Rate The Last Movie You Saw

[this_is_the_ girl]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fbb%2F3e%2F6f%2Fbb3e6fa5418e0f03c70f57a153e9f037.jpg&f=1&nofb=1
La Collectionneuse (1967, Éric Rohmer)
4.5
I especially liked the dialogue in this - such a brilliantly written film.
And, needless to say, Nestor Almendros' cinematography is just marvelous.

[crumbsroom]

*cackles maniacally while flames erupt behind me*

I believe I said it’s not a “very” good movie. I’m open to the possibility of it being some level of quality. Just not a level of goodness that could feasibly be described as “very”


The wrongest you've ever wronged.

[ScarletLion]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fbb%2F3e%2F6f%2Fbb3e6fa5418e0f03c70f57a153e9f037.jpg&f=1&nofb=1
La Collectionneuse (1967, Éric Rohmer)
5
I especially liked the dialogue in this - such a brilliantly written film.
And, needless to say, Nestor Almendros' cinematography is just marvelous.

I need to watch this. On IMDB it says Almendros is amongst the cast. Does he have a cameo?

[this_is_the_ girl]

I need to watch this. On IMDB it says Almendros is amongst the cast. Does he have a cameo?
I didn't know he had a cameo in this film. If he does, I probably missed it.

[beelzebubble]

The Master is an Amazon original horror movie. I found it effectively creepy and I always enjoy something that takes me into other peoples' points of view. I give it three and a half popcorns.

[ThatDarnMKS]

The wrongest you've ever wronged.

I appreciate its ability to shield itself from criticism by hiding behind the veil of “realism” and “amateurism.” Pretty ingenious.

[Guaporense]

https://i.pinimg.com/736x/91/8a/91/918a91cac2905bc0ff1e0442325044bf.jpg

Very giud.4 One of those IMDB top 250 movies I never got myself to watch, decided to give it a shot last night. :cool:

[ThatDarnMKS]

Sounds like you'd probably enjoy this article's criticism of it, then: https://limpingchicken.com/2021/08/18/liam-odell-coda-blames-deaf-people-for-societys-inaccessibility-and-its-damaging/
Good stuff. Too generous about Jones’ performance and singing, and I also think it’s nowhere close to Sound of Metal in terms of quality, but other than that, right on.

[Stirchley]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fbb%2F3e%2F6f%2Fbb3e6fa5418e0f03c70f57a153e9f037.jpg&f=1&nofb=1
La Collectionneuse (1967, Éric Rohmer)
5
I especially liked the dialogue in this - such a brilliantly written film.
And, needless to say, Nestor Almendros' cinematography is just marvelous.

I’ve seen this movie a million times. My fave Rohmer by a long shot.

[crumbsroom]

I appreciate its ability to shield itself from criticism by hiding behind the veil of “realism” and “amateurism.” Pretty ingenious.


There is no end of movies which have adopted styles using 'realism' or 'amateurism' that are failures. What matters is the affect of the realism or the amateurism. Blair Witch is assembled in a way that uses these elements to heighten its sense of confusion as horror. Some movies, as you know, can circumvent traditional approaches to 'professional' filmmaking and come out the end being just as quality as a deeply considered, deeply pocketed movie.


Let's not hide behind the 'this movie is buffered against criticism' complaint as a way to buffer your own criticism. Next you will start threatening this emperor has no clothes. Boring, boring.


Blair Witch was the most singularly effective horror films that came out in the 90s. Yes, that is a subjective response, but one that has never altered with any viewing I've had of it. Yes, its marketing was great and helped add an air of mystery around it. But marketing and false expectations are much more like to sink a movie with me than help it. My affection for it has also survived the backlashes there has occasionally been against it, and hasn't changed as my own tastes have changed. And I also can't think of another other film which has adopted a similar strategy that has won me over simply on the effectiveness of its commercials, or the supposed critic proofing of its approach.


I'm not saying you should have the same feeling towards it. But I am saying your glib dismissals of it as being above legit criticism, or that its success with fans was little more than the product of a marketing gimmick, is dismissing reams of actual positive criticism that actually deals with the virtues of the filmmaking at hand. You can also disagree with those criticisms, as I'm sure you do (and no foul there) but you can't question the actual thinking and feelings that have gone into those criticisms.

[ThatDarnMKS]

There is no end of movies which have adopted styles using 'realism' or 'amateurism' that are failures. What matters is the affect of the realism or the amateurism. Blair Witch is assembled in a way that uses these elements to heighten its sense of confusion as horror. Some movies, as you know, can circumvent traditional approaches to 'professional' filmmaking and come out the end being just as quality as a deeply considered, deeply pocketed movie.


Let's not hide behind the 'this movie is buffered against criticism' complaint as a way to buffer your own criticism. Next you will start threatening this emperor has no clothes. Boring, boring.


Blair Witch was the most singularly effective horror films that came out in the 90s. Yes, that is a subjective response, but one that has never altered with any viewing I've had of it. Yes, its marketing was great and helped add an air of mystery around it. But marketing and false expectations are much more like to sink a movie with me than help it. My affection for it has also survived the backlashes there has occasionally been against it, and hasn't changed as my own tastes have changed. And I also can't think of another other film which has adopted a similar strategy that has won me over simply on the effectiveness of its commercials, or the supposed critic proofing of its approach.


I'm not saying you should have the same feeling towards it. But I am saying your glib dismissals of it as being above legit criticism, or that its success with fans was little more than the product of a marketing gimmick, is dismissing reams of actual positive criticism that actually deals with the virtues of the filmmaking at hand. You can also disagree with those criticisms, as I'm sure you do (and no foul there) but you can't question the actual thinking and feelings that have gone into those criticisms.

Sure. I hadn’t been asked to explain my full appreciation or criticism of the film and didn’t feel much need to (I’m sure I’ve exhausted someone on the subject in the past).

The most succinct thing I can say is “imagine if the Blair Witch didn’t scare you even slightly. What about what remains would appreciate enough to want to watch it?”

This isn’t to say all horror needs to be scary, before that ridiculous assessment rears it’s ugly head. But I do think certain films that really seem to primarily and solely offer a visceral appeal to be scary come to a point where they live or die on that hill.

Other horror films can survive on character, plot, craft, atmosphere, concept, etc. but when Blair Witch fails to bewitch me, I’m left with one good performance out of a trio of constantly screaming people that can’t hold a camera steady until the ending, which is good, enough to tentatively “like” it, but I can’t help but feel like “not enough” to justify a feature.

It’s a film I deeply wished unnerved me on any level or did something technically adept to grab me but I’m left twiddling my thumbs until the last bit.

[Captain Terror]

Yes, its marketing was great and helped add an air of mystery around it. But marketing and false expectations are much more like to sink a movie with me than help it.

Correct. Just some anecdotal evidence---
I had a friend that was obsessed with the marketing, and he shared a lot of it with me. So when I finally got to see the film I found myself distracted by some of the stuff he'd told me. "Was that part improv?" "Was that part planned or a lucky accident?" etc. I wished I hadn't listened to anything he'd told me.

On the other hand, another (completely-out-of-touch) friend went to see it knowing absolutely nothing, and he was convinced it was all real and was traumatized by the experience.

[ThatDarnMKS]

he was convinced it was all real and was traumatized by the experience.
Even as a child, I was too skeptical to buy into it. I watched it in a living room full of much older teenagers that were terrified and convinced it was real.

I felt nothing. Hated it.

I rewatched it a few times and have garnered appreciation for it but I still feel very little during the duration of its runtime.

Part of me wants to commend its dedication to banality as that does help sell “this is real” but when there’s something in you incapable of buying into that, even emotionally, you’re just left with banality.

[Rockatansky]

MKS hates the Blair Witch Project because...


MKS...


Is...


The Blair Witch!


:eek:

[crumbsroom]

The most succinct thing I can say is “imagine if the Blair Witch didn’t scare you even slightly. What about what remains would appreciate enough to want to watch it?”
.



Than I would agree that you shouldn't probably like it very much. I agree it is a fairly one dimensional film and it lives and dies by how much it gets to you.


But those it does get to aren't simply some pawns in a marketing strategy. Or unable to bring actual critical discussion to its primitive mechanics.


Is there a bit of a Rorschach element to the twigs and stones and out of focus landscapes Blair Witch offers? Ya, it is a part of it, which does get difficult to talk about purely critically. But there is a structure to how it makes these indistinct images jump off the screen. And there are legitimately brilliant things going on with what it is willing to show us in the clear light of day.


I think it is a fair movie to be skeptical towards. But I also think there are fair reasons to be skeptical towards lots of abstract art. There are all sorts of traditional jazz critics who called out the seemingly unstructured free jazz movement. They famously claimed it was like playing tennis without a net. As if the notion of taking down the net (basically the rules they were playing by and the lens through which they understood how you navigate the court) ended the ability to play any more games in that space.


But this kind of abstraction in art allows us to reimagine what we can do, and how we engage with this space which is still there, and completely waiting for us to express ourselves freely on. Just because there is no net,.doesn't mean there are no rules. Just because there is no net, doesn't mean that there is no chance to find a different game to play.


And while Blair Witch might have taken down its net, its creators realized this could allow them to turn their horror completely inward, towards a place horror cinema has virtually never gone before or since (the begotten being the only other real candidate I can think of). It creates a place that seems chaotic and ugly and at times indecipherable, but provides sights and sounds and an unease with deciphering those sights and sounds which is right at the root of almost all childhood terror. When the sense of seeing something that might not even be there lives at the center of our reality, as we lay at bed at night, in the darkness.. And the true inescapable dread that it actually doesn't really even matter if anything is there or not once your mind has been infiltrated with unseeable terrors.


Blair Witch is that unseeable terror

[Captain Terror]

Even as a child, I was too skeptical to buy into it. I watched it in a living room full of much older teenagers that were terrified and convinced it was real.

I felt nothing. Hated it.

It's not the movie's fault that you were a pretentious little s--t! :p

I'm not pulling the "you had to be there" card, but I will say that in '99 it felt very zeitgeist-y and was exactly the horror movie I was looking for at that time. (Age 28 or so)

Sort of punk-rock, I guess. We're Gen X! No time for cheesy musical cues or special effects, give us the pure stuff. The unkut funk, if you will. Most of the people I know that hate it are 10 years younger than I or more. I haven't analyzed why that is, it's just been my observation.

EDIT: Crummy beat me to it, but I was also going to mention The Begotten. Somehow TBWP seemed like a product of that same movement, for lack of a better word. The Begotten, Nine Inch Nails videos, the opening credits of Se7en, they're all somehow related in my subconscious.

[ThatDarnMKS]

Than I would agree that you shouldn't probably like it very much. I agree it is a fairly one dimensional film and it lives and dies by how much it gets to you.


But those it does get to aren't simply some pawns in a marketing strategy. Or unable to bring actual critical discussion to its primitive mechanics.


Is there a bit of a Rorschach element to the twigs and stones and out of focus landscapes Blair Witch offers? Ya, it is a part of it, which does get difficult to talk about purely critically. But there is a structure to how it makes these indistinct images jump off the screen. And there are legitimately brilliant things going on with what it is willing to show us in the clear light of day.


I think it is a fair movie to be skeptical towards. But I also think there are fair reasons to be skeptical towards lots of abstract art. There are all sorts of traditional jazz critics who called out the seemingly unstructured free jazz movement. They famously claimed it was like playing tennis without a net. As if the notion of taking down the net (basically the rules they were playing by and the lens through which they understood how you navigate the court) ended the ability to play any more games in that space.


But this kind of abstraction in art allows us to reimagine what we can do, and how we engage with this space which is still there, and completely waiting for us to express ourselves freely on. Just because there is no net,.doesn't mean there are no rules. Just because there is no net, doesn't mean that there is no chance to find a different game to play.


And while Blair Witch might have taken down its net, its creators realized this could allow them to turn their horror completely inward, towards a place horror cinema has virtually never gone before or since (the begotten being the only other real candidate I can think of). It creates a place that seems chaotic and ugly and at times indecipherable, but provides sights and sounds and an unease with deciphering those sights and sounds which is right at the root of almost all childhood terror. When the sense of seeing something that might not even be there lives at the center of our reality, as we lay at bed at night, in the darkness.. And the true inescapable dread that it actually doesn't really even matter if anything is there or not once your mind has been infiltrated with unseeable terrors.


Blair Witch is that unseeable terror
It seems a shame to argue with such a nicely put compliment, as I don’t have animosity towards the film and wouldn’t want to convince a fan of its inequities, but…

We agree on the primary issue that if the film doesn’t scare you, there’s very little else to appreciate.

What you describe is certainly a valid interpretation but I don’t FEEL it. And if I don’t feel it, intentionality becomes a component for me. Did the filmmakers intend for that abstract dive into the nature of fear and horror? Given their other output, which is largely literal minded, I think not.

As I said, if I felt such things while watching it, as you clearly do, it would hold that value for me. As is, I would feel like I’m projecting value onto a relatively straight forward narrative which made the daring choice of never showing its villain (perhaps entirely due to budget restraints).

At its core, Blair Witch fits in with the multitude of low budget horror films that padded their run time having a bunch of teens/young adults wander aimlessly through the woods until they get killed.

Now, the choices to film it handheld, on ugly camera stock, and under the guise of it being real did contribute to an affect that makes it stand out.

I can see value in that. But I don’t feel it.

[Rockatansky]

It seems a shame to argue with such a nicely put compliment, as I don’t have animosity towards the film and wouldn’t want to convince a fan of its inequities, but…

We agree on the primary issue that if the film doesn’t scare you, there’s very little else to appreciate.

What you describe is certainly a valid interpretation but I don’t FEEL it. And if I don’t feel it, intentionality becomes a component for me. Did the filmmakers intend for that abstract dive into the nature of fear and horror? Given their other output, which is largely literal minded, I think not.

As I said, if I felt such things while watching it, as you clearly do, it would hold that value for me. As is, I would feel like I’m projecting value onto a relatively straight forward narrative which made the daring choice of never showing its villain (perhaps entirely due to budget restraints).

At its core, Blair Witch fits in with the multitude of low budget horror films that padded their run time having a bunch of teens/young adults wander aimlessly through the woods until they get killed.

Now, the choices to film it handheld, on ugly camera stock, and under the guise of it being real did contribute to an affect that makes it stand out.

I can see value in that. But I don’t feel it.

In a way, it's your Baby Driver.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fbb%2F3e%2F6f%2Fbb3e6fa5418e0f03c70f57a153e9f037.jpg&f=1&nofb=1
La Collectionneuse (1967, Éric Rohmer)
5
I especially liked the dialogue in this - such a brilliantly written film.
And, needless to say, Nestor Almendros' cinematography is just marvelous.

I wasn't as warm on this as you were, but it is visually STUNNING.

[ThatDarnMKS]

It's not the movie's fault that you were a pretentious little s--t! :p

I'm not pulling the "you had to be there" card, but I will say that in '99 it felt very zeitgeist-y and was exactly the horror movie I was looking for at that time. (Age 28 or so)

Sort of punk-rock, I guess. We're Gen X! No time for cheesy musical cues or special effects, give us the pure stuff. The unkut funk, if you will. Most of the people I know that hate it are 10 years younger than I or more. I haven't analyzed why that is, it's just been my observation.

EDIT: Crummy beat me to it, but I was also going to mention The Begotten. Somehow TBWP seemed like a product of that same movement, for lack of a better word. The Begotten, Nine Inch Nails videos, the opening credits of Se7en, they're all somehow related in my subconscious.

I was there! But that’s part of my point. It hit at a moment of critical impact in the 90s and managed to touch on a lot of newfound concepts, from the internet to viral marketing to the notion of found footage (I know it’s hardly the first but it was still fairly novel) and people got swept up in it.

And I remained a joyless rock, watching the current drift by.

[ThatDarnMKS]

In a way, it's your Baby Driver.

It does remind me of Ansel Elgort.

[Captain Terror]

I was there! But that’s part of my point. It hit at a moment of critical impact in the 90s and managed to touch on a lot of newfound concepts, from the internet to viral marketing to the notion of found footage (I know it’s hardly the first but it was still fairly novel) and people got swept up in it.

And I remained a joyless rock, watching the current drift by.

Sure, you were "there" technically, but you weren't a post-college Edgelord like I was. You didn't GET IT, maaaaaan

[Stirchley]

I wasn't as warm on this as you were, but it is visually STUNNING.

I was so invested in the young girl. The opening shots of her on the beach completely captivated me.

I also related to her many “boyfriends” having flitted from one guy to another for many years. She would leave on a date with one guy (as the narrator tells us) & return with another. I could relate.

I liked the final scene when she dithered over staying with him or going off with others & he drove away & left her.

Great European movie. :)

[ThatDarnMKS]

Sure, you were "there" technically, but you weren't a post-college Edgelord like I was. You didn't GET IT, maaaaaan
I was a small child hanging out with high school edge lords! Does that not count for anything?!? *flips table*

[Allaby]

Better Nate Than Ever (2022) This was pretty good, an interesting story and nice performances. Some good laughs and entertaining moments. Could have used more singing and dancing though. 3.5

[crumbsroom]

It seems a shame to argue with such a nicely put compliment, as I don’t have animosity towards the film and wouldn’t want to convince a fan of its inequities, but…

We agree on the primary issue that if the film doesn’t scare you, there’s very little else to appreciate.

What you describe is certainly a valid interpretation but I don’t FEEL it. And if I don’t feel it, intentionality becomes a component for me. Did the filmmakers intend for that abstract dive into the nature of fear and horror? Given their other output, which is largely literal minded, I think not.

As I said, if I felt such things while watching it, as you clearly do, it would hold that value for me. As is, I would feel like I’m projecting value onto a relatively straight forward narrative which made the daring choice of never showing its villain (perhaps entirely due to budget restraints).

At its core, Blair Witch fits in with the multitude of low budget horror films that padded their run time having a bunch of teens/young adults wander aimlessly through the woods until they get killed.

Now, the choices to film it handheld, on ugly camera stock, and under the guise of it being real did contribute to an affect that makes it stand out.

I can see value in that. But I don’t feel it.


Ugh, internet ate my response.


Just assume you got to read it and are now on your knees begging for mercy

[Rockatansky]

Ugh, internet ate my response.


Just assume you got to read it and are now on your knees begging for mercy

It's the post you don't see... like the Blair Witch. :eek:

[ThatDarnMKS]

Ugh, internet ate my response.


Just assume I agreed with everything you said, you magnificent bastard.

Done.

[Allaby]

The Bubble (2022) Watched on Netflix. Directed by Judd Apatow. Starring Karen Gillan, Iris Apatow, Leslie Mann, Pedro Pascal, Keegan-Michael Key, and David Duchovny. A comedy about actors during the pandemic making Cliff Beasts 6, a sequel in a successful series of action movies about flying dinosaurs. Overlong and inconsistent, this is a bit of a mess. I like most of these actors, but the characters were just annoying. There are a couple laughs and I liked the scenes with characters dancing,but overall this is not enjoyable. I think this is Apatow's worst film. 2.5

[FromBeyond]

Those who wish me dead

Not bad, quite a stripped back 90s feel with story but with a modern polish and restraint, best thing for me the murderous bad guy duo of Aidan Gillen and surprisingly Nicholas Hoult.

[skizzerflake]

Ok, here's a weird one, which got plaudits from various review sources, You Won't Be Alone. It's a story that seems to have been (but was not) ripped from one of the lurid books by that Priest/Impersonator/Author, "Reverend Alphonsus Joseph-Mary Augustus Montague Summers" - the guy who wrote a bunch of books on Euro weirdness. In You Won't Be Alone, to encapsulate - "Set in an isolated mountain village in 19th century Macedonia, pic follows a young witch who is left to go feral in the woods. Curious about life as a human, she accidentally kills a peasant in the village, then takes her shape to see what life is like in her skin. This ignites her deep-seated curiosity to experience life inside the bodies of others. The witch will be played by different actors and the film will include an old Macedonian dialect."

Once you get a grip on the idea that the "witch" can slip into other people's literal skin after eating their guts, that she's a feral witch who is haunted by another witch, of the baby eating variety, and that the endangered population of this remote Balkan hell is being consumed, you might make sense of this movie.

The language is Macedonian, with subtitles, but often you're not sure whether the subtitles are real witch talk or just bad translation. Because skin is being reused (literally), it's often not clear who is which witch or which unfortunate skin-source. The ordinary mortals are mainly oppressed women and rapacious, angry men....nobody you want to be.

All this notwithstanding, it's full of high weirdness, Summers-esque perversity and decent acting and production. Be prepared....it's not a casual date night movie, includes a fair amount of blood and gut consumption and often you don't know who is who because they might be using someone else's skin. Nothing about this Balkan lair makes me want to visit.

https://www.youtube.com/watch?v=b2y9mO7yltI

[Captain Terror]

Yep, that one is ticking all of my boxes. Did you see it in a theater? Haven't been able to find it streaming so far.

Also, has Noomi Rapace ever made a movie where she just falls in love with a handsome guy and has a nice time? Every film I've seen her in has been a nightmare. :)

[Fabulous]

Blood Red Sky (2021)

2.5

https://image.tmdb.org/t/p/original/hUuX1jlFUHFMXPoopQ6YrV8kvcD.jpg

[skizzerflake]

"Yep, that one is ticking all of my boxes. Did you see it in a theater? Haven't been able to find it streaming so far.

Also, has Noomi Rapace ever made a movie where she just falls in love with a handsome guy and has a nice time? Every film I've seen her in has been a nightmare. "

>>>>Saw it in our local indie film venue, just released today. Rapace indeed does seem to specialize in this sort of role. This is Euro weirdness raised to a very special level. I have to admit that they're my ancestors. The next one like this should be The Northmen, from Robert Eggers, my recent favorite auteur of strangeness.

[Captain Terror]

86488

When the pretty girl at the party offered Fred a drink, he accepted because he didn't want to look like a square. Approximately 56 minutes later, he's in the hoosegow, addicted to heroin. Don't be like Fred.

[Wooley]

On the other hand, another (completely-out-of-touch) friend went to see it knowing absolutely nothing, and he was convinced it was all real and was traumatized by the experience.

I was close to this.
My viewing of this film, on a date no less, I considered to be probably the most terrifying viewing experience I've ever had in a theater. I had heard that maybe the movie was real, but I didn't really know much, I hadn't heard that much about it, just that there was a buzz. Yet I kept thinking to myself, "Please don't let this have actually happened to someone."
But it really didn't matter whether it was real or not because it was simply effective. I wouldn't have cared if it had happened to someone or not if I wasn't seriously effected by what I was seeing on the screen.

[Wooley]

86488

When the pretty girl at the party offered Fred a drink, he accepted because he didn't want to look like a square. Approximately 56 minutes later, he's in the hoosegow, addicted to heroin. Don't be like Fred.

Not White Heat!!! That's too intense!

[ThatDarnMKS]

I was close to this.
My viewing of this film, on a date no less, I considered to be probably the most terrifying viewing experience I've ever had in a theater. I had heard that maybe the movie was real, but I didn't really know much, I hadn't heard that much about it, just that there was a buzz. Yet I kept thinking to myself, "Please don't let this have actually happened to someone."
But it really didn't matter whether it was real or not because it was simply effective. I wouldn't have cared if it had happened to someone or not if I wasn't seriously effected by what I was seeing on the screen.

But like… imagine if you hadn’t been effected at all.

[Takoma11]

86488

When the pretty girl at the party offered Fred a drink, he accepted because he didn't want to look like a square. Approximately 56 minutes later, he's in the hoosegow, addicted to heroin. Don't be like Fred.

I appreciate the solid advice to watch the film from the beginning.

Also, why have all of us been wasting time wearing bras when clearly heroin does an amazing job of lifting and separating?

[Wooley]

But like… imagine if you hadn’t been effected at all.

Well, I can't because I nearly shit my pants and also couldn't sleep with the lights off.

