out of nowhere. I'm probably being too nitpicky, but these "wait, what?"-isms never felt right.

Well, Otho does briefly explain his history with it and it's not surprising considering his aesthetic and personality. I'll concede the marriage clause came outta nowhere but I feel that's a very small thing to concede for the awesome climactic scene you get out of it.
But hey, I love the movie so it is what it is.

[SpelingError]

Double Indemnity is really good. You should also see The Big Heat if you haven't, just another standout in the genre.
I hear ya about acting but when a performance is a real standout, as Stanwyck almost always was, it's worth noting.

I haven't seen The Big Heat either (yes, I know; I have a lot of blind spots). I'll have to check it out as well. I usually decide which films to watch at random, but I might bump those films up my queue cuz why not.

[Fabulous]

The General's Daughter (1999)

2

https://image.tmdb.org/t/p/original/vX3Z2ZYOKp8lg9b6u2eGjcLwYY0.jpg

[Torgo]

Casper - 3

Hollywood's attempt at getting a successful trend going in the '90s akin to the fantasy one in the '80s and the comic book one in the 2010's by adapting old TV series was a mixed bag at best. While the two Addams Family movies are near-masterpieces, the less said about Car 54, Where Are You? and The Avengers, the better. Casper falls somewhere in the middle of the pack: good, but like the titular ghost and his vile uncles, so vaporous that it barely leaves an impression. The things that do leave one, however, deserve mention, particularly the house, which undoubtedly inspired the look of the Cheesecake Factory. The CGI of the ghosts also holds up, particularly their human-seeming facial expressions. There's also Cathy Moriarty's humdinger of a love-to-hate villain and the ending brought genuine tears to my eyes. Again, it's not quite on the top tier of '90s TV adaptations, but its heart and creative touches make it worth watching, especially if you prefer movies to watch around Halloween that are slightly more fun and silly than scary.

[Mr Minio]

Which movies of his would you recommend? I just told MovieGirl an hour ago that the most recent Japanese movie I loved was recommended by you, "The Yellow Handkerchief" The Warped Ones, easily.
Lolita Vibrator Torture (1987) Too low but still, welcome to the "edgelords" group.

[Thief]

ANNA AND THE APOCALYPSE

**/*****

It's what you get when you combine a mediocre zombie film with a bad high school musical and make virtually no effort to blend the pieces together. It being relatively competent also sucks out any unintentional enjoyment to be had.

I liked it a bit more than you, but I agree that it failed to be overly memorable in one way or the other.

[John W Constantine]

Cabaret (1972) - 8.5/10

[ThatDarnMKS]

I liked it a bit more than you, but I agree that it failed to be overly memorable in one way or the other.
I just kept waiting for the film to click into place. It came close with the Shaun of the Dead oblivious walk/dance through a new apocalypse, then it just didn't even congeal.

[Thief]

Nice review! Thanks for sharing it. You make some good points and I agree that the dynamic between Rooney and his son was handled really well in the opening 40 or so minutes. I just didn't care for the way Sullivan and his son's relationship was handled. As I mentioned upthread, Sullivan fearing that his son will go down the same path as him didn't take prominence until 3/4 into the film with the church basement scene and wasn't explored again until the final scene, with a very blunt resolution.

I haven't seen it in a while so I don't fully remember the exact beats, but I seem to remember Michael being quite wary about his son following him and reluctant to talk about the nature of his job from the start of the film. I mean, him following him and realizing what he does is basically what propels the story.

[matt72582]

Postcards From the Edge - 4/10
Bad script. Full of cliches. Too many referencing old movie lines (some consciously, some not) and non-existent movies. The interactions between the characters felt plastic.

[SpelingError]

I haven't seen it in a while so I don't fully remember the exact beats, but I seem to remember Michael being quite wary about his son following him and reluctant to talk about the nature of his job from the start of the film. I mean, him following him and realizing what he does is basically what propels the story.

Yeah, but I don't think his reasoning for doing that was so much to prevent his sons from going down the same path he took, but for fear it could jeopardize his status with Rooney's gang. Naturally, he'd prefer to keep his involvement with Rooney's gang secret. Not just from his sons, but from all other people (except, I think it was implied his wife knew about it before the events of the film). Besides, after a while, he did have Michael indirectly participate in his criminal activities as a getaway driver.

[Dr. Badvibes]

https://2013.butff.nl/sites/default/files/styles/490_320/public/gebeurtenis-www.butff.nl/TAETER%20BIKER.jpg?itok=oZeAdUYK

Taeter City - ★☆☆☆☆
- Giulio De Santi, 2012 -
-------------------------------------------

Eh, wow. I had been meaning to watch this hyperactive Italian sci/fi-horror for years, but I'm glad I finally got it over with. As expected, it has nothing in the way of cinematic competence or artistry or even basic sense. They did not expect me to watch it for those reasons and I can totally live with that.This film's bread and butter, after all, is the gore. Gore, gore, gore and more gore, some of it for your viewing pleasure. The camera doesn't seem interested in registering ANYTHING else supposedly on screen.

The effects themselves are a mixed bag, but much of them appear to be handcrafted in some way, so that's a plus. However, they do lack the charm and colorful representation of older genre works, a problem the movie shares with almost all other modern splatter flicks in the low-budget HD age. Even so, I have to compliment it on not showing any restraint at all when it comes to the good stuff. It's not enough to save the otherwise nigh-unwatchable film, of course, but it could compel you to seek out a gore compilation video on You Tube or something. Or you could simply watch Japanese splatter flicks like The Machine Girl and Tokyo Gore Police, which were clearly sources of inspiration for the filmmakers.

[Torgo]

The only scenes I like in Taeter City are the ones with Sam and Gollum.
Sorry, couldn't resist.

[Thief]

Yeah, but I don't think his reasoning for doing that was so much to prevent his sons from going down the same path he took, but for fear it could jeopardize his status with Rooney's gang. Naturally, he'd prefer to keep his involvement with Rooney's gang secret. Not just from his sons, but from all other people (except, I think it was implied his wife knew about it before the events of the film). Besides, after a while, he did have Michael indirectly participate in his criminal activities as a getaway driver.

Maybe it's a matter of perception. I understood his reasoning to be a bit of both, i.e. you don't want anybody to know you're a hitman, *especially* your children.

As for the son participating later, that's precisely the reason why he's in the moral crossroad later on. He's tried so hard to protect his children from this "perdition" by keeping them at a distance, but the events "force" him to push his son towards the same thing he had been protecting him from. At this point, he has no choice, it's either let him participate and survive, or not and they'll die. But that's precisely why he's morally afflicted and why the events in the last act unfold the way they do. He's trying to drag his son away from that.

[Wooley]

I haven't seen The Big Heat either (yes, I know; I have a lot of blind spots). I'll have to check it out as well. I usually decide which films to watch at random, but I might bump those films up my queue cuz why not.
Hey, I ain't here to bust anybody's balls for what they haven't seen but those are both movies that when I finally got around to them I felt well-rewarded and they're both films I would watch again any time.
You could also save them for a time when you're in the mood for old black and white but you want to know you're getting a winner going in.

[Wooley]

Casper - 3

Hollywood's attempt at getting a successful trend going in the '90s akin to the fantasy one in the '80s and the comic book one in the 2010's by adapting old TV series was a mixed bag at best. While the two Addams Family movies are near-masterpieces, the less said about Car 54, Where Are You? and The Avengers, the better. Casper falls somewhere in the middle of the pack: good, but like the titular ghost and his vile uncles, so vaporous that it barely leaves an impression. The things that do leave one, however, deserve mention, particularly the house, which undoubtedly inspired the look of the Cheesecake Factory. The CGI of the ghosts also holds up, particularly their human-seeming facial expressions. There's also Cathy Moriarty's humdinger of a love-to-hate villain and the ending brought genuine tears to my eyes. Again, it's not quite on the top tier of '90s TV adaptations, but its heart and creative touches make it worth watching, especially if you prefer movies to watch around Halloween that are slightly more fun and silly than scary.

Cathy Moriarty is just so under-appreciated. Whether it's Raging Bull, Neighbors, Soapdish, or Casper, she delivers.
I also liked Christina Ricci in this.

