Rate The Last Movie You Saw

[Thunderbolt]

Christmas Double Bill
70374
A Christmas Carol (1938) Rewatch
Reginald Owen version
3.5

70375
Holiday Affair (1949) Rewatch
4.5

[ThatDarnMKS]

TENET

4.5

I prefer Nolan when he isn’t overtly concerned with exposition dumps to explain the logistics and rules of everything abound in his timey wimey play area, which usually ends up eating itself regardless. Here, it’s all play and plot and I didn’t mind at all. Among his best and I had no issues with the mix.

[LChimp]

https://m.media-amazon.com/images/M/MV5BNzM5ZDcyMDUtZGM0Zi00YzI3LTllYjEtODU1ODk1ZTkxZDlhXkEyXkFqcGdeQXVyMTEwMTY3NDI@._V1_.jpg

Nobody Sleeps in The Woods Tonight. Nice throw back to scary movies from the 80's. There is a small detail that turned me off a bit, but a fun movie nonetheless.

[this_is_the_ girl]

https://avatars.mds.yandex.net/get-zen_doc/2815454/pub_5fd7045b33ed420c3f374a11_5fd7059064f2df1897684699/scale_1200
Parallel (2018, Isaac Ezban)
2
I'm familiar with Ezban's work through El Incidente, and that was clearly a better film despite its flaws. This one was kinda similar to Bradley King's Time Lapse - in short, rather meh.

[Torgo]

Ninja III: The Domination - 3

In a cave in the Arizona desert - of all places - there's a katana imbued with the soul of the evil Black Ninja. The soul's latest host is Christie, a lineworker who does aerobics, owns Patrick Nagel artwork and is essentially the 1980s personified. The movie is no Runaway Train or The Company of Wolves, but it is way better than the average Cannon production. Besides having decent action, stunt work and special effects, it's light on the tastlessness and misogyny typical of the production company. Also, and most importantly, it makes sense (well, as much sense as a story about ninjas and exorcism can make). There are a couple of obvious criticisms you could level at the movie, but I don't have issues with either one. The director himself said that audiences would not buy Christie as the hero, but I appreciated the change of pace of making the villain an innocent bystander, and with Lucinda Dickey's physique and her aerobics and dance skills, she's more than up to the task. As for Sho Kosugi only appearing in a small portion of the movie, he makes his scenes count. In short, it's one of the few Cannon productions that is worth sticking around for after the production logo displays. Word of warning - and not to spoil it too much - but you are less likely to enjoy it if you're a cop.

[ThatDarnMKS]

Ninja III: The Domination - 3

In a cave in the Arizona desert - of all places - there's a katana imbued with the soul of the evil Black Ninja. The soul's latest host is Christie, a lineworker who does aerobics, owns Patrick Nagel artwork and is essentially the 1980s personified. The movie is no Runaway Train or The Company of Wolves, but it is way better than the average Cannon production. Besides having decent action, stunt work and special effects, it's light on the tastlessness and misogyny typical of the production company. Also, and most importantly, it makes sense (well, as much sense as a story about ninjas and exorcism can make). There are a couple of obvious criticisms you could level at the movie, but I don't have issues with either one. The director himself said that audiences would not buy Christie as the hero, but I appreciated the change of pace of making the villain an innocent bystander, and with Lucinda Dickey's physique and her aerobics and dance skills, she's more than up to the task. As for Sho Kosugi only appearing in a small portion of the movie, he makes his scenes count. In short, it's one of the few Cannon productions that is worth sticking around for after the production logo displays. Word of warning - and not to spoil it too much - but you are less likely to enjoy it if you're a cop.
You’re two stars off and I’m not gonna say in which direction.

[Thief]

AERIALS (2016)
A film from the UAE

https://stagesa.whatson.ae/wp-content/uploads/2020/06/Aerials-screenshot-of-spaceship.png

Didn't know a lot about films from the UAE, so I started browsing and this one caught my eye; first, because of the image above, and then because of the synopsis. The film is set during an alien invasion that has left people baffled. As huge spaceships float above cities, people are afraid and not sure of what will happen. The focus is on a couple (Saga Alyasery and Ana Druzhynina) that is isolated in their apartment forcing them to deal with their differences.

Although far from original, this could've been an interesting premise, if well executed. Unfortunately, the film is bogged down by a sluggish pace, bad performances, extremely cheap special effects, and a dull, uneventful script. The only thing that saves it is that director S.A. Zaidi does manage to create some eerie visuals during some potential alien appearances. Other than that, the film is a bore.

Grade: 1.5

[Torgo]

You’re two stars off and I’m not gonna say in which direction.Wow, I clearly liked it more than you did. It's not that bad.

[Raven73]

Terminator Dark Fate
6/10.
Basically a re-hash of the original story. Don't waste your time.
Both Sarah Connor and the 101 Terminator had a whole lot of time to come up with weapons to fight the Terminators, yet all they could muster were big guns. Why don't they get something creative, like a gun that shoots acid, or lava? And I found it hard to swallow that the 101 Terminator "Carl" had a family and nobody noticed he was an android.... This is a tired formula and bringing back the original actors failed to revive it.
https://upload.wikimedia.org/wikipedia/en/5/5f/Terminator_Dark_Fate_poster.jpg

[ThatDarnMKS]

Wow, I clearly liked it more than you did. It's not that bad.
Wrong direction.

[WHITBISSELL!]

Hopefully this latest Terminator will drive a stake through the franchise. It was an inspired premise and endlessly creative at the outset but subsequent iterations have added nothing except maybe a hopelessly tangled mess of a story arc.

[WHITBISSELL!]

Here's an article you might enjoy (https://www.criterion.com/current/posts/4278-noir-on-the-range) Thanks for the heads up. It was an interesting article. I've seen a handful of the movies it mentioned but I do remember One Eyed Jacks in particular. I had no idea that Brando had also directed it but I do remember it was different from all the other westerns I had seen. There was this foreboding undertone to it. I know it was a revenge story but you were still left feeling that it wouldn't end well. And there was also a sexual tinge to it. Offbeat but fascinating movie. Long too if memory serves.

[WHITBISSELL!]

The Westerner - 1940 Western directed by William Wyler and starring Gary Cooper and Walter Brennan. Itinerant cowboy Cole Harden (Cooper) runs afoul of "The Hanging Judge" Roy Bean (Brennan). He's able to talk himself out of a death sentence by pretending to have met British stage actress Lily Langtry, with whom Bean is obsessed. Bean is also involved in a dispute between local cattlemen and a recently arrived crop of homesteaders. One of the farmer's daughters (Doris Davenport) comes to Harden's defense and he eventually finds himself taking sides against his dangerous friend Bean. This is one of those rare Westerns where the bad guy is actually much more interesting than the good guys. Brennan won a well deserved Oscar for his role and his portrayal of Bean is a well rounded, complex and even sympathetic one. Cooper uses his usual laconic, soft-spoken persona but his character is also quick-witted and cagey and he and Brennan play marvelously well off each other. 90/100

[Gideon58]

https://oldies-cdn.freetls.fastly.net/i/boxart/w510/86/57/027616865700.jpg?v=7



1st Re-watch...I loved this movie just as much as I did the first time. The screenplay is overly cute at times but Jodie Foster's direction is focused and sensitive and the brilliant ensemble cast is working at the top of their form, especially Robert Downey Jr who steals the show as Tommy.

4

[Fabulous]

Kiss of Death (1947)

3.5

https://image.tmdb.org/t/p/original/nV8bclTuYEvTKGdZuMWfhjR1vF5.jpg

[Takoma11]

https://www.rotoscopers.com/wp-content/uploads/2017/11/klaus_pablos-1280x600.jpg

Klaus, 2019

Geez, Klaus, you were supposed to be a little light animated holiday movie, not make me cry under a pile of cats on the couch. (Okay . . . the cats and the couch would have happened anyway, but still!!).

Jesper is the spoiled son of a wealthy postmaster. Given an ultimatum--to prove himself or be cut off financially--Jesper must create a functioning postal system on a small island whose inhabitants are engaged in a centuries-old feud with each other. Jesper eventually befriends a reclusive woodsman, Klaus, and together the two accidentally begin a very familiar holiday tradition. . .

This was an incredibly charming film, and one that I could see little children enjoying and adults. The voice performances are on point, and the animation looks really good.

The heart of the film is a simple message about one kindness leading to another, but it's also about the power that we have to transform our surroundings and create the kind of communities in which we would want to live.

The story does borrow a few beats (and some direct images) from The Grinch Who Stole Christmas), but it manages to cobble together an interesting narrative arc for its main character and the rest of the supporting cast. (Rashida Jones plays the obligatory love interest, a woman who is supposed to be a teacher but has transformed her classroom into a fish shop and is saving her pennies to escape the island).

I found the movie genuinely involving and I thought that the way it ended was very sweet and unexpected.

4.5

[Takoma11]

https://www.indiewire.com/wp-content/uploads/2020/12/sound-of-metal-METAL_SG_00212_rgb.jpg?w=780

Sound of Metal, 2019

Going off of word of mouth on here I decided to check this one out. I thought it was pretty fantastic.

Ruben (Riz Ahmed) is a drummer in a metal band with his girlfriend, Lou (Olivia Cooke). Suddenly, Ruben's hearing begins to sharply decline, and he discovers that he only has about 25% hearing in both ears. Ruben ends up in a community of other people with partial or entire hearing loss. Facing a world without music and unsure of how he fits into his own future, Ruben must navigate his own emotions and try to make a life for himself.

The thing that I found most compelling about this film was the way that it portrayed the despair of being trapped between two worlds. It's not just Ruben's hearing loss: he is a recovering addict (and Lou also has struggled with self-harm), he must decide whether or not to try to use cochlear implants to try and "fix" his hearing loss, he repeatedly finds himself in situations where he is not "fluent"--unable to understand ASL, and later not speaking French. This sense of not 100% belonging anywhere helps us to understand Ruben's sense of alienation and frustration. As a viewer there are times that we do not understand what is being signed or (in my case) what is being said in another language. The film puts us in Ruben's shoes so beautifully, it allows us to draw general meaning from a very specific circumstance.

Ahmed's lead performance is incredibly strong. His anger, disorientation, and sorrow are all mixed together in his words, facial expressions, and gestures/signing. He is well matched by Cooke and Paul Raci as the leader of the retreat where Ruben spends several months. I found that all of the characters--even those in small supporting roles--felt incredibly lived-in.

There's a larger message that I took from this film about things in our lives that we can and cannot control, and how to cultivate a kind of "productive acceptance" to our own circumstances. I thought the whole thing was really beautiful and empathetic.

I would highly, highly recommend this one.

4.5

[Takoma11]

https://filmschoolrejects.com/wp-content/uploads/2018/08/Contagion-Cinematography.jpg

Contagion, 2011

About a week after my school closed due to COVID, I ended up watching Outbreak just out of, I don't know, some weird sense of masochism? Or maybe for the comfort of saying, "Well, at least it's not THAT bad."

I had some similar feelings watching this film, in which an unfaithful wife, Beth (Gwyneth Paltrow), manages to trigger a global outbreak of a respiratory virus that quickly kills its victims. The film juggles a half dozen subplots, a few of which overlap, following Beth's husband (Matt Damon) who struggles to keep their daughter safe; workers for the CDC and WHO (Laurence Fishburne, Kate Winslet); a corrupt conspiracy-theory blogger (Jude Law); a research scientist (Eliot Gould); and others.

The most interesting part of the film for me was the scientific stuff: the steps of sequencing the virus and trying to come up with a vaccine. I was only moderately engaged by the whole "society breaking down" element--soldiers refusing to let people leave their state, people looting grocery stores, etc. Though there is a part where Damon's character goes to the grocery store where most people are wearing masks, and a woman without a mask coughs right on him and I was like . . . yup.

It's interesting watching this film and comparing it to our current pandemic reality. The virus of the film is a lot deadlier than COVID (much like Outbreak, contracting the virus seems to be a death sentence) and the social collapse in the film is rapid.

The main selling point of the film, in my opinion, is the way that Soderbergh moves his camera, and what he keeps on and off screen. He does a great job of building suspense, so that a cough from off-camera immediately raises our concern. There are some really great tracking shots conveying the spread of the virus, and he alternates close ups and far away shots in an interesting way.

It should also be mentioned that the cast in this film consists of seemingly every actor ever. In addition to the ones I already mentioned there were probably another dozen big name actors. This gives an interesting flexibility to the film, because it can kill off two or three A-list actors and still has another handful of them kicking around.

Ultimately I felt that the "many narrative arcs" approach kept me a bit at arm's distance. And there were three narratives that just . . . didn't resolve? Or maybe their final moments were cut for time? Damon's bewildered yet determined father and Jennifer Ehle's similarly determined medical researcher were probably my favorites in terms of connecting with them.

Anyway, if you like feeding your anxiety, or if you'd like to be able to say, "Yeah, I can't go to a concert, but at least the trash is still getting picked up!", you might check this one out.

3

[Vanillapie]

I haven’t been here for a while, these are the movies I’ve viewed in December so far and I thought I’d share, the majority are first views. Don’t be put off by my letters after the release date these are just to help me score them out of ten on my notes as I use a different set of categories to score movies on based on genre. C is comedy, H is horror and M is everything else.

Frost/Nixon (2008) M= 8.2
Repo men (2010) M= 7.6
Jojo rabbit (2019) C= 9
The nightingale (2018) M= 8.3
What we do in the shadows (2014) C= 7.6
Babel (2006) M= 7.2
1917 (2019) M= 8.4
Borat 2 (2020) C= 7
Highlander (1986) M= 7.4
Scream (1996) H= 8.1
Scream 2 (1997) H 7.7
In hell (2003) M= 5.8
Logan lucky (2017) M= 8.2
IJ: Kingdom of crystal skull (2008) M= 6.8
Stay (2005) M= 6.5
Prom night (1980) H= 5.5
Halloween 2 Theatrical cut (2009) H= 8

[Iroquois]

Both Sarah Connor and the 101 Terminator had a whole lot of time to come up with weapons to fight the Terminators, yet all they could muster were big guns. Why don't they get something creative, like a gun that shoots acid, or lava?

This is the stupidest complaint about a movie I've seen in a long time.

The Pervert's Guide to Ideology - 3.5

I can think of two things wrong with that title.

[skizzerflake]

This is pretty good, an old one from 1983, part of a box set of movies made from Stephen King novels. It's The Dead Zone, starring Christopher Walken. He's a guy whose life was upended by an accident that left him in a coma for 5 years. When he wakes up, he finds that everything has changed and he has a new special power, the ability to see things about people, either who they are, what they have done or what is about to happen to them.

You know, being Stephen King, that it's going nowhere good. It doesn't. For a movie of its sort, it's done really well, believable enough and well acted enough to be really creepy.

https://www.youtube.com/watch?v=P5zc6ZLNCek

[Fabulous]

Creation (2009)

2.5

https://image.tmdb.org/t/p/original/tgos39ApfFnVfJ73JvAek9toRpb.jpg

[John W Constantine]

Andre the Giant (2018)

4

A fairly decent look at the territory days of pro wrestling and its "biggest" attraction. A nice introduction for anyone wanting to know about a piece of wrestlings history.

[xSookieStackhouse]

This is pretty good, an old one from 1983, part of a box set of movies made from Stephen King novels. It's The Dead Zone, starring Christopher Walken. He's a guy whose life was upended by an accident that left him in a coma for 5 years. When he wakes up, he finds that everything has changed and he has a new special power, the ability to see things about people, either who they are, what they have done or what is about to happen to them.

You know, being Stephen King, that it's going nowhere good. It doesn't. For a movie of its sort, it's done really well, believable enough and well acted enough to be really creepy.

https://www.youtube.com/watch?v=P5zc6ZLNCek

loved Christopher Walken on hairspray and sleepy hollow

[cricket]

Pig Pen (2015)

1.5

https://images.squarespace-cdn.com/content/v1/543643dee4b09dbd92ebc466/1448283962720-81YLDFZMMDEP0D3IWE25/ke17ZwdGBToddI8pDm48kJO5h0kceM-8qCBbkjqoz9Z7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0k9kZPbuygN4RSDPe_G5PO_1eazwCd-Zw1qzL3Hnd9P8SPEbCu_YKouDNm3nc6Sg_Q/image-asset.jpeg

This wasn't very good despite a handful of good/shocking moments. I think the people who voted on IMDb are friends with the director. The quality is lacking too much and a better screenplay was badly needed.

[ScarletLion]

https://www.indiewire.com/wp-content/uploads/2020/12/sound-of-metal-METAL_SG_00212_rgb.jpg?w=780

Sound of Metal, 2019

Going off of word of mouth on here I decided to check this one out. I thought it was pretty fantastic.

Ruben (Riz Ahmed) is a drummer in a metal band with his girlfriend, Lou (Olivia Cooke). Suddenly, Ruben's hearing begins to sharply decline, and he discovers that he only has about 25% hearing in both ears. Ruben ends up in a community of other people with partial or entire hearing loss. Facing a world without music and unsure of how he fits into his own future, Ruben must navigate his own emotions and try to make a life for himself.

The thing that I found most compelling about this film was the way that it portrayed the despair of being trapped between two worlds. It's not just Ruben's hearing loss: he is a recovering addict (and Lou also has struggled with self-harm), he must decide whether or not to try to use cochlear implants to try and "fix" his hearing loss, he repeatedly finds himself in situations where he is not "fluent"--unable to understand ASL, and later not speaking French. This sense of not 100% belonging anywhere helps us to understand Ruben's sense of alienation and frustration. As a viewer there are times that we do not understand what is being signed or (in my case) what is being said in another language. The film puts us in Ruben's shoes so beautifully, it allows us to draw general meaning from a very specific circumstance.

Ahmed's lead performance is incredibly strong. His anger, disorientation, and sorrow are all mixed together in his words, facial expressions, and gestures/signing. He is well matched by Cooke and Paul Raci as the leader of the retreat where Ruben spends several months. I found that all of the characters--even those in small supporting roles--felt incredibly lived-in.

There's a larger message that I took from this film about things in our lives that we can and cannot control, and how to cultivate a kind of "productive acceptance" to our own circumstances. I thought the whole thing was really beautiful and empathetic.

I would highly, highly recommend this one.

4.5

Nice write up. It really is a good film.

[skizzerflake]

The Day the Earth Stood Still - Still one of the smartest and most accomplished sci-fi thrillers of the Cold War era. It manages to get it's weighty, portentous message across without getting bogged down in sermonizing. I can only imagine how many jingoistic military types were thrown into a tizzy after watching this. It's held up remarkably well especially with it's period appropriate effects and Michael Rennie's charismatic, other worldly performance as Klaatu.

P.S. Patricia Neal was a hottie. 90/100

Gort Klaatu Berada Nicto.

One of my favorite classics. It's a very smart movie that batted way above its league, especially compared to the re-make that was so overburdened by FX and Keanu Reeves.

[Wooley]

Ninja III: The Domination - 3

In a cave in the Arizona desert - of all places - there's a katana imbued with the soul of the evil Black Ninja. The soul's latest host is Christie, a lineworker who does aerobics, owns Patrick Nagel artwork and is essentially the 1980s personified. The movie is no Runaway Train or The Company of Wolves, but it is way better than the average Cannon production. Besides having decent action, stunt work and special effects, it's light on the tastlessness and misogyny typical of the production company. Also, and most importantly, it makes sense (well, as much sense as a story about ninjas and exorcism can make). There are a couple of obvious criticisms you could level at the movie, but I don't have issues with either one. The director himself said that audiences would not buy Christie as the hero, but I appreciated the change of pace of making the villain an innocent bystander, and with Lucinda Dickey's physique and her aerobics and dance skills, she's more than up to the task. As for Sho Kosugi only appearing in a small portion of the movie, he makes his scenes count. In short, it's one of the few Cannon productions that is worth sticking around for after the production logo displays. Word of warning - and not to spoil it too much - but you are less likely to enjoy it if you're a cop.

I have always really enjoyed this movie, from when I saw it in the theater with my best friend and my mom, who did not enjoy it nearly as much as we did, but she was a good lady and tolerated it for her boy.

[Takoma11]

Nice write up. It really is a good film.

Thank you. I was really impressed by it.

[Torgo]

I have always really enjoyed this movie, from when I saw it in the theater with my best friend and my mom, who did not enjoy it nearly as much as we did, but she was a good lady and tolerated it for her boy.That is a good mom. I imagine things were awkward during the aerobics and dancing scenes.

Oh, and I totally botched the viewing order for this trilogy. I saw this movie and Revenge, but not Enter the Ninja. Whoops.

[WHITBISSELL!]

Gort Klaatu Berada Nicto.

One of my favorite classics. It's a very smart movie that batted way above its league, especially compared to the re-make that was so overburdened by FX and Keanu Reeves.
Yeah, the remake wasn't very good at all. And Will Smith's kid was super annoying. I do like how Sam Raimi used that phrase in Army of the Dead. Which, of course, Ash couldn't remember and ended up making everything much, much worse.

[LChimp]

https://pics.filmaffinity.com/Boss_Level-496246542-large.jpg

I had a great deal of fun watching this. Never takes itself too serious, it doesn't extend for too long, good action scenes... i miss this kinds of movies

[Torgo]

The Ipcress File - 4

There's a lot to like about this delightfully cool and voyeuristic spy thriller. I like its atmosphere of paranoia indicative of Cold War era spy movies in that you're never sure who to trust or who is working for who. Also, maybe except for Sean Connery, were there any other '60s movie stars who were as suave as Michael Caine? There's also John Barry's sountrack, which resembles the dark, realistic underbelly of one of his James Bond soundtracks. Regardless, the cinematography is the movie's MVP. The way Palmer's library confrontation is filmed from a distance and the shot of the closed door meeting in front of an actual closed door, for example, made me feel like I was a secret agent myself. There's also the up close and personal shots while Palmer is on the job that practically put me in his shoes. All in all, it's a very entertaining '60s spy movie despite - and not to belittle Mr. Bond - having more cake than frosting than the typical '60s Bond movie. It's also a testament to how cinematography can elevate all of a movie's other components.

[Raven73]

This is the stupidest complaint about a movie I've seen in a long time.

The Pervert's Guide to Ideology - 3.5

I can think of two things wrong with that title.

