Rate The Last Movie You Saw

[Jackie Daytona]

Also, for being set in Tokyo, there is an annoying lack of Japanese people.


This bugged me as well, I mean, not specifically the lack of Japanese people so much as the lack of any cool/exotic local flavor. Being in the first-class section of a Japanese bullet train seems like it ought to be a baller experience but we barely get to see any of that in the movie.

[Allaby]

I just finished watching the new film Till (2022). Till is the true story of Mamie Till Mobley’s pursuit of justice for her 14 year old son, Emmett Till, who was brutally murdered in 1955. Till is a powerful film with an excellent performance by Danielle Deadwyler, definitely one of the top 5 best performances by a lead actress this year. Although it wouldn't make my personal top 10 of the year, I do think it is a better film than potential best picture nominees like Avatar: The Way of the Water, The Banshees of Inisherin, Elvis,and Top Gun: Maverick. My rating is 4.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/8/8a/The_Avengers_%282012_film%29_poster.jpg
By http://www.impawards.com/2012/avengers_ver14.html, Fair use, https://en.wikipedia.org/w/index.php?curid=32483419

The Avengers - (2012)

Finally saw this after catching up with 2 Iron Man films, one Hulk film, one Thor film and a Captain America film - it was the one everyone was talking about around 10 years ago, and I thought it was bordering on great for what it is. Much better than most of the films preceding it, with Joss Whedon seemingly free to let loose after the studio had to hold back during the universe-building stage of this massive project. It was nice to come into this without holding my breath, and instead just seeing it as an average everyday movie with fewer expectations. Although I'm no fan of CGI effects, some of the visuals here are stunning, awe-inspiring and a lot of fun. I don't think they took a single wrong step with this first Avengers film, and it benefited by having a bunch of characters who had entire movies behind them to build their characters (what other film has that?) I didn't go see this when it came out because I'd reached my breaking point with superhero movies and had stopped going to see them - but today it feels like I can satisfy my curiosity at my leisure with so many Marvel Cinematic Universe films out there now. I know I'll grow tired of the formula, but while I'm having fun I'll keep on going.

7.5/10

https://upload.wikimedia.org/wikipedia/en/1/19/Iron_Man_3_poster.jpg
By http://www.impawards.com/2013/iron_man_three_ver7.html, Fair use, https://en.wikipedia.org/w/index.php?curid=38658006

Iron Man 3 - (2013)

Okay, so I came back down to earth a little with this first installment of "Phase 2" - although it had it's moments here and there, not least of which was the scene where Tony Stark's private residence gets completely destroyed. I also kinda liked the fact that the filmmakers were acknowledging the psychological effects of battle - having Stark fight panic attacks after experiencing what he did in The Avengers. There was a lot of formulaic plotting in this though, and it happens to do something I don't like with franchises - it's "episodic". By that I mean that new characters are introduced at the beginning of the film, and they either die or go away by the films' conclusion, meaning the movie itself doesn't have any relevance to any of the others. Star Trek Beyond was a little like that, and it always feels like a series is treading water, not knowing what to do, when it becomes episodic like that. Anyway, Iron Man 3 squeaks by as average and forgettable - I knew about the Mandarin reveal, having heard about it at the time - I'm sorry for people who loved that character. This is lucky to get the score I give it, but it gets by on it's sure-footed screenplay and effects, even if it's quite underwhelming compared to the other films in this universe.

6/10

[Neesonfan]

The Sugarland Express (1974): 9/10

[John W Constantine]

Bullet Train - 3

Brad Pitt? A briefcase? Is this a Quentin Tarantino movie? No, but it tries to be one with its story involving rival hitmen, gang warfare, revenge, obscure pop culture references, unexpected use of food and drink, etc. The title refers to where all the action takes place, which is bound for Kyoto and from which the perpetually unlucky Ladybug (Brad Pitt) must retrieve that classic MacGuffin. Unfortunately, most of the passengers have an interest in the briefcase as well and are willing to kill to make it theirs, whether it's brother hitmen Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry) or the school uniform-clad Prince (Joey King).

For the most part, I do not love action movies inspired by Quentin Tarantino's work. Besides lacking their secret sauce, the average one tends to be too clever and smug for my liking, not to mention unsatisfying on an emotional level. While this one didn't change my mind about them, it has enough going for it that it held my interest until the end. Overly cute monikers are an annoying cliché of this subgenre, mostly because they tend to be the most interesting thing about the characters who have them, but whenever any of them appears on screen, I genuinely cared about what would happen to them instead of reacting how I usually do, which is "oh it's that guy, and if I remember correctly, he wants to kill that other guy." The all-star cast helps, as does getting to see everyone at their best and worst, which combined with Leitch's knack for directing a good action scene give the movie the added benefit of not being easy to predict. It also pushes the cameo button, but each one is inspired and it thankfully doesn't push it too much. There are also some pretty amazing special effects, including one where I was certain Ladybug's bad luck would finally get the better of him that took my breath away. Despite what I like about it, I still has qualities that make me remember why this isn't my favorite flavor of action. The movie does cameos right, but it does push the flashback button too many times for my liking, and the lengthy and staccato dialogue tends to be more long-winded than witty. Also, for being set in Tokyo, there is an annoying lack of Japanese people. Once again, this is a subgenre I side-eye, and even though I enjoyed it more than most, I'll continue to side eye it. If you're more tolerant of such movies than I am, though, that it's on Netflix (as of late 2022, anyway) is a gift.

Just never warmed up to this trailer, so I passed.

[Fabulous]

The Unforgiven (1960)

3

https://image.tmdb.org/t/p/original/5Z2lE28UqI2xyhZfTpeFyl8N91J.jpg

[MikeyCro]

The last movie I saw was White Noise on Netflix. For me, it is 2/5. I actually enjoyed the first half of the movie. The cast was really good, I enjoyed the quick dialogue and while everything was bizarre, I enjoyed it and still was curious where it was going. The second part of the movie, the tone shifts as well as the stories (not the actual theme, which I know now, but I didn't know it during the initial watch) and it just didn't work for me. While the cast remains great (I especially like Gerwig in one scene), by the end of the movie not even them could hold my interest.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwilliamsonsource.com%2Fwp-content%2Fuploads%2F2013%2F03%2FSpring-Breakers-Movie-Film-Review.jpg&f=1&nofb=1&ipt=8d3ccd91cb896db7528fca34e664a7ea1090bbaa270f7918bc309fcc86959cf1&ipo=images

Spring Breakers, 2012

A group of college students, Faith (Selena Gomez), Candy (Vanessa Hudgens), Brit (Ashley Benson), and Cotty (Rachel Korine), are desperate to go on a spring break to Florida. A few of the girls pull off an armed robbery to fund their trip, and they head down to the beach. But after a few days of partying, they are arrested, only to be bailed out by Alien (James Franco), a self-styled "gangster" who leads the girls down an even more dangerous path.

Does anyone else ever feel left out when you watch a movie that has repeatedly been described as "love it or hate it" and instead of feeling either of those strong emotions you just think it's, like, fine?

The best part of the film is the overall style and look of it. The heavily neon costuming and lighting nicely mirror the sensory overload of a wild spring break party. As the film moves into its final third, the deep saturation of neon pink begins to take on an eerie, demented quality. The characters have gone from taking a break from their normal lives to existing in a completely different, alien mindset.

There are also some good laughs to be mined from the self-serious way that the characters talk about themselves and spring break. Fed up with living in their small town, Faith sincerely opines that going on spring break is how the girls can "find themselves", as if drinking games and unhinged groping are a path to enlightenment as opposed to an exhilarating teenage indulgence. And their posturing is matched by that of Alien, who thinks that his DVD collection and Calvin Klein body sprays somehow make him a triumphant figure. (I'm sorry, but is there anything sadder or more off-putting than a man dousing himself in TWO different body scents?).

And even though it's a bit cliche, I did enjoy some of the "who's actually the dangerous one here?" dynamic between Alien and the young women. Alien clearly believes that he's exploiting them, but he doesn't understand just how far they will go for a thrill.

Fundamentally, though, I thought that the film lacked some grounding. Several times I just didn't feel like the way that the movie was shot aligned well with a point of view, especially in the first half. I get why we have so many jiggle shots in the sequences on the beach. But why are we zooming in on crotches when the girls are just hanging out with each other in the dorm hallway? Several times the leering eye of the camera didn't make sense to me.

I was also unsure of what to make of the film's portrayal of Big Arch (Gucci Mane) and his entire organization. On one hand, the film is very comfortable satirizing the extent of Alien's shallow appropriation of Black culture (his cornrows, grill, rap career, use of racial slurs, Kool Aid, etc). But where does that position Archie and his colleagues? Are they the "real thing"? How are we meant to take, then, that they are effortlessly dispatched by two petite blonde college students? It feels trapped between being allegorical and literal in a way that I don't think serves the film very well..

There are some really great visual moments--and yes, the Britney Spears "Everytime" montage is really good--and it certainly held my interest from beginning to end. But it loses something when Faith decides to head home and it never manages to recapture the character dynamics of the beginning of the film.

3.5

[Torgo]

Just never warmed up to this trailer, so I passed.Same here, but its high Letterboxd score and reviews from users I trust led me to believe it's a hidden gem. I should have learned from the Snakes on a Plane hype to never trust the Internet...

...except for all of you, of course. You're all cool.

[Tugg]

Are they the "real thing"? How are we meant to take, then, that they are effortlessly dispatched by two petite blonde college students? It feels trapped between being allegorical and literal in a way that I don't think serves the film very well..
Them girls believed in what they were doing more than the other gang members. Even Alien was pressured into going with girls plan. Alien didn't believe in success of their mission. Then, he died first.
There are some really great visual moments--and yes, the Britney Spears "Everytime" montage is really good--and it certainly held my interest from beginning to end. But it loses something when Faith decides to head home and it never manages to recapture the character dynamics of the beginning of the film.
Faith didn't want to cross lines whereas Candy and Brit wanted to become good girls only after the massacre at the end.

[Takoma11]

Them girls believed in what they were doing more than the other gang members. Even Alien was pressured into going with girls plan. Alien didn't believe in a success of their mission. Then, he died first.

Right, but enough to take out half a dozen well-armed men? The first time that they actually use the guns as opposed to just wielding them at people?

Faith didn't want to cross lines whereas Candy and Brittney wanted to become good girls only after the massacre at the end.

Right. As the film goes on we see that the girls all have different breaking points. For Faith, it's when they are hanging out in the pool hall. For Cotty, it's when she gets shot. For the other two it's (MAYBE) after they've killed a bunch of people.

But I felt that once Faith was gone, something in the dynamic between the girls just didn't have as much enjoyable tension. The sense of them being this weird little tribe kind of dissolved. In some ways that really works for the film--because we get them swanning around in their matching bathing suits and face masks--but the dynamic of their group became a lot less interesting to me once Faith was out of the picture.

[Tugg]

Right, but enough to take out half a dozen well-armed men? The first time that they actually use the guns as opposed to just wielding them at people?
It feels like a dream... Just pretend it's a video game...
Right. As the film goes on we see that the girls all have different breaking points. For Faith, it's when they are hanging out in the pool hall. For Cotty, it's when she gets shot. For the other two it's (MAYBE) after they've killed a bunch of people.

But I felt that once Faith was gone, something in the dynamic between the girls just didn't have as much enjoyable tension. The sense of them being this weird little tribe kind of dissolved. In some ways that really works for the film--because we get them swanning around in their matching bathing suits and face masks--but the dynamic of their group became a lot less interesting to me once Faith was out of the picture.
After Faith leaves the movie becomes more crime oriented instead of party oriented.

[MovieBuffering]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwilliamsonsource.com%2Fwp-content%2Fuploads%2F2013%2F03%2FSpring-Breakers-Movie-Film-Review.jpg&f=1&nofb=1&ipt=8d3ccd91cb896db7528fca34e664a7ea1090bbaa270f7918bc309fcc86959cf1&ipo=images

Spring Breakers, 2012

A group of college students, Faith (Selena Gomez), Candy (Vanessa Hudgens), Brit (Ashley Benson), and Cotty (Rachel Korine), are desperate to go on a spring break to Florida. A few of the girls pull off an armed robbery to fund their trip, and they head down to the beach. But after a few days of partying, they are arrested, only to be bailed out by Alien (James Franco), a self-styled "gangster" who leads the girls down an even more dangerous path.

Does anyone else ever feel left out when you watch a movie that has repeatedly been described as "love it or hate it" and instead of feeling either of those strong emotions you just think it's, like, fine?

The best part of the film is the overall style and look of it. The heavily neon costuming and lighting nicely mirror the sensory overload of a wild spring break party. As the film moves into its final third, the deep saturation of neon pink begins to take on an eerie, demented quality. The characters have gone from taking a break from their normal lives to existing in a completely different, alien mindset.

There are also some good laughs to be mined from the self-serious way that the characters talk about themselves and spring break. Fed up with living in their small town, Faith sincerely opines that going on spring break is how the girls can "find themselves", as if drinking games and unhinged groping are a path to enlightenment as opposed to an exhilarating teenage indulgence. And their posturing is matched by that of Alien, who thinks that his DVD collection and Calvin Klein body sprays somehow make him a triumphant figure. (I'm sorry, but is there anything sadder or more off-putting than a man dousing himself in TWO different body scents?).

And even though it's a bit cliche, I did enjoy some of the "who's actually the dangerous one here?" dynamic between Alien and the young women. Alien clearly believes that he's exploiting them, but he doesn't understand just how far they will go for a thrill.

Fundamentally, though, I thought that the film lacked some grounding. Several times I just didn't feel like the way that the movie was shot aligned well with a point of view, especially in the first half. I get why we have so many jiggle shots in the sequences on the beach. But why are we zooming in on crotches when the girls are just hanging out with each other in the dorm hallway? Several times the leering eye of the camera didn't make sense to me.

I was also unsure of what to make of the film's portrayal of Big Arch (Gucci Mane) and his entire organization. On one hand, the film is very comfortable satirizing the extent of Alien's shallow appropriation of Black culture (his cornrows, grill, rap career, use of racial slurs, Kool Aid, etc). But where does that position Archie and his colleagues? Are they the "real thing"? How are we meant to take, then, that they are effortlessly dispatched by two petite blonde college students? It feels trapped between being allegorical and literal in a way that I don't think serves the film very well..

There are some really great visual moments--and yes, the Britney Spears "Everytime" montage is really good--and it certainly held my interest from beginning to end. But it loses something when Faith decides to head home and it never manages to recapture the character dynamics of the beginning of the film.

3.5

I tried to watch this once a few years back. I had to turn it off. The first 30 minutes is just like one big music video. Had absolutely no structure. No desire to revisit it.

[Tugg]

I tried to watch this once a few years back. I had to turn it off. The first 30 minutes is just like one big music video. Had absolutely no structure. No desire to revisit it.
The same thing happened to me when I first tried to watch it after it's release, only I lasted 15 minutes. Now it's one of my all time favorites, 10/10.

[MovieBuffering]

When Harry Met Sally... (1989)

Never got around to watching this, big gap in my movie watching career if you will. I really dug this flick. I knew it would at least be entertaining with Crystal and Ryan in the lead but it felt authentic. I can see where a lot of future Rom-coms stole from this formula specially the friends of the protagonists. It took it's time and didn't rush and man did it pay off at the end. It got me in my emotions at the end because it was extremely earned. Ryan and Crystal completely stuck the landing at the end, executed perfectly by both. Might be one of my favorite endings to a movie now.

I thought it was a beautiful film with charismatic leads. I haven't enjoyed a film like this in awhile.

4

https://patch.com/img/cdn20/users/23625020/20220123/030206/when-harry-met-sally-poster___23030203661.jpg

[MovieBuffering]

The same thing happened to me when I first tried to watch it after it's release, only I lasted 15 minutes. Now it's one of my all time favorites, 10/10.

I was 10 years younger so maybe my perspective has changed if I viewed it again. I just doubt it. I was bored and getting angry at it I remember. Maybe one day I'll try again.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fcinema-scope.com%2Fwp-content%2Fuploads%2F2011%2F03%2FThe-Turin-Horse.jpg&f=1&nofb=1&ipt=57b4ee6e00ddd9dbec0892499d517811cc979ede8cee78018f2d1fd2b29bee20&ipo=images

The Turin Horse, 2011

In a bleak, wind-swept landscape, a father (János Derzsi) and his daughter (Erika Bók) live alone in a house, along with a horse who pulls the father's cart. Over the course of several days, we watch as the mental wellbeing of all involved slowly disintegrates and life itself seems to grind to a halt.

I can certainly see why this film is so beloved. In addition to looking absolutely gorgeous, its slow meditation on isolation and death and maybe on depression plays out with small twists and turns. While I never felt myself fully give over to the rhythms of the film, I really enjoyed it.

I haven't read much about the film or analysis of it, because I think I'd like to write about it without subconsciously trying to align my feelings with someone else's. For me, the movie was about the weight of being and of survival, and what it means to hit a breaking point.

The film begins with the story of Nietzsche having a breakdown when he witnessed a cart driver whipping a horse who refused to move. Everyone has some degree of a survival drive, and this film seems to examine the strange space where that drive gives way. The first thing that happens is that the father notices that the woodworms are no longer working their way through the house. This lack of appetite eventually extends to the horse, and finally to the father and daughter.

In fact, one of the earliest surprises to me was how little of their food they ate. I was shocked to see how much came off of their plates, seemingly just thrown away by the daughter after their meal. The baseline existence that we see of the two inhabitants already feels like a portrait of serious depression: the father spends a lot of time just laid out in bed, while the daughter spends a lot of time staring out the window.

Where the movie goes from there with the idea of death and what it means to give up the basic gestures of living was interesting and unexpected, especially in the last 10 minutes or so.

The movie is, as I mentioned, absolutely beautiful. It's a haunting beauty, to be sure, with a perpetual flutter of leaves and whistling winds. The film is crisp to look at, so that you see every crease in the characters' faces and every grain in the wood of their home.

I had no criticisms of this movie. It's true that while I really enjoyed watching it, I never totally felt myself fall under its spell. Had I resonated more with its rhythms, I bet this would be a perfect score for me. As it stands, this is a great film and I'm really glad I checked it out.

4.5

[Neesonfan]

47 Meters Down (2017): 3/10 (I really have no interest in seeing this again)


Jaws (1975): 10/10


Both are fictional in nature, but Jaws to me is far more interesting.

[SpelingError]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fcinema-scope.com%2Fwp-content%2Fuploads%2F2011%2F03%2FThe-Turin-Horse.jpg&f=1&nofb=1&ipt=57b4ee6e00ddd9dbec0892499d517811cc979ede8cee78018f2d1fd2b29bee20&ipo=images

The Turin Horse, 2011

In a bleak, wind-swept landscape, a father (János Derzsi) and his daughter (Erika Bók) live alone in a house, along with a horse who pulls the father's cart. Over the course of several days, we watch as the mental wellbeing of all involved slowly disintegrates and life itself seems to grind to a halt.