[Wooley]

Also, why have all of us been wasting time wearing bras when clearly heroin does an amazing job of lifting and separating?

:rotfl:

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimg.showboxmovies.net%2Fresize%2F1281x771%2F96%2F8a%2F968a04855abac58c2239cfc2fab95 431%2F968a04855abac58c2239cfc2fab95431.jpg&f=1&nofb=1

Barbara, 2012

Barbara (Nina Hoss) is a doctor who has been punished for trying to relocate to West Berlin by being relocated to a small town hospital and enduring debasing, constant harassment and "monitoring" by the Stasi. Though Barbara still has her heart set on escape, she begins to get drawn into the lives of the people in her town, including fellow doctor Andre (Ronald Zehrfeld) and labor camp patient Stella (Jasna Bauer).

While this film did not reach the heights for me of Phoenix (another Christian Petzold/Nina Hoss collab), but I still thought it was an excellent drama.

Hoss brings her incredible presence to the role of Barbara, a woman who endures an enforced mundane day-to-day life, punctuated by abuse and humiliation. Despite the small-town setting, Barbara must always be vigilant. She does not know if she can trust Andre, who seems romantically interested in her, but could for all she knows be an informant. The abusive treatment of Stella mirrors her own maltreatment. Hoss manages to convey desperation lingering under the surface of calm patience.

A point that the film makes quite well is that Barbara is really good at what she does. While Andre is very skilled from a technical point of view, it is Barbara's empathy and attention to the human side of her patients that allows her to provide superior care. The idea of maintaining humanity even in challenging circumstances reflects Barbara's struggles against an oppressive state.

I didn't see the ending coming--though maybe I should have--and when it arrives it packs a delicate wallop.

4

[Nestorio_Miklos]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fbb%2F3e%2F6f%2Fbb3e6fa5418e0f03c70f57a153e9f037.jpg&f=1&nofb=1
La Collectionneuse (1967, Éric Rohmer)
5
I especially liked the dialogue in this - such a brilliantly written film.
And, needless to say, Nestor Almendros' cinematography is just marvelous.

my of the most favorite French directors ever. I just love his moral tales that are so universal. No one did it better than him so far.

[Gideon58]

https://m.media-amazon.com/images/M/MV5BZDY1ZDE4NGMtODVjYi00M2U5LTkyMWYtNzExMjgyY2UyMjY5XkEyXkFqcGdeQXVyMTM1MTE1NDMx._V1_.jpg



2

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.ondacinema.it%2Fimages%2Ffilm%2Fxl%2Ftitane_xl3.jpg&f=1&nofb=1

Titane, 2021

Alexia (Agathe Rousselle) was in a violent car crash as a child, leaving her with a titanium plate welded to her skull. Now working as a car show dancer, Alexia deals with strange and violent urges related to both the people and vehicles around her. When things get out of control Alexia ends up crossing paths with Vincent (Vincent Lindon), a firefighter whose son went missing many years earlier.

This was certainly . . . something.

Interestingly, it's hard to talk much about this film because while it was an experience, that's almost where I end with it.

Rousselle gives the kind of performance that you often see referred to as "brave", which is usually code for "looks unattractive in many scenes" and/or "gets naked a lot". And, yes, both of those thing apply here. But the performance really stuck with me. Not for the weirdness of it all or for the undoubtedly bizarre things she was tasked with performing, but because she creates this character who is both unlikable yet compelling, to such an extent that she begins to feel almost inhuman. Lindon makes a good other half to the film, also creating a character who is at once sympathetic and monstrous.

The way that the movie is shot fits the same tone as the characters. It is at once removed and intensely (often unpleasantly) visceral. Sometimes the colors go sterile, while other times they go deeply saturated. The effect is kind of nauseating, intentionally so I'm sure.

The plot progression is okay if you consider it mainly as a vehicle for certain character moments and visual sequences. I never felt like I had a handle on Alexia--and I'm not sure that even Alexia is meant to have a handle on herself--and it kept me at a bit of a distance from the story. I was definitely engaged and stayed on my toes because the plot took some really radical turns at points.

(And this isn't really a complaint, but the CPR featured two times in this movie was so bad. Wimpy chest compressions. Giving someone CPR on a soft cushy bed?!).

4

[Thief]

BELFAST
(2021, Branagh)

https://i.imgur.com/lvnKgxU.png


"...the whole family looks out for you. And wherever you go and whatever you become, that'll always be the truth. And that thought will keep you safe. It'll keep you happy... Will you remember that for me?"



Set in 1969 Ireland, Belfast follows Buddy (Jude Hill), a 9-year old kid growing up during the beginning of "The Troubles". With tensions rising in the country, the kid has to deal with the usual hardships of growing up as well as the threats of violence in the streets, and the possibility of having to leave the country.

The film follows Buddy's point of view, so there's a certain childlike and sometimes surreal vibe to the events of the film. For the most part it works, but there are certain points where it falls flat. There's a certain conflict with a local agitator that becomes a focal point towards the end, but ultimately feels forced and tacked on to try to add some tension.

What does work is the family dynamics, especially between Buddy, his mom (Caitriona Balfe), and his grandparents (Ciáran Hinds and Judi Dench). I thought Balfe and Hinds were pretty good in their roles, especially Balfe. She did a great job conveying a certain strength mixed with despair in the middle of this chaos; a despair that she tries hard to restrain for the sake of the family. Jamie Dornan, who plays Buddy's dad, was serviceable, but still managed to pull some solid moments.

Grade: 4


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2292991#post2292991)

[Gideon58]

https://m.media-amazon.com/images/M/MV5BNjFiMWMzNTUtNTIxNS00YTFlLWJiNTMtNWE2OWIyY2RiMTFiXkEyXkFqcGdeQXVyMzg2MzE2OTE@._V1_FMjpg_UX1000_.j pg


3

[Thief]

HALLOWEEN II
(1981, Rosenthal)

https://i.imgur.com/yAwODjL.jpg


"Samhain isn't evil spirits. It isn't goblins, ghosts or witches. It's the unconscious mind. We're all afraid of the dark inside ourselves."



Halloween II picks up right after the original, as Laurie (Jamie Lee Curtis) is taken to the hospital while Dr. Loomis (Donald Pleasance) tries to find Michael Myers. What he finds out is that Myers is, of course, headed to the hospital determined to kill Laurie, who we learn here is her sister.

Laurie doesn't get much to do until the end, and most of the new characters are inconsequential, with the exception of Deputy Gary Hunt (Hunter von Leer), who seems to be one of the few with common sense around town. But it is Loomis the one that's at the forefront most of the time, and Pleasance does a pretty good job walking that fine line between obsession and genuine care for Laurie and others.

Grade: 3


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293004#post2293004)

[ThatDarnMKS]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.ondacinema.it%2Fimages%2Ffilm%2Fxl%2Ftitane_xl3.jpg&f=1&nofb=1

Titane, 2021

Alexia (Agathe Rousselle) was in a violent car crash as a child, leaving her with a titanium plate welded to her skull. Now working as a car show dancer, Alexia deals with strange and violent urges related to both the people and vehicles around her. When things get out of control Alexia ends up crossing paths with Vincent (Vincent Lindon), a firefighter whose son went missing many years earlier.

This was certainly . . . something.

Interestingly, it's hard to talk much about this film because while it was an experience, that's almost where I end with it.

Rousselle gives the kind of performance that you often see referred to as "brave", which is usually code for "looks unattractive in many scenes" and/or "gets naked a lot". And, yes, both of those thing apply here. But the performance really stuck with me. Not for the weirdness of it all or for the undoubtedly bizarre things she was tasked with performing, but because she creates this character who is both unlikable yet compelling, to such an extent that she begins to feel almost inhuman. Lindon makes a good other half to the film, also creating a character who is at once sympathetic and monstrous.

The way that the movie is shot fits the same tone as the characters. It is at once removed and intensely (often unpleasantly) visceral. Sometimes the colors go sterile, while other times they go deeply saturated. The effect is kind of nauseating, intentionally so I'm sure.

The plot progression is okay if you consider it mainly as a vehicle for certain character moments and visual sequences. I never felt like I had a handle on Alexia--and I'm not sure that even Alexia is meant to have a handle on herself--and it kept me at a bit of a distance from the story. I was definitely engaged and stayed on my toes because the plot took some really radical turns at points.

(And this isn't really a complaint, but the CPR featured two times in this movie was so bad. Wimpy chest compressions. Giving someone CPR on a soft cushy bed?!).

4


Quite possibly my favorite movie of last year. Ducorneau has such beautiful control over her wild stories that despite her influences being clear (Lynch, Noe, Refn, Cronenberg), she’s developed a distinct and brilliant style with just two films.

Similar to the director’s above, her films are experiences first and foremost, and narratives second. On that front, I can think of few more surehanded films in recent years, treading into absolutely audacious territory.

What strikes me the most about this and Raw is that beyond all the provocative weirdness and violence, there’s a tenderness and compassion in her films that feels thoughtful and genuine. Her ability to find genuine and sweet moments among the absurdity without them feeling sarcastic or campy is something that drops my jaw.

This is what makes the shifting focus from “will she be caught” to “will she be accepted” and “who will she become” so potent. One of the greatest “coming out” or “transitioning” films ever made through allegory and pure cinema.

[Takoma11]

What strikes me the most about this and Raw is that beyond all the provocative weirdness and violence, there’s a tenderness and compassion in her films that feels thoughtful and genuine. Her ability to find genuine and sweet moments among the absurdity without them feeling sarcastic or campy is something that drops my jaw.

Her characters are, despite the audaciousness of the plot surrounding them (or *gulp* inside them!) human at the core.

For example, the moment in the bathroom where the towel drops, and then Vincent again asserts, "You are my son."

This is what makes the shifting focus from “will she be caught” to “will she be accepted” and “who will she become” so potent. One of the greatest “coming out” or “transitioning” films ever made through allegory and pure cinema.

I'm still turning it all over in my head. I'm resisting reading any analysis of it, because it feels like something is cohering in my thoughts and I don't want to be swayed by any explanations. Something something reality something something perception something something how we are defined by our relationships something something sexy firetruck dance.

[ThatDarnMKS]

Her characters are, despite the audaciousness of the plot surrounding them (or *gulp* inside them!) human at the core.

For example, the moment in the bathroom where the towel drops, and then Vincent again asserts, "You are my son."



I'm still turning it all over in my head. I'm resisting reading any analysis of it, because it feels like something is cohering in my thoughts and I don't want to be swayed by any explanations. Something something reality something something perception something something how we are defined by our relationships something something sexy firetruck dance.

I’ll abstain from my analysis except for the briefest statement that I expected this film to deliver on a sensory level (that opening dance sequence long take set to Doin It To Death by the Kills is just cinema MAGIC). I didn’t expect it to emotional affect me with its rumination on the acceptance of genuine love.

She used that stabby metal chopstick to penetrate brains AND hearts.

I suspect it’s one that will grow on you the more you think on it. And it gets even better on a rewatch.

[Takoma11]

I suspect it’s one that will grow on you the more you think on it. And it gets even better on a rewatch.

Yes, I think that there was a lot to unpack that was hard to process the first time around just because of the shock of the various developments.

I do have to say that the rapid evolution of our understanding of her character from Oh, wow, this woman was nearly a victim of sexual assault and she had to defend herself and how traumatic! TO Oh, okay, this woman is a sociopath and a serial killer. is pretty incredible.

I also was reminded of the documentary The Imposter. Have you seen that one? A French con man in his 20s (or 30s?!) convinced an American family that he was their teenage son who had been abducted years earlier. I wonder if that story was in any way an inspiration to the script.

[PHOENIX74]

https://i.postimg.cc/SRh6Zx9L/never-look-away-2.jpg
By IMDB - https://www.imdb.com/title/tt5311542/, Fair use, https://en.wikipedia.org/w/index.php?curid=58010385

Never Look Away - (2018)

Those who get a bit antsy when their drama runs northward of 180 minutes should pass Never Look Away (In German Werk ohne Autor - Work Without Author) and definitely look away. I don't know if this piece of cinema really needed to be as long as it is (there is plenty they could have trimmed) but I was interested, seeing as this was nominated for a Best Foreign Language Film Oscar - and is one of only two German films (the other being Das Boot) nominated for multiple Oscars (it's other nomination was for cinematography.) It's also written and directed by the same person who made the unbelievably brilliant The Lives of Others - Florian Henckel von Donnersmarck. Based on a true story, it tells the tale of Kurt Barnert (in real life, artist Gerhard Richter) whose sister was diagnosed with schizophrenia and killed by the Nazis because they considered the mentally ill a waste to society. Barnert comes of age in East Germany, and falls in love with a girl whose father just happens to have been the SS doctor who sterilized and then euthanized his sister. It focuses mostly on Barnert's journey as an artist - trying to find his particular voice after being taught by the strict communists then the wild abstract ones in the West after he crosses the border. I had a particular vision of how this was going to end, but the movie really defied my expectations and holds off from the norm which pleased me. I don't mind long movies, but Never Look Away is really good without quite being great and far too long.

Barnert considers his art to be saying something without saying anything, but he himself doesn't realize just how freakishly interconnected and meaningful his own work is - only the audience has a God-like insight into the patterns and essence working through this young man.

7/10

[ThatDarnMKS]

Yes, I think that there was a lot to unpack that was hard to process the first time around just because of the shock of the various developments.

I do have to say that the rapid evolution of our understanding of her character from Oh, wow, this woman was nearly a victim of sexual assault and she had to defend herself and how traumatic! TO Oh, okay, this woman is a sociopath and a serial killer. is pretty incredible.

I also was reminded of the documentary The Imposter. Have you seen that one? A French con man in his 20s (or 30s?!) convinced an American family that he was their teenage son who had been abducted years earlier. I wonder if that story was in any way an inspiration to the script.

Her rapidly shifting identity and our rapidly shifting understanding of her is one of the great and most unique things about the film. I struggle to think of anything that’s quite like it. Mulholland Dr. Maybe?

And yes. Absolutely got…

The Imposter vibes. I haven’t had much anyone to discuss that element with because 1) It sort of spoils the doc and movie to bring it up and 2) I don’t know anyone else that’s seen both.

I think it’s a brilliant and bizarre story to pin this tale on and brings up so many questions about willful ignorance and blind love. Really cuts to the truth of what that family must’ve gone through emotionally.

[Fabulous]

The Disciple (2020)

3

https://image.tmdb.org/t/p/original/2EzoQKtxU0rQOhtLbAs8yjG9DGt.jpg

[Wooley]

[CENTER]HALLOWEEN II
(1981, Rosenthal)

https://i.imgur.com/yAwODjL.jpg




What you didn't do here, which I like, is compare Halloween II to the original.
I find that if you compare it to the original, you find it woefully lacking. But if you compare it to the average slasher in 1981, it's actually pretty good, even very good.
So, personally, I enjoy this one.

[mark f]

You Are Not My Mother (Kate Dolan, 2021) 2.5 6/10
Doom Asylum (Richard Friedman, 1987) 2 5/10
Breeder (Jens Dahl, 2020) 2.5 5.5/10
Imagine: John Lennon (Andrew Solt, 1988) 3.5 7/10
https://64.media.tumblr.com/fe845856db01072522eca070ef79b71d/tumblr_o1g0l19rGX1rpduwho1_500.gif
Very personal documentary of John and Yoko's life together, full of home movies, rare interviews and Lennon's voice narrating.
Top of the Heap (Christopher St. John, 1972) 2.5 6/10
Zero Fvcks Given (Julie Lecoustre & Emmanuel Marre, 2021) 2 5/10
Mr. and Mrs. Loving (Richard Friedenberg, 1996) 2.5 6/10
In the Name of the Italian People (Dino Risi, 1971) 3 6.5/10
https://pad.mymovies.it/img/image/?size=500&image=https://pad.mymovies.it/filmclub/2006/05/055/coverlg.jpg
Fascist Vittorio Gassman is thought to have committed a murder, and judge Ugo Tognazzi tries to get to the bottom of it with surprising results.
Desert Command (Armand Schaefer & Colbert Clark, 1946) 2 5/10
Billie (James Erskine, 2019) 3+ 6.5/10
Boltneck AKA Big Monster on Campus (Mitch Marcus, 2000) 2 5/10
Captain Nova (Maurice Trouwborst, 2021) 3 6.5/10
https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AAV7I5P.img?h=0&w=600&m=6&q=60&u=t&o=f&l=f
A fighter pilot from the future returns to save the world's environmental problems but she turns 25 years younger in the process which causes problems.
Tethered (Daniel Robinette, 2022) 2 5/10
Day of the Dead (George A. Romero, 1985) 2.5 6/10
High Yellow (Larry Buchanan, 1965) 2 5/10
Apollo 10 1/2: A Space Age Adventure (Richard Linklater, 2022) 3.5 7/10
http://www.animationscoop.com/wp-content/uploads/2022/04/Apollo1.jpg
The director's animation works well in this cornucopia of '60s pop culture combined with everything NASA, the Cold War, Vietnam and personal dreams a 12-year-old boy might think.
Topside (Celine Held & Logan George, 2020) 2.5 6/10
Barbarians (Charles Dorfman, 2021) 2 5/10
Boon (Derek Presley, 2022) 2.5 6/10
The Jesus Music (Erwin Bros., 2021) 3 6.5/10
https://www.filminquiry.com/wp-content/uploads/2021/11/jesus0-1.jpg
Amy Grant was at the forefront of Christian Contemporary Music. This doc presents a thorough history of it in its many genres, from country, heavy metal, pop, boy band, rap/hip hop and includes references to all the sociological issues occurring from the '60s to now.

[Thief]

What you didn't do here, which I like, is compare Halloween II to the original.
I find that if you compare it to the original, you find it woefully lacking. But if you compare it to the average slasher in 1981, it's actually pretty good, even very good.
So, personally, I enjoy this one.

To be fair, I did mention the original in the full review, although briefly. But overall, I agree. It's a pretty solid slasher.

[Thief]

ATTICA
(2021, Nelson & Curry)

https://i.imgur.com/R5AQIAq.jpg


"See what they did at Attica? Forty-two people they killed. The innocent with the guilty."



Attica chronicles the events surrounding a riot at Attica Correctional Facility in 1971. Sparked by the prisoners requests for better living conditions, it quickly spiraled into a 4-day mess with 40+ hostages and heavy socio-political implications for those involved. The prison had a 75% "black and brown population" at the time, while the guard force was entirely white, and occurring a few years after the civil rights movement, it's expected that racial tension would play heavily into what happened.

To take us in the journey, directors Stanley Nelson and Traci Curry interview former prisoners, employees at the correctional facility, relatives of the hostages, mediators and negotiators, and reporters that covered the event. Not being entirely aware of the events, I really appreciated the way that they unfolded everything until its unfortunate ending. Not every documentary filmmaker has the ability to build up tension as the film progresses, but this is what happens here. You feel the burden of things mounting up, until they inevitably break down.

Grade: 4


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293065#post2293065)

[ThatDarnMKS]

ATTICA
(2021, Nelson & Curry)

https://i.imgur.com/R5AQIAq.jpg




Attica chronicles the events surrounding a riot at Attica Correctional Facility in 1971. Sparked by the prisoners requests for better living conditions, it quickly spiraled into a 4-day mess with 40+ hostages and heavy socio-political implications for those involved. The prison had a 75% "black and brown population" at the time, while the guard force was entirely white, and occurring a few years after the civil rights movement, it's expected that racial tension would play heavily into what happened.

To take us in the journey, directors Stanley Nelson and Traci Curry interview former prisoners, employees at the correctional facility, relatives of the hostages, mediators and negotiators, and reporters that covered the event. Not being entirely aware of the events, I really appreciated the way that they unfolded everything until its unfortunate ending. Not every documentary filmmaker has the ability to build up tension as the film progresses, but this is what happens here. You feel the burden of things mounting up, until they inevitably break down.

Grade: 4


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293065#post2293065)

My pick for best nominated documentary, though Flee and Ascension were also quite good.

[Thief]

I'm going back and forth between a 4 and a 4.5. It was really good.

I'm really curious about Flee and Ascension, so I will probably check them out at some point.

[ThatDarnMKS]

I'm going back and forth between a 4 and a 4.5. It was really good.

I'm really curious about Flee and Ascension, so I will probably check them out at some point.
I like the variety between the three and how they all tackle medium in extremely different but effective ways. Ascension being an example of direct cinema, Attica a talking head, and Flee an animated docudrama.

Writing With Fire was quite solid too.

The only nominee I wasn’t crazy about was the one that won, Summer of Soul.

Attica, while likely the most traditional of the bunch, had such strong subject material and tackles it in such a clear headed and effective way. A clear stance on the subject that manages to feel unmanipulative. Just wonderfully strong meat and potatoes documentary filmmaking but it’s a downer, so I knew it wouldn’t win. Downer docs, no matter how fantastic, never win to the feel good docs.

[matt72582]

Eureka - 7.5/10
Roeg is always going to have a little weirdness, eerie atmosphere, but it works with Gene Hackman. I enjoyed this.

https://upload.wikimedia.org/wikipedia/en/6/60/Eureka_%281983%29.jpg

[crumbsroom]

What you describe is certainly a valid interpretation but I don’t FEEL it. And if I don’t feel it, intentionality becomes a component for me. Did the filmmakers intend for that abstract dive into the nature of fear and horror? Given their other output, which is largely literal minded, I think not.



Now that I'm back home, and not having to rely on my phone losing its connection in a subway tunnel, I can't help but try to rewrite my lost response to this, even though the conversation has obviously moved on (I think Blair Witch is a great gateway film, even if one doesn't like it, to talk about film in ways most films don't let us)



I do think there was some amount of intentionality from the filmmakers here. And I'm not going to look at the later output to make my decision on this. There are lots of one trick ponies in the art world. The makers of Blair Witch are probably just yet another one.


For me the key to Blair Witch is in the beginning. Before they even get to the forest, we are given a number of eye witness accounts. All of which are completely contradictory. Each describes the witch differently in both physical ways and the ways in which she operates. What she is capable of doing. This is simply the prep work one needs to do when then proceeding to send the viewers off into a world where much of what we see is unclear. What Blair Witch asks us to do is to scan the shadows for a glimpse of what frightens us. And what all of that unreliable information we get at the top half of the film does is offer us a grab bag of different terrors we can pick and choose from. The films embrace of the amorphous is both visual as well as narrative. And as a result, they compliment eachother.


But if we don't want to accept this intentionality at all, I still don't think this matters much either (at least for those of us who get on board). Too much is made of intentionality in art as it is. As if every blob of paint Jackson Pollock dribbled 'has' to be exactly there. Or every note shredding in a Black Flag solo, has to have been a product of forethought of how to completely deconstruct a guitar solo.



A great artist should learn to embrace those happy accidents that occassionally come around, simply by chance. John Cassavetes is rightly considered one of the greatest directors in cinema, not because he had plans for his movies to look and move like they ultimately do. But almost the complete opposite of this. What John Cassavetes' great revelation is, was to see the director as someone who creates the environment for things to happen. And then you just wait around to capture them.



The directors of Blair Witch are responsible for the environment they created for their actors. And there is a kind of intentionality in that (if that is what you are still looking for), even if they could not control how their actors would ultimately behave. Because how could they? By design, they frequently weren't even on 'set' to give instructions as to how they wanted their movie to go. Instead, what they did was to mess with the actors sense of what was real and what was not real. And by doing so, they find a way to capture real fear on screen.The fear of this cast is palpable for those receptive to it. And it is unlike all of the fear which we normally see in film (an approximation of what fear looks like).


Now, I don't envy your experience with this movie if it didn't go to these places for you. Because, yes, then the movies really might become more a collection of 'things we picked up off the ground during our hike' and less a horror movie. Twigs and rocks and trees only go so far in making a movie, no matter how much shadow they are surrounded by.