[Wooley]

Cabaret (1972) - 8.5/10

Man, I thought this movie was good. (I mean, obviously you did too, I'm just sayin'.)
I hadn't seen it since I was a kid and it was on HBO, this would be back in early 80s. I finally watched it and, man, it's so much better than I expected. Joel Grey. Damn. Almost as good as his performance in Remo Williams: The Adventure Begins.

[SpelingError]

Maybe it's a matter of perception. I understood his reasoning to be a bit of both, i.e. you don't want anybody to know you're a hitman, *especially* your children.

As for the son participating later, that's precisely the reason why he's in the moral crossroad later on. He's tried so hard to protect his children from this "perdition" by keeping them at a distance, but the events "force" him to push his son towards the same thing he had been protecting him from. At this point, he has no choice, it's either let him participate and survive, or not and they'll die. But that's precisely why he's morally afflicted and why the events in the last act unfold the way they do. He's trying to drag his son away from that.

Why do you think his reasoning was a bit of both?

If there were conversations involving him explaining that was the reason he kept his criminal activities secret from his kids, it could be argued that's part of the reason, but in the end, I'm left with what the film provides to judge what his motives are and, based on what we see, it seems like his reasoning revolves around fearing the threat this knowledge could cause to his family if his boss were to find out.

As for him bringing his children along, while that does feature him indirectly involving his son in his criminal behavior, this would only add to this theme of him fearing that his kids would grow to be like him if this theme took priority in the film beforehand. I didn't get the same connection you did though for reasons stated above, so I didn't have the same reaction to these scenes you did. It wasn't until his conversation in the church basement that this theme took priority for me.

[the samoan lawyer]

I love that movie. By the way it is in the top 5 of bong joon ho


Do you mean Kiyoshi Kurosawa?

[the samoan lawyer]

I also really enjoyed it.

My one complaint (possibly down to the print I saw), was that I had a hard time seeing the shot at the end with the wife in the wheelchair. It was kind of quick and muddy and I had two watch it twice and then finally resort to a Wiki summary to make sure I was understanding that part correctly.


Yeah Takoma, pretty dark on mine too especially that bit. Shame as it was actually a really disturbing shot so maybe held for a few more seconds, it could have been pretty powerful.

[the samoan lawyer]

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTgUIEVicgWqCMtxL4JD740UQw4j7wmqVqVNw&usqp=CAU (https://www.google.co.uk/url?sa=i&url=https%3A%2F%2Fcine-vue.com%2F2020%2F03%2Ffilm-review-calm-with-horses.html&psig=AOvVaw3jEOtYcX833HxIw16hZzDY&ust=1607616841160000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCNiq-M2lwe0CFQAAAAAdAAAAABAJ)
Calm with Horses (2019)


rating_2_5

[Torgo]

Cathy Moriarty is just so under-appreciated. Whether it's Raging Bull, Neighbors, Soapdish, or Casper, she delivers.
I also liked Christina Ricci in this.I've always liked Moriarity. She's also great in Patti Cake$ from a few years ago.

Also, can anyone scream like Bill Pullman?
https://youtu.be/hYFDMnTpb94

[Olivier Parent]

Do you mean Kiyoshi Kurosawa?

The movie cure specifically

[Thief]

Why do you think his reasoning was a bit of both?

If there were conversations involving him explaining that was the reason he kept his criminal activities secret from his kids, it could be argued that's part of the reason, but in the end, I'm left with what the film provides to judge what his motives are and, based on what we see, it seems like his reasoning revolves around fearing the threat this knowledge could cause to his family if his boss were to find out.


I don't think it has to be spelled out. He's trying to keep his children away/apart from his job and this life, and part of that is keeping them away/apart from Rooney, etc. so there's a connection. Being close to Rooney is what led him down the path he's in now, so he fears the same might happen to his children.

Like I said, I haven't seen the film in probably 10+ years, so I'm hesitant to go very far into discussing the details and nuances of it, but as far as I can remember, that's what stuck with me, and that's why I wrote the review I wrote.

[SpelingError]

I don't think it has to be spelled out. He's trying to keep his children away/apart from his job and this life, and part of that is keeping them away/apart from Rooney, etc. so there's a connection. Being close to Rooney is what led him down the path he's in now, so he fears the same might happen to his children.

Like I said, I haven't seen the film in probably 10+ years, so I'm hesitant to go very far into discussing the details and nuances of it, but as far as I can remember, that's what stuck with me, and that's why I wrote the review I wrote.

I didn't get the sense he was trying to keep his kids away from Rooney. They did talk to him and his son a few times in the first act and Sullivan never brought up any concerns of that during that sequence, nor did he seem to disapprove of them speaking to him. If I watch the early segments again, I may have a different reaction to them, but all I know is I didn't get a sense of this being implied by the film during the first act. That's why I say this theme didn't take prominence until the church scene.

[Thief]

I'm gonna have to schedule a rewatch :D

[SpelingError]

Okay, that's fair!

Btw, sorry if I came off as heated with my responses as that wasn't my intention.

[Thief]

Not at all. I liked the discussion.

[SpelingError]

Not at all. I liked the discussion.

Okay, sweet :up:

[WrinkledMind]

Watched Four Lions. As someone who enjoys British humour this was right up there with the best. Knowing Hindi and Urdu was an added bonus cause the slangs spoken were creatively top notch. Some of them weren't accurately translated in the English subtitles provided by the film.
A really well made satire.

[mark f]

Welcome to the Circle (David Fowler, 2020) 2 5/10
Postman's Knock (Robert Lynn, 1962) 2.5 5.5/10
A Family Tour (Liang Ying, 2018) 2 5/10
Sound of Metal (Darius Marder, 2019) 3 6.5/10
https://64.media.tumblr.com/83782d239f91ad6d069349b71208c59d/d8aebfd55529a6d1-89/s1280x1920/53949cba8ee87ae7acdaf25b365bf841e03d60da.gif
Riz Ahmed's heavy metal drummer goes deaf and during a doctor visit realizes he may have to live with it permanently.
Always and Forever (Chris Stokes, 2020) 2 5/10
Pardon Us (James Parrott, 1931) 2.5 6/10
What Lies Below (Braden R. Duemmler, 2020) 2 5/10
Big Business (J. Wesley Horne & Leo McCarey, 1929) 3.5+ 7.5/10
https://i.pinimg.com/originals/17/ec/ac/17ecac9e5221ff98dbada071335313d9.gif
Christmas tree salesmen Stan Laurel and Oliver Hardy take a breather in what may be theit funniest film.
Smiley Face Killers (Tim Hunter, 2020) 2- 5/10
Honest Thief (Mark Williams, 2920) 2.5 6/10
Barbs, Wastelands (Marta Mateus, 2017) 2+ 5/10
Ammonite (Francis Lee, 2020) 3 6.5/10
https://64.media.tumblr.com/80e22fabec7a489b300637659a0ad8fa/b3828acd1ece6a34-00/s540x810/57c574da3c9d31c6a26209a3318f32a4bcc2c183.gifv
Wealthy, married and sickly socialite Saoirse Ronan and renowned, repressed scientific researcher Kate Winslet bring out the best in each other
Survival Skills (Quinn Armstrong, 2020) 2+ 5/10
Minor Premise (Eric Schultz, 2020) 2.5 6/10
Love, Weddings & Other Disasters (Dennis Dugan, 2020) 2 5/10
No Place (Peter Matsoukas, 2020) 2.5 6/10
https://m.media-amazon.com/images/M/MV5BNzlmMzkwZjEtMjM0YS00MmZiLWEyZmQtZmE3ODAyMzViMjBhXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_UX4 77_CR0,0,477,268_AL_.jpg
The resolution of the escalating problems of not-so-crooked crook Benjamin Madrid lies behind the door.
Maybe I'm Fine (Elizabeth Blake-Thomas, 2019) 2.5 6/10
Elyse (Stella Hopkins, 2020) 1.5+ 4.5/10
Darkness Falls AKA Anderson Falls (Julien Seri, 2020) 2 5/10
Moonstruck (Norman Jewison, 1987) 3.5 7+/10
https://64.media.tumblr.com/b44465487132197cca52344b6c528f58/tumblr_o7ii42aLBL1qanwe4o1_r1_500.gifv
Italians are people too... and funny.