I can certainly see why this film is so beloved. In addition to looking absolutely gorgeous, its slow meditation on isolation and death and maybe on depression plays out with small twists and turns. While I never felt myself fully give over to the rhythms of the film, I really enjoyed it.

I haven't read much about the film or analysis of it, because I think I'd like to write about it without subconsciously trying to align my feelings with someone else's. For me, the movie was about the weight of being and of survival, and what it means to hit a breaking point.

The film begins with the story of Nietzsche having a breakdown when he witnessed a cart driver whipping a horse who refused to move. Everyone has some degree of a survival drive, and this film seems to examine the strange space where that drive gives way. The first thing that happens is that the father notices that the woodworms are no longer working their way through the house. This lack of appetite eventually extends to the horse, and finally to the father and daughter.

In fact, one of the earliest surprises to me was how little of their food they ate. I was shocked to see how much came off of their plates, seemingly just thrown away by the daughter after their meal. The baseline existence that we see of the two inhabitants already feels like a portrait of serious depression: the father spends a lot of time just laid out in bed, while the daughter spends a lot of time staring out the window.

Where the movie goes from there with the idea of death and what it means to give up the basic gestures of living was interesting and unexpected, especially in the last 10 minutes or so.

The movie is, as I mentioned, absolutely beautiful. It's a haunting beauty, to be sure, with a perpetual flutter of leaves and whistling winds. The film is crisp to look at, so that you see every crease in the characters' faces and every grain in the wood of their home.

I had no criticisms of this movie. It's true that while I really enjoyed watching it, I never totally felt myself fall under its spell. Had I resonated more with its rhythms, I bet this would be a perfect score for me. As it stands, this is a great film and I'm really glad I checked it out.

4.5

You should check out Werckmeister Harmonies and Satantango as well. Both are very good.

[PHOENIX74]

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By http://www.impawards.com/2013/thor_the_dark_world_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=39158831

Thor : The Dark World - (2013)

I was hoping this second Thor film would be a fresh start for the character, but it didn't quite win me over in the end - just so happens that the climactic finale was more confusing than anything, and as I pondered what I'd seen I felt the uneven narrative and overall direction were lacking. Not a good superhero movie at all - and when I looked this up I saw that Mr. Terminator Genisys, Alan Taylor helmed. There are always going to be some effects and designs that I enjoy - with a film taking place in Thor's corner of the universe it's such a rich environment. Villain Malekith failed to impress, but his henchman looked the goods. I shouldn't be asking "What the hell just happened?" at the end though - the film's weak links seep into other areas making this cinematic venture fail despite it's good points. This was the film I liked the least out of all the MCU films I've watched so far. A very average story told in a manner that simply wasn't up to scratch.

4/10

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Captain America : The Winter Soldier - (2014)

Now this is what a superhero film should be like. It felt like part of the cinematic universe these guys were creating, instead of a standalone, episodic money-grab. There was a great story for starters, with high stakes for all the characters in the film. There were callbacks that made sense in relation to a few of the other MCU films. The action was very well directed, and easy to follow. The film had a few things to say about the direction this modern world is heading in. The effects were up to scratch, and overall this was a lot of fun to watch. I can barely fault Captain America : The Winter Soldier, and for me it's the best standalone MCU film I've seen so far. Everything was perfectly balanced, and the film's rhythms were expertly timed to maximize my interest - introducing some startling new event or surprise in unexpected ways. There was the reintroduction of a previous character I didn't quite gibe with - but apart from that I enjoyed watching this immensely.

7.5/10

[SpelingError]

https://upload.wikimedia.org/wikipedia/en/9/9e/Captain_America_The_Winter_Soldier_poster.jpg
By http://www.impawards.com/2014/captain_america_the_winter_soldier_ver7.html, Fair use, https://en.wikipedia.org/w/index.php?curid=38234223

Captain America : The Winter Soldier - (2014)

Now this is what a superhero film should be like. It felt like part of the cinematic universe these guys were creating, instead of a standalone, episodic money-grab. There was a great story for starters, with high stakes for all the characters in the film. There were callbacks that made sense in relation to a few of the other MCU films. The action was very well directed, and easy to follow. The film had a few things to say about the direction this modern world is heading in. The effects were up to scratch, and overall this was a lot of fun to watch. I can barely fault Captain America : The Winter Soldier, and for me it's the best standalone MCU film I've seen so far. Everything was perfectly balanced, and the film's rhythms were expertly timed to maximize my interest - introducing some startling new event or surprise in unexpected ways. There was the reintroduction of a previous character I didn't quite gibe with - but apart from that I enjoyed watching this immensely.

7.5/10

It's still the only MCU film I'm a fan of.

[Marco]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwilliamsonsource.com%2Fwp-content%2Fuploads%2F2013%2F03%2FSpring-Breakers-Movie-Film-Review.jpg&f=1&nofb=1&ipt=8d3ccd91cb896db7528fca34e664a7ea1090bbaa270f7918bc309fcc86959cf1&ipo=images

Spring Breakers, 2012

A group of college students, Faith (Selena Gomez), Candy (Vanessa Hudgens), Brit (Ashley Benson), and Cotty (Rachel Korine), are desperate to go on a spring break to Florida. A few of the girls pull off an armed robbery to fund their trip, and they head down to the beach. But after a few days of partying, they are arrested, only to be bailed out by Alien (James Franco), a self-styled "gangster" who leads the girls down an even more dangerous path.

Does anyone else ever feel left out when you watch a movie that has repeatedly been described as "love it or hate it" and instead of feeling either of those strong emotions you just think it's, like, fine?

The best part of the film is the overall style and look of it. The heavily neon costuming and lighting nicely mirror the sensory overload of a wild spring break party. As the film moves into its final third, the deep saturation of neon pink begins to take on an eerie, demented quality. The characters have gone from taking a break from their normal lives to existing in a completely different, alien mindset.

There are also some good laughs to be mined from the self-serious way that the characters talk about themselves and spring break. Fed up with living in their small town, Faith sincerely opines that going on spring break is how the girls can "find themselves", as if drinking games and unhinged groping are a path to enlightenment as opposed to an exhilarating teenage indulgence. And their posturing is matched by that of Alien, who thinks that his DVD collection and Calvin Klein body sprays somehow make him a triumphant figure. (I'm sorry, but is there anything sadder or more off-putting than a man dousing himself in TWO different body scents?).

And even though it's a bit cliche, I did enjoy some of the "who's actually the dangerous one here?" dynamic between Alien and the young women. Alien clearly believes that he's exploiting them, but he doesn't understand just how far they will go for a thrill.

Fundamentally, though, I thought that the film lacked some grounding. Several times I just didn't feel like the way that the movie was shot aligned well with a point of view, especially in the first half. I get why we have so many jiggle shots in the sequences on the beach. But why are we zooming in on crotches when the girls are just hanging out with each other in the dorm hallway? Several times the leering eye of the camera didn't make sense to me.

I was also unsure of what to make of the film's portrayal of Big Arch (Gucci Mane) and his entire organization. On one hand, the film is very comfortable satirizing the extent of Alien's shallow appropriation of Black culture (his cornrows, grill, rap career, use of racial slurs, Kool Aid, etc). But where does that position Archie and his colleagues? Are they the "real thing"? How are we meant to take, then, that they are effortlessly dispatched by two petite blonde college students? It feels trapped between being allegorical and literal in a way that I don't think serves the film very well..

There are some really great visual moments--and yes, the Britney Spears "Everytime" montage is really good--and it certainly held my interest from beginning to end. But it loses something when Faith decides to head home and it never manages to recapture the character dynamics of the beginning of the film.

3.5

I felt the same about this one. Some passages in the film are really good but bits are just so laughable that it pulls the rug from under the thoughtful bits. That said I liked it and didn't expect a cosy watch from Korine. Some was just laughable though.

[Thursday Next]

Great Freedom (2021)

Best film I've seen all year ;)

4.5

[Marco]

Themroc (1973)
https://upload.wikimedia.org/wikipedia/en/e/e8/Themroc_%28movie_poster%29.jpg
Remember seeing this in UK Channel 4s "red triangle" season (1984 blimmin ell). Basically a banner under which to broadcast so-called transgressive films. This concerns a worker who decides to become and urban caveman who deems to reduce his existence to the lowest common denominator. There are scenes of cannibalism and incest which, while distasteful, fit the narrative perfectly. Not for everyone but a radical film that I liked. I'd put a tenner on the chance that Gaspar Noe watched this before making Seul contre tous.

3.5 (but, to be honest, pretty hard to rate).

[urkillinmesmalls]

Banshees of Inisherin

10/10

[Neesonfan]

Close Encounters of the Third Kind (2h 14m cut): 9/10

[LChimp]

https://m.media-amazon.com/images/M/MV5BMTQxMDc1NzkwMF5BMl5BanBnXkFtZTcwMDI5MjU1MQ@@._V1_.jpg

Denzel Washington, Forest Whitaker and... Denzel Whitaker. Pretty cool!

[Fabulous]

Merry Christmas, Mr. Lawrence (1983)

3

https://www.themoviedb.org/t/p/original/aucOJvfpmoqDPYZsvdAGR8WwJMC.jpg

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi2.wp.com%2Fgeekdad.com%2Fwp-content%2Fuploads%2F2017%2F01%2Fhidden-figures-02.jpg%3Fresize%3D1000%252C500%26ssl%3D1&f=1&nofb=1&ipt=b98920000a0e24bfbc2daeb40a1dc965b1470d6447cd485df5e891c0a2f0e6a3&ipo=images

Hidden Figures, 2016

This based-on-a-true-story historical drama follows three Black NASA workers, Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson (Janelle Monáe) as they jockey and fight for their positions within the government organization. Katherine's work in particular becomes important as she is added to a team calculating orbital paths for the first American manned flights into space.

I had put off watching this film for years because I really loved what I read of the book (long boring story: read half of the book but ran out of renewals and just need to reborrow the dang thing!) and was worried at how Hollywood the story would become in a film version. While there were some places that you can see the hand of big-screen storytelling, I thought that overall it captured a lot of the experiences of the women.

Henson, Spencer, and Monae all do a great job of portraying people who are very intelligent and who must constantly toe the line of being deferential to the white authority figures who surround them while still managing to advocate for themselves. Johnson's story in particular is so inspiring to me (I was an enthusiastic math major, but never had that natural talent that some mathematicians have): she graduated high school at the age of 14, and graduated college at the age of 18. And as someone who routinely watches families play games so that their children can attend certain schools for sports reasons, it warms my heart that Johnson's parents made it work to split their time between two towns so that their daughter could complete her education.

Something that I think the film does really well is show the way that what you might call "passive racism" (or really any passive prejudice) can make life so difficult for a person. There are no scenes of anyone getting in Johnson's face, calling her slurs, vandalizing her car, pulling cruel pranks, or anything of that nature. But at the same time, the men in her division don't want to share a coffee pot with her. One of the wings only has a white bathroom forcing Johnson to make a long walk just to use the bathroom. (In reality this happened to Jackson, not Johnson.) There are so many baked-in elements of status quo that the women must push through just to be on equal footing. When Jackson wants to apply for an engineering position, she's told she needs extra course work. The problem? The only two places to take the courses are white only schools. Jackson has to go to court just for the chance to take her classes.

And just as the film shows the damage of passive racism, it shows the benefits and limitations of passive allyship. There are people who show respect and kindness toward the main characters. The head of the space task group, Al Harrison (Kevin Costner), recognizes Johnson's abilities and cultivates her work under his leadership. John Glenn (Glen Powell) also shows respect for Johnson's skills, preferring that she rerun the numbers before his space launch. (This is based in fact but given a more thrilling spin in the film by showing the recalculations happening right before the launch as opposed to in the days leading to the launch). But something that kind of sits there in the film is that none of these people do anything really active to help. There's a scene of Harrison heroically tearing down a "Colored Bathroom" sign, which is totally made up. Those who give the women chances do so largely out of necessity. Would Al Harrison care that Black women are being forced to walk long distances to a bathroom if those long walks weren't interfering with his work? I don't think so.

With the one exception of the bathroom sign scene, the film admirably resists any white savior tropes. John Glenn comes off as incredibly accepting of the women, and when I revisit the book I'll be interested to note what it actually says about the nature of their interactions.

As with any "true story" movie, I get a bit antsy about events being changed to make them more cinematic. And while I realize that books and movies are different things, there are elements from the book that I wish had been in the film. Something that's stuck with me from the book all these years is the account of one of the female mathematicians who had a mental breakdown, covering her entire office in scribbles about "finding infinity." That said, based on what I know about the real events I didn't feel that any extreme liberties were taken. The movie resists making anyone a Mary Sue, and neither does it excessively villainize anyone. What's nice about that is that it really lets you focus on the amazing achievements of these women and the role they played in the space race. There are two fights in the film: the women fighting for equality and NASA fighting to get their astronaut home safely. I thought that the integration of these two dynamics was well done.

There are also some solid supporting performances, including Mahershala Ali as a man who woos Johnson, Olek Krupa as a Polish engineer who encourages Jackson to go for the position, and Kirsten Dunst as a supervisor who engages in petty power struggles with the women and especially with Vaughan.

Very pleasantly surprised by this one, and it makes me want to dig back into the book.

4

[Neesonfan]

1941 (1979): 7/10

Considered one of Spielberg's worst films (from what I've seen). I was entertained by it, though I wouldn't say it's top tier comedy. Interesting to see legends like John Candy and Christopher Lee in here.

And yes, if you've been following me, I've been on a Spielbergathon. There are some I've seen that I won't rewatch in this marathon, but you'll see my ranking somewhere in due time.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/3/33/Guardians_of_the_Galaxy_%28film%29_poster.jpg
By http://www.impawards.com/2014/guardians_of_the_galaxy_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=42775479

Guardians of the Galaxy - (2014)

I held off and held off and held off - despite my friends and their glowing recommendations. I guess I just went through a period where I didn't want to see any more films like this, and I think I did the right thing leaving it until I was genuinely interested. Guardians of the Galaxy is a film I really want to watch again, despite having seen it less than 24 hours ago. The production design here is a work of art, and the make-up effects, costumes and set design extraordinarily imaginative - but the beating heart of this film is it's screenplay, which manages to take something that's hokey and old-fashioned and turn it into something that feels revolutionary and fresh. Most of all, this film is good old-fashioned fun, and one case of a film using lots of CGI where I think it really enhances the overall feel. There were times when it actually looked real, instead of a video game. Loved the emotional backstory to Chris Pratt's character (I'm really not sure whether to call him Star-lord or not) and loved the fact that actors like Peter Serafinowicz get to feature. Of course, it's also funniest film I've seen so far this year. This, The Avengers and Captain America : The Winter Soldiers are three MCU films I've really enjoyed so far.

8/10

[Fabulous]

The Pumpkin Eater (1964)

3

https://www.themoviedb.org/t/p/original/1E8AOCvNEGNpa04yQvBcrKmw2Lb.jpg

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.blackfilm.com%2Fread%2Fwp-content%2Fuploads%2F2016%2F08%2FQueen-of-Katwe-Madina-Nalwanga-playing-chess.jpg&f=1&nofb=1&ipt=71ba1dc9d3950b523ca6e659714003ce63abf26c46944108e371fcb1799d892b&ipo=images

Queen of Katwe, 2016

Phiona (Madina Nalwanga) is a young woman living in near-poverty with her mother Nakku (Lupita Nyong'o), brother Brian (Martin Kabanza), older sister Night (Taryn Kyaze), and baby brother. Unable to attend school because their family cannot afford it, Phiona one day follows her brother to a mission where teacher Robert Katende (David Oyelowo) offers free food and lessons in chess. Phiona displays gifts in the game, but her ability to pursue those talents are constantly threatened by her family's precarious circumstances.

This is a very inspiring, sweet story about a family--and specifically a young woman in that family--overcoming very challenging circumstances. It highlights the way that a combination of bias and circumstance perpetually threaten to keep bright lights from shining.

There are no real villains in this film. Sure, there are some children from an elite academy who look down on the students from the mission program. There's the landlord who throws the family out when they cannot pay their rent. But generally speaking the film shows how poverty is a vicious trap that constantly waits to push people over the edge.

The main message of the film, for me, is just how many bright stars are out there just waiting for a chance. Phiona's skill at chess---and her intelligence in general---could have remained basically unrecognized if she hadn't happened to follow her brother to the mission one day. Further, there are a lot of children in her same situation who are clearly smart and capable, but who must work doubly hard to escape from the path their lives are on. It's not just about finding some chess genius, it's about giving these kids a chance to show what they can do.

Nalwanga makes for a great lead. Phiona often has a calm vibe to her right from the get go. Something I like about this movie is that it keeps its growing pains centered on Phiona's metal state and the circumstances of her family. There are no cheesy montages here. Phiona learns the rules of the game and she's pretty good at it. From there, it's a matter of all the things life puts between her and success. Oyelowo brings a lot of warmth to his role as Phiona's coach. Katende cares deeply about the kids, but he's not a miracle worker, and he doesn't have super deep pockets. Nyong'o is also good as Phiona's mother, a single mother struggling to raise a family in precarious circumstances. Nakku wants to support her children, but she also depends on them to help keep the household functional.

The chess sequences themselves are enjoyable. I'll admit to only a very basic understanding of the game, but wisely the scenes of the tournaments focus mainly on the children's feelings during them.

I also really love the way that the closing credits are done, with each actor standing next to their real-life counterpart. It's especially sweet looking at the teenage Richard holding the twins who played him as a child, or the real Brian towering two feet over the actor who portrayed him. I was also very sad to read that the actress who played one of Phiona's classmates, Nikita Waligwa, died of a brain tumor at the young age of 16. She gave a very funny, spirited performance. This sequence also reveals the dedication of Katende, as two of the children are revealed to currently live with the coach and his family.

Very sweet and very inspiring!

4

[Stirchley]

90670

Don’t know if it’s because I’ve been sick with bronchitis & Covid at the same time, but could not get into this for the life of me. Loved the original & will have to revisit Maverick when I am through this sickness.

[Gideon58]

https://i0.wp.com/moviesandmania.com/wp-content/uploads/2013/01/the-boston-strangler-poster.jpg?ssl=1


3.5

[Gideon58]

90670

Don’t know if it’s because I’ve been sick with bronchitis & Covid at the same time, but could not get into this for the life of me. Loved the original & will have to revisit Maverick when I am through this sickness.

You are not alone, I don't understand all the gushing about this movie. It just seems like a re-hash of the first film, which I also think hasn't aged very well. And all the talk about this movie winning the Oscar for Best Picture makes no sense to me.