Well at least you weren't trying to impress everyone with an over-necessarily long sentence and haughty words this time :rolleyes:

[CharlesAoup]

Cell, 2016 (D)

This is the most Stephen King movie ever. It has everything except the bully. A signal coming from cellphones turns people into phone zombies that kill people, not eat them. Everything is predictable in this movie, and the effect are bad, but that doesn't really matter at that point. If you're witing to find out exactly what's happening or why, you can stop watching the moment you lose interest. Yep, it's one of those.

[John W Constantine]

A Woman Under the Influence

4.5

[Jinnistan]

loved Christopher Walken on hairspray
I agree. He was unstoppable on hairspray. He's never been the same since hairspray rehab.

[WHITBISSELL!]

Cell, 2016 (D)

This is the most Stephen King movie ever. It has everything except the bully. A signal coming from cellphones turns people into phone zombies that kill people, not eat them. Everything is predictable in this movie, and the effect are bad, but that doesn't really matter at that point. If you're witing to find out exactly what's happening or why, you can stop watching the moment you lose interest. Yep, it's one of those.I actually liked Cell. I agree it's not an upper tier movie but as far as outbreak movies go I thought it was passable entertainment. I still like Cusack in just about anything and he and Samuel L. paired up pretty well.

[xSookieStackhouse]

I agree. He was unstoppable on hairspray. He's never been the same since hairspray rehab.

true :laugh:

[mark f]

Breach (John Suits, 2020) 1.5 4+/10
Vertigo 2005: U2 Live from Chicago (Hamish Hamilton & Erica Forstadt, 2005) 3.5- 7/10 Maybe too much preaching but what the hell with those riffs.
Wander Darkly (Tara Miele, 2020) 2.5 6/10
Chained for Life (Aaron Schimberg, 2018) 3- 6.5/10
https://t2.daumcdn.net/thumb/R720x0/?fname=http://t1.daumcdn.net/brunch/service/user/3RiD/image/NhwA-muSHwgcAkrLMQxCLFUfjcw.jpg
Adam Pearson and Jess Weixler watch the dailies of the horror film they're co-starring in.
The Planters (Hannah Leder & Alexandra Kotcheff, 2019) 2.5+ 6/10
Kiss of Death (Henry Hathaway, 1947) 3- 6.5/10
Up on the Glass (Kevin Del Principe, 2020) 2+ 5/10 Good beginning
The Croods: A New Age (Joel Crawford, 2020) 3+ 6.5/10
[https://file.hstatic.net/1000296517/file/4_274fb68c0aa74b7fbf9e64c0f848e978_grande.jpg
Mr. Betterperson (Peter Dinklage) and Mr. Crood (Nicolas Cage) don'r really like each other although some of their family members get along, but then bananas cause problems.
We Still Say Grace (Brad Helmink & John Rauschelbach, 2020) 2.5 6/10
Songbird (Adam Mason, 2020) 2 5/10
Cover Up (Alfred E. Green, 1949) 2.5 6/10
Bloody Nose, Empty Pockets (Ross Bros., 2020) 3 6.5/10
https://m.media-amazon.com/images/M/MV5BZjQ5ZmM5NTEtMTNkNC00ZjM1LWJmZDQtZmU4MTI0ZDE0MGEwXkEyXkFqcGdeQWRvb2xpbmhk._V1_UX500_CR0,NaN,500,2 81_.jpg
The regulars at a bar in Las Vegas which is permanently closing hang out the last few hours until it does.
Parallel (Isaac Ezban, 2018) 2.5 5.5/10
Here on Out (Matias Breuer & Liam Hall, 2020) 2+ 5/10
Ma and Pa Kettle at Home (Charles Lamont, 1954) 2.5 5.5/10
Another Round (Thomas Vinterberg, 2020) 3.5- 7/10
https://im.kommersant.ru/Issues.photo/RADIO/2020/10/02/KMO_153275_10530_1_t208_123552.jpg
High school teacher Mads Mikkelson celebrates and mourns during his students' graduation celebration.
Santa Claus (No Director Listed, 1925) 2.5 6/10
Phobic (Bryce Clark, 2020) 1.5 4/10
Saving Santa (Leon Joosen & Aaron Seelman, 2013) 2.5 6/10
Winter Song (Otar Iosseliani, 2015) 2.5 6/10
https://www.trigon-film.org/de/movies/Chant_d_hiver/photos/540/chantdhiver_01.jpg
Amiran Amiranashvili and Rufus babble and argue while other characters interact in our world which seems like an alternate universe. Plenty to see but goes on too long.

[ThatDarnMKS]

Fanny and Alexander

5

Bergman at his most intimate and opulent. It is my 20th film from him and it feels a culmination of all that he’s done before.

[ScarletLion]

'Ugetsu' (1953)


https://static.rogerebert.com/uploads/review/primary_image/reviews/great-movie-ugetsu-1953/EB20040509REVIEWS08405090301AR.jpg

A superb Mizoguchi. Been on my list for ages. Perhaps a film that symbolises the identity crisis of japan and society that feudal japan created, with men stopping fighting and realizing their responsibilities. Or is it more of a pseudo ghostly guilt / temptation story about the highs and lows (and importance) of family. Some eerily beautiful shots of lakes and fog. Great film.

4





'The Tin Drum' (1979)

https://www.irishtimes.com/polopoly_fs/1.2174373.1428952853!/image/image.jpg_gen/derivatives/box_620_330/image.jpg

What a film. The delusion of facism and the facilitation / enabling ignorance of the Nazi party as seen through a child's eyes. Not dissimilar to the White Ribbon in this respect, infact there are quite a few that came after that MUST have been inspired by this film - Come and See, Underground, The Painted Bird etc. Young David Bennent's performance is incredible - at that age! Wow.

A country in complete disarray is portrayed so well - people so confused by change, chaos, war. The dilemma of Oskar's 2 'fathers' could perhaps symbolise world war 2 for that area, as one is German and one is a Pole.

The film is surreal, brutal and disturbing and is filled with magical realism at times. Maybe the notion of Oskar remaining as a child is an analogy for how people and societies should stay less civilized for the better so we can forget about how terrible humans are. Maybe it's saying we need horribleness to complete the cycle and return to normality. But that's a grim thought.

It deserves to be spoken about in the same breath as Elem Klimov's 'Come and See' as it's that good - war seen through a child's eyes. But with magical twists. A masterpiece.

Fearless and extraordinary filmmaking.

4.5





'The Woman Who Ran' (2020)

https://res.heraldm.com/phpwas/restmb_idxmake.php?idx=601&simg=%2Fcontent%2Fimage%2F2020%2F09%2F08%2F20200908000627_0.jpg

A typical Sang Soo Hong film with quiet low key tone. It's a series of 3 conversations that a woman has, while she seemingly makes decisions about her relationship. It has very subtle ideas throughout the film (I don't think there is 1 man's face shown, only their backs), and some very unsubtle camera movements during scenes like sharp zooms, as if to signal an inner thought that the main character. Slightly odd, but the film managed to captivate me for some reason.

3.5

[Iroquois]

Well at least you weren't trying to impress everyone with an over-necessarily long sentence and haughty words this time :rolleyes:

When the other side of the argument is "why no lava gun", I don't need to try.

Hillbilly Elegy - 1

so is this still gonna win Oscars or did I not have to watch it

[xSookieStackhouse]

Breach (John Suits, 2020) 1.5 4+/10
Vertigo 2005: U2 Live from Chicago (Hamish Hamilton & Erica Forstadt, 2005) 3.5- 7/10 Maybe too much preaching but what the hell with those riffs.
Wander Darkly (Tara Miele, 2020) 2.5 6/10
Chained for Life (Aaron Schimberg, 2018) 3- 6.5/10
https://t2.daumcdn.net/thumb/R720x0/?fname=http://t1.daumcdn.net/brunch/service/user/3RiD/image/NhwA-muSHwgcAkrLMQxCLFUfjcw.jpg
Adam Pearson and Jess Weixler watch the dailies of the horror film they're co-starring in.
The Planters (Hannah Leder & Alexandra Kotcheff, 2019) 2.5+ 6/10
Kiss of Death (Henry Hathaway, 1947) 3- 6.5/10
Up on the Glass (Kevin Del Principe, 2020) 2+ 5/10 Good beginning
The Croods: A New Age (Joel Crawford, 2020) 3+ 6.5/10
[https://file.hstatic.net/1000296517/file/4_274fb68c0aa74b7fbf9e64c0f848e978_grande.jpg
Mr. Betterperson (Peter Dinklage) and Mr. Crood (Nicolas Cage) don'r really like each other although some of their family members get along, but then bananas cause problems.
We Still Say Grace (Brad Helmink & John Rauschelbach, 2020) 2.5 6/10
Songbird (Adam Mason, 2020) 2 5/10
Cover Up (Alfred E. Green, 1949) 2.5 6/10
Bloody Nose, Empty Pockets (Ross Bros., 2020) 3 6.5/10
https://m.media-amazon.com/images/M/MV5BZjQ5ZmM5NTEtMTNkNC00ZjM1LWJmZDQtZmU4MTI0ZDE0MGEwXkEyXkFqcGdeQWRvb2xpbmhk._V1_UX500_CR0,NaN,500,2 81_.jpg
The regulars at a bar in Las Vegas which is permanently closing hang out the last few hours until it does.
Parallel (Isaac Ezban, 2018) 2.5 5.5/10
Here on Out (Matias Breuer & Liam Hall, 2020) 2+ 5/10
Ma and Pa Kettle at Home (Charles Lamont, 1954) 2.5 5.5/10
Another Round (Thomas Vinterberg, 2020) 3.5- 7/10
https://im.kommersant.ru/Issues.photo/RADIO/2020/10/02/KMO_153275_10530_1_t208_123552.jpg
High school teacher Mads Mikkelson celebrates and mourns during his students' graduation celebration.
Santa Claus (No Director Listed, 1925) 2.5 6/10
Phobic (Bryce Clark, 2020) 1.5 4/10
Saving Santa (Leon Joosen & Aaron Seelman, 2013) 2.5 6/10
Winter Song (Otar Iosseliani, 2015) 2.5 6/10
https://www.trigon-film.org/de/movies/Chant_d_hiver/photos/540/chantdhiver_01.jpg
Amiran Amiranashvili and Rufus babble and argue while other characters interact in our world which seems like an alternate universe. Plenty to see but goes on too long.


loved Mads Mikkelsen on casino royale james bond movie

[Vanillapie]

Westworld (1973) 6.9/10

Nothing spectacular, still, a brave movie on its release teeming with originality, just not used anywhere near to it’s full capacity. I guess I’m kind of grateful if it helped with Carpenters masterpiece Halloween get to the screen.

[Fabulous]

Carnage (2011)

3

https://image.tmdb.org/t/p/original/6Wn2AyAAh4dxiHv6gRttwv9uJHt.jpg

[Thursday Next]

Ma Rainey's Black Bottom

This is quite obviously based on a play, which as is often the case is both its strength and its limitation. If Chadwick Boseman doesn't win an Oscar for this performance, I will eat my metaphorical hat.

3

[Marco]

"You know, being Stephen King, that it's going nowhere good. It doesn't. For a movie of its sort, it's done really well, believable enough and well acted enough to be really creepy."

Walken does incredibly well in fleshing out his part. I liked this.

[Cobra]

Blade Trilogy:
Blade (1998):
My favorite comic book movie, feels very much a tribute to films like Shaft and Black Cesar. Wesley Snipes is the only Blade in my mind. Probably one of the best opening scenes in cinema, only a few brief CGI problems here and there.
9.5/10
Blade II (2002):
A amazing follow up to the 1st film. fast paced, action packed, and has some of the coolest looking villains of recent note. Cory Yuen is spotted in an early role and helped create the fights with Wesley Snipes.
9.5/10
Blade Trinity (2004):
A garbage follow-up to the 1st 2, didn't even make it 30 minutes into the movie. Opening fight scene was okay. Ryan Reynolds was a bit much at times, but Jessica Biel looked kinda hot though. Would've preferred the Mad Max type idea they originally had was what we got instead of this.
1.5/10

[The great CTHULHU]

I watched doctor sleep today it was worth my time

[SpelingError]

Fanny and Alexander

5

Bergman at his most intimate and opulent. It is my 20th film from him and it feels a culmination of all that he’s done before.

Did you watch the 3 hour version or the mini-series?

I've only seen the 3 hour version, and it's my second favorite of his films, right behind Persona.

[ThatDarnMKS]

Did you watch the 3 hour version or the mini-series?

I've only seen the 3 hour version, and it's my second favorite of his films, right behind Persona.
5 1/3 hour series version. Like Scenes from a Marriage, its Bergman’s intended cut and I’m not gonna compromise B-man’s vision!

[SpelingError]

5 1/3 hour series version. Like Scenes from a Marriage, its Bergman’s intended cut and I’m not gonna compromise B-man’s vision!

I plan to watch the mini-series eventually. At the time, I thought the 3 hour film was the only version of the film available. It wasn't till after the fact when I realized the 5 hour version is more widely praised.

[ThatDarnMKS]

I plan to watch the mini-series eventually. At the time, I thought the 3 hour film was the only version of the film available. It wasn't till after the fact when I realized the 5 hour version is more widely praised.
The Criterion Blu contains both versions. The 5 hour cut is so expansive that I have to imagine he cut out virtually all the other extraneous plot lines that make it feel epic and expansive beyond the direct family drama.

[SpelingError]

The Criterion Blu contains both versions. The 5 hour cut is so expansive that I have to imagine he cut out virtually all the other extraneous plot lines that make it feel epic and expansive beyond the direct family drama.

It's been a while since I've seen it, but yeah, I think most of what went on involved the central family drama. I don't remember many other plot lines which went on in the film. Though I don't think the 3 hour version was hindered by its intimacy in any way, I'm curious to see if I'll prefer the expansive feel of the 5 hour cut.

[ThatDarnMKS]

It's been a while since I've seen it, but yeah, I think most of what went on involved the central family drama. I don't remember many other plot lines which went on in the film. Though I don't think the 3 hour version was hindered by its intimacy in any way, I'm curious to see if I'll prefer the expansive feel of the 5 hour cut.

I imagine the film version feels more fittingly called “Fanny and Alexander” while the series focuses on the Ekdahls themselves, with the various uncles, grandparents and close friends are given asides and monologues that use their own existential crises to emphasis the direct issues that impact Alexander and to a much lesser extent,Fanny.

[SpelingError]

I imagine the film version feels more fittingly called “Fanny and Alexander” while the series focuses on the Ekdahls themselves, with the various uncles, grandparents and close friends are given asides and monologues that use their own existential crises to emphasis the direct issues that impact Alexander and to a much lesser extent,Fanny.

I'll have to check it out then.

With the 3 hour version, I don't remember Fanny being that important of a character. She didn't talk much, nor did she do much in the film. It felt more or less like Alexander's film (from what I recall, Alexander had some parallels to Bergman's childhood). This isn't to say this is a problem with the film. Just curious to see how this will compare with the mini series since some of the monologues in it will be about Fanny.

When I watched the 3 hour version, I was mainly focused on the production design, which made the film feel either like a dream or a nightmare. On a side note, the god puppet prank is one of my favorite things I've ever seen in a film, in particular.

[John W Constantine]

so is this still gonna win Oscars or did I not have to watch it

This is my strategy for keeping up with the Best Picture winners. I can sort of narrow down the winner so I don't waste time on something nominated that I don't necessarily want to watch.

[WHITBISSELL!]

Wesley Snipes is the only Blade in my mind. Agreed. But I'm still looking forward to what someone like Mahershala Ali can bring to the role.

[WHITBISSELL!]

I watched doctor sleep today it was worth my timeSame here. I went into it not expecting much and was pleasantly surprised. The young actress playing Abra was particularly good and the villains were especially slimy. And Ewan McGregor solidly anchors the whole thing.

[CharlesAoup]

Sonic The Hedgehog, 2020 (C-)

Not great at all. It's a mess of adults who grew up in the 70s or 80s writing stuff for kids about, say, baseball. Jim Carrey's improv isn't terribly funny either. It's this weird inbetween of jokes that adults would get but not laugh at and not much humor for kids at all. There's also some relationship drama, because why not. And there's a bar fight, because kids like that, I guess. It's not funny and the story isn't good. The action scenes are pretty underwhelming as well. Couple pop songs, but not current ones. It really feels like a movie made for adults that never met kids.

[ThatDarnMKS]

I'll have to check it out then.

With the 3 hour version, I don't remember Fanny being that important of a character. She didn't talk much, nor did she do much in the film. It felt more or less like Alexander's film (from what I recall, Alexander had some parallels to Bergman's childhood). This isn't to say this is a problem with the film. Just curious to see how this will compare with the mini series since some of the monologues in it will be about Fanny.

When I watched the 3 hour version, I was mainly focused on the production design, which made the film feel either like a dream or a nightmare. On a side note, the god puppet prank is one of my favorite things I've ever seen in a film, in particular.
Fanny is a very passive character in the mini-series as well. She’s there primarily to share Alexander’s experiences and bear witness to his abuse at the hands of the bishop. I just thought she would feel relatively more important in the theatrical given that there were fewer characters for her to be overshadowed by. Though I read a piece of trivia that while her name is the first word spoken in the mini series, she isn’t mentioned by name until an hour into the film.

The mini-series operates with the same sense of magical realism and gradually becomes more surreal as it goes (mirroring Bergman's trajectory as a filmmaker). It really embodies everything that Bergman approached throughout his career, from the realistic, to the melodramatic, to the metaphysical and the conflation of the spiritual and psychological. I don't think it's my favorite Bergman (he's among my absolute favorites and perhaps my favorite from the vangard of canonized "art film" directors) but it is definitely the MOST Bergman.

[Takoma11]

Same here. I went into it not expecting much and was pleasantly surprised. The young actress playing Abra was particularly good and the villains were especially slimy. And Ewan McGregor solidly anchors the whole thing.

I watched it a few months ago and my reaction was largely positive.

One negative that has lingered (MAJOR MAJOR SPOILERS YA'LL!!)is that as I was watching the final act, Danny's death felt contrived. Maybe there was some aspect that wasn't completely conveyed to me, but him staying behind in the hotel and dying felt like something being done to achieve a thematic beat, but it seemed unnecessary in the moment and I've continued to feel this way about it as I get more distance from the film.

[Torgo]

Alien from L.A. - 2

Wanda (Kathy Ireland), an oddly squeaky-voiced waitress, receives a letter that her archaeologist father is missing. Her search leads her to a secret and xenophobic underground world that's part Mad Max Beyond Thunderdome, part Blade Runner and part Patrick Nagel painting. This premise may sound interesting, but there's next to nothing to write home about here. The most glaring issue is that seemingly 99% of the movie consists of Wanda running away from the underground world's authorities. It attempts to have a message about taking chances and expanding your horizons - Wanda's very smug and unlikeable boyfriend in fact dumps her for how unwilling she is to do these things - but the attempt falls flat because Wanda likely would not have signed up for her adventure if she knew what she was in for.

If you still want to watch this, I recommend watching the Mystery Science Theater 3000 episode, but if there are other episodes of that series you are interested in, you should probably watch them first. Even Mike and the Bots strain to spin gold from this meager pile of straw. As you may have assumed, a lot of their riffs are about Wanda's odd voice, which I didn't mind because it's one of the few attempts by anyone in the movie to do something memorable.

[WHITBISSELL!]

I watched it a few months ago and my reaction was largely positive.

One negative that has lingered (MAJOR MAJOR SPOILERS YA'LL!!)is that as I was watching the final act, Danny's death felt contrived. Maybe there was some aspect that wasn't completely conveyed to me, but him staying behind in the hotel and dying felt like something being done to achieve a thematic beat, but it seemed unnecessary in the moment and I've continued to feel this way about it as I get more distance from the film.


Yeah, it did come off as superfluous. Like, Danny was hurt but it looked like he could have survived and then he all of a sudden just decides to stay behind. The movie did set it up as him being tired of the whole thing and he did get to have that last conversation with his "father". So ... the movies attempt at closure? Maybe the book explained it better.

[Vanillapie]

Manchester by the sea (2017) **9.1/10**

Casey Affleck is supreme in this character study as are the rest of the cast. A truly heartbreaking movie that doesn’t use action set-pieces to evoke emotion just excellent writing and performances from the actors.

Sleepaway camp (1983) **6.9/10**

The kills are shockingly bad but the mystery and the location keep the film bearable to watch. The notorious twist ending is actually well written and again I like that the credits basically rolled upon the reveal.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Foriginal%2FyM85az4aotIQftdwV8GhXCNFQIO.jpg&f=1&nofb=1

Cleo from 5 to 7, 1962

The Varda march carries on!!

This was just fantastic.

The film opens with a young woman named Cleo (Corinne Marchand) receiving an incredibly specific tarot card reading. The news in the cards is not good. We learn that Cleo is waiting for the results of medical testing that will tell her whether or not she has cancer. Over the next two hours (just a little bit short of "real time"), we watch as Cleo interacts with various people in her life and reflects on her own feelings about her life and her diagnosis.

I thought that this film was really wonderful in terms of how it explored the relationship between our external and internal lives, and how they feed off of one another. The Cleo of the beginning of the film seems incredibly superficial. She comforts herself by declaring that as long as she is beautiful, she is alive. But Cleo's superficiality is not necessarily an innate characteristic. The movie makes us very aware of how Cleo is viewed by both strangers (especially men) and the people in her own life. At times there's this fabulous duality, such as when Cleo enters an art studio full of mottled, craggy humanoid sculpture, only to come into a room where a beautiful nude woman is being sculpted by an entire class of students. What the world tells us is valuable is what we come to value in ourselves.

And yet. Some part of Cleo chafes under this way of constructing herself. She wants to be recognized for her music. She is put off by the condescension of her lover and her musical collaborators. No one in the film, until the end, seems to take her illness seriously. (Question: the IMDb summary says that Cleo is a "hypochondriac"--but is she? Did I miss something in the film that she always thinks she is sick?). Cleo is constantly looking for signs in the world--and in particular she seems to have an eye for bad omens. In this way we can feel the lack of control that torments her.