[Stirchley]

69922

Surprisingly, I had never seen this movie before. So good & entertaining. Bates & Caan terrific together.

69923

Re-watch. Silly movie at first, but it grows on one. Tom Hanks killed in his rôle.

69924

Based on a true story. Pedophilia in the Catholic Church & the subsequent cover-ups.

Movie is very slow & it would benefit from being shorter. But I finished it & it’s worth seeing.

[Gideon58]

https://images-na.ssl-images-amazon.com/images/I/81nzz%2Bxt0uL._AC_SL1500_.jpg



4.5

[SpelingError]

69922

Surprisingly, I had never seen this movie before. So good & entertaining. Bates & Caan terrific together.

Misery is excellent. Glad you liked it!

[ThatDarnMKS]

The Lady Eve

****/*****

A very charming screwball comedy from Sturges that released the same year as his own Sullivan's Travels. I didn't like it QUITE as much as that film but this is likely my favorite performance from Stanwyck, outmatching her iconic turn in Double Indemnity.

[Takoma11]

Do you mean Kiyoshi Kurosawa?

I think he means that Cure is one of Bong Joon-ho's favorite films, not that he thinks the film was made by Bong.

[Thief]

Catching up with a weekend watch...

DIE HARD (1988)
A Christmas film

https://www.indiewire.com/wp-content/uploads/2015/12/die-hard-1.jpg?w=640

The Holiday season is on! I usually wait until Christmas or Christmas Eve for my annual watch, but I rescheduled it to prepare for a podcast and I don't regret it at all :D What can I say about this? My favorite action film and a great film, period. Love everything from McTiernan's tight direction to the snappy script; love the way they set up things, with great payoffs later on; most of the performances are great, led by Bruce Willis with a perfect "everyman" attitude, and Alan Rickman as one of the most iconic antagonists. A must-see for anybody who enjoys films.

Grade: 5

[Torgo]

I have an overwhelming desire to see that again now. It would definitely lift my spirits.

Favorite scene? It's gotta be the "Bill Clay" one. In addition to Rickman's seamless transition to an American accent, the tension is delightfully unbearable.

The only thing I'm not crazy about in it is Theo. Is he supposed to be funny? I just think he's annoying. Maybe he's supposed to be.

[ThatDarnMKS]

I have an overwhelming desire to see that again now. It would definitely lift my spirits.

Favorite scene? It's gotta be the "Bill Clay" one. In addition to Rickman's seamless transition to an American accent, the tension is delightfully unbearable.

The only thing I'm not crazy about in it is Theo. Is he supposed to be funny? I just think he's annoying. Maybe he's supposed to be.

I love Die Hard but this is the kind of statement I'll only accept from a non-American.

[Torgo]

I love Die Hard but this is the kind of statement I'll only accept from a non-American.Well, I do have British and Irish ancestry.

But seriously, seamless may be too strong a word. I'll just say convincing.

[Thief]

...and this one was from last night...

THE INVITATION (2015)
A film from the 2010s

https://suddenlyashotrangout.files.wordpress.com/2017/10/the-invitation.jpg?w=702&h=295

A couple of Twitter friends recommended this and I just went in blind, and what a surprise it was. The film follows Will (Logan Marshall-Green), who's invited to a dinner party at his ex-wife's house, along with his new girlfriend. At the dinner party, Will, who divorced his wife Eden (Tammy Blanchard) after they weren't able to cope with the accidental death of their son, starts feeling more uneasy about the reasons and events at the party, but is it his prejudices and imagination, or is there really something more brewing?

I thought this film, directed by Karyn Kusama, was a masterclass in building tension and dread. The film takes its time to set things up with a lot of skill, with little gimmicks all throughout, while also developing the main characters. Performances are pretty great. Marshall-Green is quite solid, with Tammy Blanchard also shining as his ex-wife. But the best performance goes to John Carroll Lynch, a guest at the party. Seriously, the best thing is to walk into the film knowing as little as it's possible, so I'll stop now.

Grade: 4

[Thief]

I have an overwhelming desire to see that again now. It would definitely lift my spirits.

Favorite scene? It's gotta be the "Bill Clay" one. In addition to Rickman's seamless transition to an American accent, the tension is delightfully unbearable.

The only thing I'm not crazy about in it is Theo. Is he supposed to be funny? I just think he's annoying. Maybe he's supposed to be.

Well, I have something in store for my podcast regarding my favorite scene, so I'll keep that in my backpocket :D but one scene that I remember blew me away when I was a teen was the "Now I have a machine gun, HO-HO-HO" scene. So clever and unique

[ThatDarnMKS]

Well, I do have British and Irish ancestry.

But seriously, seamless may be too strong a word. I'll just say convincing.
I love him as Hans but I've always thought Rickman was horrendous with accents in it. Every time he tries to do German or American, it sounds like a first take after a stroke.

I just consider it part of the charm. Like rooting for Carl Winslow to get his bloodthirst back after murdering a child.

[ThatDarnMKS]

...and this one was from last night...

THE INVITATION (2015)
A film from the 2010s

https://suddenlyashotrangout.files.wordpress.com/2017/10/the-invitation.jpg?w=702&h=295

A couple of Twitter friends recommended this and I just went in blind, and what a surprise it was. The film follows Will (Logan Marshall-Green), who's invited to a dinner party at his ex-wife's house, along with his new girlfriend. At the dinner party, Will, who divorced his wife Eden (Tammy Blanchard) after they weren't able to cope with the accidental death of their son, starts feeling more uneasy about the reasons and events at the party, but is it his prejudices and imagination, or is there really something more brewing?

I thought this film, directed by Karyn Kusama, was a masterclass in building tension and dread. The film takes its time to set things up with a lot of skill, with little gimmicks all throughout, while also developing the main characters. Performances are pretty great. Marshall-Green is quite solid, with Tammy Blanchard also shining as his ex-wife. But the best performance goes to John Carroll Lynch, a guest at the party. Seriously, the best thing is to walk into the film knowing as little as it's possible, so I'll stop now.

Grade: 4
This movie convinces me that Kusama suffers from party anxiety as she captures it PERFECTLY. Only this time, it's worse because you know his anxiety isn't going to be ill founded.

[Thief]

I love him as Hans but I've always thought Rickman was horrendous with accents in it. Every time he tries to do German or American, it sounds like a first take after a stroke.

I just consider it part of the charm. Like rooting for Carl Winslow to get his bloodthirst back after murdering a child.

https://media.giphy.com/media/hTDQBdMlPDEeewFFhl/giphy.gif

:D

[Rockatansky]

I found everybody in The Invitation exceedingly annoying so found it hard to care when everything went down. Well executed though, wouldn't mind seeing more from Kusama. She had a short in some anthology (XX?) that I remember enjoying.

[Thief]

I found everybody in The Invitation exceedingly annoying so found it hard to care when everything went down. Well executed though, wouldn't mind seeing more from Kusama. She had a short in some anthology (XX?) that I remember enjoying.

Not even the main guy and his girlfriend? Man, you're cold :(

Seriously, though, this is the first I've seen of her. I've heard good things about Jennifer's Body lately, even though I remember it was panned a bit when it was released.

[Gideon58]

https://dyn1.heritagestatic.com/lf?set=path%5B1%2F1%2F9%2F2%2F8%2F11928161%5D&call=url%5Bfile%3Aproduct.chain%5D



3

[Takoma11]

...and this one was from last night...

THE INVITATION (2015)
A film from the 2010s

https://suddenlyashotrangout.files.wordpress.com/2017/10/the-invitation.jpg?w=702&h=295

I thought this film, directed by Karyn Kusama, was a masterclass in building tension and dread. The film takes its time to set things up with a lot of skill, with little gimmicks all throughout, while also developing the main characters.

Grade: 4

I LOVE The Invitation on so many levels.

It has one of my favorite thriller moments ever, which is when (MAJOR SPOILERS)he's in the room with his girlfriend and he says to her "They're just people." A friend of mine also loved this line, saying, "I feel like it's the kind of thing I'd tell myself in their situation."

I also loved the callback from the opening scene. I think its an excellently crafted film, and I'm sure you can imagine that it's really rewarding the second time you watch it.

[Thief]

I LOVE The Invitation on so many levels.