[Stirchley]

You are not alone, I don't understand all the gushing about this movie. It just seems like a re-hash of the first film, which I also think hasn't aged very well. And all the talk about this movie winning the Oscar for Best Picture makes no sense to me.

The predictability of him getting the girl bored me. (Jennifer Connolly looked terrific.) I liked the scenes on the boat with the two of them.

There were other predictabilities too.

Jon Hamm in a very stilted performance. Ed Harris scenery-chewing.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.denofgeek.com%2Fwp-content%2Fuploads%2F2021%2F10%2FAnya-Taylor-Joy-in-Last-Night-in-Soho-Ending.jpg%3Ffit%3D1415%252C798&f=1&nofb=1&ipt=a389be6c77e4f7072100c3da32bad09dd3e7613c0c93597b75b2295f2f9031bb&ipo=images

Last Night in Soho, 2021

Eloise (Thomasin McKenzie) dreams of being a fashion designer, and is thrilled when she's accepted into a London fashion school. After clashing with her self-centered roommate, Eloise rents a small apartment in Soho from an older woman named Mrs. Collins (Diana Rigg). But soon after moving in, Eloise begins to have intense, immersive dreams/visions centered on a woman named Sandie (Anya Taylor-Joy): a young woman who came to London in the 1960s to be a singer before falling into the orbit of a manipulative man named Jack (Matt Smith). As Eloise loses her sense of reality, she begins to suspect that people she's encountering in present-day London may be connected to what happened to Sandie in the past.

This film takes a talented cast and an interesting premise and then frustratingly spins its wheels for two hours. While it has some moments of visual intrigue, it fails to explore or pay off most of the ideas or themes it raises.

The best aspect of the film is definitely some of the visual style. There are some neat moments with reflections and mirrors as Eloise gets more and more drawn into Sandie's life and story. A sequence where Sandie auditions in an empty nightclub, singing a version of "Downtown" is lovely and stylish, only for a later sequence to reveal the more exploitative nature of the nightclub as Sandie becomes a backup dancer in a vaguely raunchy number.

But really, from there, it gets harder to say nice things about this one. McKenzie is a really talented actress, but I swear about 90% of this film was her staring wide-eyed at a vision and then sprinting in an unhinged manner through the London streets. Taylor-Joy brings an increasingly disaffected spirit to Sandie, whose disillusionment with the nightlife scene is stark and brutal. I liked Michael Ajao as John, a classmate of Eloise's who has a big crush on her and seems to be an ally. Rigg is also solid as the landlady who manages to be very vague about her past residents. Matt Smith's performance tips from nice guy to bad guy almost comically fast, but that feels like more of a writing problem than a problem with the performance.

At the end of the day, I'm not sure what this movie was trying to say or even where the horror was supposed to derive from. The film establishes very quickly the danger of exploitation that exists in the city. Eloise is hit on very directly and creepily by the taxi driver who picks her up from the airport, the telephone boxes are plastered with ads for sex workers. But really there's a disconnect between Eloise's story and what happens to Sandie. Yes, there are some creepy guys she encounters. But Eloise is not a victim of sexual exploitation outside of the usual crap that any women in a city has to put up with. (Now if done right, that could be an interesting film. But it already exists and it's called Lucky.) The backstory we get with Eloise is that her mother died of suicide and she sometimes has visions of her.

So the whole time the film is progressing, I kept waiting for some connection, even a slight one, between Eloise's mother and Sandie's story.. When it all shakes out, there's just a fundamental lack of coherence. When you get deep into the third act and everything is explained, it just raises a whole lot of questions about everything that came before it.

In a way, the whole movie feels like a graveyard of abandoned themes. Eloise borderline fetishizes the 1960s--the clothing, the music, etc. I thought that maybe the film would explore the idea of the reality of the past and the danger of idolizing "the good old days." Nope. John repeatedly tells Eloise that he connects with her because he also feels like an outsider. So maybe this movie will explore the idea of being an outsider in a creative space. Nope. Eloise encounters a lot of casually gross/predatory sexual attention from men. So maybe this movie will explore the way that such behavior is normalized. Nope. Early mention is made of Eloise's mother and her mental health issues, so maybe that will be an important part of the film. Nope.

There's enough style and enjoyable performances that this wasn't a total loss. But it's definitely a one-time-only watch, and not something I'd quickly recommend.

3.5

[cricket]

Pearl (2022)

2.5

https://64.media.tumblr.com/750679ea47d3061bc828f5261b69b342/4088612ab05bae51-86/s540x810/51d8f8b2c60ba87f352eb03a0ff4c255737d5768.gif

Meh, X wasn't great but at least I liked its style. I thought this was ok at best. I also felt like I was being force fed a character and an actress that wasn't very interesting. More scarecrow humping and less talking next time.

[Corax]

https://i0.wp.com/moviesandmania.com/wp-content/uploads/2013/01/the-boston-strangler-poster.jpg?ssl=1


rating_3_5


Gotta love the low key victim blaming

[Gideon58]

Pearl (2022)

2.5

https://64.media.tumblr.com/750679ea47d3061bc828f5261b69b342/4088612ab05bae51-86/s540x810/51d8f8b2c60ba87f352eb03a0ff4c255737d5768.gif

Meh, X wasn't great but at least I liked its style. I thought this was ok at best. I also felt like I was being force fed a character and an actress that wasn't very interesting. More scarecrow humping and less talking next time.


Wow, talk about different strokes...I liked Pearl a lot more than I liked X

[Gideon58]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.denofgeek.com%2Fwp-content%2Fuploads%2F2021%2F10%2FAnya-Taylor-Joy-in-Last-Night-in-Soho-Ending.jpg%3Ffit%3D1415%252C798&f=1&nofb=1&ipt=a389be6c77e4f7072100c3da32bad09dd3e7613c0c93597b75b2295f2f9031bb&ipo=images

Last Night in Soho, 2021



3.5

I think I rated this the same you did. No, it turns out I rated it a little higher than you did.
Here's a link to my review:


https://www.movieforums.com/reviews/2258045-last-night-in-soho.html

[Takoma11]

I think I rated this the same you did. No, it turns out I rated it a little higher than you did.
Here's a link to my review:


https://www.movieforums.com/reviews/2258045-last-night-in-soho.html

It sounds like you were a bit more taken with it an involved. I started to get antsy around the hour mark, and sticking it out until the last act didn't end up being as rewarding as I would have hoped.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwaytooindie.com%2Fwp-content%2Fuploads%2F2011%2F05%2Fincendies-movie.jpg&f=1&nofb=1&ipt=45b14cb7af7ace0da1a82544d7d76bc690c65a4ac30032d5815982813587d54a&ipo=images

Incendies, 2010

Twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) are reeling from the recent death of their mother, Nawal (Lubna Azabal) when their mother's will throws another shock in their direction. The will directs the children to track down a father they believed to have been dead and a brother they never knew existed and deliver a letter to each of them. The film cuts between the present and the past as the siblings uncover details about their mother's past in the heat of serious civil unrest in a Middle Eastern country.

This film is like an emotional gauntlet, beginning and ending with unsettling, distressing imagery and never letting up in between. Based on a play, there are some coincidences and chance encounters that at time strain credulity, but the film is so well crafted and its themes so well explored that I would have granted it far more suspension of disbelief than what it asked for.

Azabal gives an absolutely searing lead performance as Nawal, a woman who suffers at the hands of the unrest around her whether she's peripherally or directly involved in it. Nawal has her own sense of honor, and Azabal balances the character's determination with a vulnerability that allows you to extrapolate just how much trauma and pain this woman has grown used to covering up. Gaudette is also very good as Nawal's daughter, who through the exploration of her mother's past finally comes to understand why at times their relationship may have been strained. I think that part of the grief that we see in Jeanne isn't just learning about how her mother suffered, but knowing that she will never be able to process those injuries and injustices with her mother.

This is a story that in large part centers on the needless cruelties of war. I did end up reading a bit about the film, because I thought I'd missed some important context. I was relieved to learn that the film kept the country deliberately vague and that many of the town names were fictional. This approach pairs with the way that the film repeatedly, intentionally muddies the waters between the two warring sides: the Christian nationalists and the Muslim groups. We see both sides commit terrible atrocities against the other, and the victims are almost always people simply trapped in the middle, such as a harrowing sequence involving a busload of Muslim refugees who are caught by a group of Christian nationalist militants.

Thematically, the film constantly raises the question of dual identities, beginning with Nawal's children being twins and carrying on from there. Identities are alternately hidden or claimed in order to survive. Jeanne and Simon must unravel their own mother's identity and story, learning about things she did and things that were done to her that constantly force them to reframe what they think they know about her.

The film itself is also structured so that we as viewers must constantly reevaluate what we've seen. A sequence that we see in the first act might be given a very different context as we head into the last act. There are even little details that take on deeper meaning, such as the fact that (BIG SPOILERS) the twins are seen swimming so often when we learn that they were meant to have been thrown in the river at birth. That revelation cutting to them leaping into the pool seriously made me gasp.

It's amazing writing about this film, because I keep thinking of things I liked about it. I also love that it makes space to show how the non-militant characters can dramatically change the fate of someone else. A family deciding to relocate a child for the sake of family honor. A nurse deciding she must act in a way that is merciful. It's all incredibly complex, and small moments of cruelty or kindness add up in surprising ways. Wisely, the film doesn't try to do too much to unpack (MAJOR SPOILERS) the character of the son/rapist. I think that what we see and know of him goes way beyond "what someone does in war". He's a sadist who took pleasure in torturing/raping helpless people and specifically vulnerable women. But we're also painfully aware that he may not have developed this personality without the trauma and circumstances of his childhood. I think that leaving us to ponder what he must be thinking, especially at the end, is a strong decision.

I'm very intrigued by the idea that this film was based on a play, given some of the very visceral moments it contains. As I mentioned before, there are some moments of coincidence in the film that seem very unlikely. At the same time, events such as the ones shown have happened, so it's not a major criticism.

This is definitely a must-see.

4.5

[Spike8]

I enjoyed these hidden gems this week.
Home Sweet Hell 2015
Border , Swedish 2018
Robber, German 2010
Infiltrator 2016
Falling Down 1993 I assume most have seen this but is worth a more recent look

Im always open to suggestion on what to watch. Super heros arent my thing

[cricket]

Wow, talk about different strokes...I liked Pearl a lot more than I liked X

I don't think either is especially good

[GulfportDoc]

The Boston Strangler (1968)


rating_3_5
An interesting and well done picture about the subject, especially for 1968. The screenplay was mostly fiction, but IMO it's one of Tony Curtis' finest performances.

[iluv2viddyfilms]

I'm not sure how to include the MoFo rating popcorn graphic, Marnie (1964, Alfred Hitchcock) - "B-"

[Neesonfan]

Raiders of the Lost Ark: 10/10

My 3rd viewing of this film, as far as I can recall. As far as I'm concerned, one of those "fine wine" films that gets better with age.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fshots.filmschoolrejects.com%2Fwp-content%2Fuploads%2F2017%2F10%2Fbeau-travail.jpg&f=1&nofb=1&ipt=f191ef6966d29fd337aa7cb888c2dde91afed275b396b7d4a633f12343239b54&ipo=images

Beau Travail, 1999

Galoup (Denis Lavant) is an officer in the French Foreign Legion who craves the attention and affection of his commander, a man named Forestier (Michel Subor). Galoup's desperation increases when a likable, young, attractive soldier named Sentain (Grégoire Colin) joins his squad. What ensues are dangerous power plays involving all of the men.

This is a real firecracker of a film, taking a look at the dangers of jealousy and unrequited longing.

I just read a short review of this film arguing that, guys, it's not about gay stuff. While I agree that there are elements and themes to the film that are more universal than sexuality, I think that such a reading misses out on the multiple levels of tension that Denis manages to pack into the various squad dynamics.

I think that the brilliance of this film is that it exploits the myriad insecurities that you can get in any same-gender group of people. This is heightened by the military setting, in which there are explicit hierarchies, defined values relating to physical and psychological strength, and also the undefined currents of popularity and friendship. If all you have to do with your days is push-ups, wrestling, and taking showers, at some point you're going to start to look at the people around you in some kind of way, whether that's something driven by sexual attraction or simply comparing yourselves to them.

What exactly Galoup wants from Foresier remains deliciously unclear. In fact, I think that one possible reading of the film is that Galoup himself doesn't entirely know what he wants from his superior. Is it father-like approval? Is it friendship? Is it affection? Heck, is it sex? Is it love? It it admiration? Denis repeatedly shows us ways in which the men somewhat blur traditional gender roles by virtue of being so self-contained. Thus we get sequences of manly martial arts practice, followed by a sequence of the men ironing shirts together. While such a closed dynamic can foster strong ties and loyalty, it can also lead to a build-up of pressure.

And this ambiguity of relationship carries over into Galoup's interactions with Sentain. Something that is true of a same-gender pairing and attraction is a weird combination of "Do I want to be with this person, or do I want to be this person?". Galoup's discontent and unease grows as the others show affection and (sexual or not) attraction to Sentain. Whatever it is that drives Galoup (attraction, jealousy, or some combination of the two), it poisons his own actions.

Unfortunately for all involved, the military setting of this triangle means that Galoup has a degree of power over the men and specifically over Sentain. I imagine that a lot of people know the stress and unease of being on the receiving end of affection/attraction that you don't reciprocate. But when you throw a lopsided power dynamic into the mix, it gets downright frightening.

Colin is perfectly charismatic as Sentain. He really pulls off that thing where someone is really attractive and likable, but they somehow manage to convey that they're only sort of aware of the effect they have on others. Subor, in contrast, exudes a kind of distanced authority that surprises you (and dismays Galoup) when approval is shown toward Sentain.

But Levant entirely owns this film. He fully captures the desperation of someone who knows that they are an outsider even among a group, but can't seem to course correct. Characters like this are so painful, because you just want them to figure it all out, and yet it seems that something fundamental about the way that they see the world will always keep them at arm's length. Galoup is seen to be more physically fit than the other soldiers, and yet this doesn't draw them to him. A sequence late in the film where Galoup dances alone in a club is a standout, and sums the character up perfectly--it is at once kind of embarrassing and the most genuine moment we've seen from him.

Denis also makes the most of the setting of the film. The seaside is beautiful yet deadly. The characters are surrounded by mountains and arid salt flats. It's a lovely and yet inhospitable environment, and as the film goes on the landscape itself will take a toll on the characters.

This is one that I'm excited to return to at some point.

4.5

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/thumb/1/13/Top_Gun_Maverick_Poster.jpg/220px-Top_Gun_Maverick_Poster.jpg

3

SF = Zzz



[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

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/f/ff/Avengers_Age_of_Ultron_poster.jpg
By http://www.impawards.com/2015/avengers_age_of_ultron_ver11.html, Fair use, https://en.wikipedia.org/w/index.php?curid=45669453

Avengers : Age of Ultron - (2015)

The set-up had me salivating. Tony Stark (Robert Downey Jr.) creates a revolutionary new Artificial Intelligence to help protect the world - and keeps it a secret from all the other Avengers apart from Bruce Banner (Mark Ruffalo) - it wakes up, becomes self-aware, and becomes a kind of unstoppable force in the guise of Ultron (voiced by James Spader). When Ultron arrives on the scene, a little shakily at first, but with obvious powers, this Avengers film hadn't put a single foot wrong. After that, the imagination of Joss Whedon seems to have hit something of a wall, and everything is handled in a kind of rote manner. Action scenes seem to be choreographed for all of the characters to handle with ease, and I don't think they were challenged enough in this film - I never felt that they'd been pushed beyond their limits. I would have liked to have seen some characters on the verge of losing or giving up. At times, during the first Avengers movie I was really on edge when events seemed to be beyond everyone's control, but during this film's final climax I simply felt CGI overload and a little burn-out. The good MCU films don't feel like they're following a formula, feel like they have real stakes involved, and handle action in an exciting manner. This one had an awfully good beginning, but squandered a lot of that. There's one hell of a lot of action, but little excitement.

Still - you can see that half-billion dollars up on the screen.

6/10

https://upload.wikimedia.org/wikipedia/en/1/12/Ant-Man_%28film%29_poster.jpg
By http://www.impawards.com/2015/ant_man_ver3.html, Fair use, https://en.wikipedia.org/w/index.php?curid=40434292

Ant-Man - (2015)

I'm catching up! Captain America : Civil War after this. Origin stories try my patience a little after having to endure so many, but the second half of this little Marvel side-show was pretty good, and surprisingly inventive. I still don't understand how Scott Land (Paul Rudd) survived the quantum realm (he puts something in his belt? Something he'd been given previously?) Also, I was disappointed by the quantum realm reveal - it should have been much weirder, and not just similar to the molecular realm. Since Ant-Man's suit makes him small enough to break into places covertly, the team behind this film have decided to make it like a heist film, and I thought that was a good idea to differentiate it from other Marvel films. Scott Land's specialty is cracking safes and breaking into places, so he's the right match for the powers Ant-Man has through this miniaturizing suit. There's some half-decent comedy, good action and overall a pretty tight screenplay. Nice.

7/10

[Takoma11]

I'm not sure how to include the MoFo rating popcorn graphic, Marnie (1964, Alfred Hitchcock) - "B-"

<RATING>4</RATING>, but use [ ] instead of < >.

[SpelingError]

<RATING>4</RATING>, but use [ ] instead of < >.

[ ]RATING[ ]4[ / ]RATING[ ]

That doesn't work either.

[gbgoodies]

I'm not sure how to include the MoFo rating popcorn graphic, Marnie (1964, Alfred Hitchcock) - "B-"


This post from Miss Vicky should help.

I keep seeing new members asking how to do the popcorn ratings, so I thought I'd post this chart I made here rather than reposting it in the Rate the Last Movie and Movie Tab threads. (Perhaps a mod can sticky this thread?)

Popcorn ratings go from 0 to 5, in half popcorn box increments. Type the code exactly as it appears on the left of the graphic to generate the associated popcorn box image.

Popcorn Box Ratings:

http://www.movieforums.com/community/attachment.php?attachmentid=25716&stc=1&d=1464668808

[Marco]

The Whistleblower (2010)
https://upload.wikimedia.org/wikipedia/en/2/28/The_Whistleblower_Poster.jpg
Pretty staid biographical drama about people-trafficking in the balkans with the dependable Rachel Weisz. She plays an American cop that sees an opportunity for furtherment by becoming part of a private security force in Bosnia following the war. It's a pretty slow burner but an intriguing (and tragic) tale nonetheless.

3.5

[cricket]

Glass Onion: A Knives Out Mystery (2022)

3.5

https://64.media.tumblr.com/f6314277b969283f4b7ec54126587d10/8eb071e5916d6586-22/s540x810/99e6cdb34705cc1f1b5ddb461c51b1032abb5493.gif

Comparing it to the first, it's not as mature and the cast and characters are a little bit of a step down. On its own it's still plenty entertaining.