The imagery in the film was just great. I loved the many POV shots that put us in Cleo's point of view. I also loved the progression of the costumes. Cleo appears early in the film in an ethereal white outfit--she looks like she is floating. But by the end her clothing and her mannerisms are borderline funereal. In one scene later in the film, she sits on a bench to talk with someone and you can see an entire sunny field stretched out behind them--while Cleo herself is on the bench in a strip of shadow.

It's interesting to watch this film so close on the heels of watching Sound of Metal. Both films deal with protagonists who are confronting medical issues out of their control and being forced to reconsider their lives and priorities.

This is definitely my favorite of the Varda films I've seen thus far.

4.5

[Takoma11]

Yeah, it did come off as superfluous. Like, Danny was hurt but it looked like he could have survived and then he all of a sudden just decides to stay behind. The movie did set it up as him being tired of the whole thing and he did get to have that last conversation with his "father". So ... the movies attempt at closure? Maybe the book explained it better.

"The movie's attempt at closure?" AND "Maybe the book explained it better?" were exactly my feelings. The one really sour point for me in the whole thing.

Also, it seemed like Danny had made a lot of personal growth and was LESS depressed toward the end. All I know is that as soon as I realized what was up I got VERY annoyed. "I need to stay behind." Um, no you do not, sir. Like, they could have made it look as if he DID have to stay behind. They just needed to show that some ghost was going to fight to the end to keep the room from exploding. Also: him leaving would have meant making sure that the little girl got out safely.

[John Dumbear]

"Fatman"

Damn entertaining with some nice curves slid in. Unique angle at the story that does both hit and miss. Aside from Gibson being a poop on the outside, there's no denying his persona as a directer/actor.


This output is mid-tier but might grow on me after another viewing or two. Enough serpentine for me. I liked it.


7/10

[Gideon58]

https://i.ebayimg.com/images/g/n1wAAOSwi~FboVDy/s-l640.jpg



3.5

[ThatDarnMKS]

Arsenic and Old Lace

5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.

[pahaK]

Hunter Hunter (2020)
2.5
A thriller about a family living in the wilderness, hunting and selling furs for a meager living. A rogue wolf is causing them some troubles, but obviously, there's something more sinister afoot as well. There's nothing seriously wrong with the film, but it's just so very predictable and too obviously building up to its last 10 minutes or so. Despite good acting and a nice overall look, the foremost feeling is a mediocre Bergman ripoff (again) aimed more for the horror fans (which I obviously am, but still).

[Wooley]

That is a good mom. I imagine things were awkward during the aerobics and dancing scenes.

Oh, and I totally botched the viewing order for this trilogy. I saw this movie and Revenge, but not Enter the Ninja. Whoops.

And when she pours the V8 juice down her chest for the dude to drink off of her body?
Yeah that was awkward for Mom and two 12 year-old boys.

Oh yeah, Franco Nero's white ninja needs to be seen first (it was running on HBO at the time).

[Wooley]

Fanny and Alexander

5

Bergman at his most intimate and opulent. It is my 20th film from him and it feels a culmination of all that he’s done before.

My parents brought me along to see this movie when I was 10 years old.
I didn't get it and I'm pretty sure neither of them did either.
Someday I hope to see it again.

[Wooley]

Westworld (1973) 6.9/10

Nothing spectacular, still, a brave movie on its release teeming with originality, just not used anywhere near to it’s full capacity. I guess I’m kind of grateful if it helped with Carpenters masterpiece Halloween get to the screen.

Another one I really liked having just rewatched it a couple years ago after not seeing it since I was a child. Made a lot more sense this time. I thought for short-form they told the story pretty well even if it doesn't go so much into the territory that the series does.

[Wooley]

Blade Trilogy:
Blade (1998):
My favorite comic book movie, feels very much a tribute to films like Shaft and Black Cesar. Wesley Snipes is the only Blade in my mind. Probably one of the best opening scenes in cinema, only a few brief CGI problems here and there.
9.5/10
Blade II (2002):
A amazing follow up to the 1st film. fast paced, action packed, and has some of the coolest looking villains of recent note. Cory Yuen is spotted in an early role and helped create the fights with Wesley Snipes.
9.5/10
Blade Trinity (2004):
A garbage follow-up to the 1st 2, didn't even make it 30 minutes into the movie. Opening fight scene was okay. Ryan Reynolds was a bit much at times, but Jessica Biel looked kinda hot though. Would've preferred the Mad Max type idea they originally had was what we got instead of this.
1.5/10

I often found Snipes so corny that I am actually really looking forward to Ali's performance.
I was actually surprised to see how good Snipes was in My Name Is Dolemite.

[Wooley]

Alien from L.A. - 2

Wanda (Kathy Ireland), an oddly squeaky-voiced waitress, receives a letter that her archaeologist father is missing. Her search leads her to a secret and xenophobic underground world that's part Mad Max Beyond Thunderdome, part Blade Runner and part Patrick Nagel painting. This premise may sound interesting, but there's next to nothing to write home about here. The most glaring issue is that seemingly 99% of the movie consists of Wanda running away from the underground world's authorities. It attempts to have a message about taking chances and expanding your horizons - Wanda's very smug and unlikeable boyfriend in fact dumps her for how unwilling she is to do these things - but the attempt falls flat because Wanda likely would not have signed up for her adventure if she knew what she was in for.

If you still want to watch this, I recommend watching the Mystery Science Theater 3000 episode, but if there are other episodes of that series you are interested in, you should probably watch them first. Even Mike and the Bots strain to spin gold from this meager pile of straw. As you may have assumed, a lot of their riffs are about Wanda's odd voice, which I didn't mind because it's one of the few attempts by anyone in the movie to do something memorable.

I feel like you have overlooked the most important feature of the film... Kathy Ireland's... acting.
The movie is almost worth seeing just for that, IMO.

[Wooley]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Foriginal%2FyM85az4aotIQftdwV8GhXCNFQIO.jpg&f=1&nofb=1

Cleo from 5 to 7, 1962

The Varda march carries on!!

This was just fantastic.

This is definitely my favorite of the Varda films I've seen thus far.

4.5

Man, I been meaning to watch this movie for over a decade and for some reason it's just never the one I pull the trigger on. I think I'm gonna make it one of my New Year's resolutions not to get out of January without getting this one done.

[Wooley]

Arsenic and Old Lace

5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.

Yeah, this is, in my opinion, one of the great comedies... Of All Time!
Really, some of Grant's best work ever, even though so many of the supporting characters are really amusing, it still often seems like a one-man show because Grant is so perfect here.

[Takoma11]

Arsenic and Old Lace

5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.

It's pretty fabulous.

Man, I been meaning to watch this movie for over a decade and for some reason it's just never the one I pull the trigger on. I think I'm gonna make it one of my New Year's resolutions not to get out of January without getting this one done.

I had it mentally filed under "serious films", but honestly I was gripped from the very first sequence.

[Captain Terror]

Arsenic and Old Lace

5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.
I've seen it so many times I have it memorized but it never stops being terrific.

"Of course she was legitimate-she was my mother! Peaches LaTour was her name..."

[Vanillapie]

The league of extraordinary gentleman **6.2**

I don’t get the resounding hate for this movie, sure it’s stupid at points. For example how does a massive submarine/ship make it through the tight Venice canals? You can’t complain with the all out action on offer, everything with captain Nemo enticed me I loved his swordplay. There were characters I enjoyed seeing on screen well the characters powers mostly.*

[ThatDarnMKS]

Yeah, this is, in my opinion, one of the great comedies... Of All Time!
Really, some of Grant's best work ever, even though so many of the supporting characters are really amusing, it still often seems like a one-man show because Grant is so perfect here.

What’s fascinating about it is that Grant thought it was his worst performance and that he went far too over-the-top and always attempted to put blame of Capra for coaxing it out of him and not following through with reshoots after Pearl Harbor.

It’s an odd thing to feel like “well, you’re wrong and I’m glad there weren’t reshoots!” given the context but we could’ve lost an all-time great comedic performance so... thinnest of silver linings?

I haven’t seen a ton of Capra (It Happened One Night, Mr. Smith Goes to Washington and It’s a Wonderful Life round out my familiarity with his work). Any of y’all know if this an outlier or does he have others like this that I was under the wrong impression about?

[Wooley]

The league of extraordinary gentleman **6.2**

I don’t get the resounding hate for this movie, sure it’s stupid at points. For example how does a massive submarine/ship make it through the tight Venice canals? You can’t complain with the all out action on offer, everything with captain Nemo enticed me I loved his swordplay. There were characters I enjoyed seeing on screen well the characters powers mostly.*

Isn't this the movie that made Sean Connery retire from acting?

[Gideon58]

Carnage (2011)

3

https://image.tmdb.org/t/p/original/6Wn2AyAAh4dxiHv6gRttwv9uJHt.jpg


LOVED this movie...rated it higher than you did.

[Wooley]

What’s fascinating about it is that Grant thought it was his worst performance and that he went far too over-the-top and always attempted to put blame of Capra for coaxing it out of him and not following through with reshoots after Pearl Harbor.

It’s an odd thing to feel like “well, you’re wrong and I’m glad there weren’t reshoots!” given the context but we could’ve lost an all-time great comedic performance so... thinnest of silver linings?

I haven’t seen a ton of Capra (It Happened One Night, Mr. Smith Goes to Washington and It’s a Wonderful Life round out my familiarity with his work). Any of y’all know if this an outlier or does he have others like this that I was under the wrong impression about?
I think You Can't Take It With You was good, there's one other I can't remember.

[ThatDarnMKS]

I think You Can't Take It With You was good, there's one other I can't remember.
I don’t mean good, I’m a fan of Capra-corn after all. I mean “dark.” It’s Wonderful Life flirts with suicide and heavy concepts but it’s a pretty far cry from a screwball premise tied to a multiple serial killer plot.

Is this his Monsieur Verdoux, an outlier in Chaplin’s work, or does he have a more diverse body of work than I realized?

[Captain Terror]

I haven’t seen a ton of Capra (It Happened One Night, Mr. Smith Goes to Washington and It’s a Wonderful Life round out my familiarity with his work). Any of y’all know if this an outlier or does he have others like this that I was under the wrong impression about?

I've only seen 2-3 more than you and I've never come across a full-on black comedy like this, if that's what you mean. You Can't Take it With You is about a family of eccentrics, so I guess it's the closest to A&OL that I've seen.

[Fabulous]

Before the Devil Knows You're Dead (2007)

3

https://image.tmdb.org/t/p/original/ocAiyzGWhfr3PtNXxYih5s19c1h.jpg

[Torgo]

Outlaw of Gor - 2

In this budget sword-and-sandal tale, our hero - who I'm pretty sure is named Cabot - and his pesky wingman Watney return to Gor and get wrapped up in a betrayal plot. It's watchable, the story makes sense and there are some decent battle scenes, but it's by no means good. The acting and line delivery are miserable - Jack Palance's performance as an evil priest is particularly offensive - the costumes define unintentional comedy, and while I could follow the story, it's one I've heard dozens of times before. Also, there's nothing wrong with a movie having a limited budget, but it's another story when the limitations are on full display. Thrre's one shot, for instance, where we see a modern farmhouse, which stands out quite a bit amongst the ancient Roman...err, Goran marketplace.

Characters say Cabot's name so many times that the movie must break the records set by how many times we hear "Michael" in The Lost Boys and "Rusty James" in Rumble Fish. This is one of the many subjects for riffing in this movie's Mystery Science Theater 3000 episode. I also got a good laugh at the riffs about the costumes like Palance's seed pod hat as well as the skit where they read his diary. Like I said, the movie's full of unintentional comedy, so much so that it probably doesn't need to be riffed. Even so, I by no means discourage you from watching this movie with Mike and the bots.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.explicit.bing.net%2Fth%3Fid%3DOIP.zLP8mNdk1a_WrSHPFcyebQHaEb%26pid%3DApi&f=1

Le Bonheur, 1965

I was incredibly relieved to read someone describe this film as "a horror movie wrapped in sunflowers," because that was how I felt about it and especially as it moved into its shocking final act.

Francois (Jean-Claude Drouot) is happily married to Therese (Claire Drouot), and we meet the couple and their two adorable children on one of their many idyllic picnics to the countryside. Francois lives a straight-forward and comfortable life--he works for his uncle in a wood shop and Therese works as a seamstress. One day, Francois catches sight of the lovely Emilie (Marie-France Boyer) and unhesitatingly embarks on an extra-marital affair with her.

The most fascinating and disturbing thing about this movie is the way that Francois frames his affair to himself and others. There is a sequence of dialogue in the film that contains almost every single red flag for abuse and manipulation. Like the character in the film, you can almost find yourself nodding along as Francois waxes poetic about how love is wonderful so isn't an affair just happiness building on happiness? But the specific language used and the physical actions that go with it tells a different story. As Francois puts his hands around Therese's throat, tells her "Don't be sad", and then compare his mistress to an apple tree from another orchard, I got more and more creeped out. He'll stop the affair if she wants, you know, if she doesn't care about him being happy. Her happiness is his priority, so if she wants him all to herself, he will totally give up his love and joy. SO MANIPULATIVE!!

The ending of the film is, to my mind, truly horrifying. And, as noted in the quote above, it''s this technicolor horror that builds and builds in the last 15 minutes. I love that the film holds things so close to the vest until the end, and I could even see someone walking away from the film being on Francois's side. (I mean, they would be wrong, but I could see it happening.)

Therese and the children are played by Drouot's real-life wife and children, and the natural intimacy and affection that they have with each other plays incredibly well in the film. This especially comes across in the natural way that both of the Drouot's physically handle the children (scooping them up, interacting with them, etc) and there's a lived-in quality that establishes the family dynamic within the first few minutes of the film. It's interesting that only Jean-Claude Drouot is the only family member credited. Despite Therese being a key character, she does not appear in the credits (at least, I didn't see her there and on the IMDb she's listed as "uncredited").

Definitely a must-see.

4.5

[Thief]

DA 5 BLOODS (2020)
A war film

https://pic.pimg.tw/amesily1936/1591979147-1095403219.jpg

I had been meaning to watch this since it was released earlier this year, and it finally came to be. The film follows a group of four aging Vietnam vets that travel back to recover the remains of their squad leader (Chadwick Boseman) as well as a cache of gold they took from a CIA plane. During their journey, various confrontations and issues among them ensue, as well as past regrets and guilt. The main focus falls on Paul (Delroy Lindo), who seems to be the most affected by the war while also seeming to have motivations different than his friends.

Overall, I really liked the film. Director Spike Lee takes his time to set things up during the first half, and is helped by some great performances, most notably Lindo and Jonathan Majors, who plays Lindo's son, David. Boseman's role is a bit limited since we only see him in flashbacks and dream-like sequences, but he does carry that magical and ethereal essence that goes with the character. It also makes it all the more shocking to know that he's not with us anymore. The cast is rounded out by Clarke Peters, Norm Lewis, and Isiah Whitlock Jr. as the other "Bloods". They're all competent in their performances, but their characters lack the depth and presence of Lindo.

On that same line, I think the film would've benefitted of expanding those characters a bit, particularly Otis (Peters), since he seems to be the focal point of many of the plot devices of the film. I also don't think that the relationship between Paul and David was built that well, despite how good Lindo and Majors were. The way David is pushed into the plot felt a bit clumsy to me, and there was really no build-up to the emotional baggage that comes later.

Regardless of that, Lee does a great job of instilling the film with his accustomed social and racial commentary. Some nods and homages to other films and shows felt too on the nose (particularly the Whitlock "Shiiiiiiett", which really out of place), but ultimately I enjoyed the film a lot.

Grade: 4

[Gideon58]

https://i.redd.it/hksezdkaktk51.jpg



3.5

[Darth Wish]

70553

Just rewatched this for the first time in around 10 years.
From Zero to Hero, Hancock tries to win his haters around.
Some funny moments amongst the action sequences with Theron providing a bit of glamour.
Enjoyable if not an outstanding movie.

7/10

[SpelingError]

DA 5 BLOODS (2020)
A war film

https://pic.pimg.tw/amesily1936/1591979147-1095403219.jpg

I had been meaning to watch this since it was released earlier this year, and it finally came to be. The film follows a group of four aging Vietnam vets that travel back to recover the remains of their squad leader (Chadwick Boseman) as well as a cache of gold they took from a CIA plane. During their journey, various confrontations and issues among them ensue, as well as past regrets and guilt. The main focus falls on Paul (Delroy Lindo), who seems to be the most affected by the war while also seeming to have motivations different than his friends.

Overall, I really liked the film. Director Spike Lee takes his time to set things up during the first half, and is helped by some great performances, most notably Lindo and Jonathan Majors, who plays Lindo's son, David. Boseman's role is a bit limited since we only see him in flashbacks and dream-like sequences, but he does carry that magical and ethereal essence that goes with the character. It also makes it all the more shocking to know that he's not with us anymore. The cast is rounded out by Clarke Peters, Norm Lewis, and Isiah Whitlock Jr. as the other "Bloods". They're all competent in their performances, but their characters lack the depth and presence of Lindo.

On that same line, I think the film would've benefitted of expanding those characters a bit, particularly Otis (Peters), since he seems to be the focal point of many of the plot devices of the film. I also don't think that the relationship between Paul and David was built that well, despite how good Lindo and Majors were. The way David is pushed into the plot felt a bit clumsy to me, and there was really no build-up to the emotional baggage that comes later.

Regardless of that, Lee does a great job of instilling the film with his accustomed social and racial commentary. Some nods and homages to other films and shows felt too on the nose (particularly the Whitlock "Shiiiiiiett", which really out of place), but ultimately I enjoyed the film a lot.

Grade: 4

I really love that one. There are so many themes to unpack from the film since Lee depicts a full picture of all the long-term effects the U.S. had on Vietnam. Here's what I wrote on the film some time back:

https://www.movieforums.com/community/showthread.php?t=62519

[WHITBISSELL!]

The Wrong Man - #21 of Alfred Hitchcock movies I've seen. Henry Fonda plays Manny Balestrero, a bass fiddle player in the house jazz combo at the Stork Club in NYC. He's a devoted family man, father and husband and church going Catholic. The sh*t hits the fan though when he's tentatively identified as an armed robber. This is different from the usual Hitchcock films which are usually romanticized versions of what Manny ends up going through. The director’s subject matter had dealt a lot with wrongfully accused men (sometime women) who, through sheer grit, determination and blind luck, manage to overcome their predicament before the end credits roll. But this film has an almost cinema verite feel to it as it shows Manny going step-by-step through the onerous bureaucratic process of the accused. It’s almost as if this was Hitchcock’s rebuttal of his previous works. Or maybe an effort at candor because he supposedly felt that reality may often trump whatever Hollywood can come up with. Either way it’s not one of his more accessible films. Whatever dramatic impact is generated springs solely from Hitchcock’s retelling of the actual true story of Manny Balestrero. 90/100

P.S. The parting message flashed onscreen before the end credits seems more like a studio construct than something Hitchcock would do but there’s no way of telling.

[Thief]

The Wrong Man - #21 of Alfred Hitchcock movies I've seen. Henry Fonda plays Manny Balestrero, a bass fiddle player in the house jazz combo at the Stork Club in NYC. He's a devoted family man, father and husband and church going Catholic. The sh*t hits the fan though when he's tentatively identified as an armed robber. This is different from the usual Hitchcock films which are usually romanticized versions of what Manny ends up going through. The director’s subject matter had dealt a lot with wrongfully accused men (sometime women) who, through sheer grit, determination and blind luck, manage to overcome their predicament before the end credits roll. But this film has an almost cinema verite feel to it as it shows Manny going step-by-step through the onerous bureaucratic process of the accused. It’s almost as if this was Hitchcock’s rebuttal of his previous works. Or maybe an effort at candor because he supposedly felt that reality may often trump whatever Hollywood can come up with. Either way it’s not one of his more accessible films. Whatever dramatic impact is generated springs solely from Hitchcock’s retelling of the actual true story of Manny Balestrero. 90/100

P.S. The parting message flashed onscreen before the end credits seems more like a studio construct than something Hitchcock would do but there’s no way of telling.

I really dug this one. I think that Fonda did great and I love how Hitchcock, who had made a formula out of the wrongly accused man, decided to take it on a more serious and dramatic turn.

I have it at #13 out of 38 on my Hitchcock ranking.

[GulfportDoc]

Arsenic and Old Lace

rating_5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.
Enjoyed your comments. "Arsenic" is one of my favorites. Here's some of the "Arsenic" portion of a review I did comparing it to His Girl Friday:

...
Although Frank Capra’s Arsenic and Old Lace does not quite rise to the level of lightning banter as in His Girl Friday, it’s close, and there is plenty of wackiness. It is a black comedy that sports a cast of some of the best in the business: Cary Grant, Jack Carson, Raymond Massey, Peter Lorre, Priscilla Lane, James Gleason, Edward Everett Horton, Josephine Hull, and John Alexander.

Cary Grant again plays a newspaperman, but in this story we don’t see him at the newsroom. He’s just been married, and has taken his bride to visit his elderly aunts in Brooklyn. He discovers to his horror that his aunts have been poisoning old men, and having his crazy brother bury them in the basement. Most of the story is how Grant’s character tries to hide the circumstances from his new wife, all the while dealing with various and sundry relative and other characters who insert themselves into the action. There are numerous hilarious discoveries and send ups which ultimately culminate in a happy ending for all.

There was some criticism that Capra had pushed his actors to go too far “over the top” in their portrayals, especially the Grant and Carson roles. And in fact Capra had intended to go back and soften some of the most embellished scenes. But as the principal photography was winding down, the Japanese attack of Pearl Harbor occurred, causing Capra to hurry on to military matters. The movie was not released until 1944.
...

[Thief]

I really love that one. There are so many themes to unpack from the film since Lee depicts a full picture of all the long-term effects the U.S. had on Vietnam. Here's what I wrote on the film some time back:

https://www.movieforums.com/community/showthread.php?t=62519

Yeah, there's a line towards the end that's more or less said in passing, but it stuck with me so I used on my Letterboxd entry for the film...

"After you've been in a war, you understand it never really ends. Whether it's in your mind or in reality. There are just degrees."