But just like those who don't 'feel' a Jackson Pollock painting, or don't 'feel' a guitar solo that feels like it is more falling apart then building towards something, I don't know how much that lack of feeling is entirely the responsibility of the film. It definitely can share some blame (because no film is critic proof). But sometimes the audience has some responsibility to recalibrate what they are looking for in a piece of art. To let themselves be swept away by its sheer organic force of being what it is, and not look at it as an artifact that provides evidence of how talented or untalented the directors were. Sometimes that is secondary to the actual product.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fgossipnewspoint.com%2Fwp-content%2Fuploads%2F2020%2F06%2Fretaliation-2017-movie-trailer-o.jpg&f=1&nofb=1

Retaliation, 2017

Malky (Orlando Bloom) is an explosively angry man, constantly working through conflicts with his mother (Anne Reid), best friend Jo (Alex Ferns), and girlfriend Emma (Janet Montgomery). As the film goes on and Malky hovers around a local church, it becomes more and more clear that Malky has been a victim of a local priest (James Smillie). Turning his despair and anger inward or outward at his loved ones, Malky must grapple with how to handle his anger and desire for vengeance.

There are some good things happening in this movie, though they are more often than not outweighed by the not-so-good or even (to me) problematic elements.

On the plus side, Bloom makes for a good center of the film. He manages to capture, honestly, the kind of unfocused rage and disquiet that I have seen in real children who have been victims of traumas. He is well supported by Reid as a woman who wants her child to be happy, but also cannot admit to herself what she knows about his past, choosing to suppress her guilt and therefore continually deny the real source of her son's pain. Montgomery is also good as someone who knows she is in an unhealthy holding pattern and wearily accepts that she will somehow always be at fault. Ferns is also enjoyable as someone who lets way too much slide because of the personal debt he owes Malky.

I also, in a broad sense, appreciate the way that the film explores how people who have been through traumatic experiences will turn their anger and helplessness in on themselves, in the form of alienating loved ones, physical self-harm, addiction, and self-isolation. Further, there is little that his loved ones can do to help him because he will not disclose the reason for his emotional turmoil and pain.

As to the ultimate message, I was a bit mixed. On one hand, do I think that someone who has been a victim of sexual abuse/assault has some sort of moral obligation to disclose that fact? Absolutely not. I was okay with the idea that Malky needs to make peace with what happened to him, and that forgiving the man that abused him was a part of finding that closure. Fine.

But the movie wants to have things both ways, and that really bugged me. Okay, so Malky forgives the priest and ultimately does not kill him. He chooses to walk away and try to live his life free of the burden of needing revenge.

HOWEVER! This choice comes with consequences! His abuser is still in a position of power and he still, we are reminded many times, has access to young children both in his job and in the form of nieces and nephews. Statistically speaking, people who commit sexual assault/abuse do not tend to stop with one victim--they are chronic offenders.

This is a harsh reality of Malky choosing not to disclose his abuse and not to take any further action. It's something that, frankly, would fit with the bleak vibe of the film.

And yet the movie just can't let that sit, choosing instead the absurd ending that Malky's forgiveness has weighed so heavily on the priest that he sets himself on fire in a field behind his family's home during his niece's birthday party. The final 20 or so minutes are also heavy with the message that we should be kind to our enemies, because God will sort everything out in the end.

To me, this is a bunch of crap, and it's actually the kind of thinking that allows abusers to flourish and persist in their crimes. In a film that has been pretty upfront about the realities of living with the aftermath of abuse, the film tying everything up in a pretty little bow feels borderline offensive..

There was certainly potential here, but it shoots itself in the foot going into the last act.

3

[Torgo]

High and Low - 5

This is an excellent police procedural that I would describe as complete. It does for kidnappings what The Day of the Jackal does for assassinations for how detailed it is about every stage of the story. I like how it deglamorizes police work for the way it shows how all-consuming, detail-dependent and sometimes thankless the profession is. I think it would be a good movie to watch for anyone who would want to do that kind of work for a living. This definitely doesn't mean the movie makes it boring, though. Also, with its wide-angled cinematography, use of real Yokohama locations and real people - the passengers on a train scene are actual passengers - it looks and feels authentic, not to mention provides a visual feast. The movie is old, but with the exception of some sexism here and there, it's not dated. Its theme of the hardly steady relationship between rich and poor make it especially relevant today.

[ThatDarnMKS]

Now that I'm back home, and not having to rely on my phone losing its connection in a subway tunnel, I can't help but try to rewrite my lost response to this, even though the conversation has obviously moved on (I think Blair Witch is a great gateway film, even if one doesn't like it, to talk about film in ways most films don't let us)



I do think there was some amount of intentionality from the filmmakers here. And I'm not going to look at the later output to make my decision on this. There are lots of one trick ponies in the art world. The makers of Blair Witch are probably just yet another one.


For me the key to Blair Witch is in the beginning. Before they even get to the forest, we are given a number of eye witness accounts. All of which are completely contradictory. Each describes the witch differently in both physical ways and the ways in which she operates. What she is capable of doing. This is simply the prep work one needs to do when then proceeding to send the viewers off into a world where much of what we see is unclear. What Blair Witch asks us to do is to scan the shadows for a glimpse of what frightens us. And what all of that unreliable information we get at the top half of the film does is offer us a grab bag of different terrors we can pick and choose from. The films embrace of the amorphous is both visual as well as narrative. And as a result, they compliment eachother.


But if we don't want to accept this intentionality at all, I still don't think this matters much either (at least for those of us who get on board). Too much is made of intentionality in art as it is. As if every blob of paint Jackson Pollock dribbled 'has' to be exactly there. Or every note shredding in a Black Flag solo, has to have been a product of forethought of how to completely deconstruct a guitar solo.



A great artist should learn to embrace those happy accidents that occassionally come around, simply by chance. John Cassavetes is rightly considered one of the greatest directors in cinema, not because he had plans for his movies to look and move like they ultimately do. But almost the complete opposite of this. What John Cassavetes' great revelation is, was to see the director as someone who creates the environment for things to happen. And then you just wait around to capture them.



The directors of Blair Witch are responsible for the environment they created for their actors. And there is a kind of intentionality in that (if that is what you are still looking for), even if they could not control how their actors would ultimately behave. Because how could they? By design, they frequently weren't even on 'set' to give instructions as to how they wanted their movie to go. Instead, what they did was to mess with the actors sense of what was real and what was not real. And by doing so, they find a way to capture real fear on screen.The fear of this cast is palpable for those receptive to it. And it is unlike all of the fear which we normally see in film (an approximation of what fear looks like).


Now, I don't envy your experience with this movie if it didn't go to these places for you. Because, yes, then the movies really might become more a collection of 'things we picked up off the ground during our hike' and less a horror movie. Twigs and rocks and trees only go so far in making a movie, no matter how much shadow they are surrounded by.



But just like those who don't 'feel' a Jackson Pollock painting, or don't 'feel' a guitar solo that feels like it is more falling apart then building towards something, I don't know how much that lack of feeling is entirely the responsibility of the film. It definitely can share some blame (because no film is critic proof). But sometimes the audience has some responsibility to recalibrate what they are looking for in a piece of art. To let themselves be swept away by its sheer organic force of being what it is, and not look at it as an artifact that provides evidence of how talented or untalented the directors were. Sometimes that is secondary to the actual product.

What you’re describing as intentionality strikes me as a fluke (which is why I brought up their other films). They don’t seem to be aiming for some philosophical probing of the unknown but rather the substantially smaller goal of feeling like you’re lost in the woods.

This isn’t inherently a bad thing but it necessitates the same level of skill and planning as numerous other poor horror films that fell apart with comparable goals and materials.

It undercuts my willingness to “meet them” when it doesn’t affect me because I see very little that they did to make me want to. Cassavettes meticulously planned and rehearsed with his actors and SCRIPTED all of his films except for Shadows, so he’s hardly helping the point, as his body of work shows an artist of enormous skill and talent that could even make solid studio work (A Child Is Waiting).

Similarly, a guitar solo implies similar virtuosity. Even when not impacted emotionally, I can appreciate that.

The Blair Witch is the technical accomplishment of playing chopsticks on a Casio with a blown out speaker. I mean, I could comment on how unsettling and discordant that bassy rattle is but… I won’t.*

So if you’re going to imply that my reaction is out of an intellectual laziness in approaching the film, I’ll go right back to assuming you got swept up in the hype alongside everyone else and got scared because it could’ve been “real.”

[crumbsroom]

So if you’re going to imply that my reaction is out of an intellectual laziness in approaching the film, I’ll go right back to assuming you got swept up in the hype alongside everyone else and got scared because it could’ve been “real.”


Um, no. But now I might assume that if you're reading an accusation of intellectual laziness out of what I wrote


EDIT: Also, it should be stated this isn't something I've written to convince you as to why you should like it. Or that you're obligated to fall under its spell. Only a key to understanding why others, like myself, find legitimately critical value in it. As a piece of art. As an experiment. As the product of a unique approach to what a horror film can be, that rejects all previous formalistic requirements of the genre. I'm sure if you could be bothered, you could write a completely fair take down of what you don't like about the film. But, at the same time, you could never write enough to back up your initial claims that (basically) those who liked it were suckers, and that those who defend it are hiding behind the films 'critic proofing'. If there has been any shade in discussing this film, you might think to consider the opening shots you began the discussion with.

[ThatDarnMKS]

Um, no. But now I might assume that if you're reading an accusation of intellectual laziness out of what I wrote


EDIT: Also, it should be stated this isn't something I've written to convince you as to why you should like it. Or that you're obligated to fall under its spell. Only a key to understanding why others, like myself, find legitimately critical value in it. As a piece of art. As an experiment. As the product of a unique approach to what a horror film can be, that rejects all previous formalistic requirements of the genre. I'm sure if you could be bothered, you could write a completely fair take down of what you don't like about the film. But, at the same time, you could never write enough to back up your initial claims that (basically) those who liked it were suckers, and that those who defend it are hiding behind the films 'critic proofing'. If there has been any shade in discussing this film, you might think to consider the opening shots you began the discussion with.

I was laying bare that your statement about my responsibility (or failure) to meet them partway could easily be as interpreted as your inference that the only reason anyone liked it were suckers and conned by “critic proofing.”

As I’m sure you’ve done more than enough analysis to justify your initial emotional reaction to the film, I’ve gone out of my way to understand why people loved the film.

I’ve tried to meet the film where I failed to connect emotionally to it and as I’ve said, I don’t see a whole lot to value outside of that emotional reaction.

I will stand by the community experience, largely impacted by the marketing teams decision to sell this as “real,” did greatly intensify that emotional response though. Just look at virtually every response contrary to my own in this thread as evidence. I’m not even saying that is a negative, as it worked extremely well for a lot of people and gave them the desired experience the filmmakers set out to create. I’m not even convinced that has less value than something without the film itself.

But it DID have a great impact and is inextricable from assessing why the film became a phenomenon.

On a filmmaking level, it’s comparable to Clerks. If you don’t find Smith’s film funny, there’s not much to like beyond the can do achievement of making a film for nothing. It’s a great accomplishment and interesting on a production front (which is where a lot of my appreciation for BW comes from) but it doesn’t make Smith’s shots any less point and shoot.

[matt72582]

The Osterman Weekend - 7.5/10
Today, I saw a movie also with Rutger Hauer by chance, in "Eureka", which was also good, but both movies have low scores. I didn't know "Eureka" did until after, but I did know about this movie because I'm a fan of Peckinpah (more him than his work) and this was the only movie of his I haven't seen. I wonder if Burt Lancaster was cast in the role he was in because of the role he was in during "Seven Days In May". It's too bad Peckinpah died soon after this.


https://upload.wikimedia.org/wikipedia/en/5/59/The_Osterman_Weekend_movie.jpg

[crumbsroom]

I was laying bare that your statement about my responsibility (or failure) to meet them partway could easily be as interpreted as your inference that the only reason anyone liked it were suckers and conned by “critic proofing.”


It is a failure on your part not to meet Blair Witch part way, just like it is a failure on my part not to meet Babydriver part way. When you are a fan of a film, and you are not simply a passive fan and actually have ways to defend what the film is doing that aren't just horseshit, those who dismiss those merits have 'failed' the film. Now, just like you've probably settled on however you feel about BW, and I have certainly settled on how I feel about BD, we have both accepted our mutual failures, because these are films which are not designed to satisfy our particular aesthetic or thematic or whatever ideas of what makes art worthwhile.



I come from a point of view where I hold defiantly experimental and avant garde expression in very high regard. I like artists who make us question what art is, what beauty is, what narrative is, what form is. And I find an awful lot of conceptual underpinnings in BW that make it a great work of art in these respects, even if we want to accept what it got on camera was a fluke (which I don't, but that is beside the point).


So you are not a failure for not wanting to appreciate it under this very particular kind of lens. Most people don't. And I imagine even a lot of ardent fans of the film don't either. But what I am saying is that if you ever get to the point where these positions I have on art have any kind of serious value to you, I'm pointing to where you can find these values in Blair Witch.


I’ve tried to meet the film where I failed to connect emotionally to it and as I’ve said, I don’t see a whole lot to value outside of that emotional reaction.
As I have repeatedly stated, you don't have to. It's a work that requires one to have an emotional reaction. And I get why it doesn't do that for you. But I feel you keep sniffing around the point that because others do have that emotional reaction, you are holding them suspect for it, because you didn't. Which is at the very least weird, and at worst, wildly solipsistic.


On a filmmaking level, it’s comparable to Clerks. If you don’t find Smith’s film funny, there’s not much to like beyond the can do achievement of making a film for nothing. It’s a great accomplishment and interesting on a production front (which is where a lot of my appreciation for BW comes from) but it doesn’t make Smith’s shots any less point and shoot.
I'd say it is doing a lot more than what Clerks does. It's obviously not an artfully made film in any traditional sense, as the camera people (as far as I know) are not trained as camera people. They are simply documenting their experience. But the way in which the film is put together outside of how it was shot is where the film works its magic. A lot of people may have been given the exact same raw footage to work with, and they would not have gotten the results that the directors of BW did. Most people putting this footage together would have been left with a completely unwatchable mess that even I wouldn't be able to defend.


And even though I am no great fan of Kevin Smith, and his approach is very much 'point and shoot', I hesitate to say such an approach leaves a film without any value if we don't find it (in this case) funny. I believe that stripping a film away from all of its stylistic accoutrements, as Smith usually does, can leave an awful lot of things bare for an audience to consider in different ways. And while I don't find Clerks funny (I briefly did, but not anymore), it is the only film he made I think back on somewhat fondly. And it's not so much the laughs I once had with it, but more its eschewing of the pretense that we need to bring more camera skill to the table, if all a director wants is to document average, working class people talking. Relating to eachother in the most basic of ways. **** framing, and blocking and lighting, when all that is desired is this most basic of things. Communication. There is something even slightly revolutionary about Smiths lazy approach here.



That said, Kevin Smith still sucks the bag though.

[WHITBISSELL!]

https://mikestakeonthemovies.files.wordpress.com/2018/12/cooper-beery.jpg?w=563&h=317
https://mikestakeonthemovies.files.wordpress.com/2018/12/cooper-and-lewis-stone.jpg?w=556&h=421

Treasure Island - 1934 kind of swashbuckler based on Robert Louis Stevenson's classic, first published as a novel in 1883. It's directed by Victor Fleming who would go on to helm Gone with the Wind and The Wizard of Oz among others. I say kind of swashbuckler because only a portion of the film takes place on the high seas. Young Jim Hawkins (Jackie Cooper) helps his widowed mother run the Admiral Benbow Inn near the Bristol Channel in England. One day a peculiar old man named Billy Bones (Lionel Barrymore) shows up at the Inn. Jim befriends him and Bones pays Jim to keep an eye out for any strangers who might come looking. Soon enough all manner of desperadoes start showing up. Bones decides he'd rather go sleep with the fishes and Jim and his cash strapped mother look through his belongings to settle his sizable bill.

They find a map and it's only when Jim takes it to Dr. Livesey (Otto Kruger) and Squire Trelawney (Nigel Bruce) that he discovers it's a treasure map with the location of a hoard of plunder once belonging to notorious pirate Captain Flint. They decide to hire and outfit a sailing vessel to go after the treasure and Jim runs across a one legged man who introduces himself as Long John Silver (Wallace Beery). This is way before he started his chain of seafood restaurants so he's looking for work and finagles his way onto the ship as cook. He also surreptitiously manages to get most of his crew hired on. He's a brigand himself and has been after Billy Bones, the map and Captain Flint's treasure for quite some time.

This was filmed right around the same time as The Informer but unlike that film I didn't have any problem with the way that Stevenson's book was portrayed onscreen. The pirates were piratey without coming off as caricatures. And this is saying something for this early a portrayal of the rough, bloodthirsty seagoing marauders. There's been countless movies made since then but it didn't seem dated.

Beery kind of chews the scenery and there are moments when you can see how he's bothered by Cooper's overly emotive style. I spotted a couple of times when he stepped on Cooper's delivery and according to some of the anecdotal evidence the two didn't get along all that well. I did think Cooper's child actor hamminess was a bit distracting but it didn't end up affecting the overall quality of the finished product. This was originally conceived as a serialized children's adventure and to get the optimal mileage it should be viewed and judged as such.

80/100

[ThatDarnMKS]

It is a failure on your part not to meet Blair Witch part way, just like it is a failure on my part not to meet Babydriver part way. When you are a fan of a film, and you are not simply a passive fan and actually have ways to defend what the film is doing that aren't just horseshit, those who dismiss those merits have 'failed' the film. Now, just like you've probably settled on however you feel about BW, and I have certainly settled on how I feel about BD, we have both accepted our mutual failures, because these are films which are not designed to satisfy our particular aesthetic or thematic or whatever ideas of what makes art worthwhile.



I come from a point of view where I hold defiantly experimental and avant garde expression in very high regard. I like artists who make us question what art is, what beauty is, what narrative is, what form is. And I find an awful lot of conceptual underpinnings in BW that make it a great work of art in these respects, even if we want to accept what it got on camera was a fluke (which I don't, but that is beside the point).


So you are not a failure for not wanting to appreciate it under this very particular kind of lens. Most people don't. And I imagine even a lot of ardent fans of the film don't either. But what I am saying is that if you ever get to the point where these positions I have on art have any kind of serious value to you, I'm pointing to where you can find these values in Blair Witch.



As I have repeatedly stated, you don't have to. It's a work that requires one to have an emotional reaction. And I get why it doesn't do that for you. But I feel you keep sniffing around the point that because others do have that emotional reaction, you are holding them suspect for it, because you didn't. Which is at the very least weird, and at worst, wildly solipsistic.



I'd say it is doing a lot more than what Clerks does. It's obviously not an artfully made film in any traditional sense, as the camera people (as far as I know) are not trained as camera people. They are simply documenting their experience. But the way in which the film is put together outside of how it was shot is where the film works its magic. A lot of people may have been given the exact same raw footage to work with, and they would not have gotten the results that the directors of BW did. Most people putting this footage together would have been left with a completely unwatchable mess that even I wouldn't be able to defend.


And even though I am no great fan of Kevin Smith, and his approach is very much 'point and shoot', I hesitate to say such an approach leaves a film without any value if we don't find it (in this case) funny. I believe that stripping a film away from all of its stylistic accoutrements, as Smith usually does, can leave an awful lot of things bare for an audience to consider in different ways. And while I don't find Clerks funny (I briefly did, but not anymore), it is the only film he made I think back on somewhat fondly. And it's not so much the laughs I once had with it, but more its eschewing of the pretense that we need to bring more camera skill to the table, if all a director wants is to document average, working class people talking. Relating to eachother in the most basic of ways. **** framing, and blocking and lighting, when all that is desired is this most basic of things. Communication. There is something even slightly revolutionary about Smiths lazy approach here.



That said, Kevin Smith still sucks the bag though.

I wouldn’t call either of our misgivings about either film “failures” though. Merely unfortunate outcomes of subjective values being applied, as I don’t think you’ve failed to consider the technical merits of Baby Driver but rather that you don’t value them in the face of narrative and stylistic elements that you detested.

I mean, I think you’re wrong, but it’s rather a matter of taste than inequity. It’s not as though you called Baby Driver a lazily made film, which would reflect a failure to understand filmmaking on even the most basic formal level.

Your description of Smith and Clerks IS my point though. Your crafting an evaluation of Smith’s aesthetic that comes from inability rather than intent because there’s not much to gather from the film since it doesn’t engage you on the intended emotional level. I agree there IS value in that but my issue comes back to is that MUCH value? Or rather is it ENOUGH value to think the film is “very good.”

As with Blair Witch, I *like* Clerks as well (though also fear I’ve grown past finding it funny). But also similar I find myself without much to take away from it beyond fascination of low budget production and the anomaly of its soaring success and impact on the industry. They are certainly IMPORTANT films and people still find Clerks hilarious.

But neither have me cackling or hiding under the covers and the best I can try to do is understand why my square peg doesn’t stuff their round holes.

[Takoma11]

High and Low - 5

This is an excellent police procedural that I would describe as complete. It does for kidnappings what The Day of the Jackal does for assassinations for how detailed it is about every stage of the story. I like how it deglamorizes police work for the way it shows how all-consuming, detail-dependent and sometimes thankless the profession is. I think it would be a good movie to watch for anyone who would want to do that kind of work for a living. This definitely doesn't mean the movie makes it boring, though. Also, with its wide-angled cinematography, use of real Yokohama locations and real people - the passengers on a train scene are actual passengers - it looks and feels authentic, not to mention provides a visual feast. The movie is old, but with the exception of some sexism here and there, it's not dated. Its theme of the hardly steady relationship between rich and poor make it especially relevant today.

It is one of my all-time favorites and often sits at the #1 position on my all-time list.

[matt72582]

If you've ever seen a movie after seeing it posted here, give me a "rep"

(clicking the thumbs-up button for those who are new here)


I can't do it to myself, but I've seen dozens of movies from this thread, Sometimes all it took was a poster, and in both cases, they were both great!

[Hey Fredrick]

https://www.mntnfilm.com/img/cache/13712-poster-s-cliffhanger-1993-73238-o-.jpg

I enjoyed this awful movie. Realism just got chucked out the window and this movie is awesome because of it. I actually thought Stallone was going to win a tug of war with a helicopter, just pull it right out of the sky with his massive pipes as it's trying to escape, because why not? I had been conditioned to believe anything was possible in the Cliffhanger world. rating_4 on entertainment value.

[Torgo]

It is one of my all-time favorites and often sits at the #1 position on my all-time list.Opinion: validated. :cool:

It's still neck and neck with Ran and Seven Samurai for my favorite Kurosawa, but this one is easily in my top five. It could be my favorite non-samurai movie of his (granted, I haven't seen Ikiru).

Scene that hit hardest for you? It's the ending for me. I'm still replaying it in my head, especially the line "it's amusing to make fortunate men taste the same misery as the unfortunate." What a performance by Tsutomo Yamazaki.

[Kayden Kross]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.pinimg.com%2Foriginals%2Fbb%2F3e%2F6f%2Fbb3e6fa5418e0f03c70f57a153e9f037.jpg&f=1&nofb=1
La Collectionneuse (1967, Éric Rohmer)
rating_5
I especially liked the dialogue in this - such a brilliantly written film.
And, needless to say, Nestor Almendros' cinematography is just marvelous.


The "French summer" is one of my most favourite things ever, and from what I've seen of Rohmer, he does it best. The sun bleached aesthetic, the quiet sounds of the country... I find it very calming, almost nostalgic for a youth I'm not sure I even had.

[Takoma11]

Opinion: validated. :cool:

It's still neck and neck with Ran and Seven Samurai for my favorite Kurosawa, but this one is easily in my top five. It could be my favorite non-samurai movie of his (granted, I haven't seen Ikiru).

I absolutely LOVE mystery/thriller films. I've actually seen both High and Low and Seven Samurai on the big screen (thank you, Brattle Theater!), and the latter was absolutely stunning in that format. But High and Low combines great performances, the kind of thriller story with a sociological edge that I adore, and several super memorable sequences.