[EndlessDream]

Glass Onion is the sequel to the ensemble whodunit Knives Out. Rich influencers, as well as Southern dandy detective Benoit Blanc, are invited to an eccentric billionaire's private island for a murder mystery party. Of course, what starts out as a game turns into a real life-or-death scenario.

I'm a big fan of Knives Out and, unfortunately, the sequel Glass Onion is a complete disappointment. The mystery takes a few interesting turns, but the cast of unlikable characters makes it hard to care about any of it. The party of "disruptors" are crude caricatures of modern wealth, which would be fine if they were written in a clever or funny way. Instead, NFT jokes and people saying "sh*tballs" is what passes as humor in this movie. And like a lot of the recent anti-rich shows and movies, Glass Onion harshly criticizes billionaires, while it also loves to show off their luxurious lifestyle.

The main thing that's missing here is an emotional core. In Knives Out, there was the sweet relationship between Marta and Harlan. The protagonist in Glass Onion has a fine motive for investigating the party, but the only relationship they have is with Benoit Blanc. It doesn't help the matter that Benoit has a lot of eyeroll-inducing dialogue and isn't nearly as charming as he was in Knives Out.

Without heart or humor, all that's left of Glass Onion is a bland mystery that you can solve by looking at who's in the cast.

[Marco]

Glass Onion: A Knives Out Mystery (2022)

3.5

https://64.media.tumblr.com/f6314277b969283f4b7ec54126587d10/8eb071e5916d6586-22/s540x810/99e6cdb34705cc1f1b5ddb461c51b1032abb5493.gif

Comparing it to the first, it's not as mature and the cast and characters are a little bit of a step down. On its own it's still plenty entertaining.

Looking forward to this on a rainy afternoon for a bit of whistfulness.

[Wooley]

https://i.imgur.com/f9F7Zdp.jpg?1

Despite having been a big MCU fan up through Endgame, after the rancid recent offerings from Marvel accentuating the decline that their products have been in since Ant Man & The Wasp, through the fairly terrible Black Widow and Shang Chi, and culminating in the abominable Eternals followed by the confirmatory Doctor Strange In The Multiverse Of Madness and Thor: Love And Thunder, I was loath to ever watch another Marvel movie.
But the allure of Wakanda and fond memories of Coogler's first film, combined with a random afternoon off while workers were at my house, led me back to the theater for one more shot.
And it was an interesting experience because of the highs and lows on display here. The film is certainly "better" than Marvel's last few outings... but really on average. The trick here is that the highs are high enough that they pull up the lows which are the same as all the recent fare has been. As rushed and pitiful as the villain and new secondary character introduction was in DSitMoM (Wanda and America Chavez), Wakanda Forever is every bit as bad if not worse with Namor The Expositionist (whose every word is exposition) and Ironheart... seriously, you idiots tried to shoehorn Ironheart into this already absurdly bloated thing?!
Yes, not only did Marvel try to use the Black Panther name to bring yet another origin story of a major character and world into the MCU, despite having the entire Death of the Black Panther/who rules Wakanda/what is Wakanda's place in the World thing to address, they actually brought in a new super-hero origin as well, awfully ret-conned in a "well, our audience will literally accept anything at this point" kind of way in Ironheart, in the middle of everything they already had on their plate.
So the film is a bloated mess with little thought or care to how any of this plays.
Except that it also has some of the best personal drama in the MCU in years. Honestly, some of the character scenes almost seem like they're too good for the MCU and belong in an indie film. And then more fish-people come and attack a giant CGI battle-barge in the Atlantic Ocean.
Really, the emotional journey of Shiri almost makes this film worth seeing and Laetitia Wright, Angela Bassett, Lupita N'yongo, and Winston Duke make you not wanna get up and walk out when they're on-screen...
But on the whole, I gotta be honest, these dramatic highs simply can't drag up burden of lows this large and bloated.
Even though there was a lot to like, this will be my last Marvel film for the foreseeable future.

2.5

[WHITBISSELL!]

https://i.imgur.com/f9F7Zdp.jpg?1

Even though there was a lot to like, this will be my last Marvel film for the foreseeable future.I've been reading up on some of Phase #whatever the MCU is currently on and it just doesn't sound interesting in the least. One of the few things they got going for them is their dogmatic fanbase. People will keep throwing money at them but I think Marvel's heyday has passed. They've had their moment in the sun but will continue as the default front runner because DC is such an ongoing poopstorm.

[Wooley]

I've been reading up on some of Phase #whatever the MCU is currently on and it just doesn't sound interesting in the least. One of the few things they got going for them is their dogmatic fanbase. People will keep throwing money at them but I think Marvel's heyday has passed. They've had their moment in the sun but will continue as the default front runner because DC is such an ongoing poopstorm.

The thing is, I'll tell you from someone who was a big fan, the quality has dipped so precipitously I can't wrap my head around it.
They were making pretty enjoyable movies with the likes of John Favreau and Joe Johnston and now they're making absolute garbage with the likes of Taika Waititi and Sam Raimi. That's a pretty crazy trick to pull and an indicator that something is rotten. Waititi made, arguably, the pinnacle of the MCU and somehow his second outing, despite adding Christian Bale as the villain and a should-have-been-funnier guest-appearance from Russell Crowe, a nice, big shit-burger came out. What gives? It's that Marvel has stopped caring altogether about script and character (with the exception of Wakanda, and even there all the new characters are shit) and have basically become DC/Star Wars because that's all you have to do to make money.
I don't know what's happened to Feige, but in my book, he has betrayed the fans, not just MCU fans but Marvel fans, period.

[this_is_the_ girl]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fbloody-disgusting.com%2Fwp-content%2Fuploads%2F2018%2F06%2Fchangeling.jpeg&f=1&nofb=1&ipt=f5b32e45813712fb643ca9e7ca7828a5e18a6a906ebaca0306c3c31f359b92e4&ipo=images
The Changeling (1980, Peter Medak)
4
Having heard about this being one of the best ghost / haunted house movies ever, the opening thirty minutes or so were underwhelming — the film felt old-fashioned, with too much score, and lacking a creepy atmosphere. Frankly I wondered what the big deal was. But as I watched on, I got more and more drawn in— not so much by the amount of "horror", but by the plot and the detective element of it. Beautifully understated display from George C. Scott in the lead role, and Melvyn Douglas as Senator was outstanding. That second half really changed my opinion of this film, very much for the better. The ending was excellent imo.

[Fabulous]

Not as a Stranger (1955)

3

https://www.themoviedb.org/t/p/original/evcbPrWyOL740rq05vQLvjZUbhR.jpg

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F66.media.tumblr.com%2Fcc1fc4a42a0da8cf2baa147963d8ff75%2Ftumblr_nn8k2tZfnf1szclxpo2 _1280.png&f=1&nofb=1&ipt=47109e2ce91cd790510c64a1b0cd1cc30d4363b5784a05494d7a646795c0ca42&ipo=images

It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives, 1971

This docu-drama follows Daniel (Bernd Feuerhelm), a young gay man who arrives in Berlin. While he initially gets into a conventional romance with Clemens (Berryt Bohlen), their relationship stalls out and Daniel is seduced away by an older, wealthier man. Daniel soon finds himself drifting through various subcultures, until he meets Paul, who educates him about the way that social oppression has shaped queer subcultures for the worse.

This was certainly an interesting film, at once highly critical of the superficiality of most gay subcultures while also being sympathetic to the way that the development of these cultures comes out of the shame and violence that most gay men encounter in the society around them.

I'm not entirely sure that I entirely bought all of the psychological analysis of the behavior of the different gay subgroups. The film asserts, for example, that participation in the leather/S&M cultures are an indicator of gay men trying to reclaim a masculinity that they don't feel they have because of their sexuality. But . . . that subculture also exists in lesbian and non-queer spaces, and also both men and women can be on both sides of the S&M dynamic?

More convincing is the idea that gay people being shamed has steered the gay community in a direction of secret, quick dalliances instead of long-lasting, deeply personal relationships. If the only expression of your sexuality has to be something you can do in 10 minutes in a public bathroom, yeah, it's going to tend toward focusing on sex and not on long conversations and deep connections. And in a subculture driven so much by sexual desirability, a huge emphasis is placed on appearance and the ability to be instantly attractive. This isn't to say that deeper or long-lasting gay relationships don't exist, just that they are not the norm in most of the subcultures. At the same time, I'm not sure that the film fully unpacks the degree to which some of these dynamics come about from being relationships between two men. It can't just be about being queer, because lesbian subcultures to not exactly mirror gay male subcultures.

The film is largely dominated by a voice-over narration, which alternates saying things that are adorable and incredibly harsh. In one sequence, the narrator says that men want to find someone who is kind and fun, "like a German shepherd." LOL. And yet moments later the narrator will tell us that gay men are shallow and superficial. The film drops some pretty blunt, brutal opinions about the subjects it's examining, but because the main assertion is that these behaviors are the result of social oppression, it doesn't feel like an attack so much as mourning the way that a community has been distorted by outside malicious forces.

In terms of the content that it shows, I thought that the film walked a really nice line between not being exploitative and not hiding from its subject matter. We see men in the film kiss and have encounters with some nudity. There's no prim turning away of the camera, but neither does it feel like it's exploiting the men on screen. In a film that's largely centered on the way that male attractiveness and sex are central parts of the subcultures Daniel explores, it seems to hit just the right notes.

I think that enjoyment of the film requires accepting that the film is a political statement. This becomes very clear in the final 10 minutes, where a nude symposium takes place in Paul's apartment and the men discuss the need to unite the different subcultures (one of my favorite lines was "we need to end the war between the Fairies and the Leather Men") and even partner with other social movements like Black rights and women's rights. The film is basically saying that the gay scene in Berlin and elsewhere is very toxic and demeaning, but that solidarity and openness would allow the gay population to be more free and authentically themselves. And it's not about merely imitating straight culture, but finding a new and different way of being.

This was an interesting look at a perspective on the dynamics of gay life in the 1970s. While it doesn't have the same pop as something like Paris is Burning, its assured, blunt voice and point of view make for involving viewing.

4

[beelzebubble]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F66.media.tumblr.com%2Fcc1fc4a42a0da8cf2baa147963d8ff75%2Ftumblr_nn8k2tZfnf1szclxpo2 _1280.png&f=1&nofb=1&ipt=47109e2ce91cd790510c64a1b0cd1cc30d4363b5784a05494d7a646795c0ca42&ipo=images

It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives, 1971
]
Interesting. I would definitely be interested in seeing that.

Isn't it funny how the dark haired actor resembles Andrew Garfield.

[cricket]

Licorice Pizza (2021)

4+

https://64.media.tumblr.com/069b2c3cfc8c0e3b38d31ffb5d7922a6/5cf4d2b095b79688-01/s500x750/6a25cd89713923e2de8ecfe6c6ea422059e8f2f3.gif

I think highly of director Paul Thomas Anderson and consider him a must see director, even though I don't think all of his movies are home runs. This was at least a triple, just good vibes and feelings all around.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/5/53/Captain_America_Civil_War_poster.jpg
By http://www.impawards.com/2016/captain_america_civil_war_ver15.html, Fair use, https://en.wikipedia.org/w/index.php?curid=48646207

Captain America : Civil War - (2016)

This one goes on the 'good' pile along with The Avengers, Captain America : The Winter Solider and Guardians of the Galaxy. I really enjoy watching these films when they have screenplays as good as this - an intelligent reflection of the ramifications the real world and Avengers would face if all of this really happened. Without oversight or with oversight - both options for the Avengers have advantages and disadvantages, especially when you stand back and examine the weak points of the United Nations. Apart from that, the personal stories of some of the characters come into play, and they have a huge impact on the Universe that has been constructed for these films. Wasn't Tom Holland funny as Spiderman? I had a great deal of fun with the introduction of this incarnation of the webbed crime-fighter. There was a good balance of everything - not too much comedy, and not too much action. High stakes, and a great ensemble of performers gather now to kick these blockbusters off.

7.5/10

[Takoma11]

Interesting. I would definitely be interested in seeing that.

Isn't it funny how the dark haired actor resembles Andrew Garfield.

I watched a very nice print on YouTube. The resemblance to Garfield is really only in profile. But the actor who played Paul reminded me of someone and I can't figure out who!

[Wooley]

https://upload.wikimedia.org/wikipedia/en/5/53/Captain_America_Civil_War_poster.jpg
By http://www.impawards.com/2016/captain_america_civil_war_ver15.html, Fair use, https://en.wikipedia.org/w/index.php?curid=48646207

Captain America : Civil War - (2016)

This one goes on the 'good' pile along with The Avengers, Captain America : The Winter Solider and Guardians of the Galaxy. I really enjoy watching these films when they have screenplays as good as this - an intelligent reflection of the ramifications the real world and Avengers would face if all of this really happened. Without oversight or with oversight - both options for the Avengers have advantages and disadvantages, especially when you stand back and examine the weak points of the United Nations. Apart from that, the personal stories of some of the characters come into play, and they have a huge impact on the Universe that has been constructed for these films. Wasn't Tom Holland funny as Spiderman? I had a great deal of fun with the introduction of this incarnation of the webbed crime-fighter. There was a good balance of everything - not too much comedy, and not too much action. High stakes, and a great ensemble of performers gather now to kick these blockbusters off.

7.5/10

Agreed. For a brief period this was my favorite Marvel film (even though I felt the stuff with Bucky and Tony's parents could have been handled a little more dramatically as well as clearly). It would still be Top-5, I'm sure.
The scene with Tony's VR about his last day with his parents would never make the cut in the Phase Four and beyond MCU, which is why it now sucks abysmally. Moments like that and the film ending with a fistfight between two friends that severs their friendship instead of a city dropping from the sky killing millions is why the MCU used to be good.

[Thief]

THE EMPTY MAN
(2020, Prior)

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


"You're not telling me anything."
"I am telling you. You're just not listening."



The Empty Man follows James Lasombra (James Badge Dale) a former detective-turned-security salesman that is still reeling in from the death of his wife and son a year earlier. When the daughter of a neighbor goes missing, James uses his investigation skills to try to find her, only to be led to a mysterious cult that follows the titular entity, whatever it is.

But although that synopsis might seem fairly straightforward, the truth is that the film takes a series of weird turns to get there, starting with a 20-minute opening sequence set in 90's Bhutan, and going through a series of setpieces that seem to have no payoff, or just leave you guessing why are they happening in the first place. When James asks one of the cult members about their business with the above exchange, is he really listening? Are we?

But putting aside the story, The Empty Man is a pretty competent thriller; at least more than its title, appearance, and marketing might led you to believe. James Badge Dale is a competent lead that is helped by solid supporting turns, especially Stephen Root as Arthur Parsons, the charismatic leader of the cult. But also, David Prior's direction is effective in transmitting a certain atmosphere and a sense of uneasiness around everything.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2358787#post2358787)

[Marco]

American Gigolo (1980)
https://upload.wikimedia.org/wikipedia/en/4/43/American_gigolo_post.jpg
A nice streamlined noir that has aged not too badly at all. Gere plays the expensive male escort that finds himself framed for murder and is racing against time as doors close in his face to prove his innocence. Tightly scripted by Schrader and well acted by Richard Gere it contains a fair amount of suspense.
3.5

[ScarletLion]

'Deep End' (1971)

https://babylonberlin.eu/images/canproject/deepend.jpg

Hard film to rate - at one point I thought 6 out of 10 (some of the acting is stunted and wooden), then at others it felt like an 8 out of 10 (the colours and directing in parts are very interesting). It's a coming of age film at heart but it dabbles with real sinister psychological drama too, and when they blend it's pretty disturbing.

Director Jerzy Skolimowski shot most of the film in Germany, where a young, inexperienced Mike (John Moulder-Brown) takes his first job at a Bath-house. Here, as well as getting hit on by various lonely older clients, he gets infatuated with a colleague Sue (Jane Asher) who leads him on a little. Things get pretty crazy after Mike tries to sabotage Sue's relationship(s). Some of the characters are dubbed into English (one by Diana Dors!) as many of the actors are German. If anything that increases the unsettling nature of the film. David Lynch claims this film freaked him out, and it's not hard to see why - the final 10 minutes or so are pretty unforgettable.

One of those quite rare films that isn't exactly a masterpiece but I'd recommend fans of cinema to checkout. Maybe it's in 'cult classic' territory.

3.5

[Wooley]

'Deep End' (1971)

https://babylonberlin.eu/images/canproject/deepend.jpg

Hard film to rate - at one point I thought 6 out of 10 (some of the acting is stunted and wooden), then at others it felt like an 8 out of 10 (the colours and directing in parts are very interesting). It's a coming of age film at heart but it dabbles with real sinister psychological drama too, and when they blend it's pretty disturbing.

Director Jerzy Skolimowski shot most of the film in Germany, where a young, inexperienced Mike (John Moulder-Brown) takes his first job at a Bath-house. Here, as well as getting hit on by various lonely older clients, he gets infatuated with a colleague Sue (Jane Asher) who leads him on a little. Things get pretty crazy after Mike tries to sabotage Sue's relationship(s). Some of the characters are dubbed into English (one by Diana Dors!) as many of the actors are German. If anything that increases the unsettling nature of the film. David Lynch claims this film freaked him out, and it's not hard to see why - the final 10 minutes or so are pretty unforgettable.

One of those quite rare films that isn't exactly a masterpiece but I'd recommend fans of cinema to checkout. Maybe it's in 'cult classic' territory.

3.5

Hmmm... this seems interesting. I been lookin to check out some Skolimowski ahead of EO.
Is this streaming somewhere?

[Daniel M]

Licorice Pizza (2021)

4+

https://64.media.tumblr.com/069b2c3cfc8c0e3b38d31ffb5d7922a6/5cf4d2b095b79688-01/s500x750/6a25cd89713923e2de8ecfe6c6ea422059e8f2f3.gif

I think highly of director Paul Thomas Anderson and consider him a must see director, even though I don't think all of his movies are home runs. This was at least a triple, just good vibes and feelings all around.

I loved this film. I wrote up a review of it last year but never published it, I'll try and find it. I found the film really relatable, funny, good vibes like you say. Great music too.

[ScarletLion]

Hmmm... this seems interesting. I been lookin to check out some Skolimowski ahead of EO.
Is this streaming somewhere?

Yeah I wacthed it because I'm itching to see EO too. It's streaming on Criterion and some Amazon countries.

[Daniel M]

Here we go cricket. I found this in my phone notes, I typed this up one day after watching it a handful of times. From your posts, you strike me as having a similar type of personality with that mixture of introvert/extrovert, so I'm not surprised you enjoy the film :)

Licorice Pizza

When Paul Thomas Anderson announced his film career with his masterpiece Boogie Nights he set the tone for his career to come with a film bursting with energy and dripping with style that also took a look into the complicated and dark realities of human life and relationships.