I think Vinh says it to Otis towards the end, but it carries that message of the long-term effects of the war. Any war. Like you mention in your review, from the individual baggage in each of the "Bloods", to the impact it has on their children (David and Otis' daughter), to the baggage on the Vietnamese "thugs" that had lost relatives in My Lai or something as seemingly literal as the mines that come back to haunt them.

Even though there are appearances of recovery, which you can see in each of the characters or even the seemingly "booming" city/country, the wounds are still there.

[HashtagBrownies]

The Incident

https://www.youtube.com/watch?v=aH24v-Q9r8Q

A one location thriller. Basically a middle finger to those people that leave comments on videos of people bullying others in public, with the comment saying something like "If I was there that bully would be dead". This film shows that nearly all of those kinda people are 'all bark, no bite'. It's an incredibly well shot and anxious thriller; the way the suspense comes from people acting in a threatening manner rather than anything violent happening onscreen reminded me alot of 'Funny Games'. I rarely post in this thread anymore, but I've never heard anyone talk about this great film, so I wanted to spread the word a bit (I might nominate it the next time I'm in a Hall of Fame).

I've heard that the Olivia de Havilland film 'Lady in a Cage' has a similar tone and premise, so I'll certainly watch that soon.

4

[Cobra]

Indiana Jones Trilogy (what’s Kingdom of The Crystal Skull?)
Raiders of The Lost Ark (1981):
Fast paced, fun, classic action movie with 2 film greats collaborating together in Steven Spielberg and George Lucas. Haven’t watched this in years and surprised how awesome it still is.
9.5/10
Indiana Jones and The Temple of Doom (1984):
Underrated sequel/prequel that has elements of a horror movie mixed with great action scenes, the minecart scene is probably the best part of the film.
9/10
Indiana Jones and The Last Crusade (1989):
Awesome sequel which feels like a buddy comedy at times and made me want to study more on the lore of the Holy Grail when I was younger.
9/10
A perfect trilogy. Still don’t know what this 4th film people keep mentioning is, must be some prank.

[kgaard]

Arsenic and Old Lace

5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.

I love this movie so much. The meta aspect could have been heightened even further had Boris Karloff been released from the stage version to play Jonathan, but Raymond Massey is great in the role and I wouldn’t change a thing.

[ThatDarnMKS]

I love this movie so much. The meta aspect could have been heightened even further had Boris Karloff been released from the stage version to play Jonathan, but Raymond Massey is great in the role and I wouldn’t change a thing.
Indeed. Massey was great but I wouldn’t have minded if Karloff was allowed to play a killer that looks like him.

I halfway thought they’d have the description called in for the doctor as looking like “Peter Lorre” but they didn’t and I was mildly disappointed.

[Captain Terror]

I've looked it up before, but I was never able to determine if the "looks like Karloff" bit was in the Broadway version, or just added for the film. Anybody know for sure?

[ThatDarnMKS]

I've looked it up before, but I was never able to determine if the "looks like Karloff" bit was in the Broadway version, or just added for the film. Anybody know for sure?
From what I’ve read on it, it was in play as a cheeky nod to their casting. Now it plays off like an homage to the play.

I’m still gonna count it as meta.

[mark f]

The Rocket Man (Oscar Rudolph, 1954) 2.5 6/10
Dance Hall Racket (Phil Tucker, 1953) 1.5- 4/10 Lenny Bruce teams up with the director of Robot Monster.
Racket Girls (Robert C. Derteno, 1951) 1+ 3.5/10
Room for One More (Norman Taurog, 1952) 3 6.5/10
https://onceuponascreen.files.wordpress.com/2013/05/singing.jpg?w=517&h=290
Beautiful family film with real human emorion earns all its laughs and tears.
Girl Lost: A Hollywood Story (Robin Bain, 2020) 2.5 5.5/10
Sitara: Let Girls Dream (Sharmeen Obaid-Chinoy, 2019) 3 6.5/10
The Stand In (Jamie Babbit, 2020) 2 5/10
Herself (Phyllida Lloyd, 2020) 2.5 6/10
https://www.kappelborgskagen.dk/typo3temp/_processed_/0/4/csm_HERSELF_2_fcfc0cf601.jpg
Pretty good look at wife/mother Clare Dunne who tries to escape the abuses of her husband and build a house for herself and her children.
Underwater Love (Shinji Imaoka, 2011) 2.5 6/10
The Reason (Randall Stevens, 2020) 2+ 5/10
Army of One (Stephen Durham, 2020) 2.5 5.5/10
Holiday Affair (Don Hartman, 1949) 3 6.5/10
https://i0.wp.com/thelastdrivein.com/wp-content/uploads/2019/12/robert-mitchum-janet-leigh-wendell-corey-in-holiday-affair.png?resize=490%2C392&ssl=1
Another good holiday classic which reveals honest human behavior in the form of romantic competition.
Max Cloud (Martin Owen, 2020) 2+ 5/10
Your Name Engraved Herein (Liu Kuang-Hui, 2020) 2.5 6/10
A Night at the Movies: Merry Christmas! (Laurent Bouzereau, 2011) 3 6.510
The Midnight Sky (George Clooney, 2020) 2.5 6/10
https://i.kinja-img.com/gawker-media/image/upload/s--0EoO0QTV--/c_fit,fl_progressive,q_80,w_636/cilh3bqtgunnxbbwksxs.jpg
Somber sci-fi about dying scientist George Clooney who stays on a dying Earth, a child left behind who finds him and a space mission returning to Earth from a new "Earth".
The Killers (Marika Beiku, Aleksandr Gordon & Andrei Tarkovsky, 1956) 2.5 6-/10 21 min
Bad Impulse (Michelle Danner, 2020) 2+ 5/10
Voyage in Time (Tonino Guerra & Andrei Tarkovsky, 1983) 2.5 6/10
The Profession of Arms (Ermanno Olmi, 2001) 3- 6.5/10
https://static.kino.de/wp-content/uploads/2017/06/large-1498559593-1-rcm500x281u.jpg
War and intrigue in 16th century Europe involving the first use of artillery in history.

[WHITBISSELL!]

I really dug this one. I think that Fonda did great and I love how Hitchcock, who had made a formula out of the wrongly accused man, decided to take it on a more serious and dramatic turn.

I have it at #13 out of 38 on my Hitchcock ranking.Wow. I thought I was doing respectably well having seen as many of his movies as I have but you blow me out of the water. I phrased that first sentence wrong. This is the 21st Hitchcock I've seen. I haven't rated them all yet. But it would probably do better than last place (21st).

[MovieGal]

70566

Jude
(1996)
3.75/5

This film has one of the most tragic scenes in a film.

[WHITBISSELL!]

Kiss of Death - 1947 noir directed by Henry Hathaway and starring Victor Mature as Nick Bianco, a jewel thief who's shot and apprehended after a robbery gone wrong. He's pressured by Assistant D.A. Louis D'Angelo (Brian Donlevy) to turn state's evidence against his accomplices but Bianco holds true to the hoodlum notion of "no squealing" and chooses prison instead. While there he finds out his wife has committed suicide and his two daughters have ended up in an orphanage. He decides to take D'Angelo up on his offer in return for a chance at early parole. He ends up having to testify against psychopathic and sadistic killer Tommy Udo (Richard Widmark) who is eventually acquitted. This sets up a showdown of sorts between Bianco, who has remarried and settled in to a quiet domesticated life, and the crazed killer.

Widmark steals the movie in his onscreen debut as the sneering, giggling villain. Mature also fills the role of sympathetic outlaw commendably. 80/100

[gbgoodies]

Arsenic and Old Lace

5

A new favorite. A perfect dark comedy. It is significantly darker than anything I expected from Capra. Wilder, sure. But Capra? Does he have anything else like this out there? It’s his Monsieur Verdoux.

Grant may have finally topped his comedic performance in Bringing Up Baby in my eyes. There’s a shriek he does midway through that had me in stitches.

It also has a dose of meta-fiction to it that seems the be a precursor to Scream, with a scene that feels so ingrained in the DNA of Randy obliviously yelling “turn around” to the TV that Craven may owe Capra kudos for his success.

Yeah, this is, in my opinion, one of the great comedies... Of All Time!
Really, some of Grant's best work ever, even though so many of the supporting characters are really amusing, it still often seems like a one-man show because Grant is so perfect here.

It's pretty fabulous.

I've seen it so many times I have it memorized but it never stops being terrific.

"Of course she was legitimate-she was my mother! Peaches LaTour was her name..."

Enjoyed your comments. "Arsenic" is one of my favorites. Here's some of the "Arsenic" portion of a review I did comparing it to His Girl Friday:

...
Although Frank Capra’s Arsenic and Old Lace does not quite rise to the level of lightning banter as in His Girl Friday, it’s close, and there is plenty of wackiness. It is a black comedy that sports a cast of some of the best in the business: Cary Grant, Jack Carson, Raymond Massey, Peter Lorre, Priscilla Lane, James Gleason, Edward Everett Horton, Josephine Hull, and John Alexander.

Cary Grant again plays a newspaperman, but in this story we don’t see him at the newsroom. He’s just been married, and has taken his bride to visit his elderly aunts in Brooklyn. He discovers to his horror that his aunts have been poisoning old men, and having his crazy brother bury them in the basement. Most of the story is how Grant’s character tries to hide the circumstances from his new wife, all the while dealing with various and sundry relative and other characters who insert themselves into the action. There are numerous hilarious discoveries and send ups which ultimately culminate in a happy ending for all.

There was some criticism that Capra had pushed his actors to go too far “over the top” in their portrayals, especially the Grant and Carson roles. And in fact Capra had intended to go back and soften some of the most embellished scenes. But as the principal photography was winding down, the Japanese attack of Pearl Harbor occurred, causing Capra to hurry on to military matters. The movie was not released until 1944.
...


It's nice to see so many people who like Arsenic and Old Lace. It's always been one of my favorite movies, but it doesn't seem to get much love around here.


Indeed. Massey was great but I wouldn’t have minded if Karloff was allowed to play a killer that looks like him.

I halfway thought they’d have the description called in for the doctor as looking like “Peter Lorre” but they didn’t and I was mildly disappointed.

I've looked it up before, but I was never able to determine if the "looks like Karloff" bit was in the Broadway version, or just added for the film. Anybody know for sure?

From what I’ve read on it, it was in play as a cheeky nod to their casting. Now it plays off like an homage to the play.

I’m still gonna count it as meta.


If I remember correctly, the "looks like Karloff" bit was added to the movie version because at the time that this movie was made, Karloff was playing Jonathan Brewster on Broadway. Karloff wanted to do the movie, but the producers of the play wouldn't let him out of his contract to do the movie. However Karloff allowed them to use his name and his likeness for the movie.

[gbgoodies]

Enjoyed your comments. "Arsenic" is one of my favorites. Here's some of the "Arsenic" portion of a review I did comparing it to His Girl Friday:

...
Although Frank Capra’s Arsenic and Old Lace does not quite rise to the level of lightning banter as in His Girl Friday, it’s close, and there is plenty of wackiness. It is a black comedy that sports a cast of some of the best in the business: Cary Grant, Jack Carson, Raymond Massey, Peter Lorre, Priscilla Lane, James Gleason, Edward Everett Horton, Josephine Hull, and John Alexander.

Cary Grant again plays a newspaperman, but in this story we don’t see him at the newsroom. He’s just been married, and has taken his bride to visit his elderly aunts in Brooklyn. He discovers to his horror that his aunts have been poisoning old men, and having his crazy brother bury them in the basement. Most of the story is how Grant’s character tries to hide the circumstances from his new wife, all the while dealing with various and sundry relative and other characters who insert themselves into the action. There are numerous hilarious discoveries and send ups which ultimately culminate in a happy ending for all.

There was some criticism that Capra had pushed his actors to go too far “over the top” in their portrayals, especially the Grant and Carson roles. And in fact Capra had intended to go back and soften some of the most embellished scenes. But as the principal photography was winding down, the Japanese attack of Pearl Harbor occurred, causing Capra to hurry on to military matters. The movie was not released until 1944.
...


The reason that Arsenic and Old Lace wasn't released until 1944 was because they had a clause in the contract that the movie couldn't be released until the Broadway show ended its run, which didn't happen until 1944.

[StuSmallz]

I would argue that absolutely nothing positive is accomplished by warfare in 1917. Schofield's personal bravery and determination has a positive impact on his fellow soldiers, but I would argue that this is not at all the same as saying that the war is a good thing. If anything, we see that warfare is taking a tremendous human cost--and that the heroic actions of the main character might ultimately not even have much of an impact.

I think that the film's highly subjective focus on Schofield's experience draws us into his mission. But I think it's important that we see basically zero actual military action. What do we see? Dead animals. Felled cherry trees. Weary men in a caravan. All of the interactions with "the enemy" are horrifying and any "victories" in them are undercut by the horror of the situations. There is one battle sequence, shot in a highly disorienting fashion and our main character literally running perpendicular to the action.

In what way was anything positive accomplished by warfare in 1917?And I would respond that the warfare depicted in 1917 is depicted as having a positive impact, as Schofield was ordered to undergo his mission by a superior officer, and obeying the chain of command is a part of warfare, whether or not you're leading an attack or trying to stop one. And that's not even getting into how Schofield has to kill enemy troops along the way in order to reach the frontlines and save his fellow soldiers, and, while I'm not saying that the movie tries to portray that killing as being glorious in any way, it is necessary to do in order for him to save the lives of over a 1,000 men, including his best friend's brother, so how is that not displaying a positive accomplishment of the warfare in the film?There’s also the point that his entire mission is convincing people NOT to attack.

Not being as overtly anti-war as another work doesn’t render something pro-war. Paths of Glory isn’t as Anti-War as O’Brien’s How to Tell a True War Story. I wouldn’t use that to question whether or not PoG is anti-war due to that. I find Stu’s whole argument in that regard befuddling.It's befuddling because you're assuming that I'm trying to say that I don't feel 1917 is an anti-war movie on the whole because it's not as anti-war as Paths Of Glory, when all I'm doing is offering up the latter as counter-example of a film I actually consider to be anti-war, because this discussion would obviously be useless without a contrast in order to define it. My point isn't revolving around using any one film as an objective baseline for being anti-war; I don't consider Apocalypse Now to be as anti-war as Paths either, but I still consider it to be anti-war anyway, for its own reasons.

[ThatDarnMKS]

It's nice to see so many people who like Arsenic and Old Lace. It's always been one of my favorite movies, but it doesn't seem to get much love around here.









If I remember correctly, the "looks like Karloff" bit was added to the movie version because at the time that this movie was made, Karloff was playing Jonathan Brewster on Broadway. Karloff wanted to do the movie, but the producers of the play wouldn't let him out of his contract to do the movie. However Karloff allowed them to use his name and his likeness for the movie.
What makes me believe that the line was in the play was due to the filmmakers fearing that Karloff wouldn’t allow them to use his name and likeness, which was treated as a threat to production. Him giving them the OK, rather than it being a loving wink, doesn’t make it feel like they added it as acknowledgement just for the film version.

Then again, I can’t find anything contemporary and haven’t tracked down a script of the play to confirm so I’m just supposing at the moment.

[gbgoodies]

What makes me believe that the line was in the play was due to the filmmakers fearing that Karloff wouldn’t allow them to use his name and likeness, which was treated as a threat to production. Him giving them the OK, rather than it being a loving wink, doesn’t make it feel like they added it as acknowledgement just for the film version.

Then again, I can’t find anything contemporary and haven’t tracked down a script of the play to confirm so I’m just supposing at the moment.


I'm not sure about whether or not the line was in the play because the only version of the play that I've ever seen was a school play, and that was over 30 years ago. But I know that Karloff wanted to play the role in the movie, but he was under contract for the Broadway play, and they wouldn't let him out of his contract to make the movie. I think I even remember reading somewhere that he was angry that the two actresses who played Mortimer's aunts in the Broadway play were both allowed to make the movie, but he wasn't allowed.

[Thunderbolt]

70571
A Christmas Carol (1984)
My third version of this movie watched this festive season. Some good performances in this modern colour version.
3.5

[Thief]

Wow. I thought I was doing respectably well having seen as many of his movies as I have but you blow me out of the water. I phrased that first sentence wrong. This is the 21st Hitchcock I've seen. I haven't rated them all yet. But it would probably do better than last place (21st).

:D Tackling most of his first silent films via a boxset that my wife gave me years ago was a good way to get a good chunk of his films out of the way. I also took an online course on Hitchcock a couple of years ago and I remember I saw a good bunch that year, particularly his late 30s/early 40s stuff.

[Wooley]

Girl Lost: A Hollywood Story (Robin Bain, 2020) 2.5 5.5/10



I saw this and sincerely wondered if they were actually trying to say/do something or they were just putting some window-dressing on a tawdry, low-budget skin-flick.

[mark f]

I went back and forth between 5/10 and 5.5/10, and yes, even I felt ashamed watching ir.

[GulfportDoc]

The reason that Arsenic and Old Lace wasn't released until 1944 was because they had a clause in the contract that the movie couldn't be released until the Broadway show ended its run, which didn't happen until 1944.
That's an interesting fact. I didn't know that. Warner Bros. must have been chompin' at the bit for the stage run to finish!

[Takoma11]

And I would respond that the warfare depicted in 1917 is depicted as having a positive impact, as Schofield was ordered to undergo his mission by a superior officer, and obeying the chain of command is a part of warfare, whether or not you're leading an attack or trying to stop one. And that's not even getting into how Schofield has to kill enemy troops along the way in order to reach the frontlines and save his fellow soldiers, and, while I'm not saying that the movie tries to portray that killing as being glorious in any way, it is necessary to do in order for him to save the lives of over a 1,000 men, including his best friend's brother, so how is that not displaying a positive accomplishment of the warfare in the film?

I think that my definition of warfare is simply different from yours. I think of warfare as the state of engaging in military combat with an opposing force.

It is true that in the film a soldier following orders from a superior leads to a (possibly temporary) "net positive" in the sense that in that moment more lives are saved than lost.

But even if you count him delivering the message as a "win" (and I'd argue that the emotion I felt as he delivered the message was relief, not triumph), I don't think that it overcomes the message delivered by many characters throughout the film of "Why are we even here?"; "Look what this is doing to the land/people"; "We'll probably just die tomorrow"; and the trauma that is clearly being inflicted on the lead character in performing his actions.

I think that the actions of the main character do have a positive impact, but I don't think you can say anything positive about the warfare itself--namely the giant military conflict within he is operating. Especially because the problem he is solving--troops heading for an ambush--is itself part of the war. Without the warfare there is no ambush in the first place.

If a film showed a lot of people taking hard drugs and within that film a person saved another person from overdosing, I wouldn't say that was drug culture having a positive impact. I would say that it was an individual within that drug culture doing a positive thing for someone else. Not at all the same.

[WrinkledMind]

I was surprised by the good reviews of Greenland, and so decided to give it watch. It's one of the better disaster movies, up until the third act. It gets awfully predictable then.




Also, I stumbled onto Samurai Cop, and do not regret spending my time on it. It easily walks into my all time favourite good bad movies list.

[WHITBISSELL!]

Justice League: The New Frontier - This is from 2008 and hadn't aired on cable since it's release in that year. CN reran it in conjunction with the release of Wonder Woman 1984. This is part of the Bruce Timm/DCAU verse so it's a quality project. It takes place a short time after the Korean War and involves a mysterious entity called The Centre which is, of course, bent on humanity's destruction. It's actual identity is eventually revealed but I won't give it away. The movie is packed with comic characters including most of the Justice League (No Hawkgirl though) and the final showdown features quite a few additional characters. Some of which rang very faint bells. I did have flashbacks of sorts with the Blackhawk Squadron and Adam Strange but I had to dig around to actually nail down their names. This may not be as good as some of the more recent entries in the DCAU but it's still a fun and nostalgic ride. 80/100

[Vanillapie]

I was surprised by the good reviews of Greenland, and so decided to give it watch. It's one of the better disaster movies, up until the third act. It gets awfully predictable then.




Also, I stumbled onto Samurai Cop, and do not regret spending my time on it. It easily walks into my all time favourite good bad movies list.

Yes I need to watch samurai cop for the very same reason, flat liners, and invasion USA are also on that list.

[ThatDarnMKS]

While New Frontier is a solid DC animated film, it’s not a part of the DCAU.

[Vanillapie]

My left foot (1989) 7.9/10

Thought provoking in the extreme, with a fine actor like Daniel Day-Lewis at his usual best, he really is the best method actor around. I’m sad he retired he certainly has another good movie or two left in him, ‘phantom thread’ his final film was such a phenomenal piece.

This movie has made me certain to go through his entire filmography. A biographical drama that isn’t just enhanced by the performances but all about the performances. I’ve got to mention ‘home alone 2’ pigeon lady Brenda Fricker, she was top drawer as the mother.

[Fabulous]

Happiest Season (2020)

2.5

https://image.tmdb.org/t/p/original/uuG9rbnnGPbUSnTcBmzsjgJ3ojw.jpg

[WHITBISSELL!]

While New Frontier is a solid DC animated film, it’s not a part of the DCAU.I guess it's DCAMU. Hard to keep track.

[matt72582]

Reality Bites - 5.5/10
Reminded me of the teens I avoided.. I didn't turn it off despite the bad acting and unworthy script.
https://upload.wikimedia.org/wikipedia/en/9/95/Realitybitesposter.jpg

[Torgo]

Kalifornia - 4

This scary and insightful serial killer and road movie from the early '90s stars two of that decade's biggest stars before they became household names. David Duchovny is Brian, a student of serial killers who plans a cross-country road trip with stops at sites of grisly murders and Brad Pitt is Early, who's in tow and who's a poster child for background checks since he happens to be a killer himself. Joining them are Brian's photographer girlfriend Carrie (Michelle Forbes), who specializes in sexual imagery, and Early's sweet, naive and much too subservient partner Adele (Juliette Lewis). I like how much of an American story this is; after all, the passenger makeup is sort of a microcosm of the country considering the couples' privilege and wealth divide. During the trip, we observe other forms of division such as dilettante and practitioner and of course good and evil. In the couples' less than successful attempts at getting along, we not only witness each side's inability to understand the other but also their dependence. All the while, the movie gradually and expertly raises the stakes as Early's animalistic urges rub off on everyone and his true identity become clear, the climax of which hits hard in a brutal home invasion scene. The movie is far from perfect: while Pitt is terrifying as Early, there are times when his exaggerated accent and mannerisms border on caricature. Also, I liked Duchovny's voiceover narration, but it concludes in a way that is too pat for my liking. I still rank the movie as one of the '90s best serial killer movies alongside Se7en. Not to mention, neither Duchovny nor Pitt had the star power in 1993 that they had at the end of that decade, but I still say that this movie is criminally underseen (no pun intended).