Scene that hit hardest for you? It's the ending for me. I'm still replaying it in my head, especially the line "it's amusing to make fortunate men taste the same misery as the unfortunate." What a performance by Tsutomo Yamazaki.

Honestly, the ending is pretty stellar. But the train sequence is also epic and I've seen it copied straight up several times (including, for example, Along Came a Spider).

I also really love the part where they are tracking where the phone calls were made, including figuring out the specific sound of the trolley car.

[Thief]

HALLOWEEN III
SEASON OF THE WITCH
(1982, Wallace)

https://i.imgur.com/bzHnU4J.jpg


"You don't really know much about Halloween. You thought no further than the strange custom of having your children wear masks and go out begging for candy."



Halloween III: Season of the Witch follows Dan Challis (Tom Atkins), a doctor who finds himself in the middle of a deadly plot that involves a mysterious novelty company and its owner, Conal Cochran (Dan O'Herlihy). Dan doesn't know what at first, but something's going down on Halloween night, and it has nothing to do with Michael Myers.

Season of the Witch ended up being quite an effective thrill ride. Not only does it ditch the Myers storyline, but also leans more towards some scifi elements (androids) and the occult, than it does to typical slashers, and that angle is more my jam. Putting aside how ludicrous it is that a regular doctor ends up ensnared in all this mess as if he was a detective, the film does a great job of handling tension, creating atmosphere, and building tension, with some neat kills to boot.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293224#post2293224)

[Deschain]

https://www.mntnfilm.com/img/cache/13712-poster-s-cliffhanger-1993-73238-o-.jpg

I enjoyed this awful movie. Realism just got chucked out the window and this movie is awesome because of it. I actually thought Stallone was going to win a tug of war with a helicopter, just pull it right out of the sky with his massive pipes as it's trying to escape, because why not? I had been conditioned to believe anything was possible in the Cliffhanger world. rating_4 on entertainment value.

Watched this all the time as a kid. Definitely one of the more fun Die Hard ripoffs of the ‘90s. Michael Rooker is in it!

[crumbsroom]

Your description of Smith and Clerks IS my point though. Your crafting an evaluation of Smith’s aesthetic that comes from inability rather than intent because there’s not much to gather from the film since it doesn’t engage you on the intended emotional level. .


Smith's inability to craft a movie in the mould that me or you would want it to be crafted, does not equate to Smith's inability to make the kind of film he wants to make. We can argue he set his bar low, but his disinterest in fussing over learning the technicalities of his craft, is what gives his films their seeming honesty and clarity of purpose. And I would argue, for many of the films fans, laughing is not a necessity to loving the movie. Smith has made a movie where there is no buffer between the audience and his characters. They see themselves in their lives and their conversations. I think this was his intent, just as much as making people laugh. Maybe even more so. And in that way it succeeds (even though not so much with me, and very much so not with me as he continued with everything else he did, as I am very much on record thinking he is one of the worst filmmakers of his generation...for what I want)

[Fabulous]

Rose Island (2020)

3.5

https://image.tmdb.org/t/p/original/aWPWCeihRraZayNOcZVnq5dXFwX.jpg

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/f/fa/Annette_poster.jpg
By Studio and or Graphic Artist - [1], Fair use, https://en.wikipedia.org/w/index.php?curid=67815964

Annette - (2021)

I feel a little uncertainty in rating this musical, as I still don't feel I have a good grasp on it's music and how it fits the narrative - sometimes it feels like a camera was directed at Adam Driver and Marion Cotillard and Leos Carax just asked them to sing - but that's how I often feel about musicals where just about every line is sung. I have a preference for musicals with songs and normal dialogue in them. Visually, Annette is pretty satisfying, and I never get tired of watching Adam Driver performing - he's outstanding here. Good to see Marion Cotillard is getting decent roles. I remember watching Holy Motors when it came out - because it was being talked about quite a bit, but I can only remember my general impression of it - appreciably strange while not quite being my thing. That's one I'd really like to see again to see where it stands with the me of today. But Annette? I don't think it will make my spirit soar on my best day with a better appreciation of the music. It's a little dour on the whole - but has it's moments. I thought the puppet was a nice touch.

6.5/10

[Chypmunk]

86529







.Deep Blue Sea (Renny Harlin, 1999)
Just as enjoyable now as it was back then
. . . . . . . rating_2+

[xSookieStackhouse]

Watched this all the time as a kid. Definitely one of the more fun Die Hard ripoffs of the ‘90s. Michael Rooker is in it!
i remember seeing on imdb that they gonna remake it D= they should leave the original movies alone

[honeykid]

[CENTER]HALLOWEEN III
SEASON OF THE WITCH
(1982, Wallace)

Grade: 3.5

I love seeing a decent rating for this. :cool:

[Thief]

I love seeing a decent rating for this. :cool:

I really think I would be willing to go as high as a 4. But rating aside, I'm very positive about it.

[matt72582]

Robin's Wish - 10/10
When I went to type this up, I typed in "Robin's Wife" - which is very fitting. It's very good. Features his closest friends, too.

Very surprised this only has a thousand something ratings on IMDB, especially because it's available multiple places, and is two years old.


If you want to see it for free, it's on Peacock, which you can access through Comcast. Also free on Kanopy.
https://www.youtube.com/watch?v=uX3wNWEV13o

[Gideon58]

https://m.media-amazon.com/images/M/MV5BYjQ5ZjQ0YzQtOGY3My00MWVhLTgzNWItOTYwMTE5N2ZiMDUyXkEyXkFqcGdeQXVyNjUwMzI2NzU@._V1_.jpg


3.5

[Gideon58]

Robin's Wish - 10/10
When I went to type this up, I typed in "Robin's Wife" - which is very fitting. It's very good. Features his closest friends, too.

Very surprised this only has a thousand something ratings on IMDB, especially because it's available multiple places, and is two years old.


If you want to see it for free, it's on Peacock, which you can access through Comcast. Also free on Kanopy.
https://www.youtube.com/watch?v=uX3wNWEV13o


I LOVED this movie.

[Gideon58]

https://m.media-amazon.com/images/M/MV5BNmEwNDU2NGYtMzM3Yy00N2E5LTg0ODQtODYyODFlMDU0YzI0XkEyXkFqcGdeQXVyODc0OTEyNDU@._V1_.jpg


2.5

[Thief]

ROBIN ROBIN
(2021, Ojari & Please)

https://i.imgur.com/Iaej9WB.jpg


"I think I'm a terrible mouse"



Robin Robin follows a young robin bird (Bronte Carmichael) raised by a family of mice. As she grows up, her differences start to interfere with their ability to sneak into "who-man's" houses. However, she is determined to prove to her family that she's not a terrible mouse by stealing a shiny star from a Christmas tree.

This adorable short film was developed by Aardman Animations and uses the same stop-motion animation that they popularized with the Wallace and Gromit series. It also features some great voice work from Richard E. Grant as a friendly magpie that helps Robin, and Gillian Anderson as the cat that threatens her. The main song is also catchy as hell.

Despite a relative short runtime, I love how the short develops the theme of identity and how to make the most of your differences. After all, Robin *is* a bird, but that's not a handicap for her to love her mice family and for them to love her back. Moreover, her journey teaches her how to embrace who she is, while also being a part of her mice family.

Grade: 4

[crumbsroom]

HALLOWEEN III
SEASON OF THE WITCH
(1982, Wallace)

https://i.imgur.com/bzHnU4J.jpg




Halloween III: Season of the Witch follows Dan Challis (Tom Atkins), a doctor who finds himself in the middle of a deadly plot that involves a mysterious novelty company and its owner, Conal Cochran (Dan O'Herlihy). Dan doesn't know what at first, but something's going down on Halloween night, and it has nothing to do with Michael Myers.

Season of the Witch ended up being quite an effective thrill ride. Not only does it ditch the Myers storyline, but also leans more towards some scifi elements (androids) and the occult, than it does to typical slashers, and that angle is more my jam. Putting aside how ludicrous it is that a regular doctor ends up ensnared in all this mess as if he was a detective, the film does a great job of handling tension, creating atmosphere, and building tension, with some neat kills to boot.

Grade: rating_3_5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293224#post2293224)


Even with its ever growing cult status, this movie always needs more fans. If only to drown out the disbelievers. And their horrible horrible wrongness.


It's not only one of the best sequels in horror history, it's one of the better mainstream horror movies of the 80's. It might not be perfect, but I also don't want it to be. I like how admirably it tries to be a movie that might have stood a chance at being a box office success, regardless of what an impossibly strange, and at times completely uncompromising thing that it is.

[Thief]

Even with its ever growing cult status, this movie always needs more fans. If only to drown out the disbelievers. And their horrible horrible wrongness.


It's not only one of the best sequels in horror history, it's one of the better mainstream horror movies of the 80's. It might not be perfect, but I also don't want it to be. I like how admirably it tries to be a movie that might have stood a chance at being a box office success, regardless of what an impossibly strange, and at times completely uncompromising thing that it is.

Agree. I remember seeing it back when I was a kid/teen and still had the image of the kid with the mask and all the creepy crawlies slithering out... but I hadn't seen it since probably early 90s, or maybe even before. It was a treat to rewatch it.

[Stirchley]

https://m.media-amazon.com/images/M/MV5BNmEwNDU2NGYtMzM3Yy00N2E5LTg0ODQtODYyODFlMDU0YzI0XkEyXkFqcGdeQXVyODc0OTEyNDU@._V1_.jpg


2.5

This got such terrible reviews, but I’m gonna watch it & I think I will like it. :)

[Allaby]

Bedtime Story (1964) Marlon Brando and David Niven are fantastic as two competing, scheming con men. The film was later remade as Dirty Rotten Scoundrels. Recommended. 4

[Gideon58]

https://flxt.tmsimg.com/assets/p4655_p_v8_aa.jpg


4

[Gideon58]

Bedtime Story (1964) Marlon Brando and David Niven are fantastic as two competing, scheming con men. The film was later remade as Dirty Rotten Scoundrels. Recommended. 4


I didn't rate it as high as you, but I really liked this movie...Brando was terrific.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/a/a0/Who_Do_You_Think_I_Am_poster.jpg
By The poster art can or could be obtained from the distributor Diaphana Films., Fair use, https://en.wikipedia.org/w/index.php?curid=63973505

Who You Think I Am - (2019)

When you have Juliette Binoche playing a French literary professor (Claire) the last thing you expect is for her to start acting as crazy as a loon, but that's what happens in Who You Think I Am - a film that has me pondering the correct usage for the word : catfish. She's fiddling around with her younger boyfriend's facebook when she spots an even younger roommate of his and friends him - when they start chatting they get along and she sends him the picture of some 18 year-old sweetheart when he asks for one. As she gets in deeper and they both start falling in love, you know that pressure is going to build. As she spills more revelations to her psychologist it becomes clear something is very wrong with Claire, and tragic results aren't far away - with all the lies catching up with her. Having enjoyed the documentary Catfish so much I was fascinated by the inside glimpse you get here of a perpetrator, their psychology and the trauma they set up for themselves and their victim. By the end you end up having sympathy for Claire - you find out why she's such a broken person and has done what she's done.

7/10

[Fabulous]

Words on Bathroom Walls (2020)

3

https://image.tmdb.org/t/p/original/q7z2kKGeAfkKQx6cmb4pFcEEkME.jpg

[xSookieStackhouse]

I have just watched sonic the hedgehog on 123movies free website. This is really cool movie :D
that website is full of viruses and scams. make sure watch sonic the hedgehog 2 also

[StuSmallz]

The Good, The Bad, And The Ugly (Leone, '66)

https://i.ibb.co/Jq57BMB/gbu3.jpg

Two hundred thousand dollars is a lot of money... we're gonna have to earn it.

It may be difficult, or even near impossible to believe now, but there was a time when The Good, The Bad, And The Ugly wasn't really regarded as a great movie, at least when you look at the initial critical reaction to it. And upon hearing that, some of you may wonder, "How can that be? After all, wasn't it a genre-defining classic, and one of the greatest Westerns ever made?". Well, to put it in my own words, I'd say that TGTB&TU didn't so much as define the Western in the first place, but helped to redefine the genre, after Hollywood had spent decades building the myth of a relatively sanitized, morally black-and-white vision of the American frontier. So given that background, it's no surprise that some critics were hostile to the film, as part of a larger bias against Spaghetti Westerns in general; after all, who was Sergio Leone and these other "Eyetalian" filmmakers to tear down their memory of the West from the outside, tarnishing the image of the most quintessentially American genre? However, it's precisely that kind of cultural vandalism that helped distinguish the film in the first place, allowing it to become not just one of the greatest Westerns, but also just one of the greatest movies of all time, in my humble opinion.

This is clear right from the first few seconds of the movie, as a wide shot of a vast, sun-baked desert, the kind of scenery that you could see in any number of Westerns, suddenly becomes an uncomfortably tight close-up of an ugly, sweaty man as he unexpectedly lumbers into frame, showing us the literal face of the "real" West, or at least Leone's unique vision of it, as he will continue to reenvision its familiar iconography for his own purposes here. It's an aesthetic that's both highly dynamic, and as gritty as the grain on the print itself, as the locations here are universally rough and shabby, with nary a sanitary soundstage in sight, as live flies constantly buzz around, and we see a never-ending Mount Rushmore of various sweat, grime (and occasionally blood)-covered faces in great detail, creating what is still the filthiest-looking vision of the American West I've seen on film.

This dirty feeling isn't just limited to the film's visuals, however, as it also extends to the main characters and their lack of traditional morality, with Lee Van Cleef's Angel Eyes ("The Bad") murdering multiple people, including a child, in just his first few scenes, Eli Wallach's Tuco ("The Ugly") living as a crafty, motor-mouthed Mexican bandito, wanted for at least a dozen different crimes in just as many counties, while Clint Eastwood's gunslinging Blondie (the so-called "Good") is motivated purely by personal financial gain, and only does one truly good thing the entire movie (and even that is still partly to benefit himself). A more accurate title would be The Morally Ambivalent, The Really Bad, And The Almost Just As Bad, but that's a big part of why the film has held up so well over half a century since its original release; it doesn't exist in order to justify some outdated, self-aggrandizing myth of "Manifest Destiny", but in order to present a darker, harsher portrayal of the West, one that feels more honest than many of its cleaner predecessors, regardless of how uncomfortable some may have been with that at the time.

Besides that, The Good, The Bad, And The Ugly is also exemplary for Leone's amazing overall direction of it, as it serves as a sort of culmination of his career up that point, taking the comparatively smaller scales of the previous Dollars films, and majorly upping the scope in its depiction of the mad, elaborate dash for treasure that is the central plot, both setting the stage for the director's future epics, while also serving as the all-time peak in his impressive body of work. However, while you may picture historical figures having dull, stuffy conversations in ornately decorated rooms when you think of epics, TGTB&TU is an epic that keeps its overall sense of fun from lagging, even with its 2 & 1/2+ hour runtime, as there are plenty of moments of levity, lots of colorful dialogue, and a generally playful mood, as seen in a great moment when a "Confederate" soldier brushes himself off to reveal the blue uniform beneath an accumulation of grey dust, before a sudden cut reveals our protagonists having been taken as prisoners of war in a Union Army camp.

In all honesty, this might just be the most purely entertaining movie I've ever seen, and even watching it now, twenty years after my original viewing, I found myself enjoying myself just as much as I did the first time, with so many moments here constantly bringing a faint smile upon my face, giving me the same exact sensations I felt when I was fourteen. I mean, Ennio Morricone's score by itself is fantastic, and about as iconic as movie music gets (and I'm not just talking about the "coyote yell" of the main theme, either), but how well it's used to underscore the onscreen action here? It's just glorious, glorious filmmaking all-around, resulting in an experience that's pretty much as close to perfection as movies get (hell, even the occasionally obvious English dubbing has its charm), and while the film was responsible for disregarding a lot of the myths surrounding the Old West, it replaced that with just as many of its own, creating reverberations not just throughout the rest of Eastwood's lengthy career, but the entire genre of the Western as a whole. To borrow some language from the Bible, it's the stone that the builders rejected, that ended up becoming one of the cornerstones of the modern Western, one that still stands tall, even to this day; "Go, go, amigo...".

Favorite Moment:

https://youtu.be/ubVc2MQwMkg

Final Score: 10

[James D. Gardiner]

https://i.imgur.com/2VCOAjP.jpg


Death Race (1973)
aka State of Division

Directed by David Lowell Rich
Starring: Lloyd Bridges, Roy Thinnes, Eric Braeden, Doug McClure.

Reasonably obscure made for TV action drama set in North Africa during WW2. Two Allied pilots get sent on a bombing mission to destroy a minefield and come across a German tank. During the ensuing combat one of the planes is damaged and the pilot bails out. The other plane lands to rescue him but is damaged by the tank also. Although grounded the aircraft can still move and they attempt to escape across the desert, with the tank giving chase. The commander of the tank is absolutely obsessed and will not relent in the pursuit despite the reluctance of his crew.

Though fairly weak in certain areas of production it's entertaining nevertheless and has an interesting machine vs machine theme about it, similar to Duel (1971). And Lloyd Bridges as a fanatical Panzer commander is as funny as that sounds, complete with German accent!

6/10

[Wooley]

https://flxt.tmsimg.com/assets/p4655_p_v8_aa.jpg


4

This is an old favorite of mine.

[Wooley]

HALLOWEEN III
SEASON OF THE WITCH
(1982, Wallace)

https://i.imgur.com/bzHnU4J.jpg




Halloween III: Season of the Witch follows Dan Challis (Tom Atkins), a doctor who finds himself in the middle of a deadly plot that involves a mysterious novelty company and its owner, Conal Cochran (Dan O'Herlihy). Dan doesn't know what at first, but something's going down on Halloween night, and it has nothing to do with Michael Myers.

Season of the Witch ended up being quite an effective thrill ride. Not only does it ditch the Myers storyline, but also leans more towards some scifi elements (androids) and the occult, than it does to typical slashers, and that angle is more my jam. Putting aside how ludicrous it is that a regular doctor ends up ensnared in all this mess as if he was a detective, the film does a great job of handling tension, creating atmosphere, and building tension, with some neat kills to boot.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293224#post2293224)

Needed more green robot-blood.

[Yomi]

The Secret Garden (2020)
rating_2_5

https://m.media-amazon.com/images/M/MV5BYzk2ZDg0YjMtNzYwOS00ZDBmLThjNzgtNDlmNzllYjA5ZGFhXkEyXkFqcGdeQXVyMTAwMDQwODQy._V1_FMjpg_UX300_.jp g

[Tugg]

Don't Look Up (2021) rating_3
https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/c7268c79-9436-4230-b75e-2814495b25f4/dewccmj-2514f841-d4e3-4c37-befd-9274a1702c8f.png?token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQz NzNhNWYwZDQxNWVhMGQyNmUwIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6 W1t7InBhdGgiOiJcL2ZcL2M3MjY4Yzc5LTk0MzYtNDIzMC1iNzVlLTI4MTQ0OTViMjVmNFwvZGV3Y2Ntai0yNTE0Zjg0MS1kNGUz LTRjMzctYmVmZC05Mjc0YTE3MDJjOGYucG5nIn1dXSwiYXVkIjpbInVybjpzZXJ2aWNlOmZpbGUuZG93bmxvYWQiXX0.Sv2qrzng FYKOqnOFtxZEg4UpKJrFTmYguFH4yJ6sWsY
The Night House (2020- 2021) rating_3_5
https://www.rabbit-reviews.com/wp-content/uploads/2021/10/The-Night-House-2020-Movie-Scene-13.jpg
Scream (2022) rating_4
https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/c7268c79-9436-4230-b75e-2814495b25f4/dewhp5l-e0fd4895-0bfc-4472-882b-d858cf61df46.png?token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQz NzNhNWYwZDQxNWVhMGQyNmUwIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6 W1t7InBhdGgiOiJcL2ZcL2M3MjY4Yzc5LTk0MzYtNDIzMC1iNzVlLTI4MTQ0OTViMjVmNFwvZGV3aHA1bC1lMGZkNDg5NS0wYmZj LTQ0NzItODgyYi1kODU4Y2Y2MWRmNDYucG5nIn1dXSwiYXVkIjpbInVybjpzZXJ2aWNlOmZpbGUuZG93bmxvYWQiXX0.2Y2FDeCi sMCLfs0EG-gn-5k7BXKLqLl41wUCDtQTvb8
Spider-Man: No Way Home (2021) rating_3
https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/2c54b004-9dbd-44b7-8031-08fadd6517c1/devxn15-ccd99091-5c25-4d1a-a688-cffca5ab00d0.png?token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQz NzNhNWYwZDQxNWVhMGQyNmUwIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6 W1t7InBhdGgiOiJcL2ZcLzJjNTRiMDA0LTlkYmQtNDRiNy04MDMxLTA4ZmFkZDY1MTdjMVwvZGV2eG4xNS1jY2Q5OTA5MS01YzI1 LTRkMWEtYTY4OC1jZmZjYTVhYjAwZDAucG5nIn1dXSwiYXVkIjpbInVybjpzZXJ2aWNlOmZpbGUuZG93bmxvYWQiXX0.jwqwBP-Rdap99XrGn2HVfFf_nuryMuyI1F6jAO7WKC0
Encanto (2021) rating_3
https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/c7268c79-9436-4230-b75e-2814495b25f4/dewhoa6-1350c5d5-e074-4418-9814-279861c54b34.png?token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQz NzNhNWYwZDQxNWVhMGQyNmUwIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6 W1t7InBhdGgiOiJcL2ZcL2M3MjY4Yzc5LTk0MzYtNDIzMC1iNzVlLTI4MTQ0OTViMjVmNFwvZGV3aG9hNi0xMzUwYzVkNS1lMDc0 LTQ0MTgtOTgxNC0yNzk4NjFjNTRiMzQucG5nIn1dXSwiYXVkIjpbInVybjpzZXJ2aWNlOmZpbGUuZG93bmxvYWQiXX0.vv8Dg_DV LZo40NIFydkvZ9ELO979RMHsqxhHizLD_Rk

[WHITBISSELL!]

https://64.media.tumblr.com/e053515a8160e82108976a82c5b36937/3782f2543310429e-1c/s500x750/916f565d07d78d530479f18fe49dd3160c401244.gifv
https://media.giphy.com/media/fQaGbjU4wtyqk/giphy.gif



Day of the Dead - This was a rewatch after quite a lot of years. If you can get through the first rough moments you'll be rewarded. You know which moment I mean since it inspired a well known gif. (hint: look up) The scenes on the helicopter are also a little hinky acting wise but it settles down and turns into a solid zombie movie. Which is weird because most of the tearing and chewing and Tom Savini wonderments don't come till the end. But Romero does know how to cobble together a compelling story and this is more than the sum of it's parts. Sure it's basic but it's also strangely poignant. I've seen a buttload of undead flicks and this one is right up there with Return of the Living Dead. Someday I'll have to compile a list of the best ones but suffice it to say this and RotLD would be at or near the top.


Having said all that, I completely forgot the 1978 version of Dawn of the Dead. That reason might well be that I've never watched it but how could I forget something like that? So now I absolutely have to find it and check it out. Except that it's supposedly difficult to find streaming anywhere because of some rigamarole over distribution rights. You can find the Blu-ray or DVD on Amazon but it's a double feature with Land of the Dead. Or you can pop for the pricey Special Divimax Edition. Whatever the hell that is and no thanks.

EDIT: Okay, I watched the trailer and I've definitely never watched this. But hey, at least now I can actually start a great white whale list. From hell's heart I stab at thee 1978 version of Dawn of the Dead!