Boogie Nights explores a myriad of relationships and how they impact on the young titular character in an evolving world, both the personal bonds of friendships and the exploitative relationships within his industry, often overlapping with each other.

This interest in the power dynamics in relationship has been prevalent throughout Anderson’s body of work. The glorious Magnolia is an emotional tour-de-force in its study of human interaction, perhaps best captured in Tom Cruise’s masterful performance and then there’s Daniel Day-Lewis’s Daniel Plainview who dominates the screen in There Will Be Blood, to give just two examples of the capability of Anderson’s righting to deliver rich, spellbinding onscreen relationships.

It’s perhaps surprising then that reviewers seem to dismiss and criticise the age gap in Licorice Pizza as superfluous and distracting, rather than view it as another Anderson attempt to explore an unusual power dynamic that seems well within the realms of possibility for the story.

As a 15 year old up and coming film star, Gary Valentine flirts with the 25 year old Alana Kane. Gary is a cheeky, confident young man who is used to getting what he wants. He messes around, schemes and has fun. Alana states to him at the start of the film that he’ll soon be older and uninterested in her, whilst she’ll be left working in her usual job in town.

Gary insists she’s wrong and carried on flirting anyway, she knows that she’s wrong to get involved but some part of her is trying to convince herself that there could be some justification for it. What if they really do have a special connection? She is constantly pondering whether her actions her socially acceptable and often breaks down when faced with the reality of what she has gotten herself into.

Caught in the nowhere land of her mid-Twenties with no career direction, being slapped from behind by sleazy Hollywood crewmen, Gary offers her a rare escape to a world where she feels valued and can have fun without taking herself seriously. It’s only as the characters spend more time with each other that she begins to get jealous and engage in petty games with Gary, yet these are emotions that are relatable on some level to most humans. Having a connection with someone, romantic/sexual or not, can do funny things to the human mind, for better or worse. It’s surprising how jealous we can get over things we know we can’t have.

Human life and especially relationships are never straightforward, and I’m struggling to think of many films that capture both the nuances and vicissitudes of this than Licorice Pizza.

As someone in his mid-Twenties who often questions the path his life is on and finds himself torn between facing the serious nature of one's future and indulging in all sorts of less-than-serious escapades with various friends, the film spoke to me on a level that not many have. As I think about my life, about summers I’ve had, friendships, moments, periods of time that felt so electric, wild and full of energy and emotion at the time, it’s through the lens of nostalgia, in a current place where I can reflect on them in a new light.

I think about times when I would spend every single day for months on end with the same people or groups of people, the "adventures" that we had. I would class myself as a mixture of being introverted in some ways and extroverted in others, I love sitting at home watching obscure films no one else in my friendship groups has heard of, but then I'll go out on the weekend enjoying myself and doing ridiculous things too. Paul Thomas Anderson strikes me as someone who had a pretty fun childhood with lots of great friends and memories, with an incredible knack for putting them on the screen like another favourite American director of mine, Richard Linklater.

[Gideon58]

Here we go cricket. I found this in my phone notes, I typed this up one day after watching it a handful of times. From your posts, you strike me as having a similar type of personality with that mixture of introvert/extrovert, so I'm not surprised you enjoy the film :)

Licorice Pizza

When Paul Thomas Anderson announced his film career with his masterpiece Boogie Nights he set the tone for his career to come with a film bursting with energy and dripping with style that also took a look into the complicated and dark realities of human life and relationships.

Boogie Nights explores a myriad of relationships and how they impact on the young titular character in an evolving world, both the personal bonds of friendships and the exploitative relationships within his industry, often overlapping with each other.

This interest in the power dynamics in relationship has been prevalent throughout Anderson’s body of work. The glorious Magnolia is an emotional tour-de-force in its study of human interaction, perhaps best captured in Tom Cruise’s masterful performance and then there’s Daniel Day-Lewis’s Daniel Plainview who dominates the screen in There Will Be Blood, to give just two examples of the capability of Anderson’s righting to deliver rich, spellbinding onscreen relationships.

It’s perhaps surprising then that reviewers seem to dismiss and criticise the age gap in Licorice Pizza as superfluous and distracting, rather than view it as another Anderson attempt to explore an unusual power dynamic that seems well within the realms of possibility for the story.

As a 15 year old up and coming film star, Gary Valentine flirts with the 25 year old Alana Kane. Gary is a cheeky, confident young man who is used to getting what he wants. He messes around, schemes and has fun. Alana states to him at the start of the film that he’ll soon be older and uninterested in her, whilst she’ll be left working in her usual job in town.

Gary insists she’s wrong and carried on flirting anyway, she knows that she’s wrong to get involved but some part of her is trying to convince herself that there could be some justification for it. What if they really do have a special connection? She is constantly pondering whether her actions her socially acceptable and often breaks down when faced with the reality of what she has gotten herself into.

Caught in the nowhere land of her mid-Twenties with no career direction, being slapped from behind by sleazy Hollywood crewmen, Gary offers her a rare escape to a world where she feels valued and can have fun without taking herself seriously. It’s only as the characters spend more time with each other that she begins to get jealous and engage in petty games with Gary, yet these are emotions that are relatable on some level to most humans. Having a connection with someone, romantic/sexual or not, can do funny things to the human mind, for better or worse. It’s surprising how jealous we can get over things we know we can’t have.

Human life and especially relationships are never straightforward, and I’m struggling to think of many films that capture both the nuances and vicissitudes of this than Licorice Pizza.

As someone in his mid-Twenties who often questions the path his life is on and finds himself torn between facing the serious nature of one's future and indulging in all sorts of less-than-serious escapades with various friends, the film spoke to me on a level that not many have. As I think about my life, about summers I’ve had, friendships, moments, periods of time that felt so electric, wild and full of energy and emotion at the time, it’s through the lens of nostalgia, in a current place where I can reflect on them in a new light.

I think about times when I would spend every single day for months on end with the same people or groups of people, the "adventures" that we had. I would class myself as a mixture of being introverted in some ways and extroverted in others, I love sitting at home watching obscure films no one else in my friendship groups has heard of, but then I'll go out on the weekend enjoying myself and doing ridiculous things too. Paul Thomas Anderson strikes me as someone who had a pretty fun childhood with lots of great friends and memories, with an incredible knack for putting them on the screen like another favourite American director of mine, Richard Linklater.

Have never gotten all the fuss over this film...found it rather blah, one of Anderson's weakest films. The best thing about this movie was the cameo by Bradley Cooper as Jon Peters.

[Aussielion]

The Island (2 out of 5)

https://image.tmdb.org/t/p/original/9gpCvgv6Ln3VjmAxfSLvoOYRe3t.jpg

A pretty damn good cast with Ewan McGregor, Scarlett Johsannsen, Sean Bean , Djimon Hounsou and Steve Buscemi. The movie starts with a very interesting premise and the actors do their absolute best. The build up in tension is beautiful for the first 45 minutes or so. For some reason, I got a bit disconnected with the second half of the movie.

An okay movie that could have been better in different hands.

Nightmare on Elm Street 3 (3.5 out of 5)

https://th.bing.com/th/id/OIP.Whzj7LOd2bK5pyb4HdvyagHaLF?w=203&h=304&c=7&r=0&o=5&dpr=1.3&pid=1.7

I had been rewatching the "Nightmare on Elm Street" series recently as my memory of them was very vague and watched them a very long time ago. I'd give the first movie a 3.5 out of 5 while the second gets a straight 2.

I watched the third one last night. I have to say that it is as good as the original was.....but in different ways. It was great to see Nancy (Heather Langenkamp) back and a young Patricia Arquette gave us a preview of how good she was going to be. A young Laurence Fishbourne is also around.

It was a great sequel in a number of ways. It moved the story along instead of being like a photocopy of the first movie. Moving the film to a sleep hospital was a masterstroke.

Some of the effects used are quite dated but still very interesting to watch. They noticeably portrayed Freddy differently from the first two movies. The kills in this movie have an element of dark humor in them while still keeping a serious tone to the movie. I thought the balance between touches of humour and being serious was perfect. Robert England is simply perfect for the role and impossible to replace for any future remakes.

It surprised me how good this movie this was. A flyshit off a 4 for me.

[Torgo]

Heart of Glass - 4

Moody, deliberate, odd and always fascinating, this movie contemplates our planet's cycle of decline, doom and rebirth in the most Werner Herzog of ways: by observing the decline of a tiny Bavarian town as its vital glassblowing industry fails. Its top seller is its beautiful, red-hued "ruby glass," and much to their detriment, its inventor passed away without leaving instructions on how to make it. Meanwhile, on the town's outskirts, seer Hias (Josef Bierbichler) prophesizes about what this means in a way resembling Herzog's legendary narration.

I should have known better, but after reading the plot summary, I went in thinking I was in for a mystery or crime thriller. I not only didn't get that, but I also got something with a minimal plot and a conclusion I would never have predicted. I was still as rapt as Hias is while he stares at the vast Bavarian horizon. The town's despair radiates from every frame in obvious ways like Hias's doomsaying as well as in the peculiar yet appropriate vacancy in everyone else's performances. My favorite example of this, which is also the funniest, is in the lack of response from two old friends and barflies as they threaten each other, pour beer on each other and smash glasses in their faces in ways that must have inspired Bill Plympton's Push Comes to Shove. Herzog apparently hypnotized all the performers besides Bierbichler before filming and it shows. A much less humorous example of the town's decline is in its increasingly hopeless search for the secret of the glass. From Aguirre, the Wrath of God to Stroszek to this movie, Herzog has proven to be an expert at descents into insanity, so if you've already guessed that the secret becomes a metaphor for the residents' sense of purpose, you would be right. Another very Herzog quality I appreciate is that the location is hardly confined to Bavaria. From Yellowstone to the Skellig Islands, we observe degradation like erosion and toxic bodies of water that provide a stark macro companion to the much smaller instance of this cycle, which also has the added benefit of being accompanied by the music of Popol Vuh.

Again, this movie is deliberate, perhaps one of the most deliberate ones I've ever seen. Besides Herzog's habit of not only making scenes last longer than expected, but also not always making it clear what you should be looking at, the vacant performances - as appropriate as their vacancy may be - sometimes tested my patience. In other words, this may not be the best movie to start watching late at night and/or if you're tired, which I learned the hard way. I still think it's one of the best and strangest Herzog movies I've seen, which is saying a lot since I've seen sixteen of them now. For better or worse, Hias's pronouncements of humanity's demise resonate now as much as they likely did with '70s audiences. Despite how provocative they are, and the believability of the small town's descent, Herzog and company deserve credit for making me believe we should still climb the wall even if it will inevitably tip over and crush us all.

[Stirchley]

Yeah I wacthed it because I'm itching to see EO too. It's streaming on Criterion and some Amazon countries.

Dying to see EO too. Streaming on Criterion? Didn’t know this. Will check it out since I thought it was only in theaters so far.

Have never gotten all the fuss over this film...found it rather blah, one of Anderson's weakest films. The best thing about this movie was the cameo by Bradley Cooper as Jon Peters.

Same. I bailed out.

[Fabulous]

The Story of Vernon and Irene Castle (1939)

2.5

https://www.themoviedb.org/t/p/original/jzXgFdjr1hsqd0i0rO8xW6iQcCX.jpg

[Thief]

X
(2022, West)

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


"Alright, that's enough jabbering. I reckon it's about high time we cut to the chase and give the people what they want to see."



Set in the late 1970s, X follows an amateur film crew that's planning to shoot a pornographic film. For their location, they've chosen a secluded farm in rural Texas owned by Howard and Pearl, an elderly couple that don't seem to know or understand what the aspiring filmmakers are planning. But shortly after they start filming, they start being hunted by a mysterious but ruthless killer.

The truth is that, unlike the film's fictional crew, X doesn't try to hide its intentions. It gives people "what they want to see", with some nice kills and gore, and several effective jump scares, while also not hiding the inspiration it draws from films like The Texas Chain Saw Massacre, The Shining, or other slashers and horror films of the era.

Grade: 3.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2359073#post2359073)

[Aussielion]

Knock Off (1 out of 5)

https://th.bing.com/th/id/OIP.d77K4lP_256-cXoCO2-OigHaEK?w=331&h=186&c=7&r=0&o=5&dpr=1.3&pid=1.7

I think the mods on here will want to kick me out for listing a JCVD movie....but thats the way I roll.

I'll preface my review by saying this is the one of two movies where I've walked out of the cinema before the movie finished. These days, Im pretty quick with the remote to turn off rubbish but I will generally sit out a movie on the big screen...with this one of two exceptions. IIt is definitely a movie made for Eastern audiences so I will cut it some slack. But, it is still a rubbish movie to me.

JCVD definitely has some charisma but I just did not like him here. I've never been a huge fan of Schnieder and this movie has not changed my mind. The action sequences are pretty good in a Hong Kong cinema kind of way. The acting and storyline seems to cater for 12 year olds.

The movie will not get a third viewing from me. One star for some very good action sequences....the ONLY thing this movie has going for it.

[cricket]

Here we go cricket. I found this in my phone notes, I typed this up one day after watching it a handful of times. From your posts, you strike me as having a similar type of personality with that mixture of introvert/extrovert, so I'm not surprised you enjoy the film :)

Licorice Pizza

When Paul Thomas Anderson announced his film career with his masterpiece Boogie Nights he set the tone for his career to come with a film bursting with energy and dripping with style that also took a look into the complicated and dark realities of human life and relationships.

Boogie Nights explores a myriad of relationships and how they impact on the young titular character in an evolving world, both the personal bonds of friendships and the exploitative relationships within his industry, often overlapping with each other.

This interest in the power dynamics in relationship has been prevalent throughout Anderson’s body of work. The glorious Magnolia is an emotional tour-de-force in its study of human interaction, perhaps best captured in Tom Cruise’s masterful performance and then there’s Daniel Day-Lewis’s Daniel Plainview who dominates the screen in There Will Be Blood, to give just two examples of the capability of Anderson’s righting to deliver rich, spellbinding onscreen relationships.

It’s perhaps surprising then that reviewers seem to dismiss and criticise the age gap in Licorice Pizza as superfluous and distracting, rather than view it as another Anderson attempt to explore an unusual power dynamic that seems well within the realms of possibility for the story.

As a 15 year old up and coming film star, Gary Valentine flirts with the 25 year old Alana Kane. Gary is a cheeky, confident young man who is used to getting what he wants. He messes around, schemes and has fun. Alana states to him at the start of the film that he’ll soon be older and uninterested in her, whilst she’ll be left working in her usual job in town.

Gary insists she’s wrong and carried on flirting anyway, she knows that she’s wrong to get involved but some part of her is trying to convince herself that there could be some justification for it. What if they really do have a special connection? She is constantly pondering whether her actions her socially acceptable and often breaks down when faced with the reality of what she has gotten herself into.

Caught in the nowhere land of her mid-Twenties with no career direction, being slapped from behind by sleazy Hollywood crewmen, Gary offers her a rare escape to a world where she feels valued and can have fun without taking herself seriously. It’s only as the characters spend more time with each other that she begins to get jealous and engage in petty games with Gary, yet these are emotions that are relatable on some level to most humans. Having a connection with someone, romantic/sexual or not, can do funny things to the human mind, for better or worse. It’s surprising how jealous we can get over things we know we can’t have.

Human life and especially relationships are never straightforward, and I’m struggling to think of many films that capture both the nuances and vicissitudes of this than Licorice Pizza.

As someone in his mid-Twenties who often questions the path his life is on and finds himself torn between facing the serious nature of one's future and indulging in all sorts of less-than-serious escapades with various friends, the film spoke to me on a level that not many have. As I think about my life, about summers I’ve had, friendships, moments, periods of time that felt so electric, wild and full of energy and emotion at the time, it’s through the lens of nostalgia, in a current place where I can reflect on them in a new light.

I think about times when I would spend every single day for months on end with the same people or groups of people, the "adventures" that we had. I would class myself as a mixture of being introverted in some ways and extroverted in others, I love sitting at home watching obscure films no one else in my friendship groups has heard of, but then I'll go out on the weekend enjoying myself and doing ridiculous things too. Paul Thomas Anderson strikes me as someone who had a pretty fun childhood with lots of great friends and memories, with an incredible knack for putting them on the screen like another favourite American director of mine, Richard Linklater.

I didn't know what to think of the age gap but I never felt like I should be judgmental about it. Tough to pull that off.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fvoicethrower.files.wordpress.com%2F2010%2F07%2Fviolence-at-noon4.png&f=1&nofb=1&ipt=85ed80266f67273e14651d6de49a0734a405b67aea0f6f3752d5f0149195a63a&ipo=images

Violence at Noon, 1966

Shino (Saeda Kawaguchi) is working as a housekeeper/domestic in the home of a couple when she is surprised by a man she knows, Eisuke (Kei Satô). Eisuke sexually assaults Shino, and then goes on to rape and murder the woman Shino works for. But when the police come to investigate, Shino is evasive. She instead conveys what happened to Matsuko (Akiko Koyama), Eisuke's wife. The film then follows as the tangled past between Eisuke, Shino, and Matsuko is revealed.

Most people fall prey, to a certain degree, to the conceit that they are the hero at the center of their own story. And while there's nothing wrong with caring about your life and pursuing your own happiness, Violence at Noon takes this perception to a real extreme as the two central characters process their own emotions and pasts via the attentions and affections of a man they both know to be a rapist and a murderer.

The film does a great job of portraying an almost pathological pair of self-centered people by maintaining a sense of empathy for the reasons that they are willing to go to bat for someone who has not only victimized multiple women, but victimized them as well.

There's some really deft work at play here, balancing the perspective that the women have on Eisuke and the reality of the man. For both women, there is a desire (and maybe more accurately a need) for him to be a complex person with depths. If there is no depth or complexity to him, then the things he did to them also lack complexity. In one sequence, Eisuke rapes a woman while she is unconscious. Trying to understand his motives later, she keeps running up against the reality that he did it because he wanted to and he could. When she later further tries to give weight to this moment, imagining that it must have inspired a longing in him that's led to his later crimes, this notion too is shot down. Where does this leave what happened to her? Is it just an ugly thing that robbed her of her autonomy and humanity? No wonder she's like to imagine it as a piece of something grander.

As both of the main characters hem and haw about whether or not to tell the authorities that they know the identity of the High-Noon Attacker---and Eisuke continues to rack up a horrific body count, including an assault in which he hits a pregnant woman over the head with a rock--the film doesn't try to hide the very human cost that the attacks are having. Shino herself encounters a woman in the hospital, having been slashed across the chest by Eisuke as part of an attack. The woman is disgusted by Shino's pestering, and the white bandages are stained by blood that is slowly seeping through.