[GulfportDoc]

70622
Life (2015)

The 1950s in the U.S. was a magical decade, comparable only to the 1920s in its prosperity, innovation, and a national sense of well-being. At the same time there was a growing mutation away from the WWII era, and the youth were looking to depart from their parents’ mores, and to forge new territory in the arts, politics and fashion.

There was no one who personified that shift, that modernity, than did James Dean. In the space of 17 months he captured the mood and affection of a generation in 3 films: East of Eden, Rebel Without A Cause, and Giant-- the last two released after Dean’s early tragic death in a horrific auto accident at aged 24.

Dean had done quite a bit of TV from 1951 to 1955, and had some minor uncredited roles in a few films. But getting the role of the tortured brother in a story set in Salinas, California in 1917 really got the attention of Jack Warner at Warner Brothers, who wanted him for the lead in the upcoming Rebel Without A Cause.

This is the setting for the story of this picture. Dean had met an up-and-coming photographer, Dennis Stock, who worked for a prominent photography agency in New York City, and was looking for a way to get attention and build his portfolio. Stock had the idea of doing a feature photo essay on Dean, who was capturing the contemporary youth by his emotional performance in the just released East of Eden. Dean wasn’t that interested at first, but a friendship developed, and each man saw in the other a mutual method of advancing their careers. It took awhile for both Stock’s manager and Dean to get behind the project.

The movie is about that brief time period as Dean and Stock traveled from NYC to Los Angeles to Indiana, where Dean had been reared.Their friendship is explored, but the chief object of the film seemed to be the circumstances that set up and performed each of Stock’s iconic photos of Dean, including the most famous of all, showing Dean walking toward the camera with an overcoat and turned up collar with a cigarette resting in his mouth, set in Times Square during a cold winter’s drizzle.

The film is absorbing right from the beginning, especially if one is familiar with Dean’s life and career. Robert Pattinson as Stock turns in a nuanced performance which revealed Stock’s burning desire to succeed in contrast to his inability to be a family man and nurture his son. Dane DeHaan as Dean had the task of impersonating the iconic Dean while representing to the audience the star’s idiosyncratic personality. His very vague resemblance to Dean helped, although he was slightly baby faced, but his portrayal seemed more of a respectful caricature. DeHaan’s Dean focused mostly on Dean’s unconventional and sometimes incoherent manner, and never really showed more sides to the character.

A bio-drama which purports to dramatize a relatively brief period in two famous character’s lives is not an easy task, and screen writer Luke Davies came close, but in the end it was a little too jumbled, and the different strains of story lines veered off from each other, leaving the viewer with a feeling of incompleteness in its finality.

Dean was a fascinating character in his short burning hot life; and Stock went on to be one of the most famous photographers in the U.S., living to the age of 81. To re-visit Dean’s career and to be impressed by some of Stock’s famous photos of Dean made the movie worth watching. Had the writing been a little more tucked in, and with a slightly more accurate Dean, this could have been a notable picture.

Doc’s rating: 6/10

70623

[crumbsroom]

Kalifornia - rating_4

This scary and insightful serial killer and road movie from the early '90s stars two of that decade's biggest stars before they became household names. David Duchovny is Brian, a student of serial killers who plans a cross-country road trip with stops at sites of grisly murders and Brad Pitt is Early, who's in tow and who's a poster child for background checks since he happens to be a killer himself. Joining them are Brian's photographer girlfriend Carrie (Michelle Forbes), who specializes in sexual imagery, and Early's sweet, naive and much too subservient partner Adele (Juliette Lewis). I like how much of an American story this is; after all, the passenger makeup is sort of a microcosm of the country considering the couples' privilege and wealth divide. During the trip, we observe other forms of division such as dilettante and practitioner and of course good and evil. In the couples' less than successful attempts at getting along, we not only witness each side's inability to understand the other but also their dependence. All the while, the movie gradually and expertly raises the stakes as Early's animalistic urges rub off on everyone and his true identity become clear, the climax of which hits hard in a brutal home invasion scene. The movie is far from perfect: while Pitt is terrifying as Early, there are times when his exaggerated accent and mannerisms border on caricature. Also, I liked Duchovny's voiceover narration, but it concludes in a way that is too pat for my liking. I still rank the movie as one of the '90s best serial killer movies alongside Se7en. Not to mention, neither Duchovny nor Pitt had the star power in 1993 that they had at the end of that decade, but I still say that this movie is criminally underseen (no pun intended).

Yep, I watched a serial killer movie on Christmas Eve. Don't judge me.
I've always liked this, but have refrained from revisiting it since I wondered how it held up. I'm pretty sure it was/is my favorite performance from Pitt, who I mostly have a love hate thing with.

[gomorra82]

Alien: Covenant (2017) Ridley Scott

I quite enjoy this movie. As a follow up movie to Prometheus, i feel they make a good film duo. Both movie are well made, with good cinematography.
Alien (1979) and Prometheus are still my favourite movies in the franchise, and i dont really have a feeling of them being closely connected. With the movies being made over the span of almoust 35 years ( Alien and Prometheus) the premisses on which they were made, i feel it was natural for them to be pretty different movies.

Many of the reviews on IMDB have people giving Alien: Covenant ratings between 1-3 out of 10. And they are of course free to do so, without me bothering to much about it.

My rating of Alien: Covenant - 7,5.
70624

[Cobra]

My 2 yearly Christmas traditions
National Lampoon’s Christmas Vacation (1989):
Every year, I watch this the 1st and the 24th with my dad, did the same thing this year. Love the film, absolutely hilarious at times. Sincere as well.
10/10
Trailer Park Boys Christmas Special (2004):
Our other tradition, the most Canadian Christmas movie on earth. Funny as heck and a sad ending.
10/10

[Torgo]

I've always liked this, but have refrained from revisiting it since I wondered how it held up. I'm pretty sure it was/is my favorite performance from Pitt, who I mostly have a love hate thing with.The soundtrack and "grunge music video" aesthetic date it, but not in a bad way, so I'd say it holds up considering it's 27 years old (damn, that doesn't seem like that long ago). It's too bad Pitt hasn't played more villains because he's terrifying. His southern accent is as cartoonish as it is in Inglourious Basterds, however. But really, does anyone do a good southern accent unless they're from there?

[MovieGal]

https://i.pinimg.com/originals/f4/95/c5/f495c5f4d0035f1638b053959a435483.gif

The Greatest Showman
(2017)
4/5

[MovieGal]

My left foot (1989) 7.9/10

Thought provoking in the extreme, with a fine actor like Daniel Day-Lewis at his usual best, he really is the best method actor around. I’m sad he retired he certainly has another good movie or two left in him, ‘phantom thread’ his final film was such a phenomenal piece.

This movie has made me certain to go through his entire filmography. A biographical drama that isn’t just enhanced by the performances but all about the performances. I’ve got to mention ‘home alone 2’ pigeon lady Brenda Fricker, she was top drawer as the mother.

Daniel Day-Lewis is an amazing actor. I have seen his filmography from Sunday Bloody Sunday (1971) to The Ballad of Jack and Rose (2005). I need to watch the rest of his films.

I have done that with several actors, like Christian Bale and Brad Pitt. Watch all most all their films but stop short at a point.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Foncriterion.files.wordpress.com%2F2019%2F04%2F2-6.jpg%3Fw%3D1200&f=1&nofb=1

Les Creatures, 1966

A writer, Edgar, and his wife, Myrlene, are in a horrible car accident, leaving him with a dramatic scar and leaving her mute. Moving into a new home in a village, Edgar begins writing a story based on the people he meets. As the film goes on, reality and Edgar's book begin to blend and overlap. Edgar becomes intrigued by a reclusive man in the village and suspects that people in the village are somehow being controlled/manipulated.

The strength of this film, as has been the case with Varda thus far, is the imagery and also the specific details of the main romantic relationship. Visuals like the jagged scar that cuts down the center of Edgar's face, or Myrlene's little white board that she uses to communicate, always hanging from a rope around her waist pop. Once again Varda plays with color in a film that is mostly black and white. There's also a fun specificity to the relationship between the two, such as the fact that Myrlene and Edgar play a sort of hide-and-seek when he leaves the house and comes back in.

Unfortunately, the last act of this one gets really weird, and not necessarily in a good way. The film presents us with a fantastical/sci-fi premise and at first I was excited about it. This sequence includes some really neat visual elements in the form of holograms and I was very taken by it. But then it just sort of goes flat. The focus shifts away from the main characters and I felt a bit lost as I watched the different scenes play out.

It's not that the weirdness of Varda's story is just there for the sake of being weird. There actually is a main idea that threads through it all. But the way that the story is told--jumping from one set of characters to the other--the film loses its emotional center.

Not bad, by any means, but not as powerful as Cleo or Le Bonheur.

3.5

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fblackiswhiteblog.files.wordpress.com%2F2014%2F04%2Ftheenigmaofkasparhauser.jpg&f=1&nofb=1

The Enigma of Kaspar Hauser, 1974

Sometimes I really don't know how to feel about a film, and it often comes down to not totally knowing how to take in or interpret a certain element of it.

This movie is based on a true story of a young man who one day appeared on the streets of Neuremberg, bearing a strange letter and speaking one a handful of sentences. He later told a story of having been raised in a cellar all alone except for a mysterious man who brought him food and water. Kaspar is passed from one home/patron to another--spending time in a circus, with a composer, and so on.

My issue with the film mostly came down to my difficulty reading the lead performance by Bruno S. As I watched I asked myself: "Am I looking at someone with developmental delays?"; "Am I looking at someone who is trying to act like someone with developmental delays?"; "Am I looking at an actor who is doing a good job of looking like someone who is pretending to have developmental delays?"; and so on.

In reading about the real case on Wikipedia, it seems as if there was a lot of evidence that Kaspar was, to some extent, a fake. That he was frequently caught in lies and that there were parts of his story that just didn't add up (for example, letters supposedly written by someone else but in Kaspar's hand, or his physical wellbeing not matching a story of having been confined to a cellar for two decades). But the film seems to take Kaspar's story at face value. It was hard to watch the film, because I kept waiting for characters to question his version of events, or for the film to show some of those inconsistencies.

The part of the film that I did strongly connect with was the implicit critique of the way that people who are disabled or have other developmental/physical differences can become this weird mix of charity cases and "freak shows". There's an unabashedness to the way that people want to gawp at Kaspar and put him on display. The lack of genuine care for his wellbeing is a pointed critique--he is clearly someone who needs a lot of help.

Because I struggled so much with the lead performance, I had a hard time connecting to this film. I often felt indifferent to what was happening on screen. I've had this one on my watchlist for a long, long time, and I was a bit underwhelmed with it. I'd be interested if other people had a more positive reaction to it.

3

[ThatDarnMKS]

I had a strongly positive reaction to EOKH. The context of this watch is likely important as I was working my way through an Herzog collection (stalled out at Cobra Verde. Hope to finish it this year) and found it work within the body of work Herzog was building of eccentric films that operated on the faultlines between realism, impressionism and surrealism. The main draw was the performance of Bruno S, who remains as enigmatic and peculiar a figure in real life as any he portrayed on screen. I paired it with Stroszek and it felt like a one two punch of Herzog's oddball humanism.

It's hard to speak in specifics as both it's been a few years and that Herzog's cinema in general appeals to me because it has the intangible quality of a dream in that it usually leave more an emotional impression than an analysis of specifics.

[Takoma11]

I had a strongly positive reaction to EOKH. The context of this watch is likely important as I was working my way through an Herzog collection (stalled out at Cobra Verde. Hope to finish it this year) and found it work within the body of work Herzog was building of eccentric films that operated on the faultlines between realism, impressionism and surrealism. The main draw was the performance of Bruno S, who remains as enigmatic and peculiar a figure in real life as any he portrayed on screen. I paired it with Stroszek and it felt like a one two punch of Herzog's oddball humanism.

It's hard to speak in specifics as both it's been a few years and that Herzog's cinema in general appeals to me because it has the intangible quality of a dream in that it usually leave more an emotional impression than an analysis of specifics.

See, I felt strangely unemotional watching it. Instead of that direct-emotion impressionist hit, I just felt detached. I wanted to appreciate the abrupt editing and the POV elements, but it didn't cohere for me. It's like I needed the film to either be weirder or more grounded, and the place it landed between those two poles didn't work for me.

[ThatDarnMKS]

See, I felt strangely unemotional watching it. Instead of that direct-emotion impressionist hit, I just felt detached. I wanted to appreciate the abrupt editing and the POV elements, but it didn't cohere for me. It's like I needed the film to either be weirder or more grounded, and the place it landed between those two poles didn't work for me.

I can see that.*

I think it's place between Aguirre and Heart of Glass (which was then followed by Stroszek) put me in the right Herzog headspace for it to work with me. It's probably the least striking of those films but it was riding a cinematic wave and it didn't disrupt the flow.

[Takoma11]

I can see that.*

I think it's place between Aguirre and Heart of Glass (which was then followed by Stroszek) put me in the right Herzog headspace for it to work with me. It's probably the least striking of those films but it was riding a cinematic wave and it didn't disrupt the flow.

Fair enough.

As much as I enjoy Herzog as a person, his films have always seemed to have less impact on me than they do on my fellow movie watchers.

[ThatDarnMKS]

Fair enough.

As much as I enjoy Herzog as a person, his films have always seemed to have less impact on me than they do on my fellow movie watchers.
What all have you seen? While I can understand his films being polarizing, I feel like his documentary work should be far more unanimously impactful.

[Takoma11]

What all have you seen? While I can understand his films being polarizing, I feel like his documentary work should be far more unanimously impactful.

I've seen:

Aguirre (Christmas Eve confession: it bored me to tears and I fell asleep while watching it--not at night, during the day, and when I woke up everyone was gone and it was just the main dude and the monkey and I did not rewind to see what I had missed.)

Enigma of Kaspar Hauser

Little Dieter Needs to Fly

Grizzly Man (I think this is legit great)

Rescue Dawn

Bad Lieutenant: Port of Call New Orleans (okay, forgot he directed this and I straight up love it).

My Son My Son What Have Ye Done? (Um, also really liked this one)

Into the Abyss (Also great)

So maybe it's more that I was underwhelmed by Aguirre and Kaspar Hauser. I agree that the documentary stuff is uniformly very strong and moving.

[manram24]

Rewatched these


The Public Eye (1992) 3.5/5


Bram Stoker's Dracula (1992) 4/5


A Perfect Murder (1998) 3.5/5

[Vanillapie]

Aguirre was a little like blade runner for me, the more I watched them the more appreciation I found for them. My love for blade runner is far superior but I still watch Aguirrre now and again. The sleep inducing aspect of both movies I certainly get.I had the Herzog box set and the relationship between him and Klaus Kinksi was fascinating and summed up brilliantly in documentary my best fiend. That, grizzly man and into the abyss are the only docs I’ve seen of his, all great and I’ll have to invest in watching more.

[Vanillapie]

Terror train (1980) 6.2/10

Run of the mill slasher but with enough uniqueness to make this movie standout, taking place on a train and with a higher class of teens in that they were Med students. David Copperfield has a large roll for goodness sake. I can’t actually believe John Alcott was the cinematographer, it wasn’t a particularly great to look at but then he didn’t have much to work with to be fair. With him being Kubrick’s right man for ‘the Shining, 2001: A space odyssey, and a clockwork orange. Then terror train haha, mind blowing.

Not sure why this movie was so hard to find given its impressive box office results, and cast and crew involved. This is basically Halloween on a train, Jamie-Lee Curtis’s role as protagonist confirms this.

[Torgo]

Aguirre is one of my favorite movies. One thing I've always wondered about it, though, is how did he stay alive while everyone else died? My theory is that he has no conscience. As we've seen lately, those who have no conscience tend to live unnaturally long lives.

[Wooley]

Justice League: The New Frontier - This is from 2008 and hadn't aired on cable since it's release in that year. CN reran it in conjunction with the release of Wonder Woman 1984. This is part of the Bruce Timm/DCAU verse so it's a quality project. It takes place a short time after the Korean War and involves a mysterious entity called The Centre which is, of course, bent on humanity's destruction. It's actual identity is eventually revealed but I won't give it away. The movie is packed with comic characters including most of the Justice League (No Hawkgirl though) and the final showdown features quite a few additional characters. Some of which rang very faint bells. I did have flashbacks of sorts with the Blackhawk Squadron and Adam Strange but I had to dig around to actually nail down their names. This may not be as good as some of the more recent entries in the DCAU but it's still a fun and nostalgic ride. 80/100

No Hawkgirl?!
Minus ten points.

[matt72582]

Kareem: Minority of One (2015 (https://www.imdb.com/year/2015/?ref_=tt_ov_inf))

This was good.

[Wooley]

Terror train (1980) 6.2/10

Run of the mill slasher but with enough uniqueness to make this movie standout, taking place on a train and with a higher class of teens in that they were Med students. David Copperfield has a large roll for goodness sake. I can’t actually believe John Alcott was the cinematographer, it wasn’t a particularly great to look at but then he didn’t have much to work with to be fair. With him being Kubrick’s right man for ‘the Shining, 2001: A space odyssey, and a clockwork orange. Then terror train haha, mind blowing.

Not sure why this movie was so hard to find given its impressive box office results, and cast and crew involved. This is basically Halloween on a train, Jamie-Lee Curtis’s role as protagonist confirms this.

One of my favorites. At or near the top of the second tier of Slashers for me.

[GulfportDoc]

https://www.movieforums.com/community/attachment.php?attachmentid=70622
Life (2015)

The 1950s in the U.S. was a magical decade, comparable only to the 1920s in its prosperity, innovation, and a national sense of well-being. At the same time there was a growing mutation away from the WWII era, and the youth were looking to depart from their parents’ mores, and to forge new territory in the arts, politics and fashion.

There was no one who personified that shift, that modernity, than did James Dean. In the space of 17 months he captured the mood and affection of a generation in 3 films: East of Eden, Rebel Without A Cause, and Giant-- the last two released after Dean’s early tragic death in a horrific auto accident at aged 24.

Dean had done quite a bit of TV from 1951 to 1955, and had some minor uncredited roles in a few films. But getting the role of the tortured brother in a story set in Salinas, California in 1917 really got the attention of Jack Warner at Warner Brothers, who wanted him for the lead in the upcoming Rebel Without A Cause.

This is the setting for the story of this picture. Dean had met an up-and-coming photographer, Dennis Stock, who worked for a prominent photography agency in New York City, and was looking for a way to get attention and build his portfolio. Stock had the idea of doing a feature photo essay on Dean, who was capturing the contemporary youth by his emotional performance in the just released East of Eden. Dean wasn’t that interested at first, but a friendship developed, and each man saw in the other a mutual method of advancing their careers. It took awhile for both Stock’s manager and Dean to get behind the project.

The movie is about that brief time period as Dean and Stock traveled from NYC to Los Angeles to Indiana, where Dean had been reared.Their friendship is explored, but the chief object of the film seemed to be the circumstances that set up and performed each of Stock’s iconic photos of Dean, including the most famous of all, showing Dean walking toward the camera with an overcoat and turned up collar with a cigarette resting in his mouth, set in Times Square during a cold winter’s drizzle.

The film is absorbing right from the beginning, especially if one is familiar with Dean’s life and career. Robert Pattinson as Stock turns in a nuanced performance which revealed Stock’s burning desire to succeed in contrast to his inability to be a family man and nurture his son. Dane DeHaan as Dean had the task of impersonating the iconic Dean while representing to the audience the star’s idiosyncratic personality. His very vague resemblance to Dean helped, although he was slightly baby faced, but his portrayal seemed more of a respectful caricature. DeHaan’s Dean focused mostly on Dean’s unconventional and sometimes incoherent manner, and never really showed more sides to the character.

A bio-drama which purports to dramatize a relatively brief period in two famous character’s lives is not an easy task, and screen writer Luke Davies came close, but in the end it was a little too jumbled, and the different strains of story lines veered off from each other, leaving the viewer with a feeling of incompleteness in its finality.

Dean was a fascinating character in his short burning hot life; and Stock went on to be one of the most famous photographers in the U.S., living to the age of 81. To re-visit Dean’s career and to be impressed by some of Stock’s famous photos of Dean made the movie worth watching. Had the writing been a little more tucked in, and with a slightly more accurate Dean, this could have been a notable picture.

Doc’s rating: 6/10

https://www.movieforums.com/community/attachment.php?attachmentid=70623

70639

[Fabulous]

Love Actually (2003)

3.5

https://image.tmdb.org/t/p/original/xUWf5xX0AnZgAnYXAMk03zTbsef.jpg

[cricket]

Dard Divorce (2007)

2.5

https://horrornews.net/wp-content/uploads/2014/02/Dard-Divorce-2007-Movie-Olaf-Ittenbach-5.jpg

Decent and pretty well made, for a low budget extreme film. It's from a German horror director so I was surprised when it was in English and set in America. As expected it was brutally violent, but it also had a plot to follow and keep me guessing. Not much but these movies don't always have that.

[WHITBISSELL!]

A Christmas Carol - Ran across this 1984 made for TV film last night while channel surfing. It stars George C. Scott as Scrooge and David Warner as Bob Cratchit. There are numerous British stage actors sprinkled throughout like Edward Woodward as The Ghost of Christmas Present and Frank Finlay as Jacob Marley. This doesn't deviate from other cinematic versions or the novel in any significant way but there are still notable differences starting with Scott in the pivotal role. It's a slightly more grounded portrayal with his Scrooge more of a tired cynic than a full blown miser. He's still notoriously tight fisted but his actions are somehow made clearer if not exactly defensible. And he's also exceedingly clever and prepared for the onslaught from the three specters and therefore harder to reach. His redemption is left in doubt far longer than the other two versions I've seen.