It has one of my favorite thriller moments ever, which is when (MAJOR SPOILERS)he's in the room with his girlfriend and he says to her "They're just people." A friend of mine also loved this line, saying, "I feel like it's the kind of thing I'd tell myself in their situation."

I also loved the callback from the opening scene. I think its an excellently crafted film, and I'm sure you can imagine that it's really rewarding the second time you watch it.

Damn, that line! It got to me as well :fire: :fire: it's the kind of line that makes your spine tingle, and yet you realize it's necessary.

[Torgo]

The line I remember is obvious, but it still gives me chills when I think about it:
Don't drink it!

I found everyone except the main couple annoying, but I don't know if that's a fault. I think you're supposed to wonder "who do these people think they are?"

[StuSmallz]

Well, I have something in store for my podcast regarding my favorite scene, so I'll keep that in my backpocket :D but one scene that I remember blew me away when I was a teen was the "Now I have a machine gun, HO-HO-HO" scene. So clever and uniqueYes indeed; like I said in my original review of the film, it isn't just the actual warfare that John & Hans wage that make DH a good movie, it's the psychological warfare as well, y'know?I love him as Hans but I've always thought Rickman was horrendous with accents in it. Every time he tries to do German or American, it sounds like a first take after a stroke. Rickman's "American" accent was indeed horrendous, but I don't mind him keeping his original British one around otherwise, because, even if it was his first movie, they still knew that he had such a rich, unique voice in the first place, it'd be a crime for him not to use it, even when playing a "German" character. That being said, I do find it amusing when even the fellow German guy can't understand him when he tries speaking their language, which you can see at about 70 seconds into this vid:

https://www.youtube.com/watch?app=desktop&feature=youtu.be&t=71&v=4kXMaToMQTE

:D https://media.giphy.com/media/hTDQBdMlPDEeewFFhl/giphy.gif


:DIs this a reference to the back-and-forths I've had with a certain other poster on another forum on how poorly that aspect of the film ages in a post-Black Lives Matter world...?


:shifty:

[Torgo]

Hans' accent was..
:shifty:
Godunov.


I'll see myself out.

[Rockatansky]

Not even the main guy and his girlfriend? Man, you're cold :(

Seriously, though, this is the first I've seen of her. I've heard good things about Jennifer's Body lately, even though I remember it was panned a bit when it was released.

https://pbs.twimg.com/media/ETLMwq-WAAIo_9Y?format=jpg&name=medium

[Thief]

:D Is this a reference to the back-and-forths I've had with a certain other poster on another forum on how poorly that aspect of the film ages in a post-Black Lives Matter world...?

:shifty:

https://media1.tenor.com/images/86ca4f091d18bb82bb51880f41985c9a/tenor.gif

[Takoma11]

Damn, that line! It got to me as well :fire: :fire: it's the kind of line that makes your spine tingle, and yet you realize it's necessary.

I'll also add that I appreciated the film's handling of the theme of loss and pain.

And related to that, the horror of a character who is doing an evil thing, but thinks they are helping. It's a similar dynamic to the horror End of the Line and I find it really scary. Eden is both terrifying and someone you can really feel for--at the end of the day she wants to escape the grief of losing her child, and she genuinely thinks she's helping Will.

[Thief]

https://pbs.twimg.com/media/ETLMwq-WAAIo_9Y?format=jpg&name=medium

Ah well :D Halfway through I was thinking there's no way in hell I'd still be at that party

[StuSmallz]

Anyway, speaking of my original review of Die Hard, here's my original review of Die Hard:

https://i.ibb.co/g6L6g10/636667408623336832-XXX-E-VER-DIE-HARD-DVD-13-1364603.jpg (https://ibb.co/jHPH4KC)

Yippee-ki-yay, motherf*cker.

I've always felt that Die Hard is a movie that's held back slightly by a couple of noteworthy flaws, but it's a testament to the skill of the people involved that it still manages to overcome its problems, and end up as a thrilling icon of modern Action movies in the end. To get my complaints out of the way first, one thing I've never liked about it is its sometimes broad writing, and often rather stock, generic characters; you see, I could forgive the film for having one, maybe two of them, but when you've got the inexplicably stupid, stubborn chief of police we've seen in every cop movie since at least Dirty Harry, the muscling-in Feds who literally say to the local police chief "not anymore you're not [in charge]", the goofy teenage sidekick, and other examples all in the same film, it gets to be a bit much, don't you think? I also agree somewhat with Ebert (https://www.rogerebert.com/reviews/die-hard-1988) when he complained about how the pacing here is sometimes interrupted by unnecessary tangents, the chief offender being Carl Winslow's "tragic" backstory about why he isn't a beat cop anymore, complete with obligatory sad acoustic guitar on the soundtrack, a moment that totally MURDERS the pacing, and adds nothing to the story.

However, it says a lot for the film that it still managed to become such an influential Action classic despite all that, as what it does get right is its overall sense of character and personality, as John McClane genuinely feels like a reluctant, wrong-place-at-the-wrong-time everyman, similar to how you'd imagine a real street cop would react in the same situation. And of course, he's matched by the late, great Alan Rickman in his first(!) and possibly best onscreen role, as the iconic Han Gruber, a sophisticated, urbane, and utterly ruthless German mercenary. The film wrings great mileage out of their dualing performances, Willis as the sclub-y, sarcastic New York cop trying to triumph over a well-armed European invader, and Rickman as an educated elite struggling to wipe out a class-less American Neanderthal who's apparently convinced that he's "Rambo", as Gruber puts it.

Besides that strong central dynamic, Hard genuinely succeeds in being a thinking man's action movie, with its storytelling placing a greater emphasis on building tension and suspense than you'd normally expect from a movie of this genre; Nakatomi Plaza serves well as a claustrophobic, high-tech Alamo under siege, and at times, it feels less like an action movie, and more like a giant game of chess, with a forty-floor skyscraper serving as the board.

Pretty much every character here is constantly strategizing and maneuvering in order to achieve their individual goals, and McClane and Gruber themselves often duel over the radio with plenty of insults and psychological warfare, alongside the ACTUAL warfare that they're waging. And, speaking of the action, Die Hard has plenty of it; firefights, neck-snappings, destroying armored SWAT vehicles with rockets, bare-knuckled fistfights to the death, shooting through a window while hanging off a building while at the same time the roof blows up and a helicopter explodes and crashes hundreds of feet to the ground... it would seem ludicrous if it wasn't as well-made as it is, and flaws aside, Die Hard still more than provides the "forty stories of adventure" promised on its poster in the end, and then some, baby.


Final Score: 8.5

[Thief]

I'll also add that I appreciated the film's handling of the theme of loss and pain.

And related to that, the horror of a character who is doing an evil thing, but thinks they are helping. It's a similar dynamic to the horror End of the Line and I find it really scary. Eden is both terrifying and someone you can really feel for--at the end of the day she wants to escape the grief of losing her child, and she genuinely thinks she's helping Will.

I agree.

What did you think of...

...the actual ending? Part of me thinks it feels forced, as if trying too hard to have a shock ending... but then I think of stuff we hear all the time about Waco or Jim Jones. Casually, just one or two nights ago I was reading a bit about Jim Jones, and ended up listening to the "Death Tape" recorded the night of the mass suicide (it's on Wikipedia) and was asking myself "How the hell does a man convince almost 1000 people to kill themselves and their children??". But that kinda puts in perspective what we see in the end of The Invitation and the possibility of something like that happening.

[Fabulous]

Notting Hill (1999)

2

https://image.tmdb.org/t/p/original/j9V2HVQKiyu2FzAckXK2q6b44wc.jpg

[Takoma11]

Ah well :D Halfway through I was thinking there's no way in hell I'd still be at that party

I think that part of the horror comes from not having left the party when you clearly should have left the party. As the viewer we KNOW something is going down, but the characters themselves are just enough on the fence that they can be convinced to stay. For me it just walked the line where I was going "Get out of there!" but not so much that it came across as them being really stupid.

What did you think of...

...the actual ending? Part of me thinks it feels forced, as if trying to hard to have a shock ending... but then I think of stuff we hear all the time about Waco or Jim Jones. Casually, just one or two nights ago I was reading a bit about Jim Jones, and ended up listening to the "Death Tape" recorded the night of the mass suicide (it's on Wikipedia) and was asking myself "How the hell does a man convince almost 1000 people to kill themselves and their children??". But that kinda puts in perspective what we see in the end of The Invitation and the possibility of something like that happening.