For those who aren't familiar with DotD a handful of survivors have taken refuge in an underground bunker somewhere on the Florida coast. When the movie opens there's an even dozen which consists of civilian scientists and a few remaining soldiers. Their commanding officer has died which leaves the tightly wound Captain Rhodes (Joseph Pilato) in charge. The soldiers were originally there to provide security and support for Dr. Matthew Logan (Richard Liberty) whom the soldiers have dubbed "Frankenstein" because of his gruesome experiments on the undead. His staff consists of Dr. Sarah Bowman (Lori Cardille) and Dr. Ted Fisher (John Amplas). The only other civilians are helicopter pilot John (Terry Alexander) and alcoholic radio operator Billy McDermott (Jarlath Conroy). The remaining army guys are either aggressively obnoxious or sort of background filler.

The true superstar however turns out to be "Bub" (Sherman Howard). He's undead and is Logan's pet project and his hope that the zombies have retained memories of their previous existence and can somehow be domesticated. Some of the best scenes involve Logan testing the hulking Bub with everyday belongings.

If you like zombie flicks and are a Romero fan and you somehow haven't checked this out yet you should. At the very least you'll get to hear the word "pus" used countless times as a pejorative.

85/100

[chawhee]

That Sugar Film (2015)
https://www.sbs.com.au/food/sites/sbs.com.au.food/files/styles/body_image/public/15980be3-1336-483d-83a4-e26262bab4b8_1490838091.jpeg?itok=YTiGPR9l&mtime=1506659054
3.5
I've been reading a lot about food lately, so this documentary seemed right up my alley. The science discussions were great, though not necessarily groundbreaking. The non-science parts were a bit silly...It's a bit enlightening to see the pattern continue of institutional deception after watching the Hulu series Dopesick about the Sackler family and Oxycontin.

I will say a notable part in this piece was the kid from Kentucky who wanted to get his teeth taken out and replaced with dentures. He was drinking 6+ Mountain Dews a day as a young child, and I can't help but think how many kids right now are developing and growing up in those same footsteps.

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/thumb/a/a4/I_Am_Mother_poster.png/220px-I_Am_Mother_poster.png

3.5

SF = Z


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

[Gideon58]

https://m.media-amazon.com/images/M/MV5BNzZkNDAwNzYtNjcyYy00Nzk0LWE3NTctNGUxOGI2NmQyNjcxXkEyXkFqcGdeQXVyMTQyODg5MjQw._V1_.jpg


3.5

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/f/f4/Waves_2019_film_poster.jpg
By A24 - Fair use, https://en.wikipedia.org/w/index.php?curid=61957765

Waves - (2019)

The first thing I notice about Waves is that despite being a drama, it's cinematography is out to try and impress us with dazzling pans that seem impossible along with great tracking shots and use of natural light. For those who don't like it when this calls attention to itself, you might not like this film, but soon enough the melodrama and narrative take hold, because this is a powerful film with some great performances. It's the kind of film that usually wins Best Picture at the Oscars when being nominated against more enduring and interesting movies. It's based around a family with a domineering yet well-intentioned father, a son who's a high achiever that's about to contend with multiple tragedies, a daughter who truly lives her high moral values but is often ignored and a mother slowly cutting herself off from everyone. When things go wrong they go terribly wrong, but the positivity overwhelms us in the end in spite of the agony this family will go through. I'd give this an '8' - but I can't see myself ever watching this again, it's good for one watch and ever so impressive though.

7.5/10

[Fabulous]

Don't Look Up (2021)

3.5

https://image.tmdb.org/t/p/original/abG9ldrNqSEoguBsi9hmnjusJ0.jpg

[StuSmallz]

The Good, The Bad, And The Ugly (Leone, '66)By the way SpelingError, are you a fan of TGTB&TU too?

[John McClane]

https://i.imgur.com/WqNoIyg.jpeg

Akira - 5

This is more of a review of the 4K transfer than the actual movie. The movie itself is brilliant and one of my favorites, but watching the 4K disc last night was an experience. Almost like watching it for the first time. The depth of detail in both the visuals and the audio was insane. One of the best 4K transfers I have ever seen.

[Thief]

PALM SPRINGS
(2020, Barbakow)

https://i.imgur.com/XLEEIuK.png


"We kind of have no choice but to live. So I think your best bet is just to learn how to suffer existence."



Palm Springs follows the relationship between Nyles and Sarah (Andy Samberg and Cristin Milioti), two strangers that meet at a wedding in the titular resort city only to find themselves stuck in a time-loop, endlessly repeating the same day. When the film starts, Nyles has been reliving this day for an undetermined time, but it is when Sarah accidentally gets "sucked in" that things go more or less awry.

It takes real skill to take such a niche premise (being stuck in a time-loop) that has already been done so well previously (Groundhog Day and Source Code), and still find a way to do something that feels genuine and fresh. But that's what director Max Barbakow and writer Andy Siara have done with this. Their melancholic and profound approach to the premise strikes a perfect balance between heavy and light.

Grade: 4


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293776#post2293776)

[Thief]

ROMERO
(1989, Duigan)

https://i.imgur.com/UzBFWQR.jpg


"No soldier is obliged to obey an order contrary to the Law of God. In His name and in the name of our tormented people who have suffered so much, and whose laments cry out to heaven: I implore you! I beg you! I *order* you!"



Set in the early years of the Salvadoran Civil War, Romero follows the life of Oscar Arnulfo Romero (Raúl Juliá). Despite being traditionally conservative, Romero became a very ardent and vocal critic of the military regime after being appointed archbishop, organizing peaceful protests and speaking against social injustice and violence in the country.

The film shows many of the events that led to Romero's shift, particularly the assassination of Father Rutilio Grande, a close friend of his, along with three other civilians. This, and many other human rights violations build up the anger and frustration in Romero. This is neatly portrayed by Juliá, whose performance, although a bit stagey, has the necessary emotion to convey those feelings.

Grade: 3


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293785#post2293785)

[SpelingError]

By the way SpelingError, are you a fan of TGTB&TU too?

Yeah, it's in my all-time top 10. Nice review of it :up:

[Thief]

PHOTOGRAPHS OF A SCHOOL TEACHER
(2013, Hasan)

https://i.imgur.com/9JUzST5.png


"Camera takes us closer to each other ... to the time that belongs far away. Closer to everything."



Photographs of a School Teacher is a short film from Bangladeshi filmmaker Mahde Hasan. With a runtime of roughly 7 minutes, it is comprised of a set of images and vignettes focused on his mother. Most of the images are from her youth, and Hasan's focuses on her demeanor as she examines them.

During the first minutes, the short establishes two things: first, that there is an "emotional distance" between Hasan and his mother, and second, that there's a sadness in her that wasn't there when she was young ("when I was young and used to take photos, then life was pleasurable... but now, I don't feel like that"). And although the reasons are never clearly established, you can feel the burden of time and regret in her.

The short takes its time to focus on her weary face and her wrinkled hands, as it moves through brief episodes of her life through these pictures; her sisters, her life in college, marriage. All showcasing a certain sadness about things that were and things that could've been. There's not much else to it, but it is a visually interesting short that carries significant emotion, and makes you feel "closer to each other".

Grade: 3

[Thief]

¡THREE AMIGOS!
(1986, Landis)

https://i.imgur.com/TWMOZJH.png


"Wherever there is injustice, you will find us. Wherever there is suffering, we'll be there!................... Line!"



"*ahem* Wherever liberty is threatened, you will find... the Three Amigos!". At least that's what they sell in their silent film's dialogue. But when Carmen (Patrice Martinez), a Mexican villager mistakes their film for the real thing, she requests their help to rid the village of Santa Poco from the threat of El Guapo (Alfonso Arau) and his gang.

The Three Amigos (Steve Martin, Chevy Chase, and Martin Short), in turn, think they are being hired for a performance. Coming right after they've been fired by the studio boss, the opportunity to earn some "easy money" seems enticing enough. But after finding out the threat is real, they have to figure out how to use their "limited" abilities to help the town of Santa Poco and therefore uphold their reputation.

Predictably enough, what holds the film together are the performances and chemistry of the the three leads, and in that respect, they totally deliver. All three play extremely well off each other. They are also helped by a hilarious script by Martin himself, along with director John Landis and singer/composer Randy Newman. It is one of those scripts where they keep throwing things at you and fortunately, a lot of them hit the mark.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293819#post2293819)

[Wooley]

¡THREE AMIGOS!
(1986, Landis)

https://i.imgur.com/TWMOZJH.png




"*ahem* Wherever liberty is threatened, you will find... the Three Amigos!". At least that's what they sell in their silent film's dialogue. But when Carmen (Patrice Martinez), a Mexican villager mistakes their film for the real thing, she requests their help to rid the village of Santa Poco from the threat of El Guapo (Alfonso Arau) and his gang.

The Three Amigos (Steve Martin, Chevy Chase, and Martin Short), in turn, think they are being hired for a performance. Coming right after they've been fired by the studio boss, the opportunity to earn some "easy money" seems enticing enough. But after finding out the threat is real, they have to figure out how to use their "limited" abilities to help the town of Santa Poco and therefore uphold their reputation.

Predictably enough, what holds the film together are the performances and chemistry of the the three leads, and in that respect, they totally deliver. All three play extremely well off each other. They are also helped by a hilarious script by Martin himself, along with director John Landis and singer/composer Randy Newman. It is one of those scripts where they keep throwing things at you and fortunately, a lot of them hit the mark.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293819#post2293819)

I mostly agree with you but I thought a significant amount of the comedy didn't land or was just, well, frankly, kinda stupid. I've never thought Short was really in the league of the top people in his arena and this movie didn't prove me wrong, at least in my own head. I do enjoy the movie but it feels pretty lesser, a movie that should have been better than it actually is.

[Thief]

I mostly agree with you but I thought a significant amount of the comedy didn't land or was just, well, frankly, kinda stupid. I've never thought Short was really in the league of the top people in his arena and this movie didn't prove me wrong, at least in my own head. I do enjoy the movie but it feels pretty lesser, a movie that should have been better than it actually is.

I think there is a good balance of "stupid" and clever comedy, but I don't think it's trying to be more than what it is either. Personally, I felt like it landed more than what it missed. My main issue is, like I said, that some bits feel like separate sketches tied together for the sake of the overall plot.

[Wooley]

I think there is a good balance of "stupid" and clever comedy, but I don't think it's trying to be more than what it is either. Personally, I felt like it landed more than what it missed. My main issue is, like I said, that some bits feel like separate sketches tied together for the sake of the overall plot.
I may have been foiled by high expectations. At the time it came out, the team-up of Martin, Short, and Chase was like a supergroup and, like most supergroups, expectations were high and delivery was just pretty good.

[ThatDarnMKS]

¡THREE AMIGOS!
(1986, Landis)

https://i.imgur.com/TWMOZJH.png




"*ahem* Wherever liberty is threatened, you will find... the Three Amigos!". At least that's what they sell in their silent film's dialogue. But when Carmen (Patrice Martinez), a Mexican villager mistakes their film for the real thing, she requests their help to rid the village of Santa Poco from the threat of El Guapo (Alfonso Arau) and his gang.

The Three Amigos (Steve Martin, Chevy Chase, and Martin Short), in turn, think they are being hired for a performance. Coming right after they've been fired by the studio boss, the opportunity to earn some "easy money" seems enticing enough. But after finding out the threat is real, they have to figure out how to use their "limited" abilities to help the town of Santa Poco and therefore uphold their reputation.

Predictably enough, what holds the film together are the performances and chemistry of the the three leads, and in that respect, they totally deliver. All three play extremely well off each other. They are also helped by a hilarious script by Martin himself, along with director John Landis and singer/composer Randy Newman. It is one of those scripts where they keep throwing things at you and fortunately, a lot of them hit the mark.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293819#post2293819)
A perfect comedy.

[Kayden Kross]

I was fortunate enough that a nearby theatre screened Dennis Hopper's Out of the Blue on the big screen. Made during a low point in his career, but actually one of his very best. Iview it as something of an unofficial sequel to Easy Rider, when the 1960's ideology crashed and burned and gave way to a violent, paranoid and burnt out deadbeats. Hopper is beyond fantastic in his role, although I'd be hesitant to say he was performing given his state of mind at the time. When I met his brother in Taos a few years ago and told him I was visiting from Canada, he response was "Dennis made a movie in Canada once. Out of the Blue. Man, that was a spooky film".


1980 was a good year for favourites! Out of the Blue, Carny, Cruising... I feel like they've all got a lot in common.

[Gideon58]

https://m.media-amazon.com/images/M/MV5BNGUwYmZlNmMtZjhmZi00ODgwLThkNTItNTczYmU2MDQ0NmZkXkEyXkFqcGdeQXVyNjE5MjUyOTM@._V1_.jpg


4

[StuSmallz]

Yeah, it's in my all-time top 10. Nice review of it :up:Thanks! I think ThatDarnMKS & Rockatansky are also fans of it if I remember correctly, but I can't be sure unless they respond about it here...


https://i.ibb.co/bFvHS8S/theyareontome.gif (https://imgbb.com/)

[Rockatansky]

Thanks! I think ThatDarnMKS & Rockatansky are also fans of it if I remember correctly, but I can't be sure unless they respond about it here...


https://i.ibb.co/bFvHS8S/theyareontome.gif (https://imgbb.com/)

We will never know. ;)

[StuSmallz]

We will never know. ;)
https://i.ibb.co/b5pPGzq/lonely-sad-walk.gif (https://ibb.co/9HRNdsz)

[ThatDarnMKS]

Thanks! I think ThatDarnMKS & Rockatansky are also fans of it if I remember correctly, but I can't be sure unless they respond about it here...


https://i.ibb.co/bFvHS8S/theyareontome.gif (https://imgbb.com/)
*Tosses 4K bluray out the open window and walks away whistling as to conceal the truth about his feelings for the movie*

[Rockatansky]

*Tosses 4K bluray out the open window and walks away whistling as to conceal the truth about his feelings for the movie*
*performs secret handshake with MKS*

[SpelingError]

*deletes initial reply to Stu and joins Rock and MKS*

[Rockatansky]

*deletes initial reply to Stu and joins Rock and MKS*
*shows SpelingError fake secret handshake for his earlier indiscretion*

[SpelingError]

*shows SpelingError fake secret handshake for his earlier indiscretion*

Wow, first I was excluded from that whole Final Exam secret handshake a while back and now I'm being excluded from this one. This is so unfair.

[StuSmallz]

Oh well, maybe I can tempt pahaK & PHOENIX74 to talk about it with me...


*shameless*

[Fabulous]

The Holiday (2006)

3

https://image.tmdb.org/t/p/original/nC9TOfu1huHSexh2Xxz2nGnjngp.jpg

[mark f]

Pirates (Reggie Yates, 2021) 2.5 6/10
Measure of Revenge (Peyfa, 2022) 2 5/10
Soldiers Three (Tay Garnett, 1951) 2.5 6/10
Crash (Paul Haggis, 2004) 3.5 7/10
https://thumbs.gfycat.com/ArcticExcitableCoypu-size_restricted.gif
Social satire/thriller of multiple people facing racism and sexism in Los Angeles is much better than many people seem to think.
The Doris Mary Anne Kappelhoff Special (Bill Foster, 1971) 2.5 6/10
Madelines (Jason Richard Miller, 2022) 2 5/10
Wasp (Andrea Arnold, 2003) 2.5 6/10
Doris Day Today (Tony Charmoli, 1975) 3 6.5/10
https://www.dvdtalk.com/reviews/images/reviews/190/1196640213_1.jpg
Probably Day's best special with funny turns by Tim Conway, Rich Little and John Denver.
The Black Godfather (John Evans, 1974) 2 5/10
The Cursed (Sean Ellis, 2021) 2.5 6/10
Black Fist (Timothy Galfas, 1975) 2 5/10
The Heiress (William Wyler, 1949) 4 8/10
https://nishaanne.files.wordpress.com/2020/10/clift-heiress-one.gif
Romantic drama can be quite cruel as it tells the story of love and hate between Montgomery Clift and Olivia de Havilland along with that of her father Ralph Richardson.
Kentucky Pride (John Ford, 1925) 2.5 6/10
Ocean's Eleven (Lewis Milestone, 1960) 3.5- 7/10
The Black Watch (John Ford, 1929) 2 5/10
Not Going Quietly (Nicholas Bruckman, 2021) 3+ 6.5/10
https://m.media-amazon.com/images/M/MV5BNjk0N2EzNmQtODIzYi00YTRjLWIwMTUtN2MzMTJlZTdmYjMxXkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxv dw@@._V1_UX477_CR0,0,477,268_AL_.jpg
Liberal advocate Ady Barkan is diagnosed with ALS during the "Be a Hero" movement and also testified before Congress concerning health care.
The Young Girls of Rochefort (Jacques Demy, 1967) 3.5 7/10
Come Fly with Me (Henry Levin, 1963) 2.5 5.5/10
The Beautiful Prisoner (Alain Robbe-Grillet, 1983) 2 5/10
My Fat Arse and I (Yelyzaveta Pysmak, 2021) 2.5 6/10
https://static.wixstatic.com/media/047ff8_1debf336ce0b4c69afca73d9c8c443a6~mv2.jpg/v1/fill/w_601,h_338,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/Image-empty-state.jpg
Colorful, creative Polish animated short, which even at 10 minutes seems long. The "story" is about an overweight woman who sees several of her big butts which make her want to get as skinny as possible.

[pahaK]

Oh well, maybe I can tempt pahaK & PHOENIX74 to talk about it with me...


*shameless*

https://c.tenor.com/fBYLpgUTjJ8AAAAd/peek-whats-here.gif

[xSookieStackhouse]

The Holiday (2006)

rating_3

https://image.tmdb.org/t/p/original/nC9TOfu1huHSexh2Xxz2nGnjngp.jpg
one of my favorite romance comedy movies <3

[SpelingError]

The Young Girls of Rochefort (Jacques Demy, 1967) 3.5 7/10


That's a contender for my favorite musical ever.

[WHITBISSELL!]

You can practically see the stink waves of awkwardness emanating off this. It's like watching your drunk grandma and uncles getting their stiff legged groove on at a wedding. And I agree with you about Crash.

https://www.dvdtalk.com/reviews/images/reviews/190/1196640213_1.jpg

[WHITBISSELL!]

No offense meant towards any rhythmically challenged individuals out there in MoFo land.

[matt72582]

Venom and Eternity - 7.5/10
Most unique movie I've seen. Yeah, there's some phoniness ("People look more intellectual when it's raining" - really?), but there's also some really good stuff.

https://upload.wikimedia.org/wikipedia/en/2/23/Venom_and_Eternity_poster.jpg

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/thumb/8/83/Encanto_poster.jpg/220px-Encanto_poster.jpg

3

SF = Z


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

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.foxsearchlight.com%2Fmedia%2Fblog_post_images%2Fsideways.jpg&f=1&nofb=1

Sideways, 2004

Miles (Paul Giamatti) goes on a road trip with old college friend Jack (Thomas Haden Church) a week before Jack is set to get married. Grappling with disappointment over his own unsuccessful marriage and inability to get his book published, Miles is finally convinced by Jack to take a chance on a woman he's admired from afar, a wine-savvy waitress named Maya (Virginia Madsen). But Jack has plans of his own for the trip, and the friendship between Miles and Jack begins to fray a bit.

I can see why this film is so popular. The performances are all terrifically entertaining and the chemistry between the actors is great. While I found the character of Jack not nearly as charming as I think he's meant to be---and honestly kind of tiresome at points--Church keeps him just engaging enough and the script pokes just enough fun at him to keep things on the right side.

I really appreciated the film's take on the complications of romantic relationships. In a more simplistic film, Miles would have to learn all about cutting loose. But the reality is that Jack's hedonistic, selfish approach to life is hurtful to others. Likewise, the withdrawn and pessimistic approach that Miles takes isn't getting him anywhere. For most of the film Miles is on a see-saw between his angry introvert ways and following Jack's more brash, self-serving methods. It's about Miles finding a way to move past his resentments and being open to new possibilities.

The setting in wine country is a fun one. Yes, of course it gives us plenty of opportunities to watch Miles pretentiously instruct Jack on the art of wine tasting. But the way that Miles approaches wine---already armed with a degree of irritation--speaks to the way that he is approaching everything in his life. He is not able to appreciate simple joys because he is so bound up in himself.

Madsen is nicely understated as love interest Maya. She has enough dimension to her so that she doesn't just feel like a plot device. Sandra Oh makes a great impression as the free-spirited Stephanie, a woman Jack woos while conveniently omitting the details of his upcoming nuptials.

I didn't have any specific negatives for this film. I get the impression that Jack was meant to be taken as more of a lovable rogue, especially in the beginning, but I thought that his schtick got a bit old at times. I totally understand that his bravado is his own response to the anxiety he feels about the upcoming wedding, but there were a lot of times that the way a scene was shot/scored seemed to imply that what was happening was fun and quirky. It might be an accurate-ish portrait of a version of a mid-life crisis . . . but there's a reason I don't spend time around middle aged men having a mid-life crisis.

Again, I can totally understand why this film got so much praise when it came out. It's held up well, and it's an easy, breezy way to spend 100 minutes.

4

[Wyldesyde19]

Not a fan of Sideways.

[Deschain]

I’m glad you liked Sideways, Takoma11. I haven’t seen it since the theater but I remember the movie intentionally portraying Jack and Miles as abrasive as a way of showing how they feel about each other. They’re friends but pretty annoyed with each other all the time and barely get along. The buddy I saw it with was like, “I wouldn’t wanna hang out with either of them.” I always found that very interesting. Again it’s been a while since I seen it so I may be misremembering or misinterpreting it.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fhalloweenyearround.files.wordpress.com%2F2022%2F04%2Fsee-for-me-1.jpg%3Fw%3D768&f=1&nofb=1

See For Me, 2021

Sophie (Skyler Davenport) is a former Olympic-level skier whose career was derailed by a degenerative eye disease. Now functionally blind, Sophie makes a living house sitting for wealthy clients. While cat-sitting at a remote estate, Sophie is alarmed to awaken to men breaking into the home. Using an app called See for Me, Sophie connects to an ex-military woman named Kelly (Jessica Parker Kennedy) who becomes her eyes (via video chat) to help Sophie survive the night.

There is a Key & Peele sketch that portrays Jaden Smith on the phone with his agent, grappling to understand the real-life situations in the scripts he is reading.

See for Me is a film that feels like it was written by a rich girl with no empathy for other people and the emotional maturity of a second grader.

This is all to say that the main problem with See for Me is that its protagonist, Sophie, is one of the most unlikable main characters I have encountered in a long while. Self-centered to the point of near sociopathy, we are supposed to root for her even as she puts the lives of other people at risk and displays fewer ethics qualms than the men who are supposedly the bad guys.

The conceit of the film is that the video chat between Sophie and Kelly basically turns their interaction into a first-person shooter. There are repeated shots from the point of view of Sophie's phone with the classic FPS perspective of the arm holding a gun outstretched toward a target. I did like the character of Kelly quite a bit. She is direct and gives Sophie good advice (which Sophie largely ignores), and Kennedy is a warm presence on screen.

But, my gosh.

At one point, having gotten a well-meaning police officer killed through her own selfishness, Sophie breaks down about what has just happened. "I shouldn't even be here!" she wails. . . "I should be out on the slopes!". Yes, you read that correctly. Sophie takes the death of another human being as a moment to reflect on her own personal journey. You know how when you indirectly cause the death of someone else, it really makes you think about taking up your elite sport again?

The bad guys are all very one-dimensional (though despite that they are still more interesting than Sophie), and the film waits until the last few moments to unveil Kim Coates as the mastermind. This is a classic "someone was paid to show up for one day of work" situation. He's fine in his role, but it's too little too late.

I also had to laugh at the dynamics of so many of the sequences. There's something so absurd about Sophie running around the house, her face lit up by the phone screen, screaming into the phone, supposedly hiding. Sophie will shriek "THEY'RE GOING TO FIND ME!" and a character who is just one room away will slightly tilt his head as if he's just heard a faint footfall. Repeatedly she blunders around, making so much noise. It tips over into ridiculousness. Over and over Kelly tells Sophie to just hide and be quiet, and then Sophie doesn't listen and goes blundering some more.