This is a fine and solid adaptation with first-rate production values and an accomplished cast. Scott attempts something a little bit different with his interpretation and largely succeeds. 85/100

[mark f]

Out of Sight (Lennie Weinrib, 1966) 2 5/10
Leap (Robert C. Derteno, 2018) 2.5 6/10
It Happened on Fifth Avenue (Roy Del Ruth, 1947) 3 6.5/10
We Can Be Heroes (Robert Rodriguez, 2020) 2.5 6/10
https://imgix.gizmodo.com.au/content/uploads/sites/2/2020/12/05/g2bwbwz21zkqzoner4qu.gif?ar=16%3A9&auto=format&fit=crop&q=65&w=720&nrs=30&fm=gif
Super Heroes' kids come to the rescue when their parents are captured by invading aliens.
Skylines (Liam O'Donnell, 2020) 2 5/10
Leap (Peter Chan, 2020) 3 6.5/10
Yourself and Yours (Hong Sang-soo, 2016) 2 5/10
Soul (Pete Docter, 2020) 3.5 7+/10
https://64.media.tumblr.com/5b8d8b6d3d6ed6bf3b987e878fd2ca2d/e656c7a710e9a213-37/s500x750/df3d4fbb7f4f710e7814bc08726f029ea83fae21.gifv
Band teacher/jazz pianist finds his soul heading upward on the biggest day of his life.
Forget Everything You Have Ever Seen: The World of Santa Sangre (David Gregory, 2011) 3 6.5/10
Intersection (Samuel Bartlett, 2020) 1.5+ 4.5/10
Calibre (Matthew Palmer 2018) 2.5 6/10
The King and the Mockingbird (Paul Grimault, 1980) 3.5 7/10
https://4.bp.blogspot.com/-7PJ-3a5dgUs/VDW07KsWR7I/AAAAAAAAOUA/PVIIt1qhqsk/s1600/KingMockingbird1.jpg
Egomaniacal king uses his citizens as slaves and tries to marry someone else's sweetheart, so a wise mockingbird has to come to save everyone.
Starfish (Bill Clark, 2016) 2.5 6/10
Trail of Ashes (Arturo Lizardi, 2020) 2 5/10
Lost Angelas (William Wayne, 2019) 2.5 5.5/10
Meet Me in St. Louis (Vincente Minnelli, 1944) 3.5+ 7.5/10
https://i.gifer.com/TW6Q.gif
Margaret O'Brien and Judy Garland in one of the most famous scenes in movie history.
Burrow (Madeline Sharafian, 2020) 3.5- 7/10
The Projectionist (Abel Ferrara, 2019) 3- 6.5/10
Modern Persuasion (Alex Appel & Jonathan Lisecki, 2020) 2.5 5.5/10
Glory (Kristina Grozeva & Petar Valchanov, 2016) 3 6.5/10
https://gremovkino.si/film-trailer-2017-12-46825-Slava-trailer.jpg
Honest railroad trackman Stefan Denolyubov does a good deed, so the Bulgarian government names him a hero which leads to all kinds of bad things.

[Olivier Parent]

the good the bad and the weird
70671
4/5
Very korean like humor

[StuSmallz]

I think that my definition of warfare is simply different from yours. I think of warfare as the state of engaging in military combat with an opposing force.

It is true that in the film a soldier following orders from a superior leads to a (possibly temporary) "net positive" in the sense that in that moment more lives are saved than lost.

But even if you count him delivering the message as a "win" (and I'd argue that the emotion I felt as he delivered the message was relief, not triumph), I don't think that it overcomes the message delivered by many characters throughout the film of "Why are we even here?"; "Look what this is doing to the land/people"; "We'll probably just die tomorrow"; and the trauma that is clearly being inflicted on the lead character in performing his actions.

I think that the actions of the main character do have a positive impact, but I don't think you can say anything positive about the warfare itself--namely the giant military conflict within he is operating. Especially because the problem he is solving--troops heading for an ambush--is itself part of the war. Without the warfare there is no ambush in the first place.

If a film showed a lot of people taking hard drugs and within that film a person saved another person from overdosing, I wouldn't say that was drug culture having a positive impact. I would say that it was an individual within that drug culture doing a positive thing for someone else. Not at all the same.Whether Schofield carrying out his orders as a member of an at-war military force qualifies as him engaging in an aspect of warfare is a whole other discussion, one that I'd be happy to have later i(f necessary), but the film explicitly shows him engaging in combat by killing enemy troops at certain points, which was necessary for him to do in order to save the lives of his fellow soldiers, so that still counts as 1917 showing a positive achievement that the warfare accomplished in the film, and disqualifies it from ultimately feeling anti-war to me. At any rate, I think this disagreement is born out of the different ways that we're defining what is and isn't an "anti-war" movie, as, for me, it isn't determined at all by a spectrum of how horrifying the warfare is depicted in the film, since the horrors of war are so unavoidable in the first place.

I mean, I rewatched Saving Private Ryan just last month, and its depiction of its warfare is far more graphic and intense than not only 1917's, but also any other War movie I've ever seen, with an overwhelming level of gore that probably would've nabbed the film an NC-17 rating if it hadn't had the historical justification for it, and a story that involves a bunch of main characters dying in order to to reluctantly save one random total stranger, and I still don't consider it to ultimately be an anti-war film because its warfare ends up saving Ryan so he can live a "good", long life, so if that doesn't qualify, it wouldn't make sense for me to include another War film where one character dies in the process of saving 1,600 (including his own friend's brother), y'know?

[Fabulous]

Carol (2015)

3.5

https://image.tmdb.org/t/p/original/o0ghC4XMIMdbRBXIqSvnPrxwj3W.jpg

[Takoma11]

Whether Schofield carrying out his orders as a member of an at-war military force qualifies as him engaging in an aspect of warfare is a whole other discussion, one that I'd be happy to have later i(f necessary), but the film explicitly shows him engaging in combat by killing enemy troops at certain points, which was necessary for him to do in order to save the lives of his fellow soldiers, so that still counts as 1917 showing a positive achievement that the warfare accomplished in the film, and disqualifies it from ultimately feeling anti-war to me. At any rate, I think this disagreement is born out of the different ways that we're defining what is and isn't an "anti-war" movie, as, for me, it isn't determined at all by a spectrum of how horrifying the warfare is depicted in the film, since the horrors of war are so unavoidable in the first place.

I agree that due to the strict/subjective POV of the film, we are on Schofield's side and thus we are invested in him succeeding in his mission.

I understand what you're saying about "traditional warfare" (ie the killing of enemy soldiers) being part of how he ultimately accomplishes his goal. But both moments of killing an enemy come from reflexive self-preservation and the specific circumstances of both killings seem to drive home the pointlessness of the war in the first place and the trauma that is being inflicted on the main character.

There are films that take place in war that highlight the bravery of a character, but this film is probably the least celebratory of that sub-genre that I've seen. The events of the film are devastating to the main characters and to pretty much every other character we encounter. To me it is anti-war not because it is graphic or "realistic" about the unpleasant elements of war, but because even as I wanted the main character to survive and succeed in his mission, the movie never stopped reminding me the price that he was paying and what a tremendous waste the entire War was. The main character's "reward" at the end of the film is just that he gets to stop for a moment.

I suppose you could say that it would be more anti-war if he truly failed the mission and the whole regiment died in the ambush. But part of what I thought was impactful about the film was the fact that despite him succeeding, it was clear that the men might still lose their lives and at the best he might have bought them a brief reprieve.

There are a lot of real life situations where wrong or immoral things can have some positive effects. I don't think that those small positives in any way justify the larger immoral action.

[chawhee]

Half Baked (1998)
https://filmkijker.files.wordpress.com/2010/05/half-baked-original.jpg?resize=600%2C337
3.5
Another dumb comedy from the 90's that I probably would have never watched if it weren't for the friends I had. Actually a pretty clever film given the subject matter, though some jokes/gags are a bit cringeworthy. Revisiting this does give you a little glimpse into what Dave Chappelle would ultimately become.

Onward (2020)
https://assets.hardwarezone.com/img/2020/02/onward-header.jpg
4
I feel like I will just remember this as being the last big movie before the pandemic wave, but it is really good. Though I wouldn't put it in the top tier of Pixar, it is funny, charming, and heartwarming as you would expect. Tom Holland and Chris Pratt have very commendable voices to lend to animation.

[Thief]

A MAN FOR HANGING (1972)
A TV film

https://www.thefilmyap.com/wp-content/uploads/A-Man-for-Hanging-inside.jpg

Saw this a couple of nights ago, completely devoid of any knowledge and thought it was a pleasant surprise (one of many I've had this month). It's a low budget, made-for-TV film that follows Avery Porter (Peter Breck), a disfigured killer and rapist that roams through the Old West causing all sorts of mayhem. When he terrorizes two women from a family, the men form a posse and set out to find him at all costs before he reaches the border.

Two of the main things this film has in its favor are a simple premise and a short runtime (roughly 75 minutes).It's pretty much a cat-and-mouse game between Porter and the men, and Breck plays it with an effective vicious glee. The men's performance (Paul Carr and David Macklin) are pretty solid, although Macklin did get on my nerves quite a few times. There's also a slight attempt to build a romantic relationship between him and another victim of Porter that's never fully delivered and ultimately unnecessary.

Still, I enjoyed it very much. I think that anybody that likes westerns might enjoy the low budget edge this brings to the genre. Grade: 4

[Marco]

Mudbound (2017)
https://upload.wikimedia.org/wikipedia/en/9/90/Mudbound_%28film%29.png
This was quite interesting (on a Boxing Day). Story about 2 families tied together by their position in Mississippi, one black, one white. But also of 2 sons who went to WWII. It's rather staid but composed and still has a strong spine of a tale. The episodic part of the 1st of the 3 acts (each character telling their piece) is very effective.

I really enjoyed it and can brush over slight criticisms.

[rating]4/rating]

[MovieBuffering]

Wonder Woman 1984....yikes kid.

1.5

[LChimp]

https://m.media-amazon.com/images/M/MV5BNDQwYjJjODMtOWNmNC00NDJjLThiNDgtNzVkOTM1MjY5NDQ5XkEyXkFqcGdeQXVyMTEyMjM2NDc2._V1_.jpg

Went in without any kind of expectation, it's not a bad movie, but I guess it isn't for everybody.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.kCcEHEgQ0tAHEq-hRlS8kQHaEK%26pid%3DApi&f=1

Rome, Open City, 1945

Wowza.

This film follows a group of revolutionaries in Italy during WW2. What begins as a Nazi hunt for a single man quickly involves his lover/fiance, the local priest, and the children of the town.

There's something wonderfully sneaky about the way that Rossellini (who directed) and the writers slowly shift the tone of the film. The first half plays like a thriller with touches of straight up comedy (literally someone is hit in the head with a pan in a comic moment; there's a shot where a soldier is too busy looking up a woman's skirt to notice a group of revolutionaries sneaking away, etc). Then, at the halfway point, the "enjoyable" tension and the lighter comedy is abruptly slashed apart in a horrific act of violence. This moment is like cold water being thrown over the film. Nazis aren't fun. Revolution is not a game.

Once this moment of violence happens, the trajectory of the entire film changes. A sort of despair and grit creeps into it. The harsh realities of war and powerlessness push their way to the forefront. A movie in which a funny shot of a little boy watching an argument from a chamber-pot suddenly involves a torture sequence so graphic that I couldn't look at it.

It was also jarring to hear something that resonated with things now. After a certain character dies after being brutally tortured, the Nazi commander orders that his cause of death be listed as "heart attack." It's chilling to think about the fact that "heart attack" was officially listed as George Floyd's cause of death, and also Elijah McCain (who was put in a choke hold and then injected with Ketamine by paramedics). In the film--and in contemporary times--it's a way of using official documentation to obscure the violence at play and distance the perpetrators from culpability.

My only complaint about the film was the tired use of the "gay villain" trope. There are two main Nazi antagonists--a male commander and a woman. The woman is unabashedly portrayed as a predatory lesbian, literally preying on women by plying them with drugs and gifts. The male character is shown in that stereotypical "fussy" manner in both his speech and physical mannerisms. It's lazy and cliched in a film that otherwise does some interesting things with its characters (including other antagonists). The film also, as I guess was policy at the time, makes only the Germans the evil ones. There is frequent talk of "the Germans and the Fascists", but the evil actions themselves are only ever perpetrated by the Nazis.

4

[Wooley]

Wonder Woman 1984....yikes kid.

1.5

Oh no, don't tell me that.

[SpelingError]

I agree that due to the strict/subjective POV of the film, we are on Schofield's side and thus we are invested in him succeeding in his mission.

I understand what you're saying about "traditional warfare" (ie the killing of enemy soldiers) being part of how he ultimately accomplishes his goal. But both moments of killing an enemy come from reflexive self-preservation and the specific circumstances of both killings seem to drive home the pointlessness of the war in the first place and the trauma that is being inflicted on the main character.

There are films that take place in war that highlight the bravery of a character, but this film is probably the least celebratory of that sub-genre that I've seen. The events of the film are devastating to the main characters and to pretty much every other character we encounter. To me it is anti-war not because it is graphic or "realistic" about the unpleasant elements of war, but because even as I wanted the main character to survive and succeed in his mission, the movie never stopped reminding me the price that he was paying and what a tremendous waste the entire War was. The main character's "reward" at the end of the film is just that he gets to stop for a moment.

I suppose you could say that it would be more anti-war if he truly failed the mission and the whole regiment died in the ambush. But part of what I thought was impactful about the film was the fact that despite him succeeding, it was clear that the men might still lose their lives and at the best he might have bought them a brief reprieve.

There are a lot of real life situations where wrong or immoral things can have some positive effects. I don't think that those small positives in any way justify the larger immoral action.

I agree.

Another thing I'd add is that several scenes of violence could've been avoided. For instance, the violence which resulted from the crashed German pilot was avoidable as Schofield and Blake weren't even trying to kill him. They were trying to save his life and, if the German pilot didn't stab Blake (which probably happened due to a language barrier between the two), all three of them may have lived. In addition, Schofield choking the German soldier to death had a similar feel as, if the man didn't yell, Schofield would have no reason to kill him and Schofield may have avoided the violence and chase which resulted from that. Finally, Schofield failing to stop the first wave from attacking was similar as if he was a few minutes earlier, he might have saved their lives. While Schofield technically succeeds in the way of overcoming the various obstacles he's faced with and completing his objective, the film also made it clear that much of the violence which happened along the way was senseless.

[SpelingError]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.kCcEHEgQ0tAHEq-hRlS8kQHaEK%26pid%3DApi&f=1

Rome, Open City, 1945

Wowza.

This film follows a group of revolutionaries in Italy during WW2. What begins as a Nazi hunt for a single man quickly involves his lover/fiance, the local priest, and the children of the town.

There's something wonderfully sneaky about the way that Rossellini (who directed) and the writers slowly shift the tone of the film. The first half plays like a thriller with touches of straight up comedy (literally someone is hit in the head with a pan in a comic moment; there's a shot where a soldier is too busy looking up a woman's skirt to notice a group of revolutionaries sneaking away, etc). Then, at the halfway point, the "enjoyable" tension and the lighter comedy is abruptly slashed apart in a horrific act of violence. This moment is like cold water being thrown over the film. Nazis aren't fun. Revolution is not a game.

Once this moment of violence happens, the trajectory of the entire film changes. A sort of despair and grit creeps into it. The harsh realities of war and powerlessness push their way to the forefront. A movie in which a funny shot of a little boy watching an argument from a chamber-pot suddenly involves a torture sequence so graphic that I couldn't look at it.

It was also jarring to hear something that resonated with things now. After a certain character dies after being brutally tortured, the Nazi commander orders that his cause of death be listed as "heart attack." It's chilling to think about the fact that "heart attack" was officially listed as George Floyd's cause of death, and also Elijah McCain (who was put in a choke hold and then injected with Ketamine by paramedics). In the film--and in contemporary times--it's a way of using official documentation to obscure the violence at play and distance the perpetrators from culpability.

My only complaint about the film was the tired use of the "gay villain" trope. There are two main Nazi antagonists--a male commander and a woman. The woman is unabashedly portrayed as a predatory lesbian, literally preying on women by plying them with drugs and gifts. The male character is shown in that stereotypical "fussy" manner in both his speech and physical mannerisms. It's lazy and cliched in a film that otherwise does some interesting things with its characters (including other antagonists). The film also, as I guess was policy at the time, makes only the Germans the evil ones. There is frequent talk of "the Germans and the Fascists", but the evil actions themselves are only ever perpetrated by the Nazis.

4

Fun fact: This is one of Pope Francis's favorite films.

I saw this earlier this year and liked it quite a lot. Though some scenes in the final act are hard to watch, I liked how the ending showed that, though Giorgio and Don Pietro both died, it didn't seem like the Nazis really won since their confidences were lowered by Giorgio not yielding to the torture (shown by some of the Nazis being unable to shoot Don Pietro at the end.)

[Takoma11]

Fun fact: This is one of Pope Francis's favorite films.

I saw this earlier this year and liked it quite a lot. Though some scenes in the final act are hard to watch, I liked how the ending showed that, though Giorgio and Don Pietro both died, it didn't seem like the Nazis really won since their confidences were lowered by Giorgio not yielding to the torture (shown by some of the Nazis being unable to shoot Don Pietro at the end.)

Agreed. Though I found some of the dialogue to be a bit too much on the nose. Like when a Nazi officer says, "We must get him to talk! If he doesn't talk it means that Italians are the equals of Germans!". I think that the film didn't need such explicit statement of the themes, because it's pretty clear that witnessing such violence only makes some people more insistent on resisting Nazi occupation/fascism.

[SpelingError]

Agreed. Though I found some of the dialogue to be a bit too much on the nose. Like when a Nazi officer says, "We must get him to talk! If he doesn't talk it means that Italians are the equals of Germans!". I think that the film didn't need such explicit statement of the themes, because it's pretty clear that witnessing such violence only makes some people more insistent on resisting Nazi occupation/fascism.

I vaguely remember that line, but yeah, agreed. It was a clunky and unnecessary bit of hand holding for the audience. Overall though, I did enjoy that aspect of the film, in spite of the occasional weak lines of dialogue.

[Marco]

Scanners (1981)

Properly eerie and scary and inventive film about folk, for one reason or another, have advanced ESP. They feel both isolated and empowered by a gift they did not ask for. I think this is up with Cronenberg's best. Shocking at times visually but more-so thematically. Wonderful directing (if frightening) and the actors are well up to the part...Michael Ironside is particularly good in this.

https://upload.wikimedia.org/wikipedia/en/e/e9/Scanners.jpg

[ThatDarnMKS]

WW84

2

Much like the first, its a muddled mess of contradictory and insulting themes that reveal the privilege and out-of-touch ideals of the filmmakers (much like Gadot’s Imagine video, only that was mercifully much much shorter). This time, it lacks the dramatic gravitas of a war backdrop so even those rare peaks are absent from this one.

Gadot is still getting by on her looks alone but seems to have lost even the hints of charisma that the first one hinted at. Pascal and Wiig give decent performances, with the former doing his best with a one note character and Wiig feeling woefully miscast.

The film is aiming for that heartfelt optimism of Donner’s Superman but winds up being tone-deaf with an impassioned plea for the status quo as already being good enough.

It’s bad with only brief moments of charm and interest. But so was the first film and I’ll die on that hill too.

[StuSmallz]

I haven't seen WW84 yet, but I was a bit mixed on the first one; on one hand, I liked a few of its standout sequences a lot (like the "living painting" scene of Themyscira's mythology, or the scene where she took back no man's land), and I liked Gadot's naive-yet-still-authoritative characterization of Diana, along with her strong onscreen chemistry with Pine, but on the other hand, it went through a lot of the same old Superhero movie motions without adding much of anything original to them. In that way, it ultimately felt like the Hillary Clinton campaign of Superhero movies, coasting too much on the novelty of starring a woman, without having much of anything new to add on its own terms, something I would've noticed even if it hadn't been released the same year as Logan, the biggest game-changer for the genre in nearly a decade. It was still a decent movie on the whole for what left an impression, but it ultimately should've been more ambitious than it was, IMO.

[Takoma11]

I vaguely remember that line, but yeah, agreed. It was a clunky and unnecessary bit of hand holding for the audience. Overall though, I did enjoy that aspect of the film, in spite of the occasional weak lines of dialogue.

Thematically, that aspect is fine. But it's so apparent from everything that is happening in the film (and how the resistance men are consistently portrayed as brave and stoic almost to a fault) that having it said out loud felt like too much.

[SpelingError]

Thematically, that aspect is fine. But it's so apparent from everything that is happening in the film (and how the resistance men are consistently portrayed as brave and stoic almost to a fault) that having it said out loud felt like too much.

Yeah, agreed. I wasn't really disagreeing with you up above.

[Vanillapie]

Evil dead (2013) **7.8**

This is what I want from a horror movie that isn’t a slasher, and in all honesty slashers are what I’m all about. It wasn’t predictable even though it was a reebot of sorts. With Bruce Campbell and Sam Raimi producing I was surprised there wasn’t more of a comedic tone. I’m glad there wasn’t really, extremely disturbing visuals and scenes that will stay with me.


Shadow (2018) 9.2 **9.2**

Wow just wow, I’m almost lost for words in how great this was. I couldn’t take my eyes off the screen with the narrative being so tight and action scenes so mesmerising. I couldn’t help thinking about ‘hero’ as I watching this in all its beauty. So it will come as no surprise that Zhang Yimou directed this, hero, and house of flying daggers.

[Takoma11]

Yeah, agreed. I wasn't really disagreeing with you up above.

I was just agreeing with you that I actually liked that aspect of the film. But the dialogue pushes it a step to far and I think that slightly diminishes the message. But just slightly.

[mojofilter]

https://www.justmyopinion.net/wp-content/uploads/2020/12/soul_ver5.jpg
SOUL
(2020)

Pixar's latest instant classic. More adult-themed than previous films that tackles the topic of life and death. I expect it to win the Oscar for Best Animated Feature.
4

[Rockatansky]

Tenet is Nolan's most nakedly nonsensical, executed with the dopey confidence of a notoriously hammy actor doing a ****ty Russian accent. John David Washington is great at reacting to the crazy bull**** happening around him. Elizabeth Debicki is great at putting in a bizarrely weighty performance considering the film around her. Robert Pattinson is great at looking like a slept in his suit and bringing that alcoholic James Bond energy. Kenneth Branagh is...see my first sentence. This is basically Nolan play-acting James Bond using his enormous budget to smash together his extremely expensive toys onscreen, directed with the enthusiasm of your buddy you're watching a movie with who thinks the scene you saw is so awesome that you have to rewind and watch it again. And he's right, it's pretty ****ing awesome.