Like you, I don't know that it is necessary, but I don't terribly mind it.

Also, if I remember correctly, isn't there a moment earlier on when you hear sirens or an emergency vehicle goes by? I just remember on a second watch picking up on a few bits of foreshadowing.

And in terms of the main character, he has his moment where he decides that he wants to live (something I really love is that this is tied to his relationship with the girlfriend). But seeing all those lanterns--those are all people who were willing to die to escape their pain.

[ThatDarnMKS]

I think the ending of THE INVITATION carries considerable more weight in the current political climate.

[MovieBuffering]

Hillbilly Elegy - 2020

Caught this movie a couple nights go. It's crazy how politicized this movie has gotten. It's like 26% on RT and what like 81% audience score? Where did I fall on it? It was ok. I certainly think because it's about the struggle of a white Appalachian family the woke left, which is most of Hollywood these days, had to bash it. Which is hilariously ironic because it was written by a female screenwriter and has two Oscar worthy performances by females and the main character has a strong Indian GF...yay convenient feminism. I think it deserves to fall somewhere between 45%-55% on RT if they were being truthful.

I got turned on to it because I thought "Holy sh*t, Hollywood did a hillybilly family drama? No way". Plus Ron Howard directed it, at least worth a gander. I guess it's about a book a dude named J.D. Vance wrote about his childhood trauma growing up then getting out, doing well, and getting pulled back to take care of his drug addicted mom. Weird watching it and hearing my name as the main character, always felt like they were talking to me ha (my name is also J.D.). Anyways Adams and Close both give Oscar worthy performances and are really spectacular. Close is unrecognizable. Both are beyond due to win one but this material given the current climate might not even get them nominated. Hell it's pretty white heavy doubt it will even qualify due to the new diversity rules (aka less white).

The movie itself is through J.D.'s perspective so it doesn't really add depth to Adams and Close character. While their performances are Oscar worthy their characters are only really skin deep. They are who they are just because. Rarely given and reason or depth into why, which is fine because it's from J.D.'s perspective but makes them a tad bit shallow as characters. Some scenes are just hard to watch and digest because it feels like they are just thrown against the wall to piece the movie together. The last 3rd of the film however really does work for me, it's sort of a battle to get there but the last 3rd really does work for me. Got me in the feels.

In the end I think it was a so-so flick. I don't think it's nearly as bad as RT and some critics make it out to be. It has a ton of problems but it's trying to tell a tough story. Adams and Close are definitely worth the watch. I think it's worthy of a watch but I probably won't care to revisit it or remember much of it a year down the road.

2.5 Probably a 2 but I bumped it up a bit for Howard and the crew having the balls to make it in this climate.

https://images.jacobinmag.com/wp-content/uploads/2020/12/07084950/AAAABdmzyfDPcs9bn1glb1GZzcGTHXFYn170fy29H7eWD5nV54oAqnjzQvkmB9GkurG-WuaWNSM2sTLy_8hfB-EGaBa7af9i.jpg

[ThatDarnMKS]

You just gave the film what most critical metrics (including RT) would consider a failing score while complaining about a liberal conspiracy to give it a bad score because it dared to be about hillbillies.

[pahaK]

Mosul (2019)
2.5
For a long time, I was considering a 3/5 rating, but I didn't like the ending at all. Otherwise, it's a rather decent Black Hawk Down tribute with smaller-scale action.

--
Savaged (2013)
3
Definitely a positive surprise. It's the I Spit on Your Grave with less focus on the initial rape and supernatural revenge. It's sort of campy 80s throwback with an extremely ugly color filter, and it mostly manages to capture what's cool in such flicks.

[Takoma11]

Savaged (2013)
3
Definitely a positive surprise. It's the I Spit on Your Grave with less focus on the initial rape and supernatural revenge. It's sort of campy 80s throwback with an extremely ugly color filter, and it mostly manages to capture what's cool in such flicks.

Also called Avenged (the title I saw it under). Yes, it is solid and I appreciated the way that they showed the way her body falls apart as events go on. Not amazing, but well worth seeing for any horror peeps.

[Takoma11]

Hillbilly Elegy - 2020

2.5 Probably a 2 but I bumped it up a bit for Howard and the crew having the balls to make it in this climate.

The average RT critic score is a 4.6/10, which is almost identical to your 2/5. Sounds like you're in line with the critical consensus.

[the samoan lawyer]

I think he means that Cure is one of Bong Joon-ho's favorite films, not that he thinks the film was made by Bong.


:up:

[Torgo]

I too watched Die Hard last night thanks to Thief and I'm glad I did. My hastily-assembled review:

There are many reasons why Die Hard is deservedly considered one of the greatest action movies. For one, it has a variety of the best kind of action scenes from shootouts to one-on-one fights without ever feeling overstuffed. This is because each one is preceded by tension building and followed by relief. While this seems fundamental, it's a reminder why this movie still holds up while so many others that attempt constant action from the last few decades likely will not. This would all be moot if we did not have characters who are memorable and worth caring about, which we do in the relatable, strongly physical and ultimate fish-out-of-water John McClane and the intensely charismatic and offensively self-assured antagonist Hans Gruber. Regardless, the movie's secret weapon - one that could explain why so many other John McTiernan movies still hold up - is its strong first act. It introduces the characters, establishes their relationships, makes the stakes clear, etc. like first acts should do, but in a way that takes its time and makes you feel like you've taken your shoes off and made fists with your toes in the movie's carpet, if that makes sense (and isn't too cheesy). In short, Die Hard deserves its classic status which the many "Die Hard on a..." imitators that followed it demonstrate. Some of them are very good, and while we've had many other great action movies since that do not resemble Die Hard to enjoy, it's still as reliable a guide as any for making an action movie that stands the test of time.

[WHITBISSELL!]

Motel Hell - Given what little I knew about this it turned out to be a decent enough movie. I mean, it's no classic. And there's no A-list stars (Rory Calhoun was only ever a B movie actor even in his prime). The premise is a little silly. A brother and sister run a secluded motel where they use guests (but mostly travelers they ambush) to make their world famous Farmer Vincent sausages. After shooting out the tires of a motorcycle riding couple, Vincent Smith (Calhoun) decides to "keep" pretty young survivor Terry around. Vincent and Ida (Nancy Parsons) have a younger brother named Bruce (Paul Linke) who also happens to be the local sheriff. There are some interesting cameos including Wolfman Jack as local televangelist Reverend Billy and Elaine Joyce as a whip wielding swinger but look for John Ratzenberger as the drummer in a metal band that end up in Vincent and Ida's "secret garden". The movie doesn't take itself seriously at all which is no small part of it's charm. And I'm not sure if it was a happy accident or a calculated move on the part of the producers but Rory Calhoun turns out to be perfectly cast and he and Parsons have a relaxed and easy sort of air about them as the siblings. The scene with Calhoun wielding a chainsaw while wearing a pigs head is downright delightful. 75/100

[MovieBuffering]

The average RT critic score is a 4.6/10, which is almost identical to your 2/5. Sounds like you're in line with the critical consensus.

Nice. I just went off RT and it's too low. That sounds a bit more accurate. I think it's somewhere between 5-6 if we going on a scale of 10. RT is woke woke though.

[WHITBISSELL!]

The Dead Don't Die - I liked this more than the first time I watched it but it's still not one of Jim Jarmusch's strongest films. I guess I paid more attention this time but outside of the "message" imparted by Tom Waits at the very end (which just came right out and explained the moral of the story) there apparently isn't much I missed the first time out. Outside of Jarmusch's script going out of it's way to use everyone's names at least once. There didn't appear to be any unidentified characters among the speaking roles. I don't actually know if there was a point being made or maybe Jarmusch has a pet peeve about it. Anyway, despite the fact that the impressive cast is enough of a reason to watch this the script is clever enough I suppose. But there is some unanticipated fourth wall breaking and the ending just kind of goes off the rails. Again, I'm not sure if this was a calculated move on the director's part or not. Watch it though. It's Jarmusch after all and just seeing that eclectic cast gathered in one place is ultimately gratifying on it's own. 80/100

[Takoma11]

Nice. I just went off RT and it's too low. That sounds a bit more accurate. I think it's somewhere between 5-6 if we going on a scale of 10. RT is woke woke though.