The bar is set really low for me when it comes to cat-and-mouse home invasion type films. It's one of those subgenres that I can almost always enjoy, even if it's really formulaic. But the poor-little-rich-girl (okay, she's not technically rich, but come on!) protagonist just killed this one dead for me.

2

[Takoma11]

I’m glad you liked Sideways, Takoma11. I haven’t seen it since the theater but I remember the movie intentionally portraying Jack and Miles as abrasive as a way of showing how they feel about each other. They’re friends but pretty annoyed with each other all the time and barely get along. The buddy I saw it with was like, “I wouldn’t wanna hang out with either of them.” I always found that very interesting. Again it’s been a while since I seen it so I may be misremembering or misinterpreting it.

I guess my issue wasn't so much that they could be abrasive, but that the film ultimately seemed to conclude that, hey, they were okay.

But I . . . disagree. Someone who lies and makes you complicit in their deception is not cool. The fact that both men ultimately get away with their deception with minimal consequences bothered me. Miles knows that Jack cheated on his fiance at least twice just in the week that they were on their road trip, and he's just going to keep that from her. (Including the fact that Jack had sex with a woman who is habitually non-monogamous)..

But they sort of grew in the end, so it's okay! Meh. And maybe that's just me projecting how disgusted and uncomfortable if I had a friend in my life who made me complicit in their lies and betrayals.

[PHOENIX74]

Oh well, maybe I can tempt pahaK & PHOENIX74 to talk about it with me...


*shameless*

http://31.media.tumblr.com/tumblr_md3g6bwAmo1qiohiho1_400.gif

[gbgoodies]

The Doris Mary Anne Kappelhoff Special (Bill Foster, 1971) 2.5 6/10

Doris Day Today (Tony Charmoli, 1975) 3 6.5/10
https://www.dvdtalk.com/reviews/images/reviews/190/1196640213_1.jpg
Probably Day's best special with funny turns by Tim Conway, Rich Little and John Denver.




I loved both of these Doris Day specials, especially Doris Day Today. :)

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/0/04/Relaxer_poster.jpg
By https://www.imdb.com/title/tt7952920/, Fair use, https://en.wikipedia.org/w/index.php?curid=59522450

Relaxer - (2018)

This film is about a guy who is challenged to not get off his couch until he beats level 256 in Pac-Man (and for those of you who don't know, that's impossible - the game breaks at level 256.) It's not an easy film to watch - and managed to make me queasy, but I want to do my bit to support independent cinema (well...I borrowed it from the library - but hey, I'm talking about it.) Joshua Burge plays Abbie - the aforementioned guy on the couch - he's pathetic and picked upon by his older brother, has a father in jail for paedophilia and owns a pair of 3D glasses which actually give him Jedi-like powers when he puts them on. This is a one location film which strains to be inventive with it's limited resources, but plenty of people really like it - I'm not really one of them I'm sorry to say, but it does have some redeeming qualities. There's an exploding head scene that uses practical effects that really took me back to the horror films of the eighties - and there's one character, Dallas (Andre Hyland) that I thought was genuinely funny and had charisma. It has a decent ending - but I just couldn't gel with it's sickly vibe or nasty and pathetic characters.

Inspired by Luis Buñuel's The Exterminating Angel.

5/10

[Fabulous]

Carrie Pilby (2016)

3

https://image.tmdb.org/t/p/original/ioVCpmSlTuCZNfsp3htp8a8CQNl.jpg

[Siddon]

https://etcanada.com/wp-content/uploads/2021/07/CP110121286.jpg?quality=80&strip=all

Chucky (2021)

This was pretty good it had been sitting on my DVR for almost a year and I managed to binge through it. It feels like a solid PG-13 horror film spread out over 8 episodes. Brad Douriff returns and he's very good in this. The biggest issue was that all the kids are a token something which is distracting. The best part is the flashbacks and prequels and supporting cast...the writers seem to want to tie everything together which I appreciate.

rating_3_5

[Thief]

MY DOG SKIP
(2000, Russell)
A drama film • A film based on a book

https://i.imgur.com/nPUAPHe.jpg


"I was an only child. He was an only dog."



My Dog Skip follows such a friendship between lonely outcast Willie Morris (Frankie Muniz) and Skip, the friendly Terrier that his mother gives him for his birthday. Willie's father (Kevin Bacon) is a well-intentioned, but stern veteran that lost his leg in the war, who seems unable to connect with his son or comfort him as he's bullied. So the bond with Skip comes to fill a certain void in the kid.

When it comes to the focus of the story, which is the relationship between Willie and the dog, the approach might be too sappy and melodramatic for some tastes, with several crucial and emotional moments lacking any subtlety, with swelling score and slow motion. In focusing on that relationship, it underserves what I thought were more interesting and important human relationships between Willie and his dad, his friends, his girlfriend, and the traumatized veteran that lives next door (Luke Wilson).

Grade: 3


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2294172#post2294172) and the HOF27 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2294172#post2294172).

[Deschain]

https://etcanada.com/wp-content/uploads/2021/07/CP110121286.jpg?quality=80&strip=all

Chucky (2021)

This was pretty good it had been sitting on my DVR for almost a year and I managed to binge through it. It feels like a solid PG-13 horror film spread out over 8 episodes. Brad Douriff returns and he's very good in this. The biggest issue was that all the kids are a token something which is distracting. The best part is the flashbacks and prequels and supporting cast...the writers seem to want to tie everything together which I appreciate.

rating_3_5

Yeah when this show is being scary or funny it’s great but there’s a lot in between of normal TV character and story stuff that is kind of a slog.

[Stirchley]

86599

3 hours long, but I did finish it in 2 installments.

Am mystified by the acclaim. It’s a decent enough movie & very well acted (especially the male lead), but nothing would make me watch this movie again.

[ThatDarnMKS]

EVERYTHING EVERYWHERE ALL AT ONCE

As the title implies, it’s perpetually on the verge of being too much and the kitchen sink approach is the only approach for this type of material but Daniels deftly tightrope walks the balance between asinine and brilliant, silly and profound, exciting and numbing.

As they did with Swiss Army Man, they manage to take a concept that could easily fall into cringe territory but imbue it with enough craft, intelligence and, perhaps most importantly, genuine heart that it sticks that improbable landed.

A film that perfectly uses its cast, allows Yeoh to show what an amazing performer she is in every way she can, builds imaginative set pieces, pays off infinite set ups, and manages to do it with style and sincerity.

I loved it.

5/5

[Gideon58]

86599

3 hours long, but I did finish it in 2 installments.

Am mystified by the acclaim. It’s a decent enough movie & very well acted (especially the male lead), but nothing would make me watch this movie again.


I'm with you on this one Stirchley...there's a lovely movie in here that runs about an hour and forty five minutes...unfortunately, the movie is three hours long.

[Allaby]

All the Old Knives (2022) I found this generic, dull, and boring. The story isn't very interesting. Performances are fine, but nothing great. 2.5

[Fabulous]

Eyes Wide Shut (1999)

4

https://image.tmdb.org/t/p/original/AklO85uUDAL3O7iSOtFGfqT3w8n.jpg

[D54pod]

Vampire in Brooklyn (1995)

I love the so called 'bad movies' but this was just meh. Eddie Murphy didn't want to do a comedy and the studio said there is no way Eddie Murphy is not being funny. I got a few laughs, but overall this was just boring.

[Wooley]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.foxsearchlight.com%2Fmedia%2Fblog_post_images%2Fsideways.jpg&f=1&nofb=1

Sideways, 2004

Miles (Paul Giamatti) goes on a road trip with old college friend Jack (Thomas Haden Church) a week before Jack is set to get married. Grappling with disappointment over his own unsuccessful marriage and inability to get his book published, Miles is finally convinced by Jack to take a chance on a woman he's admired from afar, a wine-savvy waitress named Maya (Virginia Madsen). But Jack has plans of his own for the trip, and the friendship between Miles and Jack begins to fray a bit.

I can see why this film is so popular. The performances are all terrifically entertaining and the chemistry between the actors is great. While I found the character of Jack not nearly as charming as I think he's meant to be---and honestly kind of tiresome at points--Church keeps him just engaging enough and the script pokes just enough fun at him to keep things on the right side.

I really appreciated the film's take on the complications of romantic relationships. In a more simplistic film, Miles would have to learn all about cutting loose. But the reality is that Jack's hedonistic, selfish approach to life is hurtful to others. Likewise, the withdrawn and pessimistic approach that Miles takes isn't getting him anywhere. For most of the film Miles is on a see-saw between his angry introvert ways and following Jack's more brash, self-serving methods. It's about Miles finding a way to move past his resentments and being open to new possibilities.

The setting in wine country is a fun one. Yes, of course it gives us plenty of opportunities to watch Miles pretentiously instruct Jack on the art of wine tasting. But the way that Miles approaches wine---already armed with a degree of irritation--speaks to the way that he is approaching everything in his life. He is not able to appreciate simple joys because he is so bound up in himself.

Madsen is nicely understated as love interest Maya. She has enough dimension to her so that she doesn't just feel like a plot device. Sandra Oh makes a great impression as the free-spirited Stephanie, a woman Jack woos while conveniently omitting the details of his upcoming nuptials.

I didn't have any specific negatives for this film. I get the impression that Jack was meant to be taken as more of a lovable rogue, especially in the beginning, but I thought that his schtick got a bit old at times. I totally understand that his bravado is his own response to the anxiety he feels about the upcoming wedding, but there were a lot of times that the way a scene was shot/scored seemed to imply that what was happening was fun and quirky. It might be an accurate-ish portrait of a version of a mid-life crisis . . . but there's a reason I don't spend time around middle aged men having a mid-life crisis.

Again, I can totally understand why this film got so much praise when it came out. It's held up well, and it's an easy, breezy way to spend 100 minutes.

4

I mostly agree, I would just say that I've never taken Jack as a lovable rogue, I think that is how Jack likes to see himself but it's clear to the audience that he's much more of a selfish dumbass than that, and I think that's important to the film, particularly the collateral damage he causes and how he, ultimately, is a terrible example for Miles.

[Iroquois]

The Bubble - 1

First time watching an Apatow movie in like 15 years and man he has not gotten any better

[Yomi]

Belle (2021)
rating_4

https://m.media-amazon.com/images/M/MV5BOGU2Yjc0Y2YtMDU0MS00NTFiLTlkMGMtOTcxOWIzMjhkZmZkXkEyXkFqcGdeQXVyMDA4NzMyOA@@._V1_FMjpg_UX300_.jp g

[Fabulous]

The Trouble with Angels (1966)

2.5

https://image.tmdb.org/t/p/original/v6i62meWyGTY3XT1tBFc3ysFx6m.jpg

[CharlieBigPotatoes]

MIdnight Run

It's in my top ten. Top three even. I've got two words for anyone who disagrees.

[Takoma11]

I mostly agree, I would just say that I've never taken Jack as a lovable rogue, I think that is how Jack likes to see himself but it's clear to the audience that he's much more of a selfish dumbass than that, and I think that's important to the film, particularly the collateral damage he causes and how he, ultimately, is a terrible example for Miles.

The movie knows he's a jerk, but it felt like we were meant to find him funnier than I did.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi1.wp.com%2Fscreenagewasteland.com%2Fwp-content%2Fuploads%2F2020%2F08%2Fff-the-visitor4.jpg%3Fresize%3D730%252C393%26ssl%3D1&f=1&nofb=1

The Visitor, 1979

A long-ago, intergalactic/interdimensional conflict results in a vast conspiracy to embody an evil creature in the form of children born to certain women on Earth. Jerzy (John Huston) is sent to Earth by the head of his order to do damage control around a little girl named Katy (Paige Conner) who is displaying both telekinetic powers and a tendency for cruelty/destruction. Katy's mother, Barbara (Joanne Nail) is put through the ringer as both her husband (Lance Henriksen) and Katy try to persuade her to have another child.

This movie is a bit of a mess, but it's an absolutely lovely one. I can genuinely say that I was never bored, and the mix of outlandish visuals, bizarre dialogue, and plain ol' WTF moments is exactly what I love in a late night movie.

I'm not usually a fan of "evil kid" movies. I don't find them to be engaging, and the child performances are often bad in the wrong kind of way. But I thought that Conner was pretty good in her role as the diabolical Katy. Huston's performance is pretty understated, but I actually thought that his zen vibe gave the character a nice, borderline eerie otherworldly quality. Nail is also good as a woman who loves her daughter but also realizes that something is very wrong. Her character could have felt really shrill or overly "damsel in distress", but she brings a nice degree of depth and sympathy to the role. I also really liked the part where realizing she's been impregnated against her will, she find her ex-husband and gets him to help her have an abortion. It's a decision that shows some spine (and reminded me of a similar moment with Geena Davis in The Fly) and gives her a much needed moment of being proactive.

The whole movie is littered with bizarre sequences, and while they don't all necessarily cohere, there are multiple memorable moments. A strange event at Katy's birthday party where a gift turns deadly; Katy and Jerzy showing their true selves during a game of Pong; a creepy part where the evil cabal decides that if Barbara won't agree to get pregnant, they will offer "intervention".

There are some technical elements that aren't the strongest, and I'm sure someone who disliked this film could write a multi-paragraph essay listing its faults. I'm aware of them, but only sort of peripherally. I mainly tend to care about faults when they ding my enjoyment of a film, and that just wasn't the case here.

A pleasant surprise, surely bolstered by low expectations and intergalactic Christ.

4

[Fabulous]

Dragonwyck (1946)

2.5

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

[Allaby]

The Sadist of Notre Dame (1979) Directed by Jess Franco. An ex-priest escapes from an asylum and kills people. A re-edited version of one of the director's previous films with some new scenes. This is pretty much what you would expect. Stylishly trashy, lots of nudity, mostly poor acting. Franco's performance is pretty good though. There are some fun moments, but it starts to feel a little repetitive and drags at times. If you are a fan of Franco or these types of films, it is worth a watch. 3

[PHOENIX74]

https://i.postimg.cc/PxzN72Y4/the-ascent.jpg
By Source by Russian Public Library., Fair use, https://en.wikipedia.org/w/index.php?curid=6375505

The Ascent - (1977)

The Ascent slowly turns the screws, starting off as a typical World War II survival tale, but developing and morphing into something much, much more. By the time the film ends you'll see it really has a Come and See kind of tone, and this was directed by Larisa Shepitko, wife of Elem Klimov. It's devastatingly effective, incredibly well made and served as her last film before dying in a car accident. I was drawn to it by a comment online where somebody said, "If you like Come and See, you have to watch The Ascent" and that's a very true statement. It follows the tale of two Soviet partisans and various Russian villagers in the midst of German occupation, and takes place during a harsh winter - and the film was actually shot in those harsh, desperate conditions. It really delves deep by getting us into the mind of it's two protagonists, the two having differing levels of courage and tolerance for psychological and physical torture. The Germans, and Russian collaborators prey on this distinction - along with their sense of morality and empathy. A great, and very powerful, film.

9/10

[SpelingError]

https://i.postimg.cc/PxzN72Y4/the-ascent.jpg
By Source by Russian Public Library., Fair use, https://en.wikipedia.org/w/index.php?curid=6375505

The Ascent - (1977)

The Ascent slowly turns the screws, starting off as a typical World War II survival tale, but developing and morphing into something much, much more. By the time the film ends you'll see it really has a Come and See kind of tone, and this was directed by Larisa Shepitko, wife of Elem Klimov. It's devastatingly effective, incredibly well made and served as her last film before dying in a car accident. I was drawn to it by a comment online where somebody said, "If you like Come and See, you have to watch The Ascent" and that's a very true statement. It follows the tale of two Soviet partisans and various Russian villagers in the midst of German occupation, and takes place during a harsh winter - and the film was actually shot in those harsh, desperate conditions. It really delves deep by getting us into the mind of it's two protagonists, the two having differing levels of courage and tolerance for psychological and physical torture. The Germans, and Russian collaborators prey on this distinction - along with their sense of morality and empathy. A great, and very powerful, film.

9/10

That's one of my favorite war films. Glad you really liked it!

[Takoma11]

https://i.postimg.cc/PxzN72Y4/the-ascent.jpg
By Source by Russian Public Library., Fair use, https://en.wikipedia.org/w/index.php?curid=6375505

The Ascent - (1977)

I was drawn to it by a comment online where somebody said, "If you like Come and See, you have to watch The Ascent" and that's a very true statement.

While I am drawn to this film for the same reason and do really want to watch it, this comparison is also what makes me kind of scared to watch it!

[PHOENIX74]

While I am drawn to this film for the same reason and do really want to watch it, this comparison is also what makes me kind of scared to watch it!

There's a difference, inasmuch as the horror in The Ascent is much more psychological, where in Come and See a lot of it is externalized and visual. But you do end up with that uncomfortable feeling like you've been through the same trauma the characters have - it really has the ability to put you inside a character's head.

[ThatDarnMKS]

AMBULANCE

The perfect Michael Bay movie.

5/5

[Wooley]

The movie knows he's a jerk, but it felt like we were meant to find him funnier than I did.

You may be right, but we didn't. He was an idiot and his banging around through life was really causing nothing but unpleasantness for anybody. I really thought, at best, we were supposed to see him as the character who's supposed to be fun and funny but actually isn't, is kinda pathetic, and at best we end up feeling a little sorry for him that he's such a dipshit at that age.

[Wooley]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi1.wp.com%2Fscreenagewasteland.com%2Fwp-content%2Fuploads%2F2020%2F08%2Fff-the-visitor4.jpg%3Fresize%3D730%252C393%26ssl%3D1&f=1&nofb=1

The Visitor, 1979

A long-ago, intergalactic/interdimensional conflict results in a vast conspiracy to embody an evil creature in the form of children born to certain women on Earth. Jerzy (John Huston) is sent to Earth by the head of his order to do damage control around a little girl named Katy (Paige Conner) who is displaying both telekinetic powers and a tendency for cruelty/destruction. Katy's mother, Barbara (Joanne Nail) is put through the ringer as both her husband (Lance Henriksen) and Katy try to persuade her to have another child.

This movie is a bit of a mess, but it's an absolutely lovely one. I can genuinely say that I was never bored, and the mix of outlandish visuals, bizarre dialogue, and plain ol' WTF moments is exactly what I love in a late night movie.

I'm not usually a fan of "evil kid" movies. I don't find them to be engaging, and the child performances are often bad in the wrong kind of way. But I thought that Conner was pretty good in her role as the diabolical Katy. Huston's performance is pretty understated, but I actually thought that his zen vibe gave the character a nice, borderline eerie otherworldly quality. Nail is also good as a woman who loves her daughter but also realizes that something is very wrong. Her character could have felt really shrill or overly "damsel in distress", but she brings a nice degree of depth and sympathy to the role. I also really liked the part where realizing she's been impregnated against her will, she find her ex-husband and gets him to help her have an abortion. It's a decision that shows some spine (and reminded me of a similar moment with Geena Davis in The Fly) and gives her a much needed moment of being proactive.

The whole movie is littered with bizarre sequences, and while they don't all necessarily cohere, there are multiple memorable moments. A strange event at Katy's birthday party where a gift turns deadly; Katy and Jerzy showing their true selves during a game of Pong; a creepy part where the evil cabal decides that if Barbara won't agree to get pregnant, they will offer "intervention".

There are some technical elements that aren't the strongest, and I'm sure someone who disliked this film could write a multi-paragraph essay listing its faults. I'm aware of them, but only sort of peripherally. I mainly tend to care about faults when they ding my enjoyment of a film, and that just wasn't the case here.

A pleasant surprise, surely bolstered by low expectations and intergalactic Christ.

4

I feel like anyone wanting to list its faults has missed the point entirely and should just go on with their lives. Your approach is the correct one.
Franco Nero Intergalactic Christ for the win.

[Thursday Next]

R.I.P.D.

Lame, predictable and not that much fun.

2


Love and Monsters

Basically Zombieland for 11 year olds.

3

[Takoma11]

You may be right, but we didn't. He was an idiot and his banging around through life was really causing nothing but unpleasantness for anybody. I really thought, at best, we were supposed to see him as the character who's supposed to be fun and funny but actually isn't, is kinda pathetic, and at best we end up feeling a little sorry for him that he's such a dipshit at that age.

The problem is that the film needs him to act as a counter-balance to the way that Miles is gravitating toward becoming a curmudgeonly shut in. And honestly I think that Church himself has such a likable vibe that it pushes you toward liking him. Then again, that charisma works for the character because it shows how Jack manages to be so successful in his horndog ways.

I guess it's not so much a problem with the film and its intent as much as me getting tired of spending time with his character.

[EsmagaSapos]

Long time since I came here. Hope everyone is doing okay.

https://i.postimg.cc/y8vnhFL3/etrnidade.jpg
Wiñaypacha (2017)

4

Now comes a film I saw recently. It's from Peru. It's a heartbreaking tale, really heartbreaking, beware, told in a decayed language, aymara. I recommend this film to anyone who liked The Turin's Horse for more than the photography. It's filmed in Allincapac mountain, 96 fixed shots, very simple, very effective. I won't tell much, it's about an old couple living in the pain of being forgotten by the one they love, a painful hope they can't throw away while a prophesized tragedy surrounds them. It's a very dramatic film that will make you cherish the time you have with your loved ones, will make you think for at least a day. It's full of metaphors about globalization, and the cultures we were given to protect.

[Hey Fredrick]

https://imgs.search.brave.com/iN_lBt35G8q7Ty37Ansi8unXs8jSG7919e9PovceuXw/rs:fit:300:450:1/g:ce/aHR0cHM6Ly9pbWFn/ZS50bWRiLm9yZy90/L3AvdzMwMC95MHZl/WnZLNFEwTnpvQWpi/RmxVckdyMWN2Wjgu/anBn


Having just re-played through TNT and Plutonia over the winter I thought this may be some dumb fun. I was half right. Just an Aliens ripoff done poorly. Marines go to a moon, Phobos, where a scientific research facility has gone silent. Well it's been overrun by demons and a battle ensues. The story is bad and the fx are worse. It's loaded with a pet peeve of mine - CG squibs. Those things need to go away. I know why they use them but holy cow! they look bad when they're done good and when they're done bad, like here, I mean you can't even appreciate the gore because it's so clean. Make things messy again. Red Kool Aid in a water balloon would be better than cg. Also, the BFG, is a turd of a weapon in this. Severely under powered. Anyway, this is terrible rating_1_5

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw1280%2FcNWY3Nd3opPzYIVN8gEpRGWjJWJ.jpg&f=1&nofb=1

The Square, 2017

Christian (Claes Bang) is a curator at a prestigious art museum and also the father to two adolescent girls. Through the course of the film Christian is embroiled in various uncomfortable situations, including the unfortunate results of a poisoned pen trick he uses to get back items that were stolen from him, a hookup-gone-wrong with an American woman named Anne (Elizabeth Moss), and a controversial ad campaign intended to promote the museum's new exhibit. Along the way the themes of trust and privilege frequently arise.

As I watched this film, sitting through scene after scene of squirm-in-your-seat discomfort, the only thing I could really compare it to was how I felt watching Force Majeure. On a whim I went to the director's page on IMDb and sure enough, this film was made by that same director.

So if you have seen Force Majeure (which I would consider at once one of the best dark comedies I've seen in along time AND some of the most cringe-inducing 100 minutes I've watched on film), you have a good sense of the kind of staging, social interactions, and middle-aged/upper-class privileged cluelessness you'll be encountering here. As he did so masterfully in Force Majeure, writer/director Ostlund uses relatable situations to keep you hooked to the main character, while then showing how his (and our) worst impulses impact those around him.