In lesser hands, this entire plot would come off as a kind of "b*thces be crazy* *shrug* kind of narrative. And I do have to admit that I found myself thinking "What is wrong with you?!?!?!?!?!" about both women many, many times during my viewing. But both women have come to center incredible damaging relationships with men as a big part of their personal identities. (In addition to the abuse she suffers at Eisuke's hands, Shino is also part of a demented romance with another young man from her village). Even if I couldn't necessarily get onboard with their viewpoint, I could at least understand how they had come to foster an unhealthy dependence on this violent presence in their lives.

All of the performances are great. Kawaguchi's Shino is perpetually tottering around the edge of different emotions. Her energy is manic and grows more and more unhealthy as the film goes on. Koyama portrays Matsuko's barely-held control, really showing how she must compartmentalize as Matsuko takes a group of children on a field trip as the details of her husband's crimes are broadcast over the radio. Sato does right by the story by robbing Eisuke of any real charisma. He has a detached confidence that allows you to understand why someone might find him appealing at first, but he is truly indifferent to the emotions of everyone else. His only genuine excitement comes from seeing the fear of his victims.

This dynamic between the characters is amped up to a crazy degree by the style of the film. It walks a very thin line between being exhilarating and exhausting. There is a cut about every second or two, and the cuts are accompanied by panning movements. At times it feels like trying to watch a movie while on a carousel. We pan over Shino's face. Cut. We move the same direction to Shino again. This stylistic element works best with the character of Shino, because it seems to hit her manic headspace best. When we learn that she is only 20 years old, it seems even more fitting.

The violence in the film also lands in just the right spot. Oshima does something that I tend to appreciate especially in films that feature sexual assault, which is to find ways to portray the debasement and violation of the act without exploiting the body of the victim. In this case, there's a repeated use of seeing the rapist's sweat drop onto his victim's body. *shudder* For a film that is mainly interested in the damage (short term and long term) done in the aftermath of such an attack, it does a good job of showing us just enough of the terror of the moment and then shifting most of our attention to what comes after.

A lot to think about and process with this one. It's definitely incredibly memorable in both the way that it de-centers the villain and in how it is shot and makes use of flashbacks.

4.5

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/8/8e/Dune_%282021_film%29.jpg
By Dune Dune Movie Poster (#16 of 23) - IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=68273917

Dune - (2021)

I can really appreciate the care and attention that has gone into transforming Dune into a visual feast that approaches the scale and scope the written word had decades before - I actually felt that there was a real universe behind the façade, because the attention to detail is so impressive, yet seems so effortless. We've come a long way, and I have no idea how much of the film was created using practical effects, and how much computer generated effects. You have to love Stellan Skarsgård - he plays Baron Vladimir Harkonnen in a most vile way, and Oscar Isaac stands out as if he's been a king and leader all his life. Timothée Chalamet feel vulnerable, but well-trained and a young lion. A beautiful work of art and very worthy science fiction adaptation - the best sounding and best looking film of 2021. Now I've seen 9/10 of the films nominated for Best Picture at last year's Oscars - ironically, the only one I haven't seen is the winner - CODA.

8/10

https://upload.wikimedia.org/wikipedia/en/a/a1/Doctor_Strange_%282016_film%29_poster.jpg
By http://www.impawards.com/2016/doctor_strange_ver3.html, Fair use, https://en.wikipedia.org/w/index.php?curid=50143602

Doctor Strange - (2016)

Talking about good looking films, this one had it's moments. Another origin film from Marvel, and that had me grinning and bearing it - I'm kind of tired of having to be shown how this or that character came to get their powers and become who they eventually become. Benedict Cumberbatch is a good fit though, and I look forward to his first real adventure as the character he's evolved into. Loads of interesting ideas and effects - and I love the neon-lit colourful palette this film wields, but it's mostly in service to a well-worn conventional 'bad guys want to destroy the world' plot, and a very unimaginative "Dormammu" - something that had been built up and built up, only to be a visual let-down for me. Great seeing Mads Mikkelsen and Tilda Swinton in a Marvel film.

6/10

[TheUsualSuspect]

Puss in Boots: The Last Wish

https://image.tmdb.org/t/p/w154/1NqwE6LP9IEdOZ57NCT51ftHtWT.jpg

4

Go see this movie. It's one of the year's best.

I never saw the original film, but I have heard it's not great. So when the wife wanted to take the kids to the movies I pulled up a list of what was playing and rolled my eyes when I saw only one children's film. I had little to no expectations with this one. Even the kids were "so-so" in wanting to see it. boy am I glad we did because, within the first ten minutes of this film, I was hooked. The opening to this movie is a literally Shadow of the Colussus adaptation with Puss in Boots battling a giant. The animation during this sequence was crisp, and detailed and showed a love and dedication to the art of animation that has been missing from Hollywood lately. Small details feel hand drawn and the unique in-action "camera-work" instantly makes you part of the chaos.

Puss in Boots dies at the beginning of the film, but don't worry he's a cat with 9 lives. Oops, he must have lost count because according to a quick flashback sequence, he has used 8. With the news of him being on his last life and a bounty hunter on his heels, Puss goes into hiding. While giving up on life he manages to catch wind of a map that leads to a wishing star, which gives him the idea to wish for his 8 lives back. Puss immediately swings back into action on an adventure with an old friend, an annoyingly adorable dog and a few other characters hot on his heels for their own wish. Puss in Boots is an adventure film filled with laughs and heart.

It has the usual "Shrek" fairy-tale comedy where you'll notice things here and there from nursery rhymes or old stories. These elements work wonderfully here with our villains and a big bad wolf wanting nothing else but to claim the last life of Puss. The voice work from all involved is top-tier. I probably enjoyed this more than my own kids.

[Aussielion]

Reservoir Dogs (4 out of 5)


Another movie that I've watched in bits and parts, yet never gave it my complete attention. Absolutely brilliant heist movie!!!



Actors salaries aside, the budget could have been 50c. It seemed like a stage play as the movie was mainly set in one place. Don't let that detract you from seeing the movie though as the performances from the actors were brilliant. Keitel in one of the best performances of his career was outstanding, Tim Roth entertaining as ever, Buscemi doing Buscemi things, Madsen being cooler than Bruce Willis in "The Last Boy Scout" and a very underrated Chris Penn bring the great dialogue of Tarantino to life. No wonder why Tarantino has cast most of these actors repeatedly in his other movies.
The music in this movie also adds some extra flavour. That scene with Madsen dancing to "Steelers Wheel".... brilliant!!!!

I don't seek to watch heist movies particularly but man I tend to like a lot of them. This is quite a different style of heist movie and is terrific!!!



4 out of 5 for me.

[Wooley]

https://upload.wikimedia.org/wikipedia/en/8/8e/Dune_%282021_film%29.jpg
By Dune Dune Movie Poster (#16 of 23) - IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=68273917

Dune - (2021)

I can really appreciate the care and attention that has gone into transforming Dune into a visual feast that approaches the scale and scope the written word had decades before - I actually felt that there was a real universe behind the façade, because the attention to detail is so impressive, yet seems so effortless. We've come a long way, and I have no idea how much of the film was created using practical effects, and how much computer generated effects. You have to love Stellan Skarsgård - he plays Baron Vladimir Harkonnen in a most vile way, and Oscar Isaac stands out as if he's been a king and leader all his life. Timothée Chalamet feel vulnerable, but well-trained and a young lion. A beautiful work of art and very worthy science fiction adaptation - the best sounding and best looking film of 2021. Now I've seen 9/10 of the films nominated for Best Picture at last year's Oscars - ironically, the only one I haven't seen is the winner - CODA.

8/10


Dune
I had an odd reaction to this film which was that I liked a lot of things about it, and yet it came up short for me in many of them.
The highlights, I thought, were the actors... except for one. Skarsgard and Isaac obviously stand out and Ferguson was very strong. I thought that Bardem, Momoa, and Bautista all shone in their respective roles except... they were all three so underdeveloped that it was almost like, "Hey, there's that star I know doing a great job with... basically nothing." And Zendaya has, to me at least, such astonishing on-screen presence that she nearly stole the movie without actually being in it (relatively).
And then there's Chalamet. I had only seen him in smaller roles like Ladybird and I was shocked at how flat I found him. Not just reserved or quiet or whatever one might claim he was going for but flat like a singer can be flat, unintentionally, and kind of jarringly on his own but particularly when set against the great talent around him. He was like the anti-Zendaya in that he's really pretty, striking in fact, but every time he opens his mouth I wish they'd gotten a different actor, while Zendaya is striking and when she finally opens her mouth I felt the movie should be revolving much more around her (yes, I know that's not how the story goes but still).
Finally, my biggest complaint was that, despite its 156 minutes, the whole thing felt rushed to me. Very rushed. The story is just too big. For Villeneuve to include all the necessary plot-points and action to even make it make sense and have his nice, long, silent visuals, I guess he had to sacrifice character. I felt like I barely knew any of these characters. And there are a lot of them. Isaacs is genuinely regal in this film and yet he's barely on screen and mostly in service to exposition, which is a damn shame. Momoa and Bautista almost end up completely wasted because you have to be told that they matter (Momoa) or given visual cues that they are supposed to stand out (Bautista, and even then if he wasn't famous I might have missed it) because they aren't around long enough to really have any sense of who they are or why we should care. The movie has no choice but to rush from plot-point to plot-point while pausing just long enough for Villeneuve to Villeneuve which leaves no time for me to be invested in anything that's happening.
I left, with a pair of absolute fans, feeling like I had somehow been rushed through the longest ride in amusement park history and therefore had only enjoyed moments of it, left with very little to feel about the whole, long thing.

3

[Neesonfan]

Indiana Jones and the Last Crusade: 9/10.


Formerly my favorite in the franchise. Still a great film. While I understand why Spielberg and Lucas chose to steer back to a similar approach to Raiders, the structural similarity is what keeps it from a 10 for me. Still one of my favorite sequels ever.

[Wooley]

https://upload.wikimedia.org/wikipedia/en/a/a1/Doctor_Strange_%282016_film%29_poster.jpg
By http://www.impawards.com/2016/doctor_strange_ver3.html, Fair use, https://en.wikipedia.org/w/index.php?curid=50143602

Doctor Strange - (2016)

Talking about good looking films, this one had it's moments. Another origin film from Marvel, and that had me grinning and bearing it - I'm kind of tired of having to be shown how this or that character came to get their powers and become who they eventually become. Benedict Cumberbatch is a good fit though, and I look forward to his first real adventure as the character he's evolved into. Loads of interesting ideas and effects - and I love the neon-lit colourful palette this film wields, but it's mostly in service to a well-worn conventional 'bad guys want to destroy the world' plot, and a very unimaginative "Dormammu" - something that had been built up and built up, only to be a visual let-down for me. Great seeing Mads Mikkelsen and Tilda Swinton in a Marvel film.

6/10

This is one that makes me scratch my head a lot because of how many people really liked it including friends who really aren't into super-hero movies at all.
I grew up on this character in the 70s and 80s and I found this movie incredibly underwhelming (not bad, just underwhelming) and agree with all of your points. It was the same thing again, the villains' motives were just short-hand mustache-twirling, and Dormammu, visually one of my favorite comic villains of all time, was an incredible let-down. Why they didn't just have him be what he is in the comics, which would have been awesome as shit, is beyond me.
Furthermore, they really changed the character of Strange, which is fine, they've changed lots of characters and that rarely bothers me, but they changed him to be as much like Tony Stark as they could possibly get away with and they totally did it on purpose with the hope that they'd be able to replace Tony with Stephen. But Cumberbatch isn't Downey so this just keeps falling flat, movie after movie.

[Spike8]

I watch a lot of OK movies to find these gems. These are some I recently enjoyed

Central Station - Brazilian
Santa Sangre - Country?
99 homes - 2014
Intacto aka Intact - Spanish one of my favs
A Prophet - French
Kingdom of Silence - Documentary

[WHITBISSELL!]

Puss in Boots: The Last Wish

https://image.tmdb.org/t/p/w154/1NqwE6LP9IEdOZ57NCT51ftHtWT.jpg

rating_4

Go see this movie. It's one of the year's best.

I never saw the original film, but I have heard it's not great. I thought it was. Great voice work from Banderas, Hayek and especially Zach Galifianakis as Humpty Alexander Dumpty. Since you liked the sequel you'll probably really dig the first one.

[EndlessDream]

The Great Silence is an Italian western set in the snowbound Utah territory. The protagonist is a mute gunfighter named Silence, who is thrust into the middle of a bloody conflict between outlaws and bounty hunters. He is hired by a widow to kill the ruthless bounty hunter Loco, who murdered her husband for the reward.

I really enjoyed this movie. It's well-paced, features a couple of vulnerable but strong heroes, and has a despicable villain. Silence had his vocal cords severed as a kid, but he still manages to be a compelling character through gestures and facial expressions alone. Pauline is a widowed black woman, who takes it upon herself to fight back against the oppressive bounty hunters despite all the odds against her. The villain Loco is played by Klaus Kinski, so the role must have been a natural fit for him.

It was interesting to see bounty hunters portrayed in such a negative light, considering they are the protagonists in quite a few westerns. I could definitely feel the frustration of not being able to fight them with the law on your side, since what they were doing was legal at the time. The outlaws they are hunting are shown as sympathetic figures, hiding out in the woods and desperate for food. It was cool to look at the Wild West in a darker light and not be as glorified as usual.

The most subversive aspect of The Great Silence is the ending and it didn't work for me. I'm fine with downbeat finales, but I felt this went a bit overboard. I thought it said a lot that they had to add closing narration to justify it. I get that the point was that the system always wins in the end, but I don't think it served the characters well.

[Fabulous]

Cinderella Liberty (1973)

2.5

https://www.themoviedb.org/t/p/original/tsj1vyA681RwcjLSnwBzXK2DaJ7.jpg

[chawhee]

Glass Onion (2022)
https://i0.wp.com/comicon.com/wp-content/uploads/2022/12/glass-onion.jpg?resize=800%2C445&ssl=1
3
I dont have much to add that hasn't already been said by someone else. The first was slightly better, but this was still very enjoyable. Still not my genre though.

[Jackie Daytona]

The Big 4 (2022)