Can't believe this was supposed to save the movies, but God bless Nolan for trying. The plot hole police will hate it. Would have been terrible to see in a drive-in.

[Gideon58]

https://dyn1.heritagestatic.com/lf?set=path%5B1%2F9%2F2%2F6%2F1%2F19261080%5D&call=url%5Bfile%3Aproduct.chain%5D



2.5

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fstatic.rogerebert.com%2Fuploads%2Freview%2Fprimary_image%2Freviews%2Fshoplifters-2018%2Fshoplifters-image.jpg&f=1&nofb=1

Shoplifters, 2018

A man and an adolescent boy wander into a grocery store. Using a careful and clearly-familiar choreography, they steal products from the shelves before making a smooth getaway. On their walk home, they come across a young girl alone in her home and impulsively invite her home. Taking the little girl back to the home, we discover that they are part of a larger "found family" (the relationships between the different characters are illuminated as the story goes on). Deciding to keep the girl with them instead of returning her home changes the dynamics in the house. We realize that the existence of this family is a house of cards, and one wrong move could send it all tumbling down.

I thought that this film was pretty fantastic. It asks pointed questions about what makes a family and who "deserves" to be a mother or a father to a child. However, while it has a lot of sympathy for the different characters and what they must do in order to survive on the fringes of society, it makes space to acknowledge their flaws and the ways that they deceive themselves and each other.

It's pretty stunning to realize just how well the film tells the story of each of the characters and illuminates their desires and what they do to achieve them. The character I identified with the most was Nobuyo (Sakura Ando), the mother of the family. It's a character filled with a heady mix of longing and pragmatism, and it's interesting to watch how different events bring out those opposing sides of her personality.

This is one of those films that I enjoyed so much that it's almost hard to write about it. I loved the way that it was filmed. I thought the performances were excellent.

I had one quibble with a plot point, namely (MAJOR SPOILERS) that a small child who had been physically abused (scarred, burned) and whose parents had hidden her disappearance for over two months and who was on the radar of child services would be returned to those parents. Just . . . how? And especially with the amount of public scrutiny that the case had clearly received. Admittedly I know very little about how Child Services (or the equivalent agency) works in Japan, but it felt wrong, somehow.

It was only at the end of the film when reading about it that I realized that this was the same director who made Nobody Knows (and the splendid After Life, which does not connect as strongly to this movie but which I also loved). His sensibilities about how families function when pushed to the edge, and what it means to be part of a family are very touching to me.

Aside from my one (very minor) plot quibble, I thought that this film was excellent. I didn't want it to end.

4.5, but honestly almost a 5.

[Wooley]

Holy ****.
The DCEU.
How can they suck so badly so consistently?
How can they destroy the only good property they had going with what sure felt like naked and brazen studio interference?
What a disaster. Any hope I had that the DCEU could be salvaged is gone.
More on the movie itself soon in an individual write-up as, as is often the case with me, I have more to say about a bad movie than I do about good ones.

[WHITBISSELL!]

Damn. So far I've read five different reviews of WW1984 from people here and at KE8's forum and not a single one liked it or had anything good to say. That's too bad. The first one wasn't all that bad and had some genuinely good moments.

[mark f]

It's not that bad but takes way too much time to get to where it's obviously going.

[ThatDarnMKS]

Tenet is Nolan's most nakedly nonsensical, executed with the dopey confidence of a notoriously hammy actor doing a ****ty Russian accent. John David Washington is great at reacting to the crazy bull**** happening around him. Elizabeth Debicki is great at putting in a bizarrely weighty performance considering the film around her. Robert Pattinson is great at looking like a slept in his suit and bringing that alcoholic James Bond energy. Kenneth Branagh is...see my first sentence. This is basically Nolan play-acting James Bond using his enormous budget to smash together his extremely expensive toys onscreen, directed with the enthusiasm of your buddy you're watching a movie with who thinks the scene you saw is so awesome that you have to rewind and watch it again. And he's right, it's pretty ****ing awesome.

Can't believe this was supposed to save the movies, but God bless Nolan for trying. The plot hole police will hate it. Would have been terrible to see in a drive-in.
I felt like the film embraced how nonsensical the “science” was because of how awesome it all was. I can respect that as it dropped his notoriously tedious exposition drops.

I also didn’t have a problem with Branagh’s accent, especially in the realm of the Bond films it was so clearly evoking. Of course, I’m hardly an expert in Russian accents but compared to the American standard of Dolph Lundgren in Rocky IV, or even in comparison to whatever the hell Branagh was doing in Murder on the Orient Express, it felt more than authentic enough for the film it was in.

[Iroquois]

Terminator: Dark Fate - 2.5

idk could've used a lava gun or something

[LChimp]

https://apostiladecinema.com.br/wp-content/uploads/2020/11/another-round-druk-thomas-vinteberg-filme-critica-mostra-sp-poster-1.jpg

Another Round

I don't think I've ever seen a bad movie with Mads Mikkelsen. This is a crazy one, but still good.

[Darth Wish]

70710

After having to break into the damned Blu Ray case because some Muppet left the security tag in I sat down to watch this with much anticipation.
I wasn't disappointed as the action sequences were superb and the subwoofer got a bloody good workout to boot.
It was a lot better than I was expecting with some funny moments and a completely unlikable villian as they should be.

8.5/10

[Marco]

Honest thief (2020)
https://upload.wikimedia.org/wikipedia/en/2/2e/Honest_Thief_poster.jpg
Better than I expected but plodding and predictable. TBF Neeson is good in this but the story was less than average.

2

[Wooley]

It's not that bad but takes way too much time to get to where it's obviously going.

I would say that it is that bad. I spent a good bit of time chatting with a friend who saw it, and we were both really rooting for the movie, and we had to agree that it is pretty poor.
I suggested a better script in about 10 seconds, just using what they already had. DC just can't get out of their own ******* way.

[Wooley]

"One thing that concerns me (as a film critic, and probably you too) is are we ever gonna get serious pictures? Are these blockbusters gonna crowd us out? I hope that the Hollywood chieftains don't look at the gross of these pictures and say, 'Hey, I'm just gonna play it light.'"
- Gene Siskel, 1978

[ScarletLion]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fstatic.rogerebert.com%2Fuploads%2Freview%2Fprimary_image%2Freviews%2Fshoplifters-2018%2Fshoplifters-image.jpg&f=1&nofb=1

Shoplifters, 2018

A man and an adolescent boy wander into a grocery store. Using a careful and clearly-familiar choreography, they steal products from the shelves before making a smooth getaway. On their walk home, they come across a young girl alone in her home and impulsively invite her home. Taking the little girl back to the home, we discover that they are part of a larger "found family" (the relationships between the different characters are illuminated as the story goes on). Deciding to keep the girl with them instead of returning her home changes the dynamics in the house. We realize that the existence of this family is a house of cards, and one wrong move could send it all tumbling down.

I thought that this film was pretty fantastic. It asks pointed questions about what makes a family and who "deserves" to be a mother or a father to a child. However, while it has a lot of sympathy for the different characters and what they must do in order to survive on the fringes of society, it makes space to acknowledge their flaws and the ways that they deceive themselves and each other.

It's pretty stunning to realize just how well the film tells the story of each of the characters and illuminates their desires and what they do to achieve them. The character I identified with the most was Nobuyo (Sakura Ando), the mother of the family. It's a character filled with a heady mix of longing and pragmatism, and it's interesting to watch how different events bring out those opposing sides of her personality.

This is one of those films that I enjoyed so much that it's almost hard to write about it. I loved the way that it was filmed. I thought the performances were excellent.

I had one quibble with a plot point, namely (MAJOR SPOILERS) that a small child who had been physically abused (scarred, burned) and whose parents had hidden her disappearance for over two months and who was on the radar of child services would be returned to those parents. Just . . . how? And especially with the amount of public scrutiny that the case had clearly received. Admittedly I know very little about how Child Services (or the equivalent agency) works in Japan, but it felt wrong, somehow.

It was only at the end of the film when reading about it that I realized that this was the same director who made Nobody Knows (and the splendid After Life, which does not connect as strongly to this movie but which I also loved). His sensibilities about how families function when pushed to the edge, and what it means to be part of a family are very touching to me.

Aside from my one (very minor) plot quibble, I thought that this film was excellent. I didn't want it to end.

4.5, but honestly almost a 5.

Beautiful film by a great director. That end bus scene had me in pieces.

[Thief]

Honest thief (2020)
https://upload.wikimedia.org/wikipedia/en/2/2e/Honest_Thief_poster.jpg
Better than I expected but plodding and predictable. TBF Neeson is good in this but the story was less than average.

2

Seriously, other than Taken, which I don't even think it's that great, is there any one of these brainless Liam Neeson action flicks that's worth the time? Asking seriously, cause I think the only one I've seen is Non-Stop, which I thought was as dumb as it gets.

And please, don't mention The Grey. That film deserves better than to be lumped with those others.

[Chypmunk]

Seriously, other than Taken, which I don't even think it's that great, is there any one of these brainless Liam Neeson action flicks that's worth the time? Asking seriously, cause I think the only one I've seen is Non-Stop, which I thought was as dumb as it gets.

And please, don't mention The Grey. That film deserves better than to be lumped with those others.
Mebbe try A Walk Among The Tombstones, I thought it was decent enough.

[Torgo]

Sound of Metal - 5

This deeply affecting drama stars Riz Ahmed as Ruben, a drummer in a heavy metal duo and recovering addict who suddenly loses his hearing. He enrolls in a school for the deaf, but his mind is barely commited to accepting his new reality. Instead, he obsesses over scrounging enough money to buy some expensive cochlear implants and continue his band's tour. Ahmed is utterly convincing as a man who has righted his ship after having endured a long struggle and is not ready for another one. Equally impressive is Paul Raci as Joe, the school's director, a man who is sympathetic to Ruben's plight and who urges him to sit still, contemplate and hopefully learn how to enjoy his new life. You could say the same for director Darius Marder, who encourages us to look around, listen and let the details build the characters and tell the story. The shot of the scars on Ruben's bandmate and girlfriend Lou's (Olivia Cooke) wrist, for instance, told me what I needed to know about her better than words could. Also, Ruben's doctors describe the state of his hearing, but we get to hear how he hears thanks to audio effects that simulate the deaf experience. I have tinnitus and partial hearing loss in one ear, so I can't judge how well the effects represent Ruben's condition, but what they get right about the ringing, tinniness and how muffled everything sounds make them the most accurate recreation of what it's like to be hearing impaired that I can remember. If you are not a fan of heavy metal music, that should not stop you from seeing this movie since it's not really about that. Besides, as much as the movie made me empathize with the hearing impaired, it's ultimately a story about recovery, not to mention one of the best I've seen. There are some who go through the process who are lucky enough to stay with the people they meet and keep the new home, career, etc. that are there for them at the end of the tunnel. However, there are others for whom such bonds and necessities are but preparation for another tunnel.

[Takoma11]

Beautiful film by a great director. That end bus scene had me in pieces.

Agreed. I didn't want it to end, but I was also like, "How much more can my heart take?"

[ScarletLion]

Agreed. I didn't want it to end, but I was also like, "How much more can my heart take?"

It is hard ranking his films. They are all so good. I've not seen Truth, Hana or Distant.

[Takoma11]

It is hard ranking his films. They are all so good. I've not seen Truth, Hana or Distant.

I have only seen Shoplifters, After Life and Nobody Knows. I think I had Like Father, Like Son queued up at one point but then it left that streaming service or something and didn't end up watching it.

I have liked/loved everything I've seen from him.

[ScarletLion]

'Babyteeth' (2020)

https://image.tmdb.org/t/p/w500/aINpljdt3VVMrCLtJW4BektwYOp.jpg

A very well made debut feature by Shannon Murphy. Eliza Scanlen is impressive and her chemistry with Toby Wallace is notable. Essentially it's about coping with illness and addiction and the recovery process but it's quite a layered film. There are also some very well placed music cues. Ben Mendelsshon gives his usual 9 out of 10 performance and the colour scheme is one I'll be trying to get to the bottom of for a while. It's not novel and there are a couple of characters that feel overwritten but it's extremely enjoyable and I cried like a ******g baby.

4

[ScarletLion]

I have only seen Shoplifters, After Life and Nobody Knows. I think I had Like Father, Like Son queued up at one point but then it left that streaming service or something and didn't end up watching it.

I have liked/loved everything I've seen from him.

I'd suggest 'Still Walking' (a modern Tokyo Story), 'Our Little Sister' or perhaps 'I Wish' (similar to 'Shoplifters') next.

[Takoma11]

I'd suggest 'Still Walking' (a modern Tokyo Story), 'Our Little Sister' or perhaps 'I Wish' (similar to 'Shoplifters') next.

Our Little Sister is actually the third film down in my DVD queue, so I'll be seeing it soon!

It seems like his whole filmography is probably worth a look, so I'll just sling them all on my watchlist.

[Marco]

Seriously, other than Taken, which I don't even think it's that great, is there any one of these brainless Liam Neeson action flicks that's worth the time? Asking seriously, cause I think the only one I've seen is Non-Stop, which I thought was as dumb as it gets.

And please, don't mention The Grey. That film deserves better than to be lumped with those others.

Not mentioning anything...I think Neeson is capable of *much* better as an actor but I keep watching as I like him. It's that simple. He really needs a better agent though.

[Adrian78K]

Recently I have seen Venom with Tom Hardy. It is so silly like it was made for really stupid people with a low IQ. I can rate it only this way 1/10. I usually drink a good coffee in my home with my favorite burger watching a cool movie, but that movie really spoiled my evening.

[Fabulous]

The Diary of a Teenage Girl (2015)

3.5

https://image.tmdb.org/t/p/original/bEvuNbZMV6RwavD4AuhSf8gJkoX.jpg

[WrinkledMind]

Seriously, other than Taken, which I don't even think it's that great, is there any one of these brainless Liam Neeson action flicks that's worth the time? Asking seriously, cause I think the only one I've seen is Non-Stop, which I thought was as dumb as it gets.

And please, don't mention The Grey. That film deserves better than to be lumped with those others.

Taken's success has typecast him in that role, and I agree with your general assessment. As for your question, I did enjoy Cold Pursuit. Unfortunately that movie suffered because of that interview during the movie's promotion, where Neeson was actually refreshingly honest and a bigger man in admitting his fault.
Commuter was another decent edge of seat action flick, if you go in with low or no expectations.

[ThatDarnMKS]

Seriously, other than Taken, which I don't even think it's that great, is there any one of these brainless Liam Neeson action flicks that's worth the time? Asking seriously, cause I think the only one I've seen is Non-Stop, which I thought was as dumb as it gets.

And please, don't mention The Grey. That film deserves better than to be lumped with those others.

Cold Pursuit, Run All Night and to a lesser extent, the Commute are worth checking out.

[Thief]

Re: Liam Neeson, I don't know if it's ok to draw this parallel, but anyway... I've always thought if his penchant to go full action movie star has something to do with the sudden death of his wife. It was more or less around the time that Taken was released, and I don't know, maybe these kind of films are as escapist to him to make as it is for viewers to watch.

[ThatDarnMKS]

Re: Liam Neeson, I don't know if it's ok to draw this parallel, but anyway... I've always thought if his penchant to go full action movie star has something to do with the sudden death of his wife. It was more or less around the time that Taken was released, and I don't know, maybe these kind of films are as escapist to him to make as it is for viewers to watch.
He's said as much. He had been thinking retiring or something before she passed then dedicated himself to his work to get through mourning. His output quadrupled during this time.

I also think he just really enjoys working with Jaume Collet Serra (directed most of these films).

[WrinkledMind]

I think he once admitted in an interview that after his wife's death, he immersed himself in work to distract himself from the pain and grief.

[Daniel M]

I thought I had already posted about some of these but can't find my posts so here we go...

Borat: Subsequent Moviefilm (Jason Woliner, 2020) 2.5

Decent enough considering it could never have been as funny as the first without the main thing that made it funny... that people didn't know Borat was a character. Some of the jokes are crudely fitted into the format in a way that doesn't feel as natural as they probably did in SBC's head. Watched it a couple of times, liked it less the second time. Isn't going to age well.

The Trial of the Chicago 7 (Aaron Sorkin, 2020) 3

Sorkin is definitely a very capable writer as I was quite sceptical at the start of the film how he was going to make this riveting considering the plot skips all the action and takes place in a court room with some flashbacks. It's a little bit corny in parts but it succeeds at what it wants to well. Well written, strong editing, good performances. I enjoyed the discussions over different political approaches from people on the "same side", relatable to me at least.

The Life Aquatic with Steve Zissou (Wes Anderson, 2004) 3.5

I'm a fan of Wes Anderson so enjoyed this just about how I expected too. It's probably about time I revisited some of his other films, I enjoyed that this was slightly darker and more reflective - I think, although maybe I'm being harsh on his other films that have faded a bit from my memory.

Sideways (Alexander Payne, 2004) 3.5

Payne has been a bit hit and miss for me before, which I found frustrating because the first film of his I saw was Nebraska at the cinema which I loved. This is probably his second-best for me personally. Lots of laughs, some great writing and relateable characters. If people hated this film I could understand why, perhaps it's slightly sexist and misogynistic but I think it's actually quite realistic in how it portrays male characters. I've met many people like the two main characters here, especially Thomas Haden Church's character.

Rebecca (Ben Wheatley, 2020) 2

Disappointingly tame, and that's not just in comparison to Hitchcock's film (which I find decent, but not one of his best). Wheatley is a director who came to fame doing low-budget atmospheric horror films and here he has a big budget and gives us pretty shiny images. Just meh, but it kept my interest enough I guess.

The Gentlemen (Guy Ritchie, 2020) 1.5

Maybe my rating is a little harsh as it did manage to hold my interest with some decent twists and turns (and the actors do a decent job), but I find it laughable how deliberately offensive Guy Ritchie tries to be. The script tries so hard to attack PC culture and be offensive, it's just childish. It's the first film I've watched where I actually felt like the director was being intentionally anti-semitic too, "a pound of flesh" is what really topped it off on that front.

Down by Law (Jim Jarmusch, 1986) 4.5

Been loving Jim Jarmscuh recently and this was another delight. Starts off a little slowly but once we get to the prison its just non-stop laughs. I could watch these characters all day. The star is definitely Roberto Benigni (also great in Night on Earth) who is just so likable. One of those films that just had me smiling all the way through.

Le Havre (Aki Kaurismäki, 2011) 3.5

Really well told, simple but moving tale about an old man protecting a child immigrant on the run. I enjoyed the minimal approach and human moments that were able to shine, but there were also little decisions and certain scenes that piqued my interest in a greater way. I have the feeling Kaurismäki's sense of humour is something I'm going to enjoy, so want to check out some more films from him.

Da 5 Bloods (Spike Lee, 2020) 3

Enjoyed the first half which is more of a buddy film and explores the dynamics of a group of different people all with different life experiences and so on. Then, unfortunately, in the second half, we get some weird shoot-up film.

Never Rarely Sometimes Always (Eliza Hittman, 2020) 3.5

Lots to like about this independent film that works not just as an examination into abortion in the US (largely, bureaucracies that exist) but as a great work looking at the many problems women face. Not to sound sexist or patronising, but it's a film that when I watch I think that I'm glad in some ways that I'm not a female. Many of the scenes like some uncomfortable ones with male characters are things I've seen in real life. I liked the film's honesty, it doesn't shy away from showing harsh events. Wouldn't work without two great performances which are rightfully getting a lot of praise.

The Invisible Man (Leigh Whannell, 2020) 2.5

Really strong first half which builds up suspense well and creates some scary scenes, but then as things start to get explained and we head towards an ending it becomes a bit of a mess.

The Omen (Richard Donner, 1976) 3

Enjoyable classic horror film, watched for the first time. Not too much to say here, everything seemed well done but nothing particularly stood out or elevated the film to the next level.

Possessor (Brandon Cronenberg, 2020) 1.5

Lots of the same themes as his father with stuff like human flesh, sex, blood, so on... but it's impossible to watch this and not say the massive differences between them as filmmakers. David builds up suspense, lingers on the uncomfortable without being too explicit (although has some shocking scenes), where as Brandon just seems to go for shock. Disgusting image after disgusting image, it made me feel uncomfortable but not in a good way. One of the most disgusting films I've seen to be honest, trying a little too hard without the substance.

On The Rocks (Sofia Coppola, 2020) 2

Not very ambitious. Simple plot, standard performances, not a very unique story. Not much to see here. What confused me was, what was it trying to say about females and relationships? Maybe I am reading too much into it but to me, this film felt like it was gaslighting women that may have doubts about their relationships or may think their partners are cheating. Like it's telling them to relax and stop doubting their partners, yet the behaviour and issues between the couple in this film is definitely not 100% healthy. A little odd, felt like a feel-good middle-class film. That doesn't have to be a bad thing, but here it doesn't work for me.

Marathon Man (John Schlesinger, 1976) 3.5

Really well made, suspenseful thriller. I enjoyed the performances but I felt like the third act got a bit messy and dragged on a bit.

[Rockatansky]

I felt like the film embraced how nonsensical the “science” was because of how awesome it all was. I can respect that as it dropped his notoriously tedious exposition drops.

I also didn’t have a problem with Branagh’s accent, especially in the realm of the Bond films it was so clearly evoking. Of course, I’m hardly an expert in Russian accents but compared to the American standard of Dolph Lundgren in Rocky IV, or even in comparison to whatever the hell Branagh was doing in Murder on the Orient Express, it felt more than authentic enough for the film it was in.
Yeah, for the record I don't think Branagh's ham acting hurts the movie. He's clearly going for Bond villain vibes, so subtlety would not necessarily be an asset.


It's funny, I've read some reviews complaining that the movie is hard to follow or that it doesn't explain its gimmick well enough, and I'm like, ****, what do you people want?