Your score is between 2 and 2.5. Double that for an out-of-ten score and that's a range of 4-5. It just sounds like you (and the other people in this thread who have reviewed it) are of a similar mind about the film.

The main criticism that I've seen of the film (admittedly I've only read two "formal" reviews) is not that it is ABOUT "hillbillies", it's that films with these types of characters tend to be used as a sort of poverty porn. I live in a rural Appalachian community, and I will compliment the film on Glenn Close's grandma hair.

Heroin(e), about the opioid epidemic in West Virginia has a 100% critic score on RT. Wanda has a 92% critic score. Winter's Bone has a 94% critic score. I don't think it's the characters/setting that are the issue.

[crumbsroom]

Hillbilly Elegy - 2020

Caught this movie a couple nights go. It's crazy how politicized this movie has gotten. It's like 26% on RT and what like 81% audience score? Where did I fall on it? It was ok. I certainly think because it's about the struggle of a white Appalachian family the woke left, which is most of Hollywood these days, had to bash it. Which is hilariously ironic because it was written by a female screenwriter and has two Oscar worthy performances by females and the main character has a strong Indian GF...yay convenient feminism. I think it deserves to fall somewhere between 45%-55% on RT if they were being truthful.



So they aren't being truthful because they gave a middling review? To a middling movie?



Kudos to the 81 percent of the audience who liked it. But there being a difference between this and the critics score is not the conspiracy people might think it is. There are all sorts of movies about this part of America that critics go nuts over. And rightfully so because there is an endless number of unquestionably beautiful and challenging films about it. This is hardly even a political film that might get those biased against it in a froth. What exactly is being unseen by the critics, in their terrible plan to lower this particular films RT score? What exactly are they against, other than its mediocrity?



Personally, as some lefty yokel from Canada, I prefer films about the South. Or, at the very least it's a close draw between that and city films. And while its not abjectly bad as a way to spend an hour and a half (Ron Howard is the master at making irrelevantly not bad movies) it just might be abjectly worthless, as a piece of art. Which is what critics are supposed to be about (supposed to...)


I'd give it a one out of five. Slightly worse than you.

[Wooley]

The Lady Eve

****/*****

A very charming screwball comedy from Sturges that released the same year as his own Sullivan's Travels. I didn't like it QUITE as much as that film but this is likely my favorite performance from Stanwyck, outmatching her iconic turn in Double Indemnity.

I'm really glad you liked it. I agree that it's not perfect but I also agree that Stanwyck is just ****ing aces in it.

[Wooley]

I love Die Hard but this is the kind of statement I'll only accept from a non-American.

Ha! That's a good point.

[Wooley]

...and this one was from last night...

THE INVITATION (2015)
A film from the 2010s

https://suddenlyashotrangout.files.wordpress.com/2017/10/the-invitation.jpg?w=702&h=295

A couple of Twitter friends recommended this and I just went in blind, and what a surprise it was. The film follows Will (Logan Marshall-Green), who's invited to a dinner party at his ex-wife's house, along with his new girlfriend. At the dinner party, Will, who divorced his wife Eden (Tammy Blanchard) after they weren't able to cope with the accidental death of their son, starts feeling more uneasy about the reasons and events at the party, but is it his prejudices and imagination, or is there really something more brewing?

I thought this film, directed by Karyn Kusama, was a masterclass in building tension and dread. The film takes its time to set things up with a lot of skill, with little gimmicks all throughout, while also developing the main characters. Performances are pretty great. Marshall-Green is quite solid, with Tammy Blanchard also shining as his ex-wife. But the best performance goes to John Carroll Lynch, a guest at the party. Seriously, the best thing is to walk into the film knowing as little as it's possible, so I'll stop now.

Grade: 4

My curiosity about this film grows, just based on the number of people who have had bon mots for it, and I have managed to keep from learning even one thing about it. I'll have to give it a spin sometime.

[Takoma11]

My curiosity about this film grows, just based on the number of people who have had bon mots for it, and I have managed to keep from learning even one thing about it. I'll have to give it a spin sometime.

It is very strong and I found it very satisfying on both a literal story level and a thematic level.

[ThatDarnMKS]

I'm really glad you liked it. I agree that it's not perfect but I also agree that Stanwyck is just ****ing aces in it.
There was a video essay with the Criterion Blu of Sullivan’s Travels that mentions that Sturges was sharper with his dialogue than with his slapstick, and showed how tightly he frames and cuts his pratfalls as opposed to the more classic wider shots to capture the antics and it felt like it rang much more true in the case of TLE, as Fonda always seems to be in a state of falling (a nice metaphor though).

I have a Stanwyck dvd set that I may polish off due to this performance. I’ve only seen Annie Oakley out of it which was... Fine.

[Wooley]

:D Is this a reference to the back-and-forths I've had with a certain other poster on another forum on how poorly that aspect of the film ages in a post-Black Lives Matter world...?


:shifty:

Oh are we doing that again?

:popcorn:

[Wooley]

Motel Hell - Given what little I knew about this it turned out to be a decent enough movie. I mean, it's no classic. And there's no A-list stars (Rory Calhoun was only ever a B movie actor even in his prime). The premise is a little silly. A brother and sister run a secluded motel where they use guests (but mostly travelers they ambush) to make their world famous Farmer Vincent sausages. After shooting out the tires of a motorcycle riding couple, Vincent Smith (Calhoun) decides to "keep" pretty young survivor Terry around. Vincent and Ida (Nancy Parsons) have a younger brother named Bruce (Paul Linke) who also happens to be the local sheriff. There are some interesting cameos including Wolfman Jack as local televangelist Reverend Billy and Elaine Joyce as a whip wielding swinger but look for John Ratzenberger as the drummer in a metal band that end up in Vincent and Ida's "secret garden". The movie doesn't take itself seriously at all which is no small part of it's charm. And I'm not sure if it was a happy accident or a calculated move on the part of the producers but Rory Calhoun turns out to be perfectly cast and he and Parsons have a relaxed and easy sort of air about them as the siblings. The scene with Calhoun wielding a chainsaw while wearing a pigs head is downright delightful. 75/100

Yeah, I enjoy the movie overall, I think it does drag a bit in the middle, but the chainsaw scene is worth the whole run-time for me.

[Wooley]

The Dead Don't Die - I liked this more than the first time I watched it but it's still not one of Jim Jarmusch's strongest films. I guess I paid more attention this time but outside of the "message" imparted by Tom Waits at the very end (which just came right out and explained the moral of the story) there apparently isn't much I missed the first time out. Outside of Jarmusch's script going out of it's way to use everyone's names at least once. There didn't appear to be any unidentified characters among the speaking roles. I don't actually know if there was a point being made or maybe Jarmusch has a pet peeve about it. Anyway, despite the fact that the impressive cast is enough of a reason to watch this the script is clever enough I suppose. But there is some unanticipated fourth wall breaking and the ending just kind of goes off the rails. Again, I'm not sure if this was a calculated move on the director's part or not. Watch it though. It's Jarmusch after all and just seeing that eclectic cast gathered in one place is ultimately gratifying on it's own. 80/100

I think the thing I liked most about this movie was the fourth wall stuff. It wasn't just breaking it in the way we all think of, it was actually folding the notion of the fourth wall into the story itself and I really enjoyed that.
The part about Adam Driver knowing what's gonna happen because he read the script because Jarmusch gave him the whole script while he didn't give it to Murray so Murray doesn't and seems kind of upset that Jarmusch gave Driver the script and not him, to me, was just as funny/clever a thing as I've seen in a theater in a while.

[Thief]

My curiosity about this film grows, just based on the number of people who have had bon mots for it, and I have managed to keep from learning even one thing about it. I'll have to give it a spin sometime.

https://media.giphy.com/media/3o84sw9CmwYpAnRRni/giphy.gif

[MovieGal]

https://cdn.vox-cdn.com/thumbor/jOa2kCYsR4tKUcJYI6L9k08v6QQ=/0x0:2838x1596/1200x800/filters:focal(1765x424:2219x878)/cdn.vox-cdn.com/uploads/chorus_image/image/67351419/mulan2.0.jpeg

Mulan
(2020)
3.25/5

[Fabulous]

Light Sleeper (1992)

2.5

https://image.tmdb.org/t/p/original/ixjBA3h0NfLqFrIc0CDgnnLhjjj.jpg

[MovieBuffering]

Your score is between 2 and 2.5. Double that for an out-of-ten score and that's a range of 4-5. It just sounds like you (and the other people in this thread who have reviewed it) are of a similar mind about the film.