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cbHyMnK0tPU1dbX2Nna4uPk5ebn6Onq8vP09fb3+Pn6/9oADAMBAAIRAxEAPwD9OJFbb93ctC/Kq/eX6VJ5f+FNuplt7eSSR1ht413vI7bVVV+8zM1erKVtz4WMHLQiK/K25vurUW3azbW+VTWN/wALa8Jbc/8ACU+Hfr/akH/xdbt3cQ29nJcXDxxwwoZXkkfbGqr95mP93/apU60Jr3WmVi8sxNFpVqco32umr+nfpsQqyq7cU5GVv4WrFt/i54Nb5V8WeF/m/wCotb//ABddNHYs393b2NbU6sX8LOHEYGvSa9rBxvtdNfmkJbruX+9Vuzhjkk2t/F3ojs2j3feqaGHay1XNc41CzLjaKqwbl+6v96qv2NWX+lXlZ2j2MzbfShYVX5lrNvudLak04mf9hYU77Kyq38W2tCO13LStZ7ZGV 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LtdpFb++tZlv4ijmt2c/fj/g3fw1nXeuLcKqxuqOy/MP71axqWRy1JKW50EOrR3S7ZPMZtvy4/ipt1Ha/Ymk3bdrfKd33m/ur/tVyNn4ka11Hczr5n8I/wCA1cn1ppZI3Ro933lFaczM4xQ6TUGm1CT7PJIyqN2dq7l+b/ara0uVNQtWdblUVV2MNg8z5fvbq4hZnjupGVfMaNlZv4lZf4lrodE8QW95C6Iipt+ZTsX7v92qVTUFTTOmjs7H7ywwyO39xdrVqa 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 KXkKxruaYwN5X/fX96q9qYSw9tWbzLuRqhK/8Bao7G+h1KzjubeRZIZl3I6H5WqRm8z7rUe0NY0tCP7zUeWvl9Pmpyrt3bqdCqstZ85rGkyErtpsaqP96nXG6NflqNZPvZo5i3Ts 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cpvudX1KJf3TyzOn7tY1k+6u3av8O5VqniMROm/ZS9n5vX+v6scP+zuSjXp86Z9VX3xa0XQ/D73+sapZ6Vb2qK11Lct5Ece5tu75/4fM+Vf71eXeE/21PCPi7U1sHvpLVZp5Uiu7hvLgZV+ZPm/h3/M3+zt+b7y189654b0rxNpLWCpda1p90zN9iv7xvNt081miVWb5n2rtZmf5t27btrxT4rfDjw74F8UWuk+HTrn/CTao67dId1kRkb5vlf7yybVbau7b8vzNWmEzeVR+zq6yV7tLR+e912PSzLwvWFy1ZrKpanJXSlpJX2W3K313TS3Ss2fp7b65bXGn xtb3CyJMiusifw7vu/N/F/wGopNSWaF2dWZfuqRXyz+zT8brHwj4V03wxHb61Jq1xay6lFpdzPFPPMzMzTJFMrLGzK3zbP4V+6zrXslr8ZNNuI1+2LeaVJ9147 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 h1i1aNXj8zcy7H/5af7S14lrFxfWEMjx+ZIrMy/dbcy7mXd/47WZ4P+JF5/wkC2zTtMsjfL5m5trfN93/AHa8XHYOVVOpB6o+crUZ1E3e57pDdXFnNJcW8kbPt/deYu1mb+7urrvhv4wk17T/AC79fs11Cvzo7btrdq5Gz09bvR7dmRvNVVWX5t0jNt+8tR6Tqlx4d1pkkZpLe4X53H8Lf7P+0392vg8ZXU4uPVdfQ4qMnzcj3PUL 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 98sz2q7m8qP/W3DqrMq7l+6rbfmb7392u5SjTi5MrllUkoo7HQ/CtnZ+A7jWLzT7O6ZbeX7HvRfKjfb/EzfxK391tzbdq15Vpfhmx8TfEjybdrq10qa6ZleRFaVYl+9/sr827733V212fxS+Il14Uu9NsfE1nHpsFjYS6jp9pb3CzxtN92FVhwqxRJ86s3zMzI33du2prj4D3njbQ7XXLC++2aprH2vUfsEq 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 91v733d1emfH74V3Gqs19o7zNazDzxBHLuX/AGvl+78tfP8AqngPUNLkZ2hmVmb/AICvzV7GAwmGhJ1qatKW59JisyxOJhGMpXiu2h6V8Hf2utW+EOgeTod5dQ3zXSS3Vudv+mMvy7fm+6rLuXb935v+BV+iXwb+Duh+ 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 j1D4czKqzSapoc7fZ7csqtcW/3Zn/AN3dtdV3f3q/O7xR4TkW8eOaFraZfm8uZNsm3+8v96v04vP2nPB/xC1iSS+jVFvIFSK53pLG0Unyv93d8q7lZm/h3fMtXNL+CvgHR7fwH4Z16w0fxa9xdanq9hb3ditzHNapYSq+flbbGsrxLub7rMq/3a3y3M504OM1pq16HfjsGoqKtZpJW9D8sbPQ1kt/n/vfNj/ere8B+BZNQ8TW7t53kw7pUjjby3kdV+7v/gX/AGq+lLj9mnwv48/4KcSfDrR/DcjeG7F/Nv8ARNPaVZNsVmrzbAh8xY/Nlh+78vzbf4q7b9tD9nfR/hzps1/4F8F+G9H0fR995q2o29wyy28MUTtLEyMz7di7mZtqqu5d3zMte5UzCLUYfzK/krnnYWg3U9D8zfjBp158RPiPdRW95Hq1xGzRbfMWTbbxZaIea21WVsu235fm3f3q+y/+Ce/jvwxqPgW10O/0XUrX4leH7Wazs7i3t3nttet4PMfbvQNtuVV9uz5d/wA23d91flu++Hc/h+1ur7UNDjsU1J0ggsLiIxS7FdU8rcu2VNybVR1X7zM3+9u/BX4jXPwX8aaTqUckKSabrn2ho42aRrNflidN7N91fvN/tbvmrHOsHDGYL2Md0m42fWz09H1R35LjKuDxyqvaTtJPs3/XU/Ur9g3wq/wb+DOqPZyXFulxrM15Bbyo0floyou3a3zbdqr96qn7UGj6XrHhu51jW9N+1W9u+6KzWDz5Jn/h2L8zN/sr/FVTw3+0DperePm0XyZo3vNPW9Zgrbbptyq7r/C+1m2ttbcu5dy/Mu7Y/am1jxBqnwlTR/h3Jb/8JNqksUX2mWdI1sYVXczbm3Mu75V+Vd3/AI9X4rGOIqYxSqO3M73bfXrf9T9Upzp4ePNCN7aWXl0JfEfx002z+Efhjw7cWrWGuaLBY39lpkdlO0kiunlTQfMiqzLGz7lTdtX5 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 U/FX4rXHwj+ImoWzaXHeXXhuyi1bxo8V4ttJZ2tzFPbQwM6vtm3MxZoW+X5VferKit83fGPXNQ+MXgO4vvDHiDwfo9tqVvqel3vhK4 i+ywXGn3V00Dyq9vKsvmSsqtuZl8vay/wvu9E/batfht4fj8Ra5DaySeMteeGKd0v7q2/wCEi2z7HS4+bbMsmZVVnXbGsq7V3Lub4n/bdjtfhDJfXWlyapqHijxhqi3+mNPPLIraTLpu14ndvkmk+0MsOf8AWbHTdXRhZRqyUYPXpfb+vMmlGj7JOmmmo6+7vtd7tbuyelk 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 NIWs7htoG37v/wATX0x8M/C8ens1xshudy/Pn+H/AHW/i/4DXk//AAUR+D2tfF74beHbfwl4fm1S/s9Z3S/ZpYtywNbzruZ5XVdvmMi/8Cow3ihh5tZXXVk9HJtJd7O/ex9h4m+2xPDuLw2HhKcnFWUdW/eWiild7bI7X4I+GZo/hH4PvraNnWbRrSVX+VWVmiXcrf7P/fVct+2pqCSfCPxDarM0V9HBDOyIrfKjTovytt2/erv/AIN2mreDfhnpOg31vbw3VnpNvaxSeaZIlmVNjROy/wB1l/vfN/C1eaftPWOraZ+zT46udYmulWS6iksEuLiKWSGHfFuVfKVdq7tzbWZmVW+9X5ZVznEZlnVKeIcWozSg09ZJyVnpe9uqVrdkzPiCtX 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 VCbv7nyfKv8AdVf9qubtdJuvDmi6XY6b9qh/s1Yv9JD/ACqyqqt8vzbt3zfKv/jtaGvfE7QZNPkhXUobh7pnSd7RWn2t91t23/vmmeD/ABxpXxAW+XT0vo49PVGczo0Stv3fdVvm/hr67MKOXvCRo0pRva1l5rX79/U/Q/7XyDH49ZdRxNN1XFqHLOLmk0nNJ3bV404uUtHdXVndnpHwl1Bbq4v49s1r823Z9pWXzD/z1b5drMyr/d/8er0e42S6fbyIscjbVXlV+b5q8V8N2cmk+ImuLOa4RY1VdnzNE259z7k3f+Pf7X+9Wh8YvG2oaH4Z0WPSr68tZJr91uHRF3NE0Tu 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 Vmhunt9UlRligLq0m5lba237q/L838P3lb5a8j/bw8Nxw/A3xhcRtumW1t0SMqm2HfdRb2VvvfNtXdu+X5U2/wAW7t/hB8TftfwW8L3usX0ul32qRRWiSXsSQy3lwwb50C/L+8ZWdfl/2ttefftyz+b+z54wt1s1huLhbfZcEbZLjZNHuZm/76/8dr8W4fwdWjm1OGyjUS1d9pq+9r2Ss7X0Ph+IJUcbkGJxVFaSoyl5pOnKUb29eunVN6HRfsc3LaX+y14BuWmvLhn0a0Ro4kRm92U 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yM24r/wB9bmX/AGW/2WrupJpGuNqr+727lPy/3quf8KVtYZ9PWNla2vlTfvXczRRK7t/u/MyrWfdfCG8multo77UkbUFa8nMbsqx7m27d38O3Cr/9lX53lXiDQjQWHxEea20utl0d77Wa38j854J8aq2UZZSyvHUHUjSVoyjKz5V8MWmre7smmtEla+rx9YsbaPS47Oa2a7td22UO+5Y 0VWbc25tzf8B3fM1ec/FbVV8XaLaqt1Np+m290sEUlyzbb5lRmH/jqsy7vm/i/hWvevAXwRtbN47ybzLma3ie1ilkVmVvNZWZ9zfvFVdjL/tb6vf8Kps18QWyNGz2cdr9laN12xRsjbDL8v3pNrbV/usy/wAK15OYceQnVcKceWNte7t0266PbyPH4y8XMTn1CWX0KUaNGVlJbycY6qLklG0b68uuvW2h5d8MfhLqEWiozedDdXmx9kDsvmLFA 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 Q1Rm8D6bqQ1Pxl4hij2f25fL95VZW+dIlULBF/CytK25tjN2YDDpObm7JRs321d/n2Xd+RFWs9PZ7/1/XyPZf2UJr79sj9oe6+ImtWDWfh+1aLT/D1ncbUVNOt33RIu75VeeUKX+XbtQL2r1X4SftLeMv2iP+CnN1ceHr/7H4f+H+kS6Gn2a68yzkldkWX5l+WVXlidfm/59vlb5q8/+IHia+8E6ZYfCP4V6fJfeLNasMeTZpFu0PT1Ta0u9m2xStuVVZvuq27+4re4f8E5f2H7/wDZ18GrHq00NtrWrTfar0QS7YodqqsUSu33lVdv+81cuIUIp4ppJ25YLsur+5Wv11fU9DCRShaT7t+bPev2jvEt94q+FuoR21vDD 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 FpK7xyKrKiqm9fmVvvdP8AgTfMtea/GqfUPFXgvxNp+oW9iv2e9RLPyZ/MkkhZkZWdW+43yn5fm/8AQq2YdC1zwHb+ZpyrJDIiBZZMyeSjHcihV2/w7P8Avmq1x4Yvb74atqGrTMnnXTRfJHsXYGZm2j/Z21+Nexw9CuqmHmpRbVns+Zu7svTT731Pg858UMhWUvLqE6kpypShpFKPNyOCvzNNJSaleKvZba2XKfCHxNP4O8E6DY/ee3tF4Lbm/wA/N96u013xVoniLwrfW2qTQ75kZHiM6tPIm35k2/eb7y/L/srWj4b+EcfiLRVs5LeS4uLeBG+VdqyFkVv++fm+9t/hrntF8IaJ4V8YW63XmNNcTr12eWybPvrt+8u5dzf71X9epSqTqRvzq8tOut/6Z5mN8amsqo5dQwUb04RhzSne/LFK/Kor10l6lCw+OTeE/D8czrNqul6Tst7f7NC8XnRMmxUZG+Vm2q3zN8v3v7teMeKvD7+JtSvNQsY77Sl1C3V4I79U3bWZtisq7l2/PtX/AGVr3/xh4J0vS/hWlhfpawxxzxNcRuzMsf71mXc38XzMu7/eb7q189+IvGkP9pXlul42oLo8EK3EsT/8fDfeUr8vzRszKqsvy/e/u19Jluc1MbCcaMFFX1smlK1kpNX5btt7JWvppt8BxFxtmWc4KOGxShGKfNywVk5LRN3b2WitZLWyNG1vPFV9aII7bR9PkVdqNcsz 7kX+P5WXbu2/LVDW/DPiq80+4ebU9UkWNFaX7FF5arubbt+Vdyt975d33ah8I3lxrFqjPG01xtmZcfNt+Xczbv7vzbv9nb/u11tx8T08P6bqn2a5uI/s6xROfu+Y/nou5tv3mZVH/Aa7sVnebRn7KlUe60Tst0uh4mI4rzfFr2eJxdS21lNxVumiaRxvhvwlfQ3TXF+Li4s7WBZWeRvNuW2t935tzKzblWr7aot5cPMtn G00i7kQLt85tvy/8BVfvbv/AB2u3m8PtdeBY2mhkX7Ytu2w/u9r7fP3Nt/2mRf+A15v4y8MyeGby8tppLWS1jaWUyRyssjKzbtu3/d/i3V5eGxUcZVftH712uuqW/XXU8KvlvI01835+ZJo9z/aWsSNNIsN1GvmqSu37Qq/Ku0f3q7LQZobeS3W6kkjaT523qv7lnZl+b+8ysq1xGn6Cbrw7bPDNJJeMyefjazRozfIrf7O35v++a6XxpYyaDqzx7pHW4lZ2kf5 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 6L/AOCbnwu1bwAuseNvEDXGpeIvFipcXRn/ANfGjbmVZW/vN95tu1fuIvyotfefwKmj8eW6x3KyMtw/lJJt2tG23d93/vmvmT4X6s8nw3t7yxazjj1LZLbzxN5sUiN8yuv+y3y7f96vc/hP8ZvCXgvQ7b+0PF3hW2aTa9w9xq0EG1/4m+Ztyf3dtfK5nzVq9uVu76Js92C5aXM2k/uNr9oX9jC2+KHhlvDz+J5oY9Q1K1muxPb7l1C0WdXmt1RdvzSxqyf7O9mavGfiJ8C/BHwG1K1bQ/Ct1aaxqGqN9n0yNG3a5cLFsaIpsb5fKiVmZfmVdv3a9w8Xf8FAvgXoNs0eofFrwLDdTLulSfXLdm2/312v975fvVzHiP8A4KBfs4eI9f8ADuvt8dPCGkzeG/tEEBj1BLlpop4mjK/d+X7qMrfeVl/iVqzxVb+zMFUxSw0qvJGTjTSn78re7F8nvWcklo00tmnquKpWr4lKgq3s7/aXLeK6yV043SvbmTXdPZ0vA3/BQhPh74N8VeHfHWn3HgXxB8ObCKeXQo7BYotShuS6QyozfvGkaRGVk+Xa21vutX5HftYfHLxB+1n8b9Q8RawzO0m2y060G7baw7v kiT/gXzM38Tf8Br6v/bV+KXwr+IuqT6t4d+Pmi+OnmiMDx35H2mGJnZ1TzYol3ruY7d/zL83zN92vG/2UfDXwbk8fzat4y+LHgfS4rV1ZIbjUhG7N8ytwy/Ky11cLZ5UxWBjj6mHlSm1rBQqpRl1UVVvPl0TV27Xtd2uejiMpwuE/dwxKqpWtNuKlJWTvJRUdb3T91bHv37Gf7NcnwL/Z9uNevy1u15A17dSbvLVV+Zdrs38PzV82/tCfHH4c/C39pHSY/Cuyw03xNpoi8SiKbdp0MpmZAYT83lx+Wzu6r+7DKjbVy277W/a7+P8A8Gvjd+zpdeEfC/xD8Baw119lg+wWuuQu02x/3SMFf5tzj7v/AKFX5DftM2FnoXxuvNNsBcfYdFRLJJZWX94fmZypX+DcWCt7H5q9zK8O8XUm8SpJu+lrdrf8A8rEV1CkpUmt15n1h8LPixrXwd8Q 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d7b2+VWVW2/drBmj/4Vn4JvLWG5+S6ZmcIm2P+9tX+6vy/NX1mFxMo01GyvtZaLtp5Lt07nxOZZWqdVyc+ZfNy21v6u+pJb6VJ8Rfh3JoepXCvqFqsl/ZCKd3kuoVXbKibvvyxqu9k+9Iqtt3SI276M/Z4ubj4k/se674Q11ftniL4NW13468OtbtuTUfD1w8S+ILRWxz5TeTqKfxb2kC/Kpr5p/Zp05fiTqerCTUms76FA8DBv+PVlbckq/7St8yt/s/7NfWH7GV/b+Ef2g9J8aW/iXw/4Y8R+C4m1JdLu4ymmeIJf3sD6csrHbFFf23nRKHz5Tvt+fYlLFYxU24S8r79dE/To/K5x0cDzRVVdb8rXdfZ9XuvM9C+Mvwh/wCFJ/Fb4F+G9H1a41TQW0iy1tA12Wtb6eW9DyyqM7fuomzduVPN+Tb8275z1r4dWPw/+LXi6xjsLWyuNP1zULVY44kWRlS8nVGbb9792qt/wKvbv2tdLl8CeL9Jt/D+rabJ4B+G2lfavBt/cTN52reFddnivNIEe5m3tbyJNZhfvbrfcxXK58d/aU8Xrq/7THji+bbbzalfxXHyOreS72ds0q5X5fllaX7tXKi4UIwi9db9973/ABXzucNOsp1JVJ63PoL4Zf8ABNjx94/8M6VdeIte8F/DnS9as7i+8/Vrxbq5ktrdY5Hf7PC+1Itjo29p1Zd6KVVmr0+D/gjpouo+H4V1f4jeKp5JFZ7o6d4Ziigs1VbnZKvnb9qlodzbmb5X2ja3z13v7Cs8Hgr/AIJy+AX15fA//CI6xdX3iG/1TXbpLWz0m3lvftFuzKyN51z5pVli+SNdrM7MyLud+2D/AMFV/grNo4g0UTfEqRtbSW4tIPtdrA1om7e8V422NmZiWRPmjlWR1bbE7Mv8u5jxfxlmGbVcBlTlKMKtSHNSpwcEoTcU25p8smt1KpFXi 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 H+i6xfR3Gl+II9NiijjFv5cWsJFuVriLaqqrbV3Oi/xfOvys1ZXw1+H+sXmrWCWzM326J3T7R8qtsb59rfdavn8bhaVWLq1Je8lq+/9f8A9rLa1eNaEKELq+i6+j9PxVn1Pqvxgrf2XYtbqrLCDuH3tys27b/u1DpML2cyyMzMyv82f4du7/Gp/BawzaXfpcJNNdLKnlOkq+XH8vz7l2/7u3ay0XGmtZ3jfLIq7d6n7vzf/ALO6vj5R/cpP+tTu4ooOOMm15X+5HX23iLydHt4/3abXXb/sruZv/iqW+vNVt9BuHkRtt4675B95lVtzMy/w7tv/AHytc7Zrcx3Viz20lxDcXUSp8m5Y1Vvmb/gLNurtHuPO8STaa6svk28zypnfHuZG2ru/h/8A2q+TxfLSeiT3b+R8bKPKrrUr+CfEDa1DcQ/N+7iRFEn/AC0Zt2//ANm2/wB2u4sbqOxsbrVLl8qyfO5+XzNv/wAT92sfX9Dtv+EQS6aHbcySpzGdqx7k2ttX+Lau7/Z+Zqz9N1ZPGH7iG5+zRxp5SQptlVmVm+9/vbXZl/21r43Mqsa16iVo9fLb8/Q5aNFyVo/Cyx4t0W28ZWtxHcW8lxDCyStBI23a21lz/s1yeteFb+HQ7+SFfKXzdmnE/LFCiIyozfe27tzf8BroNHhuYYrlVuI18z5IC8m7buZmXd/u/wANR6U19Y6Cmn6gy6o1x5z3GxtqxsrLtRd3/fNea8TOiuSMk0mrL8X+WvfY2w/8VwgfMPjS+f4b+Kra3S8j1Jo54p7+Z/vbW+X5fl/1fy/8C3VvpatJqvhfyZIZraZVl8tNytGV3bWVW+8u1Vru/ix+zf4mj0/VL/SY5rpryJZYopfm8tV2/dT7u773/oVcH4X8PzeDPBel6xrVvfWN9paSo8cis3zN/F81fT1MbTr4eFWEry+HzbcXbTS2uh6WIw1amlKpCykrJ9zJ1j4kx3OrTNYSMv2F/KV5G3LcKp2KpX/gP/Aa3NB8WX3iTUPJW1aOaSLZ5ZbzFk3J93/e+98v/Aa8K+IDR6lrmy1sZLy1a6affB97DM3/AH18uf8Ax6uxn8bXHh3xlpM1tbXEMO5FaRW/3V/z/u16dTJ4ezj7NatO17aWS8+vocdGlL2cpc9ktNt9fM9k8cXn9myOskdxNBIm13Rfmt12feZf+Bf+O1ymg2Nzp/jDUriSONPJG3ZGm1pk2vt2sv3l+Va7fW9c/tS6sbxG23EabHk27vMVf4WX+Jdv/oNYEN9Z6lfaoltJGjq7KyP/AMs2+bav+z8zNt/3q8PL60o0XDl6Wf3/ANep5sq3tZVnRvzdvlucT8OPBtjcaLqGpKm28me4Vst8yt95tv8AwL5d3+zU+i61YW9zYWsbbWt/mdETcrN8qq27/dWl0HWJtHuPsFxC0fzsryv92Tcnzbv+Bbv++a5m3km0GzuZtn7yzlad3KfwLtX/ANlr7zDqVec3N3va2ve6ChT9stvh3N/x14k/svUHsXRpk2qjRbNqxp95m/vfdZF/3mo8RTWusSQ6elu00dnOqpsdo1Vt275v93/arhbrxdcap4gXezO9vF85L7vm3Myfe/3q6jT7V9NjmvJLxUmmnaJw/wAvzM7f+hKv/j1e9HCewjBy0lb8X1/rucNZv7X+RgR+F9Sk8bSbmWaT5oHSBP8AUxfNtH+1t2r8v/xVdHHri2dnM8O1o7pV3oflX7u1mX/x6uos7aHw+yX9w2+4mVEVI3faz/L/ABNXmWra43/CWSWe1VZWfcAn3Wb+P/x5l/75at413jXa2kUvw3/Q6sFyy17fp/SK2veIry38SWyefG32FtuS3y7N6qxb/wAdr0LRdajW3h1u2/eQ/Z3uLWMbd3lS7VZWb/roteX+E2S88QX1jfLut9YRkiuQ25Y9vRv9llZV+X733q7fTd9nodxpsLSRtGqwQEfKq7X3N/7Kv/7NZZpRhyxpJaq3o09/nuvJXOipaEbS/q5219dOdS1RURmt1SJZWRvmZl3q3/kNV/77rN1TVt2lyJ523zlba7/Mq7k27tv93/ZqnH4qjsdQ1B4/+PeZInQH5vusyv8A+gVytxfSf2Czxybo1i2If4W+bb/9lXhYfAuTXNpt+S/E8vERvZpnV3GrLa6Db+S3ywoiOCnyqqsv/fPy1o/2hJcQ7PM8tViRpSf4V+Z//Za5aGT+1vC7Rx7meRbiD5/9n7v/AKC1O1i/ZtBdUjhea4+aL/aZ2ZU/8d2fN/DV/VE2ore7/wCH/MftouKgur1NjS9aZdJ89vkS3gd1cfvN3y7dyt/s1h6pqFj4m8NXENw1xbf2gvlQS7mXaqfNuZdu5fm/vbqi17UPsulX1nYNIzae8UDSIu3zGVU3Kv8As/Mv/fVc5qDWuvRxadcX0i323d5tvEzfKu7crNtX73zbW/2a7sNgoS/eO616XbSte9vVlx5eZqC0Opt9cj0fwGkjzSL84RZB8zXDxl/l+X+Lcq/eqlY69Da+H1v28yNIYHvGJf8A1jfdRW/8fb/gNYPxU1e3htdHhS5hjXT1e8nQblaOJg2zG37zfMqqv96odevIdL0O10q+tY7eO3sIrNfKZmja4lZWfd/urtX/AIE1bU8DGUIyt8cm36JtbdenyafkOVOXs22vL9Df01Wh3MrfL/ET96uh0XUvKnZWZpP4fvbayfJ2qv3l2ttxuqzazLY7lX5X+8uP4a+wnRU0cFOPU0/tSfbH27Wk+9x/d/3q0vDupvb3W5dzLXGaxqTyKscMv2eOT5ncf6xv9lf/AIquh8I3SXDQpI7LDH2Dfe/4FXHWw/LC7R2wjdnp2k2k2qaf9paNmT7quVrW0O1js2dnmV9vzOd33W/uqtUrPxVNqVmiM8dvbwquyJPlWoIbeG6T95NIybt3lK3+ub/a/i2/3q+Vq03K99D0fYxjrE9E0+SbWoWjZ1hRmVlwv3q6bRdLXQbdbbfuZu5+Ztted2OueSq7ZNzRr8iJ92uw0DxBHrU1skkiww7l3yf7 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 ZWb5d1ffH7a37Jdx+z5+zt4z1r+0LHz9Ue00G1itFZvJh+1L9pSFv42aRirP/y0aJ2+VWRa8c+C3/BNLxz8VIfEVvbW2iw2/wBhi0m1uDM6x291L5Fwvy+V/DEjbm/vOqqrK26vp8tzDBPB4jGvSPOqUG93yxUqk+ttZQjbXlVkrvmlL4fFZHWpexoUPeag5z5dlKTUacb6XSSnr1lFuyVox+dNY8dWrXD Q2drHZ2rNtiUMzMv95t38Vef/ABO1hNVtmt4fMmbb8xPyqtfZXiD/AIIn/F5dUS2trn4fybmwpk1ueBmb/c+zNXgNl+wP8YPEPj/V/Cul+Ab7UtT0+4uLUyJe2sNvMYGZXdJZpYtycblZlXdlflWuuhi8JKVo1I3XS6PnsThcTBfvKctfJs8n+Bn7O3iD4s6tNJZ6lpfhz 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 1hdPM00Njp+lzQ+IoHt9QtLlW8rUIZZWV4Jnf5fm3MuxV27v9pdy9V+1F8XPGGj2fjlodcurbwnq2qRXUQFq0E8btEsSqi7fLbfI r/xL8sq/xKtfM3gL4tLb+KLbSrmS81WS88pbU3jLJI26VtzfJ/DtYf722vjcHgqkqabenl6t/n9x9N7ZRl5mb+1N8O5vhd+zno3hPUo5Vurzxt/aSCcOk8ljLbvPbsyN1ZYLfYzr8r7S38Xy8mrWOn6GqXP7mHS7NZZ58fe+XdK//oVdN/wUY1SS2/aw16G5a4ax8N6Jb3Xz7WVZp7C1RFH8S7VuHX/gVeb+DZNa/ac1Cx8E+F7BoZNSnS1UyPuVl/vN/djXbuf/AGVavUqc06y537sVq9Fbq/Lax+p8O46jguG43spzlJpb3Sty+e7l/SMv4OfsjTfGL4EePvitfRxwy3GqtNp8koZvKs7WQJMGRev8f3f4o6w/CP7P6+CYNQmbxDZ6hcXU6Sv5djcRMzbn3cP/AHf97+7X7FeDf2NrHwV8I9N8E6fCz6DHpC6M2fm3BkZPN/3mZt3+9/vV8I69+yzceGbVbW816a4ubf8AcS+W1nGzOm5X+Xc235g1eLPjDETVWjCfLTm9mr+6rcutm9LeW77nV4a4HKauJ+u4uEpV6MnKEl 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 N7bjt/hbbj5v8AZalk8STaPqaW01wzttVXtkiRYldvvN93du/3f7tO1iaPXB+8ZVXzW2SRv/wFV+Wu+EJQavtbfyuejUpqWkeiXre1r+et2clazPDqlrc/L8txDE+F/ut/8Srf99Vb8QW+3xJcSO7bJrWbl127d0rL/wDs0230lmuL+33tvXbKpP3dyuzV0niDQf7ehjZdqyXDq3HzfKpVmWvSrYiEasW9rW+W6I9mlSs9zL8ERpb6vbP8xhhlht1IXdtZU 3N/6HUPjq+fTxIYWkZbxV+595Qn3v8A2X/vmri2v9gNcCN5FdXW4wfus/m7v/Qao65YrqmvQt99tr27ZX5o1ZW+Zf8Avr71cXtIuv7V7W/JX/M8+UeaaS2tqR+G5JJtDVHjjZJrxyw2+X8nzfM23/LVn3n2PwveXlxp6w+dcXCqol+7Cq/Pu/u7vu/+O1f8WahHYyWq/Ns+1Iux22q2xd38P3fu7v8Aerm4/D8nijS7CGG4kWORWefKr8qbv4W/4DtWinJS/eTdovddOu/3WJp1Eo3WzZ//2Q==