[Rockatansky]

High Life rating_2_5

I'm not the biggest fan of Juliet Binoche, but I respect her commitment to playing a doctor of jism who gets it on with a mechanical ****ing machine. Had the rest of the film been as horny or as goofy (hoofy?) I might have liked it more, but the whole thing is too steeped in the low key, distant default style of modern arthouse cinema that I find extremely off-putting.

Watching this the same day as The Lighthouse and Tenet has really brought into focus Robert Pattinson's versatility. This is probably my least favourite of the three roles, as art film mumbly man seems the least inspired of the performance styles, but he hits some nice tender notes in the scenes with his daughter.

[Takoma11]

High Life rating_2_5

I'm not the biggest fan of Juliet Binoche, but I respect her commitment to playing a doctor of jism who gets it on with a mechanical ****ing machine. Had the rest of the film been as horny or as goofy (hoofy?) I might have liked it more, but the whole thing is too steeped in the low key, distant default style of modern arthouse cinema that I find extremely off-putting.

Watching this the same day as The Lighthouse and Tenet has really brought into focus Robert Pattinson's versatility. This is probably my least favourite of the three roles, as art film mumbly man seems the least inspired of the performance styles, but he hits some nice tender notes in the scenes with his daughter.

I thought Pattinson (and the whole cast, honestly) were really great in this one. I felt that the film struggled with its tone and point of view, but I liked the imagery and the characters.

Have you seen Good Time?

[Rockatansky]

I thought Pattinson (and the whole cast, honestly) were really great in this one. I felt that the film struggled with its tone and point of view, but I liked the imagery and the characters.

Have you seen Good Time?
Big fan of Good Time, that's actually what turned me on to him in the first place. He gives the best Mark Wahlberg performance that Wahlberg never gave in that one. Also fun to contrast with Uncut Gems in that they're both frenetic movies with fast-talking protagonists, but while Pattinson is the biggest ******* in his movie and makes things worse for everybody around him, Sandler is surrounded by bigger ******** than himself and mostly makes things worse for just himself.

[Rockatansky]

*******
********
What am I trying to say here? We will never know.

[Yoda]

What am I trying to say here? We will never know.
Use your words (though I imagine we get the gist).

[Rockatansky]

Use your words (though I imagine we get the gist).
It's cool, I will respect the swear filter and accept that my curses have been lost to the wind. :laugh:

[Yoda]

I'd be tempted to program in an exception where Sandler is concerned, though admittedly under a different circumstance.

[Rockatansky]

I have no special love for the Sandman but I did greatly enjoy his work in Uncut Gems as well as his standup special on Netflix and did not find Hubie Halloween entirely unpleasant. 2020 has softened my opinion of his contributions to cinema.

[SpelingError]

What am I trying to say here? We will never know.

I'm guessing you're saying ******* and ********, but I guess we'll never know if my guesses were correct either.

[ThatDarnMKS]

Yeah, for the record I don't think Branagh's ham acting hurts the movie. He's clearly going for Bond villain vibes, so subtlety would not necessarily be an asset.


It's funny, I've read some reviews complaining that the movie is hard to follow or that it doesn't explain its gimmick well enough, and I'm like, ****, what do you people want?
I'm just saying I didn't find it particular hammy. Maybe if the performance were put in an arthouse drama but I found it credible, even if Branagh is transforming into thin John Goodman.

I think most viewers actually want Nolan to hold their hands and explain the complicated rules so they can feel smart. This one didn't do that and they feel betrayed.

[Yoda]

I have no special love for the Sandman but I did greatly enjoy his work in Uncut Gems as well as his standup special on Netflix and did not find Hubie Halloween entirely unpleasant. 2020 has softened my opinion of his contributions to cinema.
Yeah, I'm actually a pretty big fan compared to, well, most of the people I find on forums like this. But I'm also willing to dump on him (or at least make glib jokes dumping on him) for all the cash grabs, too. But I'm with you.

[Rockatansky]

I'm guessing you're saying ******* and ********, but I guess we'll never know if my guesses were correct either.
We will never know. (https://www.youtube.com/watch?v=zVokojoF_lY)

[Rockatansky]

I'm just saying I didn't find it particular hammy. Maybe if the performance were put in an arthouse drama but I found it credible, even if Branagh is transforming into thin John Goodman.

I think most viewers actually want Nolan to hold their hands and explain the complicated rules so they can feel smart. This one didn't do that and they feel betrayed.
I'm open to criticisms of Nolan (and I'm not surprised the reception to this one has been relatively muted, given the release circumstances and the fact that his style in this one has become more insular, for the fans, so to speak) but also feel that he invites a significantly higher than average number of bad takes.

[ThatDarnMKS]

I'm open to criticisms of Nolan (and I'm not surprised the reception to this one has been relatively muted, given the release circumstances and the fact that his style in this one has become more insular, for the fans, so to speak) but also feel that he invites a significantly higher than average number of bad takes.
I've always been highly critical of Nolan for his lack of faith in his audience (for all his pretense at trying to the next Kubrick, he babies his audience in ways Kubrick never would) and for a general sloppiness in his editing, while still maintaining that I'm a fan. I think he's become more interesting and honest as he's become more indulgent.

I do find the discourse surrounding him, whether it be fanboys or detractors, to be tiresome. The only other popular filmmaker that can think of with more exhausting discourse is Zack Snyder.

[SpelingError]

I'll get to Tenet eventually. I'm not a Nolan fan and I'm not eager to watch it or anything, but if I get in the right mood, I'll probably check it out to see how it fares.

[Takoma11]

I'm open to criticisms of Nolan . . . but also feel that he invites a significantly higher than average number of bad takes.

I think that his films have enough layers (for lack of a better word) that it's easy to either read in what depth you want or condemn it as bloat, when I often think it's something between those two.

[Torgo]

Hard to Kill - 3

Steven Seagal is not a good actor, off-putting to look at and is apparently not a very good person, but he could sure spin a good action yarn (in the late '80s and the early '90s, anyway). In this one, while on an assignment to expose political corruption, he's betrayed, left for dead, has a seven-year coma and is hell-bent on bringing attack mastermind Senator Trent (William Sadler) to the bank (the blood bank, that is) when he wakes up. Eyeroll-triggering lines like this one and another one about "superior state of mind" abound as do other Seagal trademarks like a tenuous explanation for his martial arts abilities, none of his combatants standing a chance against him and yes, that ponytail. It also has all of the oft-parodied yet too adorable to hate trademarks of action movies from this era like steamy alleyways, a soundtrack that is 99% saxophone or guitar solos, a villain who lives in a cavernous mansion with the requisite hot tub and a love interest - it's Seagal's then-wife Kelly LeBrock - who goes from nerdy to stunning as soon as she remove her glasses and lets her hair down. In short, the movie has a paper-thin premise and there's enough cheese to make you scour your medicine cabinet for Ex-Lax, but I'd be lying if I said I didn't have any fun with it. Oh, and keep an eye out for a young Dean Norris of Breaking Bad fame. Oh, and apparently, the average person was very, very happy to see Ben Kingsley win the Best Actor trophy at the Oscars.

[ScarletLion]

I'm not the biggest fan of Juliet Binoche.

I have no words.

[Thief]

High Life rating_2_5

I'm not the biggest fan of Juliet Binoche, but I respect her commitment to playing a doctor of jism who gets it on with a mechanical ****ing machine. Had the rest of the film been as horny or as goofy (hoofy?) I might have liked it more, but the whole thing is too steeped in the low key, distant default style of modern arthouse cinema that I find extremely off-putting.

Watching this the same day as The Lighthouse and Tenet has really brought into focus Robert Pattinson's versatility. This is probably my least favourite of the three roles, as art film mumbly man seems the least inspired of the performance styles, but he hits some nice tender notes in the scenes with his daughter.

For me, this one clicked on the day after. At first, I was kinda "ok" with it, but the next day, I couldn't help thinking about it and while listening to a podcast about it, it sunk in.

[Takoma11]

Steven Seagal is not a good actor, off-putting to look at and is apparently not a very good person,

This makes me think of my favorite Seagal slam from the AVClub's review of Contract to Kill:
Most of the movie, he spends sitting down or walking (again, slowly) up and down flights of stairs. There is a love scene—and, Jesus, what a love scene. His fully dressed body is lowered over a naked woman like a drawbridge. He doesn’t take off his glasses. He never takes off his glasses
.
.
this might be the first time that green screen—really awful green screen—has been used to make it look like an actor is just sitting in a parked car. Overall, he gives the kind of performance traditionally associated with stars who died during filming
.
.
.
There are scenes that exist solely so Harmon can share his deep thoughts on geopolitics to an audience of thoughtfully nodding characters. (Of Puerto Rico, he says, “They have a situation. It’s kind of very distinct.”) Seagal looks awful, sounds terrible, and regularly appears to be winded.

Given his apparent predatory behaviors, I take nothing but joy from this, aside from thinking about the poor woman whose view was eclipsed by Seagal's bulk slowly descending over her body.

[Yoda]

Re: Seagal. Reminds me of this:

https://twitter.com/immolations/status/1297343184742342663

[GulfportDoc]

Not mentioning anything...I think Neeson is capable of *much* better as an actor but I keep watching as I like him. It's that simple. He really needs a better agent though.
I agree, Marco. Neeson has a palpably strong presence about him on screen-- a little like Connery had. He did many good parts earlier on, both in theater and film. And although he stated that he's not real at ease in action hero roles, he's likely reluctant to turn down the large dough that he makes in those portrayals. Perhaps after he's got more money in the bank than he can ever spend he'll seek out more challenging roles.

[Vanillapie]

Recently I have seen Venom with Tom Hardy. It is so silly like it was made for really stupid people with a low IQ. I can rate it only this way 1/10. I usually drink a good coffee in my home with my favorite burger watching a cool movie, but that movie really spoiled my evening.

Coffee in the evening? Trailblazer, trend setter unless of course you work nights. I agree though dumb movie, with very average CGI.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcdn-1.filmpulse.net%2Fwp-content%2Fuploads%2F2020%2F07%2F08162849%2FShe-Dies-Tomorrow_CourtesyNEON_Kate-Lyn-Sheil_1.jpg&f=1&nofb=1

She Dies Tomorrow, 2020

I had to watch this one twice to sort out how I felt about it (well, one and a half times, I didn't rewatch the first 40 minutes or so).

Amy has just moved into a new house and is clearly undergoing some sort of anxiety attack or similar mental health crisis. Only somehow this has tripped over into a certainty that she will die the next day. Her friend, Jane, tries to talk her down, but then Jane becomes "infected" with the same idea. Both women go on a bizarre odyssey through the night, passing the fear on to those they encounter.

This is the type of film where its strength is also its weakness.

To begin with, I felt that the portrayal of an anxiety attack slowly snowballing into something catastrophic was maybe the most accurate portrayal of that type of anxiety that I've seen in a movie. Amy in her house, playing the same song over and over and over, trying to shake herself out of her emotions, but only slipping further and further into despair.

What I took from the film was the examination of what the concept of an ending means to people in different positions and emotional states. For Amy, who is in a difficult place even before the "infection", the prospect of it all being over is a relief. For Jane, the sensation is disorienting and pushes her to a strange interaction with her brother and his wife. For a couple infected, it pushes them to tell repressed truths and a shocking act that could be seen as either violence or mercy.

Another aspect that the film really seems to nail is the way that a shared certainty can be a comfort and a bonding event. We see some of the people who are "infected" utterly at ease with each other and clearly enjoying the company of someone on the same page.

I read a complaint that the film "never explains its mechanics". And it is true that much about how the "infection" works remains ambiguous. I actually do agree that this is a bit frustrating. It makes sense when the "infection" passes to those who are maybe already a bit shaky, but it seems to make less sense when seemingly everybody is able to fall prey to it. Now, that could be seen as saying that everyone has the potential to experience depression or anxiety, but somewhere in there it begins to feel exaggerated. There is a sequence in which a man seemingly catches the fear just from receiving a delivered pizza. Compared to the other ways that we see it passed--a long conversation with a friend, an anxious visit to the doctor, etc--this feels more trite. I think it's meant to be ambiguous and mysterious, but I found it a bit unsatisfying. I do think it could represent the way that a loved one might seem to "suddenly" be depressed when it's really been there all along, but even there it doesn't quite click.

Overall, however, I liked this movie and I liked it a lot more the second time around. When seen through the lens of the impact of mental illness or anxiety/depression (chronic or acute) it became a lot more interesting to me.

I really enjoyed Siemetz's Sun Don't Shine (and her two leads, Kate Lyn Sheil and Kentucker Audley both have major roles in She Dies Tomorrow) and I found this to be an interesting next film. It is highly impressionistic and I particularly enjoyed the last 15 minutes. I imagine that a lot of people will hate it.

3.5

[Torgo]

This makes me think of my favorite Seagal slam from the AVClub's review of Contract to Kill:
Most of the movie, he spends sitting down or walking (again, slowly) up and down flights of stairs. There is a love scene—and, Jesus, what a love scene. His fully dressed body is lowered over a naked woman like a drawbridge. He doesn’t take off his glasses. He never takes off his glasses
.
.
this might be the first time that green screen—really awful green screen—has been used to make it look like an actor is just sitting in a parked car. Overall, he gives the kind of performance traditionally associated with stars who died during filming
.
.
.
There are scenes that exist solely so Harmon can share his deep thoughts on geopolitics to an audience of thoughtfully nodding characters. (Of Puerto Rico, he says, “They have a situation. It’s kind of very distinct.”) Seagal looks awful, sounds terrible, and regularly appears to be winded.

Given his apparent predatory behaviors, I take nothing but joy from this, aside from thinking about the poor woman whose view was eclipsed by Seagal's bulk slowly descending over her body.I'm very tempted to watch Contract to Kill now, at least ironically.

<Reads the entire review>
<Sees the 0% Tomatometer>
<Sees the 3.4 IMDB score and 3, yes, 3 Metacritic score>
<Seagal never takes off his orange Oakleys, even during sex>

Umm...never mind.

[Marco]

I agree, Marco. Neeson has a palpably strong presence about him on screen-- a little like Connery had. He did many good parts earlier on, both in theater and film. And although he stated that he's not real at ease in action hero roles, he's likely reluctant to turn down the large dough that he makes in those portrayals. Perhaps after he's got more money in the bank than he can ever spend he'll seek out more challenging roles.

Agree 100% GulfportDoc. It's almost as if Neeson has cast off all troubles of becoming a character and now just plays incrementally different versions on the Brian Mills one. A shame really...dunno if "Honest Thief" will do his rep or bank balance much good though...looked like one of Bruce Willis' recent roles.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fanygoodfilms.com%2Fwp-content%2Fuploads%2F2017%2F11%2Fprofessormarstonandthewonderwomen.jpg&f=1&nofb=1

Professor Marston and the Wonder Women, 2017

I feel so conflicted about this film.

If only I had watched it a few years ago, before I read Jill Lepore's very thorough, very compelling The Secret History of Wonder Woman.

The film, like the book, follows the story of William Marston, a professor of psychology who invented Wonder Woman as part of an ongoing fascination with the ideas of truth, domination, pleasurable submission, and bondage. The film mainly centers its story on the relationship between Marston, his wife Elizabeth, and their relationship with Olive Byrne (a teaching assistant who became Marston's live-in mistress).

The film does an amazing job of showing the duality of attraction. Marston is drawn to Elizabeth because of her boldness and her intelligence--basically she is a dominant personality. He is drawn to Olive for the opposite reason--she is also intelligent, but she is naturally much more submissive and a "softer" personality. Through several different sequences (including the one pictured above), we can see how the character of Diana/Wonder Woman emerged from his affection for both of them.

Something that the film gives short shrift, in my opinion, is the thing that actually made Marston such an interesting figure. Namely, the way that he advocated for female equality (and even at times female dominance), and yet did not hesitate to use his social capital as a man to get what he wanted. The film softens the whole "mistress" thing (and the fact that Olive is his STUDENT) by making the situation a love triangle: all three characters are attracted to each other. This makes the introduction of Olive into the marriage feel like a choice made by equal partners. This, however, is not what Lepore portrayed in her book. By her account, Elisabeth agreed to Marston having a mistress on the condition that Olive would become essentially the "mother" in the family to free up Elizabeth to further pursue her own career. This feel much more true, and by recasting the relationship the film denies a lot of the gender inequity that existed in the relationship between the Marstons.

It was very hard for me to separate what I already knew about the story (and I found Lepore's book to be very thorough and convincing) and what I was seeing on screen. Even as I tried to see it as just a story (and not a "true story"), it was challenging. I did think that it offered an interesting portrait of the complexities of a ethically non-monogamous relationship, but again I found it a bit convenient that Elizabeth is suddenly, magically, bisexual and thus any hypocrisy on Marston's part is removed. (It is possible that the relationship was genuinely a sexual triangle, that's just not the impression I had from the book).

The film actually has some interesting conversations about what it means to take on these different roles in a romantic or sexual relationship. The actors (Luke Evans, Rebecca Hall, and Bella Heathcote) have really great chemistry with each other and the sex scenes were playful and erotic and make a good case for sex as a chief foundation for a healthy relationship while addressing the fact that sex can have a ripple effect into other aspects of a relationship. I almost wish that it had just been a fictional story about two people trying to navigate a non-monogamous relationship. I was just too distracted going "Wait a minute, she didn't actually . . . " or "But that didn't really . . .".

3.5

[ThatDarnMKS]

Soul
5

Their best since Toy Story 3. I should've watched this on Christmas instead of WW84.

[kgaard]

Borat: Subsequent Moviefilm (Jason Woliner, 2020) 2.5


Ha ha, holy sh__, I know this guy. He's the husband of an old friend of mine from work. We all had lunch together a couple of times. Back then, IIRC, he was doing commercials and some episodes of Park & Rec (I think?). Anyway, I had no idea he did this movie. I wasn't a big fan of the first one so I wasn't really interested in this, and I hadn't seen the director's name until this post. Well, maybe now I'll watch it out of solidarity or something.

[Corax]

Greenland


Basically, this is a remake of 2012, but with only one plot that we follow (a family trying to get to safety). I never thought I would pine for the touch of Roland Emmerich. Scott Glenn is totally wasted (his name is only on the marquee because you remember him from good movies). Our protag (Butler) is predictably estranged from his wife (Baccarin) and there is a cute little kid who has the built in MacGuffin of being dependent on insulin.

[Rockatansky]

Hard to Kill - rating_3

Steven Seagal is not a good actor, off-putting to look at and is apparently not a very good person, but he could sure spin a good action yarn (in the late '80s and the early '90s, anyway). In this one, while on an assignment to expose political corruption, he's betrayed, left for dead, has a seven-year coma and is hell-bent on bringing attack mastermind Senator Trent (William Sadler) to the bank (the blood bank, that is) when he wakes up. Eyeroll-triggering lines like this one and another one about "superior state of mind" abound as do other Seagal trademarks like a tenuous explanation for his martial arts abilities, none of his combatants standing a chance against him and yes, that ponytail. It also has all of the oft-parodied yet too adorable to hate trademarks of action movies from this era like steamy alleyways, a soundtrack that is 99% saxophone or guitar solos, a villain who lives in a cavernous mansion with the requisite hot tub and a love interest - it's Seagal's then-wife Kelly LeBrock - who goes from nerdy to stunning as soon as she remove her glasses and lets her hair down. In short, the movie has a paper-thin premise and there's enough cheese to make you scour your medicine cabinet for Ex-Lax, but I'd be lying if I said I didn't have any fun with it. Oh, and keep an eye out for a young Dean Norris of Breaking Bad fame. Oh, and apparently, the average person was very, very happy to see Ben Kingsley win the Best Actor trophy at the Oscars.
Seagal was not most people's idea of a good actor, but he had a distinct presence and the good fortune to be paired with some pretty good directors early in his career. I'd argue that Out for Justice is the best or at least makes the best use of said presence, but there's good stuff to be found in all of his movies up to and including On Deadly Ground. (Among its pleasures is seeing Seagal letting his freak flag fly, so to speak, after all the movies where the directors did their darnedest to make him look cool.)

[Rockatansky]

I think that his films have enough layers (for lack of a better word) that it's easy to either read in what depth you want or condemn it as bloat, when I often think it's something between those two.
There is that (they're conceptually "heavy", for lack of a better word), but I suspect a lot of it is that he's one of a handful of auteurs making movies with the budgets and box office he commands, which naturally attracts the hottest of hot takes. To quote Steven Spielberg from his reaction to the '75 Oscar nominations, "Everybody loves a winner but nobody loves a winner."

[Rockatansky]

I have no words.
In my defense, the role I most associate her with is Clouds of Sils Maria, and I don't think anybody could have salvaged the dialogue she was stuck with.

If she plays more doctors of jism who get it on with space (expletive) machines, perhaps I could be won over.

[Wooley]

I think most viewers actually want Nolan to hold their hands and explain the complicated rules so they can feel smart. This one didn't do that and they feel betrayed.

Should have put an Ellen Page in it.

[Wooley]

Re: Seagal. Reminds me of this:

https://twitter.com/immolations/status/1297343184742342663

Oh boy.

[ThatDarnMKS]

Should have put an Ellen Page in it.
DEAD NAMER!!!

[Torgo]

Seagal was not most people's idea of a good actor, but he had a distinct presence and the good fortune to be paired with some pretty good directors early in his career. I'd argue that Out for Justice is the best or at least makes the best use of said presence, but there's good stuff to be found in all of his movies up to and including On Deadly Ground. (Among its pleasures is seeing Seagal letting his freak flag fly, so to speak, after all the movies where the directors did their darnedest to make him look cool.)Thanks, I'll check those out. Should I add Marked For Death and Out For Justice to the mix? Those look like they're on par. I agree that his distinct presence and physicality are Seagal's selling points. Like Keanu Reeves, Nicolas Cage and Arnold Schwarzenegger, having those qualities can elevate the material in a way that does not translate to anything on movie critics' checklists, if that makes sense.

[Wooley]

In my defense, the role I most associate her with is Clouds of Sils Maria, and I don't think anybody could have salvaged the dialogue she was stuck with.

If she plays more doctors of jism who get it on with space (expletive) machines, perhaps I could be won over.

Try Trois Couleurs: Bleu.
That's the role I most associate her with and that's why she will always be a great to me.