The question that hangs over the whole film is that of the social contract and our obligations within it. There's a quote (which maddeningly I cannot track down) that goes something like "The People, in theory are wonderful and amazing. But people in reality are rude and difficult and maddening." Which is to say that so many of us hold ideas like fairness and kindness and giving in high esteem, but in a moment of coming face-to-face with a stranger might feel disgust or fear. Further, who do we implicitly trust, and why?

Bang keeps Christian just in the right frantic zone where you can hold out hope that he might realize the error of his ways and do the right thing. What is shrewd about the film is that all of the characters are some mix of selfishness and humanity. The film could have just as easily centered on Anne, who is her own special version of selfish and vaguely demented. One of the best sequences (and by "best" I mean, set cringe-meter to HIGH) involves a post-hookup confrontation between the two in which the power dynamic between them continually shifts, all while standing in front of a jarring art exhibit and under the bland gaze of a museum guard.

The standout sequence in the film comes close to the end and is the image most often used to promote the movie. It involves a performance artist called Oleg (Terry Notary) who takes a performance too far in front of a crowd of museum employees and patrons. If the movie's themes could be reduced to a short film, it would probably be that sequence, which of course manages to be funny and incredibly upsetting at the same time. A woman asking for help through what are obviously fake laughs and smiles while hundreds of people just watch on in silence is agonizing. At times the film shows us the full outcome of an interaction, other times we are shown only the first part and forced to guess or infer the rest.

I had no real criticisms of the film. It is definitely hard to watch if vicarious embarrassment is hard for you. I broke it into three or four viewings.

Definitely a must-see (as is Force Majeure!).

4.5

[Yoda]

Re: The Square. Slappy, neiba and I did a podcast on that a few years ago, and it's one of my favorites. So many great insights:

Discussion thread (https://www.movieforums.com/community/showthread.php?p=1881232#post1881232)

http://www.movieforums.com/podcasts/images/the_square_compressed.png

The best way to get it is to subscribe with iTunes (http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=306197266). The next best ways are to just download it with this link (http://www.movieforums.com/podcasts.php?podcastid=28) (or add the podcast feed (http://feeds2.feedburner.com/movieforumspodcast) into your RSS reader). Or you can just listen right now with this embedded player:

/podcasts/The_Movie_Forums_Podcast_Movie_Club_The_Square.mp3

[crumbsroom]

Force Majeur is still one of the best overlooked comedies of the last twenty years, mostly due to people's resistance to considering it a comedy.

[AgrippinaX]

Force Majeur is still one of the best overlooked comedies of the last twenty years, mostly due to people's resistance to considering it a comedy.

Indeed. I think the fact it’s a comedy doesn’t mean it can’t feel a bit sad at times, though.

[crumbsroom]

Indeed. I think the fact it’s a comedy doesn’t mean it can’t feel a bit sad at times, though.


It is sometimes amazing to me how frequently people simply lose sight of how comedy and tragedy naturally compliment eachother


I've got no issues with pure comedy per se (I think Airplane is one of the greatest films ever made) but I think the frequency with which popular culture lifts comedy completely free from sadness, is a small tragedy of its own. I think people lose sight of how something can be funny when it doesn't telegraph that you are allowed to laugh at it. And why it is important to laugh at the things which can easily break us.


To me, the description of the wife describing the clomp of her husband's ski boots running away from them, can still make me laugh just thinking about it.

[Takoma11]

Force Majeur is still one of the best overlooked comedies of the last twenty years, mostly due to people's resistance to considering it a comedy.

I read (small parts, to avoid spoilers) of two different reviews, and the framing of both made it sound like a drama.

I had to radically recalibrate my expereince of the film about a fourth of the way in when I realized it was comedy.

[Corax]

So, I kind of watched Rules of Attraction (2002). I am on the road doing work, so I didn't have time to really pay attention, but when I looked up, what I saw was consistently awful. Everytime I looked up, someone was reaching an orgasm or vomiting or committing suicide or bumping a line of coke. The actors were chewing the scenery and making every weird face imaginable, especially James Van Der Beek.

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.proprofs.com%2Fapi%2Fckeditor_images%2Fseanbateman.gif&f=1&nofb=1


I didn't listen (volume was turned down so I could work), but everything I saw was childish, crude, nihilistic, and hyper-sensualized. Kind of like what some 12-year-old's fever dream of what college must be like.

I don't know what it was really about. I don't want to know. It was awful. Zero out of five bathetic O-faces.

[Takoma11]

Re: The Square. Slappy, neiba and I did a podcast on that a few years ago, and it's one of my favorites. So many great insights.

Good conversation and an interesting listen.

I liked your discussion about the idea of who art is for and the line between public/private.

I didn't quite have my thoughts together to write something about it, but I did think that it was interesting that the only times in the film that people are willing to intervene are three different moments when a woman is being physically threatened, and all of those involve to different degrees an element of "performance":

1) The woman who claims to be chased so that she can steal their things. This is a performance in a square, and the threat is not real.

2) The (fictional) little blonde girl being exploded in the square

3) The woman who is attacked by Oleg during his performance

But when the "victim" or person in need isn't a cute woman, well, too bad. A man who needs money? A child who has fallen down the stairs? Tough luck. Yes, Christian grudgingly buys a woman a sandwich, but clearly his takeaway from that whole situation is her perceived lack of gratitude.

I also took the name of the main character, Christian, as a criticism of people (and maybe especially religious people) who make lofty claims about charity, gratitude, community, etc. But push comes to shove those people behave just as selfishly. I have students who will come to class with the Bible as reading material, tell me about Sunday school, and an hour later tell me that there are no "real" homeless people, they are all secretly rich and they are just pretending. And sitting ten feet from them is a child who I know to actually be homeless. In fact, some of the worst deception, child abuse, bullying, and selfishness have come from students/families who loudly tout their Christianity. As seen in characters in the film, it's more of a "badge" that people wear for clout and less an actual real-world philosophy or way of life.

[Takoma11]

To me, the description of the wife describing the clomp of her husband's ski boots running away from them, can still make me laugh just thinking about it.

For me, it's the part where he has the breakdown in the hallway and is like "Do you realize how hard it is for me to be a coward?!". LOL.

[ThatDarnMKS]

So, I kind of watched Rules of Attraction (2002). I am on the road doing work, so I didn't have time to really pay attention, but when I looked up, what I saw was consistently awful. Everytime I looked up, someone was reaching an orgasm or vomiting or committing suicide or bumping a line of coke. The actors were chewing the scenery and making every weird face imaginable, especially James Van Der Beek.

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.proprofs.com%2Fapi%2Fckeditor_images%2Fseanbateman.gif&f=1&nofb=1


I didn't listen (volume was turned down so I could work), but everything I saw was childish, crude, nihilistic, and hyper-sensualized. Kind of like what some 12-year-old's fever dream of what college must be like.

I don't know what it was really about. I don't want to know. It was awful. Zero out of five bathetic O-faces.

This is one of those reviews that’s intended to be negative but captures why it’s fantastic.

[edarsenal]

https://abload.de/img/riddhbktc.gif
https://images.immediate.co.uk/production/volatile/sites/3/2022/03/Batman-Catwoman-8bb583c-be54541.jpeg
https://c.tenor.com/4kd1LSc_qdwAAAAd/the-batman.gif


The Batman (2022) 3.5++++ (potential for a greater enjoyment in future watches)

FIRST: A Disclaimer: I care - extremely, very little - when it comes to Robert Patterson. In the few I've seen, it's continually gone down and down. So I groaned when I first heard of him playing Batman. But then I equally moaned when Michael Keaton stepped up and did, in my eyes, pretty d@mn f@ckin good. So, skeptical but very curious, I went to the cinema with my brother with a relatively open mind to see where this dark rabbit hole would traverse in this stand-alone version outside the Justice League world.

And, I gotta tell ya, while the Emo kid bit threw me a bit, I did warm to it, and Patterson's portrayal of a Sophmore Detective/Vigilante addicted to being The Batman and ready to forget being Bruce Wayne. That initial rage that would become a cold menace in many Batman films has taken full reign with more savagery than many predecessors for me. Where the quick, efficient dispatching of opponents is here, a more brutal unleashing of every ounce of grief and pain within the cowl-wearing young Bruce Wayne. Director/Writer Matt Reeves creates a "darker" Se7en-induced production with poignant grit beyond our beloved theatrical renditions of Batman.
We have a rain-drenched, shadow-encased Gotham of political corruption where crime is rampant and bold as f@ck. There is no glimmer of light by anyone attempting to be a "good person." Even the shining "First Family," the Waynes have dark secrets.
A well-grounded, truly bleak domain that The Batman goes to war with. A Batman that exhibits his Detective skill beyond playing on a computer as he tracks a unique Riddler that steps out of his typical bright green-coded attire and giggling temperament. His dementia is truly twisted instead of comedic fodder, adding to the truly dark tone that takes a Comic Book Hero out of a Comic Book World into a more cinematic world of realistic danger and brutality. Albeit retaining that, it is still a Comic Book Hero story. The usual Batman Toys/Gadgets are here, more muscled cars/bikes that, (I have always been a fan of the toys and gadgets), I truly enjoyed them in this setting. Especially the feral growl of his suped-up, turbine-engined batmobile.
I must also express that Zoe Kravitz's Selena Kyle is a fitting Catwoman to Patterson's The Batman. Since both Kravits and Patterson were previous friends, their chemistry worked exceedingly well on screen for me. Kravitz blended and balanced the temperament and determination of her character with moments of vulnerability and, thereby, a well-rounded personality quite nicely for me.

I WILL be seeing this again. Hopefully, once more on the Big Screen, but I definitely will be as well as the next The Batman should Reeves have the opportunity to continue.

[ThatDarnMKS]

AMBULANCE

The perfect Michael Bay movie.

5/5
My expanded justification for giving Bay’s new opus a perfect score.

https://boxd.it/2JXLX9

[Wooley]

The problem is that the film needs him to act as a counter-balance to the way that Miles is gravitating toward becoming a curmudgeonly shut in. And honestly I think that Church himself has such a likable vibe that it pushes you toward liking him. Then again, that charisma works for the character because it shows how Jack manages to be so successful in his horndog ways.

I guess it's not so much a problem with the film and its intent as much as me getting tired of spending time with his character.
All I can say is I did not like him and neither did my wife (at the time) and neither of us thought we were supposed to.

[John W Constantine]

I miss my own personal groan knowing that a new Transformers film is coming out

[Fabulous]

Twentieth Century (1934)

2.5

https://image.tmdb.org/t/p/original/oNOq9j30RBivlSSJafK9HqXzvK1.jpg

[Kayden Kross]

I watched a few from Bogdanovich lately. I love The Last Picture Show, and as I've gotten older I've come to appreciate Ben Johnson's character even more.


Saint Jack is the other one I checked out. I found it to be a little confusing for follow, but it is a nice time capsule of an era before gentrification. I was interested enough in it to go find a copy of the book afterwards. It was written by Paul Theroux, his son Louis Theroux did Louis and the Nazis back in 2003. I've actually became pretty close friends with one of the twins featured in it, she wasn't too thrilled when he did a recent interview with them in 2020 and only featured like 30 seconds of it in one of his newer specials.

[Takoma11]

I care - extremely, very little - when it comes to Robert Patterson. In the few I've seen, it's continually gone down and down.

Whaaaaat?

Have you seen Good Time or High Life? I've found over the last 10 years or so that he's doing good work in interesting films.

[Rockatansky]

Whaaaaat?

Have you seen Good Time or High Life? I've found over the last 10 years or so that he's doing good work in interesting films.

I'll add The Lighthouse and Tenet to awesome RPatz performances. The former has him sparring with Willem Dafoe, the latter has him doing a super fun knock off James Bond.

[edarsenal]

Whaaaaat?

Have you seen Good Time or High Life? I've found over the last 10 years or so that he's doing good work in interesting films.

I have not seen anything recent so I may have to remedy that.

[edarsenal]

I'll add The Lighthouse and Tenet to awesome RPatz performances. The former has him sparring with Willem Dafoe, the latter has him doing a super fun knock off James Bond.

Hmm both sound interesting. Thanks.

[ThatDarnMKS]

That Ambulance high had me decide to watch my one Bay blindspot and I was shocked by how strong I found it, even as someone who is normally a defender:

13 HOURS

https://boxd.it/2K9urf

4.5/5

[John W Constantine]

Michael Bay movie directed by Michael Bay

5

[ThatDarnMKS]

Michael Bay movie directed by Michael Bay

5
Now you're getting it.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/e/e0/Close_Up_DVD_cover.jpg
By http://www.firouzanfilms.com/images/TheFirouzanFifty/CloseUp/CloseUp_DVD.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=36836902

Close-Up - (1990)

That was pretty unusual. Close-Up is a little bit like a reconstruction of an event, using all the real people playing the part of themselves - but parts are straight up caught on camera as they happen. Hossain Sabzian cons a family into thinking he's famous Iranian director Mohsen Makhmalbaf, and goes so far as to recruit them to be in his next film - but when caught out must go through the humiliation of being exposed, and stands trial with his fate uncertain. The unusualness of the case attracts director Abbas Kiarostami, who records (and participates) in his trial - and sets him up to meet Makhmalbaf after being released. Cinema has had such an effect of Sabzian's life that he's most lucid and open when talking about that subject, and this is what mostly comes out when people at the trail continually ask him why he did what he did - it's as if he wanted to disappear from his lowly poor life into cinema itself. Iranians make some pretty interesting movies, going way further back than Asghar Farhadi. I also watched Close-Up Long Shot after this - a short doco focusing on Hossain Sabzian.

8/10

Foreign Language Countdown films seen : 80/100

[ThatDarnMKS]

https://upload.wikimedia.org/wikipedia/en/e/e0/Close_Up_DVD_cover.jpg
By http://www.firouzanfilms.com/images/TheFirouzanFifty/CloseUp/CloseUp_DVD.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=36836902

Close-Up - (1990)

That was pretty unusual. Close-Up is a little bit like a reconstruction of an event, using all the real people playing the part of themselves - but parts are straight up caught on camera as they happen. Hossain Sabzian cons a family into thinking he's famous Iranian director Mohsen Makhmalbaf, and goes so far as to recruit them to be in his next film - but when caught out must go through the humiliation of being exposed, and stands trial with his fate uncertain. The unusualness of the case attracts director Abbas Kiarostami, who records (and participates) in his trial - and sets him up to meet Makhmalbaf after being released. Cinema has had such an effect of Sabzian's life that he's most lucid and open when talking about that subject, and this is what mostly comes out when people at the trail continually ask him why he did what he did - it's as if he wanted to disappear from his lowly poor life into cinema itself. Iranians make some pretty interesting movies, going way further back than Asghar Farhadi. I also watched Close-Up Long Shot after this - a short doco focusing on Hossain Sabzian.

8/10

Foreign Language Countdown films seen : 80/100
I loved this one. I watched it after a bit of a binge of Iranian cinema, so having seen The Traveler and some Makmalbaf family works (his daughter and I think his wife also direct), it really resonated with me. One of the most unique works around and likely my favorite from Kiarostami.

[ueno_station54]

https://pbs.twimg.com/media/E4xGyrlXoAE3o62?format=jpg&name=large
Senritsu Kaiki File Kowasugi! File 01 - Operation Capture the Slit-Mouthed Woman (Koji Shiraishi, 2012)

the first of a many part series (and probably the only one i'll ever be able to track down) from the king of found footage horror that seems to focus on popular urban legends and folklore but unfortunately this one is centered on an urban legend i've never found particularly interesting. on the plus side there's still a number of good moments and Shiraishi's approach is always rock solid (never leaves you wondering who cut all this footage together or anything like that) but there's also some bits that feel like he's done the same thing better in other films. would love, love, love to see the rest of this series even if this one isn't really all that.
rating_3

[Fabulous]

The Hot Rock (1972)

3

https://image.tmdb.org/t/p/original/aWCVLOsrSOzdbT4zIg4AIpnNopR.jpg

[WHITBISSELL!]

Whaaaaat?

Have you seen Good Time or High Life? I've found over the last 10 years or so that he's doing good work in interesting films.I think The Rover deserves a mention as well.

[WHITBISSELL!]

https://64.media.tumblr.com/8337cc9b0b65b11e9ca2a7bbfa713f53/33f13d8aa9e11506-ac/s1280x1920/07d32b17560c0afb60a73452f944982433507640.gifv
https://64.media.tumblr.com/c44a631f5e914fe4acaba8cc6f366e5f/33f13d8aa9e11506-19/s1280x1920/57f4e68f9cf914e2a2ab3dd8e28fc80da4b0c79c.gifv

C'mon C'mon - Joaquin Phoenix has gradually become my go-to performer. Even after tallying all the performances that made an impression and stuck with me he still sort of snuck up on me. The Master, Joker, You Were Never Really Here, Inherent Vice, We Own the Night. Even his earlier, smaller roles like 8MM or ones in movies that so many seem to disparage like Signs.

Here he plays Johnny (no last name) a radio journalist working on a wide ranging project interviewing younger people in different parts of the country. His estranged sister Viv (Gaby Hoffman) is having to deal with her husband Paul's (Scoot McNairy) mental illlness and asks Johnny if he can look after his nine year old nephew Jesse (Woody Norman). Viv and Johnny haven't spoken for a year following their mother's death from dementia. After a few days Johnny's work assignment can no longer be ignored and he asks Viv if he can take Jesse back to New York with him.

This story of two strangers gradually forming a bond has been done before with Wim Wenders Alice in the Cities springing immediately to mind. But it's the strength of the three main characters that sets it apart from so many others. Phoenix continues to impress the hell out of me and Gaby Hoffman is just note perfect as an overwhelmed but still loving and supportive mom. And there wouldn't be a movie without it's most integral part. Kid actor Woody Norman is actually British and he's either a star in the making or director Mike Mills really knows how to coax naturalistic performances out of young actors. I think Hoffman and Norman nearly steal the movie from Phoenix and that's really saying something.

I liked the black and white photography and the choices made with the soundtrack. I know it's been used countless times before but what can I say, I'm a sucker for Clair de Lune. I also liked the little vignettes from essays and articles and books. There was a chautauqua kind of feel to them. Really liked the whole vibe of the film and makes me want to check out Mills' three other movies.

90/100

[this_is_the_ girl]

https://www.weekendnotes.com/im/001/05/black-box-film-review-french-film-festival-allianc51.jpg
Black Box (2021, Yann Gozlan)
2.5
I generally like these type of investigative thrillers but this one fell short for me. Good premise — bland, predictable execution. Too mechanical and, for lack of a better word, soulless; I wished there was more of a realness and a raw edge to it. The attempted atmosphere of mounting paranoia in the latter half of the film rang a bit hollow where it should have been edge-of-the-seat tense and claustrophobic; also, there was something missing in the chemistry between the protagonist and his wife — again, it didn't feel real and convincing.
OK movie, I guess, but could've turned out a lot better.

[this_is_the_ girl]

https://upload.wikimedia.org/wikipedia/en/e/e0/Close_Up_DVD_cover.jpg
By http://www.firouzanfilms.com/images/TheFirouzanFifty/CloseUp/CloseUp_DVD.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=36836902

Close-Up - (1990)

That was pretty unusual. Close-Up is a little bit like a reconstruction of an event, using all the real people playing the part of themselves - but parts are straight up caught on camera as they happen. Hossain Sabzian cons a family into thinking he's famous Iranian director Mohsen Makhmalbaf, and goes so far as to recruit them to be in his next film - but when caught out must go through the humiliation of being exposed, and stands trial with his fate uncertain. The unusualness of the case attracts director Abbas Kiarostami, who records (and participates) in his trial - and sets him up to meet Makhmalbaf after being released. Cinema has had such an effect of Sabzian's life that he's most lucid and open when talking about that subject, and this is what mostly comes out when people at the trail continually ask him why he did what he did - it's as if he wanted to disappear from his lowly poor life into cinema itself. Iranians make some pretty interesting movies, going way further back than Asghar Farhadi. I also watched Close-Up Long Shot after this - a short doco focusing on Hossain Sabzian.

8/10

Foreign Language Countdown films seen : 80/100
Great film! Very meta, as often with Kiarostami.

[ThatDarnMKS]

https://64.media.tumblr.com/8337cc9b0b65b11e9ca2a7bbfa713f53/33f13d8aa9e11506-ac/s1280x1920/07d32b17560c0afb60a73452f944982433507640.gifv
https://64.media.tumblr.com/c44a631f5e914fe4acaba8cc6f366e5f/33f13d8aa9e11506-19/s1280x1920/57f4e68f9cf914e2a2ab3dd8e28fc80da4b0c79c.gifv

C'mon C'mon - Joaquin Phoenix has gradually become my go-to performer. Even after tallying all the performances that made an impression and stuck with me he still sort of snuck up on me. The Master, Joker, You Were Never Really Here, Inherent Vice, We Own the Night. Even his earlier, smaller roles like 8MM or ones in movies that so many seem to disparage like Signs.

Here he plays Johnny (no last name) a radio journalist working on a wide ranging project interviewing younger people in different parts of the country. His estranged sister Viv (Gaby Hoffman) is having to deal with her husband Paul's (Scoot McNairy) mental illlness and asks Johnny if he can look after his nine year old nephew Jesse (Woody Norman). Viv and Johnny haven't spoken for a year following their mother's death from dementia. After a few days Johnny's work assignment can no longer be ignored and he asks Viv if he can take Jesse back to New York with him.

This story of two strangers gradually forming a bond has been done before with Wim Wenders Alice in the Cities springing immediately to mind. But it's the strength of the three main characters that sets it apart from so many others. Phoenix continues to impress the hell out of me and Gaby Hoffman is just note perfect as an overwhelmed but still loving and supportive mom. And there wouldn't be a movie without it's most integral part. Kid actor Woody Norman is actually British and he's either a star in the making or director Mike Mills really knows how to coax naturalistic performances out of young actors. I think Hoffman and Norman nearly steal the movie from Phoenix and that's really saying something.

I liked the black and white photography and the choices made with the soundtrack. I know it's been used countless times before but what can I say, I'm a sucker for Clair de Lune. I also liked the little vignettes from essays and articles and books. There was a chautauqua kind of feel to them. Really liked the whole vibe of the film and makes me want to check out Mills' three other movies.

90/100
One of my favorites last year. Between this and Cyrano, Bryce and Aaron Dessner of the National are killing it in the transition to film composers.

Such a simple, heartfelt and touching story about intergenerational impact. Almost Ozu-esque in it's simplicity and subtlety.

[Torgo]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi1.wp.com%2Fscreenagewasteland.com%2Fwp-content%2Fuploads%2F2020%2F08%2Fff-the-visitor4.jpg%3Fresize%3D730%252C393%26ssl%3D1&f=1&nofb=1

The Visitor, 1979

A long-ago, intergalactic/interdimensional conflict results in a vast conspiracy to embody an evil creature in the form of children born to certain women on Earth. Jerzy (John Huston) is sent to Earth by the head of his order to do damage control around a little girl named Katy (Paige Conner) who is displaying both telekinetic powers and a tendency for cruelty/destruction. Katy's mother, Barbara (Joanne Nail) is put through the ringer as both her husband (Lance Henriksen) and Katy try to persuade her to have another child.

This movie is a bit of a mess, but it's an absolutely lovely one. I can genuinely say that I was never bored, and the mix of outlandish visuals, bizarre dialogue, and plain ol' WTF moments is exactly what I love in a late night movie.

I'm not usually a fan of "evil kid" movies. I don't find them to be engaging, and the child performances are often bad in the wrong kind of way. But I thought that Conner was pretty good in her role as the diabolical Katy. Huston's performance is pretty understated, but I actually thought that his zen vibe gave the character a nice, borderline eerie otherworldly quality. Nail is also good as a woman who loves her daughter but also realizes that something is very wrong. Her character could have felt really shrill or overly "damsel in distress", but she brings a nice degree of depth and sympathy to the role. I also really liked the part where realizing she's been impregnated against her will, she find her ex-husband and gets him to help her have an abortion. It's a decision that shows some spine (and reminded me of a similar moment with Geena Davis in The Fly) and gives her a much needed moment of being proactive.