The main criticism that I've seen of the film (admittedly I've only read two "formal" reviews) is not that it is ABOUT "hillbillies", it's that films with these types of characters tend to be used as a sort of poverty porn. I live in a rural Appalachian community, and I will compliment the film on Glenn Close's grandma hair.

Heroin(e), about the opioid epidemic in West Virginia has a 100% critic score on RT. Wanda has a 92% critic score. Winter's Bone has a 94% critic score. I don't think it's the characters/setting that are the issue.

Nice. Pops is from Charleston WV. Got family in Knoxville area. Beautiful part of the country.

Guess I overstepped but I only looked on RT. For better or worse that is where the majority of people get their movie ratings. From my perspective it feels like it was politicized on there at least. I think 26% is too harsh but I also think 81% is too high.

[Steve Freeling]

https://images.static-bluray.com/reviews/4488_6_1080p.jpg
Ghost in the Shell: Stand Alone Complex: The Laughing Man (2005) - First Time on Tubi rating_4
As someone who's enjoyed every piece of the Ghost in the Shell franchise that he's seen--from the original 1995 film to its reviled 2.0 variation to Arise to the much-maligned live-action film released in 2017, I think this is a solid entry. It's a significant abridgment of the 26-episode first season of Stand Alone Complex, which I still need to go and watch, but it seems that a majority of the most important story beats have made the cut, unsurprising since Stand Alone Complex creator Kenji Kamiyama was the one who decided what to cut and what to keep. It might still seem a bit long at 160 minutes long, but I doubt Kamiyama could cut any more and have a coherent film. The story is solid, featuring plenty of quotes from classic literature as one would expect from Ghost in the Shell, the animation is stunning--though the decision to crop the footage from 1.78:1 to 1.85:1 is a bit puzzling--as you'd expect from Ghost in the Shell, and Yoko Kanno's excellent musical score lives up to her usual standards. The English dub is also of a high standard even though the cast is a bit different from those most associated with Ghost in the Shell and completely different from the cast of the Stand Alone Complex series. While she's not Mimi Woods, Mary Elizabeth McGlynn, or Elizabeth Maxwell, Alison Matthews matches all of them beat for beat as Major Motoko Kusanagi, the protagonist of most Ghost in the Shell media. While not Richard Epcar or Chris Sabat, Sesshomaru himself David Kaye is equally impressive as Batou, the member of Kusanagi's team who works closest with her. While not Christopher Joyce, Crispin Freeman, or Alex Organ, Trevor Devall is also solid as Togusa, the member of Major's team who is a family man with no cyberization--usually a given in the Ghost in the Shell universe--aside from a cyberbrain. While not William Frederick Knight or John Swasey, Russell Roberts is also excellent as Chief Daisuke Aramaki who Major and her team take their orders from. While he's no Steve Blum, Michael Adamthwaite is appropriately mysterious and threatening as the Laughing Man of the title. Everyone else is also solid and the dub script is completely natural.
https://images.static-bluray.com/reviews/4490_9_1080p.jpg
Ghost in the Shell: Stand Alone Complex: Individual Eleven (2006) - First Time on Tubi rating_4
This abridgment of the second season of Stand Alone Complex is of much the same quality as The Laughing Man--though one shouldn't expect too many quotes from classic literature here. The story is solid, and while the concerns about its length remain, again, Kamiyama really couldn't remove much more and have a coherent film come out of it. The animation is stunning, though the decision to crop it is no less puzzling. Kanno once again does the musical score with excellent results. The dub is once again of a high standard, with Matthews, Kaye, Devall, and Robert returning as the same characters they voiced in The Laughing Man. While he's no Kirk Thornton, John Murphy is appropriately mysterious and menacing as Hideo Kuze, a man with a seemingly indestructible prosthetic body who is supposedly the sole survivor of the group suicide of a terrorist group known as the Individual Eleven and the dub script is completely natural.
https://images.static-bluray.com/reviews/15144_5_1080p.jpg
Ghost in the Shell 2: Innocence (2004) - First Time on Funimation rating_4
I'd been meaning to get around to this one for a while, but I never got to until fairly recently. I finally did and it was well worth the watch. As Mamoru Oshii's sequel to his 1995 film, Innocence, perhaps surprisingly, expands on the first film's lore and the world it creates while being almost completely its own, though it's a good idea to have already seen the original film for obvious reasons. As such, it recycles few, if any, story beats from the original film, unless you count the references to classic literature such as the Bible and Descartes. In addition to directing this sequel, Oshii also takes over the screenwriting duties from Kazunori Ito who co-wrote Nausicaä of the Valley of the Wind with the legendary Hayao Miyazaki prior to the original film and he didn't do half-bad if we're being honest, the franchise's unusual view of the human condition still near the forefront as the question of whether what Locus-Solus does is right or wrong permeates the film. The animation is stunning, which is unsurprising since quite a few people from Studio Ghibli were part of it. Innocence is probably infamous for being relentlessly dark, but it's a perfect fit for the film's somewhat melancholic tone and the world it creates, and the 3D animation used at certain points enhances rather than denigrates the film. Kenji Kawai also returns to the sequel with an excellent musical score. Kawai doesn't recycle a whole lot of musical elements from the original, but fans of the original who haven't seen this outing should watch out for a version of Floating Museum with new chants that appears during the film's endgame. Bandai Visual has provided an excellent English dub, which is actually the second dub Innocence has had since Manga UK dubbed it in 2005 while Bandai Visual redubbed it in 2009. Interestingly enough, both dubs have much of the same cast. Since Funimation has only included the Bandai Visual dub, that's the one I'll focus on here. Richard Epcar is excellent as Batou, reprising his role from the original film. Crispin Freeman is equally impressive as Togusa, who has become Batou's partner in the Major's absence. In the brief intervals when he appears, William Frederick Knight is rock-solid as Chief Aramaki. Watch out for Mori-senpai himself Travis Willingham as Kim, a completely insane man who decided it was better to become a doll and causes Batou to utter what is arguably the film's most thought-provoking line in, "What's the point of being a ghostless doll?" Mary Elizabeth McGlynn is also excellent as the Major in a few spots throughout the film where she appears in random ways. Everyone else, including the likes of Barbara Goodson, Steve Kramer, Sandy Fox, (Hey, there's two VAs from the Streamline dub of Akira and one from the Pioneer dub in this one dub!) and Laura Bailey, are also good, and the dub script is completely natural. All in all, if you want my honest opinion, Innocence can definitely hold its head up high next to the original and I can see myself returning to it many times in the future. Later, y'all.

[WHITBISSELL!]

I think the thing I liked most about this movie was the fourth wall stuff. It wasn't just breaking it in the way we all think of, it was actually folding the notion of the fourth wall into the story itself and I really enjoyed that.
The part about Adam Driver knowing what's gonna happen because he read the script because Jarmusch gave him the whole script while he didn't give it to Murray so Murray doesn't and seems kind of upset that Jarmusch gave Driver the script and not him, to me, was just as funny/clever a thing as I've seen in a theater in a while.It was clever and unexpected. But I can understand how some people could misinterpret it as Jarmusch not giving enough of a f*ck or as a slam against the genre.

[Fabulous]

American Pie (1999)

3.5

https://image.tmdb.org/t/p/original/ibsucpws95gHrBqo7MPH4cHvPqi.jpg

[Captain Terror]

Lots of Die Hard discussion here lately, but hardly any mention of the film's MVP.

https://media1.tenor.com/images/69325d3fe204b8a21373b8f69b6302f2/tenor.gif?itemid=13271679

[chawhee]

The Invitation (2015)
https://is2-ssl.mzstatic.com/image/thumb/Video69/v4/bf/d3/7b/bfd37b4e-f36d-401c-c0b0-45b4df0f582c/source/560x315mv.jpg
3
Had to jump on this with so much conversation about it, especially since this seemed like my kind of movie. I wasn't disappointed at all, but it didn't quite shock me or leave me with any lingering thoughts like I thought it might. The shooting style, as others mentioned, was tense and crowded, reminding me of the movie Coherence a bit. Let's just wrap the rest in spoilers....


The cult aspect was openly acknowledged by the group quickly, yet everyone except Will acted pretty ignorant about the whole night and some of the actions occurring. Pruitt's story about killing his wife may have made me leave the party in the same fashion Claire did (was there a note about whether she actually survived or not?), yet the other members of the group who knew him only as a stranger seemed to shrug it off.

I would have liked to see more development of the cult origin and appeal, because the video on the laptop was considerably uninspiring....another creepy moment I would likely never expect to experience at a party. The movie did capture tension well, but some of it felt forced, given that I found this rather predictable. The moment where Choi finally shows up almost made me turn it off I was rolling my eyes so hard on such convenient timing (who leaves a party at the door to go to work, then shows up several(?) hours late?).


I will recommend this to a handful of friends I know who enjoy this kind of plot and theme, but it's hard to evaluate any mass appeal, whether that was the intention or not.

[John W Constantine]

Her - 9/10

Perfectly describes the 2010's

The Searchers - 9.5/10

This one finally clicked this time around after a few times in the past of not getting it.

Both great choices for the Top 100

[Torgo]

Lots of Die Hard discussion here lately, but hardly any mention of the film's MVP.

https://media1.tenor.com/images/69325d3fe204b8a21373b8f69b6302f2/tenor.gif?itemid=13271679Undoubtedly. I mean, he negotiates million dollar deals for breakfast.

[John W Constantine]

Hans, boobie

[Torgo]

It might just be a coincidence, but I think he drinks a Coke because the Germans misinterpreted his request for cocaine. Hilarious if true.

[Fabulous]

Juice (1992)

3

https://image.tmdb.org/t/p/original/pzJMoBpHXp5wIKbFUXLYUAoyaE8.jpg

[Cobra]

Juice (1992)

3

https://image.tmdb.org/t/p/original/pzJMoBpHXp5wIKbFUXLYUAoyaE8.jpg
That's a bit low.

[Thunderbolt]

70006
Duel (1971)
Rewatch. Can’t believe this film is almost 50 years old. It has aged really well.
4

[Thief]

12 AND HOLDING (2005)
A film with the number 12 in its title

https://images.noovie.com/images/1378330/original/151336_full.jpg

I knew literally nothing about this before I hit "Play", but it came up when I was browsing for films with the number 12 in its title, so I thought "Why not?". The film follows three friends that have to deal with different issues as they grow up. From parental neglect, sexuality, obesity, death, and guilt, all three are haunted and burdened by different problems, which they try to solve in innocent yet immature ways. This is what I found refreshing about the film, in that there are no hints of unrealistic "child wisdom", or a "magically" convenient paternal figure that appears to guide them, but rather an honest portrayal of how a 12 year old might deal with the situations that are thrown at him/her.

The one that takes center stage is the death of Jacob's twin brother, Rudy (both played by Conor Donovan), but equally interesting is Malee's exploration of her sexuality, and Leonard's coping with obesity. The girl that plays Malee (Zoe Weizenbaum) was amazing in the role, and there's a supporting performance by a young Jeremy Renner, who plays pretty well off her. The parents portrayal also feels very truthful and grounded. There is some level of amateurishness in the direction, but not enough to hinder the overall effect.

After watching it, I realized that the director, Michael Cuesta, had also directed Kill the Messenger, also with Renner, which is easily on my Top 5 of 2014, so take that as a double recommendation.

Grade: 3.5

[kgaard]

12 AND HOLDING (2005)
A film with the number 12 in its title


Hey, do you have a list posted somewhere of this month's challenges? I've been kinda sorta keeping it up just to finish out the year. And 12 Years a Slave (which I missed in the theaters) just popped up on Hulu so that's an easy one right there.

[kgaard]

Oh, and Michael Cuesta also directed L.I.E., which was Paul Dano's first major film role. Worth looking up.

[Thief]

Hey, do you have a list posted somewhere of this month's challenges? I've been kinda sorta keeping it up just to finish out the year. And 12 Years a Slave (which I missed in the theaters) just popped up on Hulu so that's an easy one right there.

I haven't brought up the challenge here to MoFo, but might do so once 2021 starts. I'm still juggling some changes that I might do, but hopefully I will start a thread here in January.

Anyway, these are the categories I chose for December...

A film with the number 12 (Twelve, Twelfth, etc.) in its title: 12 and Holding
Any film that starts with the letters W, X, Y, or Z
A film from the 1001 Movies list whose ranking includes the #12 (i.e. 12, 129, 912)
A film from the 2010s: The Invitation
A war film
A TV film
The last Best Picture winner you haven't seen
The last film from any deceased director you like
A film from UAE (Independence Day, December 2)
A film with a prominent character with a disability (Int'l Day of People w/Disability, Dec 3)
A film set in a mine or cave (National Miners Day, December 6)
A film from Yasujiro Ozu (born December 12)
A film about children (Int'l Chidren's Day, December 13)
A film with the word "Winter" in its title
A Holiday/Christmas film: Die Hard

I'm way behind. Only 3 films so far, but hopefully I can pick up later once work stuff dwindles down.

[Thief]

Oh, and Michael Cuesta also directed L.I.E., which was Paul Dano's first major film role. Worth looking up.

Yeah, I read a bit about this too. Stars Brian Cox, I think.

[kgaard]

I haven't brought up the challenge here to MoFo, but might do so once 2021 starts. I'm still juggling some changes that I might do, but hopefully I will start a thread here in January.

Anyway, these are the categories I chose for December...

A film with the number 12 (Twelve, Twelfth, etc.) in its title: 12 and Holding
Any film that starts with the letters W, X, Y, or Z
A film from the 1001 Movies list whose ranking includes the #12 (i.e. 12, 129, 912)
A film from the 2010s: The Invitation
A war film
A TV film
The last Best Picture winner you haven't seen
The last film from any deceased director you like
A film from UAE (Independence Day, December 2)
A film with a prominent character with a disability (Int'l Day of People w/Disability, Dec 3)
A film set in a mine or cave (National Miners Day, December 6)
A film from Yasujiro Ozu (born December 12)
A film about children (Int'l Chidren's Day, December 13)
A film with the word "Winter" in its title
A Holiday/Christmas film: Die Hard

I'm way behind. Only 3 films so far, but hopefully I can pick up later once work stuff dwindles down.

Super, thanks, man. I usually don't get to all categories but I find it useful for pointing me in directions I may not have gone on my own (I've never seen an Ozu film, for example), so I've found it pretty rewarding.

[Thief]

Super, thanks, man. I usually don't get to all categories but I find it useful for pointing me in directions I may not have gone on my own (I've never seen an Ozu film, for example), so I've found it pretty rewarding.

Same here. That was the plan all along.

I want to maintain that idea, but might try to spin it a bit in 2021. We'll see.

[Captain Terror]

(Sadly, didn't save anything from Corri.)

Yeah, I didn't know how this was gonna go and there was a brief lull maybe 1/3 of the way through when I thought they may have lost me but I was really glad I stuck it out and yeah, you're right, the last 20 minutes are so rewarding. I knew I liked my new girlfriend when I showed her the big dance finale and she loved it.
Since you mentioned Electric Company on another thread-- Did you happen to recognize Julie from EC during the big dance number? She's the teenager that emerges from the house with Irene Cara. An early crush of Lil' Cap's back in the day, so I recognized her immediately.

Irene was also on EC, so maybe the two young kids were too but I didn't recognize them.

[Stirchley]

70017

Fun movie that I had never seen in its entirety. Tom was super-charismatic from the start of his career.

70018

One of the 1st movies to go straight to streaming in HBOMax. Underwhelming, but might take a 2nd look.

Gimmicky: no script, virtually all improvised. Shot over 2 weeks, predominantly on the Queen Mary 2. Soderbergh was cinematographer, editor & director. Very much like a Woody Allen movie with a slight underlying story.

Candice Bergen was so hilarious. Streep & Wiest very good too.