The whole movie is littered with bizarre sequences, and while they don't all necessarily cohere, there are multiple memorable moments. A strange event at Katy's birthday party where a gift turns deadly; Katy and Jerzy showing their true selves during a game of Pong; a creepy part where the evil cabal decides that if Barbara won't agree to get pregnant, they will offer "intervention".

There are some technical elements that aren't the strongest, and I'm sure someone who disliked this film could write a multi-paragraph essay listing its faults. I'm aware of them, but only sort of peripherally. I mainly tend to care about faults when they ding my enjoyment of a film, and that just wasn't the case here.

A pleasant surprise, surely bolstered by low expectations and intergalactic Christ.

4I enjoyed this movie a lot as well. I wrote something about it in a sci-fi/fantasy thread Wooley and I made last year that you can read here (https://www.movieforums.com/community/showthread.php?p=2239750#post2239750) if you like.

I wish I had known about this movie three years ago because they did a 40th anniversary screening at the Atlanta Film Festival, which Paige Conner attended. Speaking of, she currently runs a beauty supply company...that happens to be within driving distance! Now, would it be wrong for me to pop in and ask her, "have you seen Jerzy?"

[John McClane]

https://www.gannett-cdn.com/media/USATODAY/GenericImages/2013/01/07/trailersgangstersquad-16_9.jpg

Gangster Squad - (2013)
2

For some reason, I remembered liking this movie more than I should have but don't know why. Upon a rewatch I found it to be awfully hammy, so maybe that's why I liked it. But if you've ever been curious as to what Ryan Gosling would sound like with his nuts in a vice then give it a watch. Worth some laughs at the very least.

[chawhee]

I Hope They Serve Beer in Hell (2009)
http://gonewiththetwins.com/new/wp-content/uploads/2014/02/ihopetheyservebeerinhell.jpg
4
A favorite of mine, and my girl surprisingly liked it as well (she wanted to watch by her request). It is obviously offensive to women (detestably so), but the humor is in line with other buddy-type comedies.

[SpelingError]

I have not seen anything recent so I may have to remedy that.

I think Patterson has improved significantly since the Twilight saga to the point I'd place him among my favorite current actors. And given that I generally don't pay attention to acting when I watch films, that's saying a lot.

[SpelingError]

Close-Up - (1990)

I loved this one. I watched it after a bit of a binge of Iranian cinema, so having seen The Traveler and some Makmalbaf family works (his daughter and I think his wife also direct), it really resonated with me. One of the most unique works around and likely my favorite from Kiarostami.

Great film! Very meta, as often with Kiarostami.


Out of curiosity, have you guys seen A Moment of Innocence? It's similar to Close-Up in the sense it combines narrative and documentary filmmaking, but I liked it much more. It's not only my favorite Iranian film of all time, but also one of my favorite films of all time in general. It might be a bit hard to track it down, but if you're able to do so, I highly recommend watching it.

[ThatDarnMKS]

Out of curiosity, have you guys seen A Moment of Innocence? It's similar to Close-Up in the sense it combines narrative and documentary filmmaking, but I liked it much more. It's not only my favorite Iranian film of all time, but also one of my favorite films of all time in general. It might be a bit hard to track it down, but if you're able to do so, I highly recommend watching it.
I have not. The only Makhmalbaf I've seen are Kandahar and part of Gabbeh. I've also seen his daughter's film The Day I Became A Woman, which was Fellini-esque and wonderful.

I'll check it out if Criterion Channel ever gets it.

[ThatDarnMKS]

Some top tier Pattinson performances:

The Lighthouse
Good Time
The Batman
Cosmopolis
Maps to the Stars
Tenet
The Rover

[Stirchley]

86628

Not really my cuppa tea, but I enjoyed it. Rebecca Hall carried the movie.

86629

Was sure I had seen this 1999 movie before so thought it was a re-watch. Turns out I’ve never seen it. Dark, bleak & grim. Amazing scene of a completely naked female teen taking a bath with a 12 year old naked boy. Full frontal for her. Could this scene be filmed now? It rings all kinds of alarm bells.

86630

Excellent movie. I can see why JC won an Oscar for this - she had me hooked from the start. Andrew Garfield was overlooked in the praise for this movie. I guess because JC was so very good, but he was really excellent too. Both of them put a ton of work into this movie. Cherry Jones also good as her mother.

[SpelingError]

I have not. The only Makhmalbaf I've seen are Kandahar and part of Gabbeh. I've also seen his daughter's film The Day I Became A Woman, which was Fellini-esque and wonderful.

I'll check it out if Criterion Channel ever gets it.

Aye, gotcha.

Also, if you'd like a link to it, let me know.

[Gideon58]

Excellent movie. I can see why JC won an Oscar for this - she had me hooked from the start. Andrew Garfield was overlooked in the praise for this movie. I guess because JC was so very good, but he was really excellent too. Both of them put a ton of work into this movie. Cherry Jones also good as her mother.



Totally agree with you, including the fact that Garfield was just as good as Chastain.

[Gideon58]

https://m.media-amazon.com/images/M/MV5BN2FjZDU0MGMtZDkxMi00M2VmLTkyNDQtNTFjYjIzYzMxMjgwXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_FMjpg_UX1000_.j pg



1st Re-watch...Despite Andra Day's spectacular performance in the starring role, this film still doesn't come together due to a very confusing screenplay and lethargic direction.

3.5

[TheUsualSuspect]

Everything Everywhere All At Once

https://image.tmdb.org/t/p/w154/w3LxiVYdWWRvEVdn5RYq6jIqkb1.jpg

4.5

Without a doubt, the most original film you will see this year. This was a breath of fresh air in an era of spandex flying super heroes. Everything Everywhere feels like several different films all at once and manages to carve its own unique style in the absurdity. The humour from the 'Daniels" previous film feels very similar here, so if you couldn't get on board with a farting corpse in Swiss Army Man, you'll probably find the humour here extremely juvenile. I loved it, I loved the absurdity to it and the dedication to detail that calls back to previous scenes.

The film feels like a mix of Eternal Sunshine of the Spotless Mind and The Matrix if blended in a vat of comedy. The jumping from "universe to universe" was done with a Gondry flair that kept me on my toes as to what was being thrown at me on the screen. I was never confused as to what universe I was in, which is a big accomplishment because this film gets weird and expects you to play catch-up with it.

The cast was superb, Michelle Yeoh leads here with kick ass martial arts, surprisingly good comedy chops and emotional beats that tug at the heart strings. The film is a balancing act of all these things and does it wonderfully. I could see how some people might be put off by how jarring some of it could be, but if you hop on this ride early, you'll enjoy the hell out of it.

Stephanie Hsu plays her daughter, she has trouble connecting with her mother on multiple levels which puts a serious strain on their relationship. Ke Huy Quan from The Goonies and Temple of Doom returns to the screen. I was seriously impressed with his performance, he garnered the perfect amount of sympathy. Jamie Lee Curtis has a small role and with the subtle raise of an eyebrow can take over a scene. She was also great and not afraid to fully embrace the visuals of her character. James Hong shows up too, showing everyone at the age of 93 that he can still pull off awesome characters.

The fight scenes are pretty cool and engaging, there are only a few of them, so they do standout when the film showcases those sequences. At 2hrs and 19mins, the film might feel long to some. I did feel the length towards the end of the film, but it did not bother me that much. Much like the 3hr runtime of The Batman, I know this is a long movie but I'm fine staying in this world a bit longer.

[Fabulous]

Sabotage (1936)

3

https://image.tmdb.org/t/p/original/88zug5ctQYW2171YDYhSpEnJWb1.jpg

[Takoma11]

I have not seen anything recent so I may have to remedy that.

As others have mentioned, he's got some great stuff. Definitely add The Lighthouse and The Rover to films I think are strong and interesting and also have good performances in them.

I think The Rover deserves a mention as well.

Absolutely. This would be an interesting one to nominate for one of the HoFs. I can never totally get a handle on whether a lot of people have seen it or not.

[Fabulous]

The Man Who Knew Too Much (1934)

3.5

https://image.tmdb.org/t/p/original/o9QuotgupLq34zYyzFrfd4TrimC.jpg

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fscreenrant.com%2Fwp-content%2Fuploads%2F2017%2F11%2FThe-Shape-of-Water-movie-Sally-Hawkins.jpg&f=1&nofb=1

The Shape of Water, 2017

Elisa (Sally Hawkins) is a mute woman who works as a cleaner alongside her good friend Zelda (Octavia Spencer) in a government facility during the Cold War. When a new "asset" is brought to the facility, a humanoid fish-creature (Doug Jones), Elisa bonds with him and becomes determined to save him from the cruel and uncompromising Strickland (Michael Shannon), who is determined to torture the creature into submission.

"It just seemed like the fish wasn't that into it."

This is what an acquaintance of mine said about this film after watching it the year it came out, and this phrase (which never fails to make me laugh) has been what I've always thought of when The Shape of Water was mentioned.

It just seemed like the fish wasn't that into it is, of course, referring mainly to the romantic/sexual dynamic between Elisa and the creature, but the spirit of the phrase kind of sums up how I felt about the film, which was that in almost every regard it was a bit underwhelming.

The film has a lot going for it, it must be said. The look of the film reminded me a bit of the quirky staging of Amelie, with elements like a radioactive-green key lime pie, or the look of the uniforms worn by the cleaning staff. There are some memorable images, both beautiful and horrifying.

The cast also gives the film a real boost, with each actor being basically a perfect fit for the character. Hawkins brings a perfect mix of vulnerability and determination to Elisa. Richard Jenkins brings a fussy warmth as Elisa's friend and neighbor, Giles. Spencer is endlessly charming as the outspoken Zelda. Shannon is menacing as Strickland. Michael Stuhlbarg is good as a sympathetic scientist. Doug Jones . . . is a fish man.

But something that bothered me more and more as the film went on was the sense that the characters were not all that much more developed beyond what the actors brought to them. Yes, Hawkins really sells Elisa's impassioned plea to Giles to help the creature. Shannon gives an extra edge to Strickland's sociopathy, especially in a sequence where he forcibly silences his wife during sex. Yet when you step back from the characters, the depth and growth feels very minimal and ultimately pretty unsatisfying.

I had the sense watching this movie that there were specific sequences del Toro had in mind, and then the rest was just sort of filled in. And some of that filler is really clumsy, like the two ham-handed references to the racism of the time. A subplot about Giles trying to get his job back at his old ad agency just sort of goes nowhere. Multiple mentions of Zelda's husband lead up to a big nothing.

Fine, but I had hoped for more.

3.5

[crumbsroom]

I was so disappointed with Shape of Water


Not like I've really been a huge fan of Del Toro, but he's got a unique voice, he's in the game for the right reasons, but...ugh. It's like the worst thing I've seen by him.

[Gideon58]

The Hot Rock (1972)

3



https://image.tmdb.org/t/p/original/aWCVLOsrSOzdbT4zIg4AIpnNopR.jpg

Really liked this movie...I think I rated it half a bag of popcorn higher than you did.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.oscarchamps.com%2Fwp-content%2Fuploads%2F2015%2F04%2F2008-Slumdog-Millionaire-08.jpg&f=1&nofb=1

Slumdog Millionaire, 2008

Jamal (Dev Patel) is a contestant on the Indian version of Who Wants to Be a Millionaire?. When he goes on a seemingly improbable run of correct answers, he is brutally interrogated by a police captain (Irrfan Khan) on suspicion that he is somehow cheating. Jamal explains how he knew each answer, recounting the life of hardship and tragedy he faced while trying to survive in the slums with his older brother, Salim (Madhur Mittal), and attempting to save his first love, Latika (Freida Pinto) from a life of servitude and debasement.

Another Oscar winner that left me cold.

There's a young adult book called A View from Saturday where four children compete on a quiz show, and after each question you get a flashback to how they knew the answer. While I found this structure charming as a fifth grader, in this film I found it grating and it totally strained my suspension of disbelief. Like, really, EVERY significant moment in this kid's life involved learning a fact that later became a piece of trivia on a TV show?

Apart from glimpses of humor here or there that worked for me, or pleasant surprises like the participation of Irrfan Khan, I never managed to sink into this film. The artificiality of the structure, and the heightened style of it all kept me at arm's length from beginning to end. It is unbearably choppy, and never takes a moment to breathe.

One definite highlight is Dev Patel, who manages to exude a kind of warmth and depth that holds your attention in all of his scenes. I would actually say that all of the actors were okay, even the little kids, but this is not a structure that lets characters develop in a meaningful way.

There's a kind of cloying sentimentality here that often bothers me (I feel this way about Shawshank Redemption, another crowd favorite), and I just have to grit my teeth when I see its 8/10 IMDb rating. To me, this is the cinematic equivalent of empty calories. I generally enjoy Boyle's films, and I really like several of the cast members, but this one let me down big time.

3.5

[Takoma11]

I was so disappointed with Shape of Water


Not like I've really been a huge fan of Del Toro, but he's got a unique voice, he's in the game for the right reasons, but...ugh. It's like the worst thing I've seen by him.

I absolutely LOVE Devil's Backbone. And I like Pan's Labyrinth even if I find that it feels overlong to me. I also like everything else I've seen from him, which apparently is everything except Nightmare Alley.

Shape of Water fell into the same category as a lot of his film for me, which is to say: neat premise, handful of great visuals, thin story. I think that the cast of Shape of Water does a good job of bringing something extra to their characters, but it isn't enough.

[Takoma11]

I enjoyed this movie a lot as well. I wrote something about it in a sci-fi/fantasy thread Wooley and I made last year that you can read here (https://www.movieforums.com/community/showthread.php?p=2239750#post2239750) if you like.

Seems like we have many of the same opinions about it!

I wish I had known about this movie three years ago because they did a 40th anniversary screening at the Atlanta Film Festival, which Paige Conner attended. Speaking of, she currently runs a beauty supply company...that happens to be within driving distance! Now, would it be wrong for me to pop in and ask her, "have you seen Jerzy?"

I'm sure there's nothing an adult, former child-actor likes more than strangers coming to their workplace and referencing that weird movie they were in in the 1970s. I mean, do it, but you also have to buy like $500 worth of beauty supplies to balance your karma.

[Torgo]

I'm sure there's nothing an adult, former child-actor likes more than strangers coming to their workplace and referencing that weird movie they were in in the 1970s. I mean, do it, but you also have to buy like $500 worth of beauty supplies to balance your karma.Point taken. I am ashamed to admit that buying a gift card to make up for the intrusion did cross my mind. Alas, there's likely a "No Visitor Questions" sign on the front door akin to the "No Stairway to Heaven" sign in the Wayne's World guitar store.

[ThatDarnMKS]

Point taken. I am ashamed to admit that buying a gift card to make up for the intrusion did cross my mind. Alas, there's likely a "No Visitor Questions" sign on the front door akin to the "No Stairway to Heaven" sign in the Wayne's World guitar store.
Just go for it, bro. Howard Keal co-owned a spy shop near me and I always thought about going and never did.

And now he's DEAD!!!

*Dramatically slaps Torgo*

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fcdn.collider.com%2Fwp-content%2Fuploads%2F2015%2F05%2Fdheepan-movie.jpg&f=1&nofb=1

Dheepan, 2015

A Sri Lankan soldier (Jesuthasan Antonythasan) assumes the identity of a dead man named Dheepan, and manages to immigrate to France by posing as the husband of a woman named Yalini (Kalieaswari Srinivasan) and the father of an orphaned girl named Illayaal (Claudine Vinasithamby). But on arriving in their new home, they discover that their apartment block is home to a territorial gang of drug dealers. While Yalini manages to somewhat endear herself to one of the gang's leaders, Brahim (Vincent Rottiers), a confrontation is clearly coming down the line.

How long can someone endure a life on a knife's edge? And how long can someone go on trying to act normal when every day brings a new reminder of a violent past?

The questions evoked by Dheepan are many and they are revealed an explored with an empathy for its central characters. The central trio at the heart of the film are not some idealized, polished version of scrappy-with-a-heart-of-gold immigrants, nor are they perpetual victims. They are deeply human people trying to make the best of a precarious, loaded situation.

Antonythasan and Srinivasan are both electric as people with different goals forced into intimacy and roles (husband, mother) that do not gel with their past lives. Every moment for them is weighted with both the tragedy of the past and the potential for the future. For a short stretch in the middle of the film, Yalini seems to be attracted to Brahim. But while he is charming, his comfort with violence puts an edge into every scene between the two of them.

The visuals of the film support the theme of the intrusion of the past into the present. Men patrolling the apartment building immediately raise alarms for Dheepan. Loud bangs, smoke, revving engines. The past can never stay past for the main characters because it lives inside of them and is unrelentingly mirrored in their present setting.

I am still mulling over how I feel about the direction the film takes in the last 15 or so minutes, which feels a little jarring after the intimate realism of the rest of the film.

Setting aside still thinking over the ending, I really loved this movie. I thought that it was a powerful look inside an experience that most people will never know or understand.

4.5

[Wooley]

I have not seen anything recent so I may have to remedy that.

You really should. He may be the best young actor to come along in a while.

[Wooley]

I Hope They Serve Beer in Hell (2009)
http://gonewiththetwins.com/new/wp-content/uploads/2014/02/ihopetheyservebeerinhell.jpg
4
A favorite of mine, and my girl surprisingly liked it as well (she wanted to watch by her request). It is obviously offensive to women (detestably so), but the humor is in line with other buddy-type comedies.

They made a movie out of that?!
A dude gave me his other book, Assh*les Finish First, and I thought it was one of the most awful things I ever read. Just the worst sort of Bro validating his own worst instincts.
Hopefully this movie was better.

[Captain Terror]

Point taken. I am ashamed to admit that buying a gift card to make up for the intrusion did cross my mind. Alas, there's likely a "No Visitor Questions" sign on the front door akin to the "No Stairway to Heaven" sign in the Wayne's World guitar store.
You just gotta be subtle about it. Ease into it.
"The craziest thing just happened! On my way here a bird flew inside my car! Have you ever heard of such a thing?"

[Torgo]

You just gotta be subtle about it. Ease into it.
"The craziest thing just happened! On my way here a bird flew inside my car! Have you ever heard of such a thing?"Hmm...tempting.
"Got anything in Sateen? Ahem...satin?"

[Wooley]

I absolutely LOVE Devil's Backbone. And I like Pan's Labyrinth even if I find that it feels overlong to me. I also like everything else I've seen from him, which apparently is everything except Nightmare Alley.

Shape of Water fell into the same category as a lot of his film for me, which is to say: neat premise, handful of great visuals, thin story. I think that the cast of Shape of Water does a good job of bringing something extra to their characters, but it isn't enough.

Devil's Backbone and Cronos are amazing films. But he's gone Spielberg on us.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/5/56/Fanny%26Alexander.jpg
Fair use, https://en.wikipedia.org/w/index.php?curid=6678907

Fanny and Alexander - (1982)

I watched the theatrical version of this last night, and really enjoyed it - over the next few days I might give the longer version a try. I almost thought the entire film was going to revolve around one Christmas, for we stay with the wealthy Ekdahls celebrating for quite a while, but I was engrossed in the visual beauty of their home and the joy of their Christmas, with Swedish touches which were unfamiliar to me. The rest of the film focuses on young Alexander and Fanny in this semi-autobiographical film, and it sometimes leans towards mysticism and magic - which I didn't mind. There was one character near the end - Ismael, (played by Stina Ekblad) - who is fascinating. She's almost an Antichrist kind of figure, locked in a room - and she can read minds, become one with people and even summon death. She's not a villain, though I think she certainly could be if let free. I didn't expect that in Fanny and Alexander - a film that feels like a fairy tale, with it's two young characters locked away by a wicked stepfather in a castle-like rectory/church/home. The film's long running time never bothered me - Ingmar Bergman knows how to make any scene compelling and interesting. I remember when this was released, because there was a great deal made out of it - but I would have been too young to really appreciate it at the time.

8/10

Foreign Language Countdown films seen : 81/100

[StuSmallz]

Devil's Backbone and Cronos are amazing films. But he's gone Spielberg on us.Huh?

[mark f]

A Lion Is in the Streets (Raoul Walsh, 1953) 2.5 5.5/10
Funeral Home (William Fruet, 1980) 2 5/10
Cry of the Hunted (Joseph H. Lewis, 1953) 2.5 5.5/10
Cow (Andrea Arnold, 2021) 2.5 6+/10
https://m.media-amazon.com/images/M/MV5BM2MyNDA1ZWUtNDI2Yi00ZTY0LWFkYmUtOTI0MjlkNDg0ODkxXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_QL7 5_UX500_CR0,0,500,281_.jpg
Non-narrated documentary about the loneliness (the births aren't too lonely) and complete control of cows' daily life. Powerful ending.
Hullabaloo (Edwin L. Marin, 1940) 2.5 5.5/10
Ship Ahoy (Edward Buzzel, 1942) 2.5 6/10
Panama Hattie (Norman Z. McLeod, 1942) 2.5 5.5/10
Metal Lords (Peter Sollett, 2022) 2.5+ 6/10
https://m.media-amazon.com/images/M/MV5BODFmOTkwYmUtODc5Ni00ZGFmLTlmY2QtMzdhMDc4MmI1MmVjXkEyXkFqcGdeQWxiaWFtb250._V1_QL75_UX500_CR0,0,50 0,281_.jpg
Two friendless high school metalheads (Adrian Greensmith & Jaeden Martell) need to form a group before the Battle of the Bands but the former's strict definition of metal causes problems.
Killer Party (William Fruet, 1986) 2.5 5.5/10
The Bubble (Judd Apatow, 2022) 2 5/10
Hell Night (Tom DeSimone, 1981) 2.5 5.5/10
Bull (Paul Andrew Williams, 2021) 3 6.5/10
Non-linear thriller/mystery about the chief hitman (Neil Maskell) of British crime lord David Hayman seeking revenge on his boss and his "family" for their many misdeeds.
https://cdn.happeningnext.com/events9/banners/6c287205b98cdd274a99aca288f0611d65639a34ec35265675ed688380bb9096-rimg-w526-h296-gmir.jpg?v=1635269791
The Drowning Pool (Stuart Rosenberg, 1975) 2.5 6/10
Beyond the Time Barrier (Edgar G. Ulmer, 1960) 1.5 4/10
Crash (David Cronenberg, 1996) 2.5 5.5/10
The Outfit (Graham Moore, 2022) 3+ 6.5/10
https://i.pinimg.com/564x/7d/1c/dc/7d1cdc1c22a82f6d4e0a88dd7d75bf2a.jpg
Chicago, 1956. Not what he seems to be, English cutter (don't call him a tailor) Mark Rylance shows the evidence he has which can take out most of the crime world.
Alice (Krystin Ver Linden, 2022) 2.5 5.5/10
Stardust (Gabriel Range, 2020) 2 5/10
Coast (Jessica Hester & Derek Schweickart, 2021) 2.5 5.5/10
Bob le Flambeur (Jean-Pierre Melville, 1956) 3- 6.5/10
https://i.gifer.com/25I8.gif
Ironic telling of gangster Bob (Roger Duchesne) trying to win back money legitimately from a casino he's simultaneously trying to rob..

[Fabulous]

Soul Surfer (2011)

2

https://image.tmdb.org/t/p/original/5v04MGdBWu8jgOAsZcnc2ABlotT.jpg

[this_is_the_ girl]

Out of curiosity, have you guys seen A Moment of Innocence? It's similar to Close-Up in the sense it combines narrative and documentary filmmaking, but I liked it much more. It's not only my favorite Iranian film of all time, but also one of my favorite films of all time in general. It might be a bit hard to track it down, but if you're able to do so, I highly recommend watching it.
Haven't seen it, thanks for the recommendation!

[xSookieStackhouse]

3.5
https://pics.filmaffinity.com/12_Monkeys-705265483-large.jpg