This one was recommended on The Flop House podcast, so I figured I'd give it a go (I'm guessing there are a few Flop House listeners here?). Big 4 is an Indonesian action/comedy that tries to be a bit like John Wick meets The Three Stooges. Lots of martial arts mixed with lowbrow slapstick humor and a bit more heart than I'm used to in a dumb action movie.


It's a style of comedy that's not really my cup of tea and I probably wouldn't recommend this movie, but at the same time I found myself charmed and entertained by the indie campiness of this movie.

I enjoyed it more than Bullet Train, I'll say that much.

[cricket]

Husbands (1970)

4+

https://assets.mubicdn.net/images/film/1383/image-w1280.jpg?1546732830

I'm really drawn to the work of John Cassavetes. He didn't make many films so I probably should have seen them all by now. Here he stars with Peter Falk and Ben Gazarra, and these guys were born to come together. They are 3 best friends, and early on a 4th friend passes away suddenly. The 3 amigos get drunk, reflect, and drink some more. I thought it was very funny but not everyone will. I could relate to how these men got along and behaved. There's also an air of sadness throughout that really completes the film.

[SpelingError]

Husbands (1970)

4+

https://assets.mubicdn.net/images/film/1383/image-w1280.jpg?1546732830

I'm really drawn to the work of John Cassavetes. He didn't make many films so I probably should have seen them all by now. Here he stars with Peter Falk and Ben Gazarra, and these guys were born to come together. They are 3 best friends, and early on a 4th friend passes away suddenly. The 3 amigos get drunk, reflect, and drink some more. I thought it was very funny but not everyone will. I could relate to how these men got along and behaved. There's also an air of sadness throughout that really completes the film.

Probably my favorite Cassavetes film.

[SpelingError]

30th Hall of Fame (REWATCH)

Dog Day Afternoon (1975) - 3

This is my second time watching this film and my opinion of it is about the same as it was last time. I think the film is at its best when it shows the reactions the civilians have to Sonny throughout the day. Those scenes are all great. Unfortunately, the same can't be said for the scenes which occur inside the bank. Sal isn't that memorable as Sonny's accomplice and the other bank workers are pretty bland as well. I do like the rare bit of tension in the bank (mainly in the first act) and how both groups eventually get along with each other, but even those elements grow a bit tiring as the film goes on, especially in the second half. But yeah, whenever Sonny exits the bank, the film gets me on board again. Whether you're referring to how Sonny becomes a celebrity amongst the civilians, the iconic "Attica!" scene, or how the civilians remain supportive of him after they learn he's from the LGBT community (I'm curious how well those scenes were received back in the day), those parts of the film are full of life. So much texture and detail is thrown into that one street, it feels like a vivid portrait of New York in the 70's which you could step into. Though yeah, all things considered, the film is a mixture of great and (somewhat) dull which provides a ceiling to my enjoyment of it.

[Takoma11]

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Subway, 1985

Fred (Christopher Lambert) steals some documents from a gangster, then flees to an underground subway station where he hides out. He is visited from time to time by the gangster's girlfriend, Helena (Isabelle Adjani), who is maybe a bit in love with him. While hiding out, Fred befriends several other people who dwell in the subway, including a rollerskater (Jean-Hugues Anglade) and an eccentric drummer (Jean Reno).

What a mixed bag! While the central story totally failed to grip me, the film has enough moments of visual panache and enough sizzle from its performers to tip it into the right side of the like/dislike line.

It's not that the plot is missing or confusing or anything like that, but very little of it ended up being very interesting to me. A lot of this has to do with Fred, who comes off pretty flat as a character despite all of the wacky situations he finds himself in. I never totally bought the way that the other characters seemed to be enamored with him, and I honestly found it hard to invest in his journey aside from the base level fact of him being the protagonist. This feels like a mix between the way that the character is written and the way that Lambert performs him. And the more Adjani stares at him with deep feeling, the less I bought it.

But while the central character is kind of a void, the characters around him are pretty delightful. Adjani is her usual, dependable self. She really shines in a sequence where she decides to basically detonate her relationship with her oppressive boyfriend by acting up during a stilted dinner party at his friend's house. She is really luminous through the whole film. Likewise, both Anglade and Reno are wildly charismatic in their respective roles.
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There are also some really fun visual moments, mainly to do with the use of angles and how the characters are framed.

That said, it's really hard to stick with a film that asks you to care about a character who is kind of a charisma flatline. The visuals definitely kept me engaged, but I wish I'd felt more connected to the central story.

3.5

[Wyldesyde19]

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Subway, 1985

Fred (Christopher Lambert) steals some documents from a gangster, then flees to an underground subway station where he hides out. He is visited from time to time by the gangster's girlfriend, Helena (Isabelle Adjani), who is maybe a bit in love with him. While hiding out, Fred befriends several other people who dwell in the subway, including a rollerskater (Jean-Hugues Anglade) and an eccentric drummer (Jean Reno).

What a mixed bag! While the central story totally failed to grip me, the film has enough moments of visual panache and enough sizzle from its performers to tip it into the right side of the like/dislike line.

It's not that the plot is missing or confusing or anything like that, but very little of it ended up being very interesting to me. A lot of this has to do with Fred, who comes off pretty flat as a character despite all of the wacky situations he finds himself in. I never totally bought the way that the other characters seemed to be enamored with him, and I honestly found it hard to invest in his journey aside from the base level fact of him being the protagonist. This feels like a mix between the way that the character is written and the way that Lambert performs him. And the more Adjani stares at him with deep feeling, the less I bought it.

But while the central character is kind of a void, the characters around him are pretty delightful. Adjani is her usual, dependable self. She really shines in a sequence where she decides to basically detonate her relationship with her oppressive boyfriend by acting up during a stilted dinner party at his friend's house. She is really luminous through the whole film. Likewise, both Anglade and Reno are wildly charismatic in their respective roles.
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BZWYzYmU4NTgtNjAxYS00YzQ2LThkN2EtNTkxNTM1ZTEzMjY1XkEyXkFqcGdeQXVyMjUyND k2ODc%40._V1_FMjpg_UX1280_.jpg&f=1&nofb=1&ipt=4095aeada758d88e22d4438ae06bc1683381ebedcc3e5f15d1623251966ff654&ipo=images
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There are also some really fun visual moments, mainly to do with the use of angles and how the characters are framed.

That said, it's really hard to stick with a film that asks you to care about a character who is kind of a charisma flatline. The visuals definitely kept me engaged, but I wish I'd felt more connected to the central story.

3.5

I see someone has selected her film for the Cinema Du Look category. 👀

I plan on watching this soon, as well.

[Takoma11]

I see someone has selected her film for the Cinema Du Look category. 👀

I plan on watching this soon, as well.

Yep. On Tubi, for those interested.

[crumbsroom]

Husbands - masterpiece. Cassavetes' at his most obnoxious level of Cassavetes'. What could be bad about that

Dog Day Afternoon - mid tier New American Cinema film (mostly important for containing one of the very few John Cazale performances)

Subway - the movie where it finally dawned on me that I don't like this Luc Besson guy.

[Takoma11]

Subway - the movie where it finally dawned on me that I don't like this Luc Besson guy.

He does some things well. But the perpetual lack of connection I feel with his protagonists is a frustrating trend. And also something something about totally average, flat male characters somehow being seen as deserving of attention and affection from women who are a billion times cooler than they are.

[crumbsroom]

He does some things well. But the perpetual lack of connection I feel with his protagonists is a frustrating trend. And also something something about totally average, flat male characters somehow being seen as deserving of attention and affection from women who are a billion times cooler than they are.


I can live with not connecting with his characters (and I very much don't) but I mostly do not connect with his style and his particular cinematic voice. I find his movies sort of ugly and they have a deliberately detached feel that I believe is meant to be cool but just strikes me as an empty pose .


Nikita is....alright. I've warmed up a tiny bit to Element ( which I initially despised) but not much. And I've really struggled with everything else (Blue, Professional, Subway)


Not sure if I've seen anything else but I think I've seen enough. Possibly one of my least favorite directors who (inexplicably to me) get lots of love

[PHOENIX74]

I had an odd reaction to this film which was that I liked a lot of things about it, and yet it came up short for me in many of them.
The highlights, I thought, were the actors... except for one. Skarsgard and Isaac obviously stand out and Ferguson was very strong. I thought that Bardem, Momoa, and Bautista all shone in their respective roles except... they were all three so underdeveloped that it was almost like, "Hey, there's that star I know doing a great job with... basically nothing." And Zendaya has, to me at least, such astonishing on-screen presence that she nearly stole the movie without actually being in it (relatively).
And then there's Chalamet. I had only seen him in smaller roles like Ladybird and I was shocked at how flat I found him. Not just reserved or quiet or whatever one might claim he was going for but flat like a singer can be flat, unintentionally, and kind of jarringly on his own but particularly when set against the great talent around him. He was like the anti-Zendaya in that he's really pretty, striking in fact, but every time he opens his mouth I wish they'd gotten a different actor, while Zendaya is striking and when she finally opens her mouth I felt the movie should be revolving much more around her (yes, I know that's not how the story goes but still).
Finally, my biggest complaint was that, despite its 156 minutes, the whole thing felt rushed to me. Very rushed. The story is just too big. For Villeneuve to include all the necessary plot-points and action to even make it make sense and have his nice, long, silent visuals, I guess he had to sacrifice character. I felt like I barely knew any of these characters. And there are a lot of them. Isaacs is genuinely regal in this film and yet he's barely on screen and mostly in service to exposition, which is a damn shame. Momoa and Bautista almost end up completely wasted because you have to be told that they matter (Momoa) or given visual cues that they are supposed to stand out (Bautista, and even then if he wasn't famous I might have missed it) because they aren't around long enough to really have any sense of who they are or why we should care. The movie has no choice but to rush from plot-point to plot-point while pausing just long enough for Villeneuve to Villeneuve which leaves no time for me to be invested in anything that's happening.
I left, with a pair of absolute fans, feeling like I had somehow been rushed through the longest ride in amusement park history and therefore had only enjoyed moments of it, left with very little to feel about the whole, long thing.

I agree with you about Javier Bardem - we feel curiously distanced from his character, and it therefore feels like he's not really in the film. Dave Bautista was barely in the film, and from what we got I wish we'd seen more of him. I wonder what exactly ended up on the cutting room floor. I thought Jason Momoa's Duncan Idaho had a lot more to do, and you can kind of glean his character a lot more from his physicality and presence. Timothée Chalamet I was unsure about - since yeah, not a multi-layered performance - but I just came down on his side in the end, and I was probably being far too kind. His role is kind of crucial, but amongst the plethora of great acting in Dune his name never pops into my head. I'm sure if Villeneuve and Chalamet could have another go at it, they'd change things. I mean, I've seen from Call Me by Your Name that the guy can act, and I think he kind of found himself with this child-among-adults part and dialed it down to spoiled but well-trained boy trying to be a man instead of just giving Paul Atreides a personality, and playing him as just another guy in the story. People playing messianic roles tend to dilute them of any idiosyncrasies and character - instead freeing them from flaw and giving them a perfect and boring temperament.

Denis Villeneuve's film is far from the perfect cinematic version of Dune that seems like a Holy Grail for the history of film - but I really enjoyed the snapshot we got. What it lacked in depth it made up for with scale, some great performances and production design. It's shallow, but so beautiful that it's entrancing and extremely likeable. I can't get the whole story from this film alone, but it makes for a very nice compendium to Frank Herbert's legendary tale. I'm surprised this film didn't extend itself to a 200 minute running time, but I expect it might have drawn criticism for being too punishing in an era where audiences are getting tired of this trend of longer and longer runtimes. Because everything was so good, I would have liked more of everything too - especially the things you pointed out - but I thought it was a very good film in spite of that drawback. You see, I came into it expecting to be blown away with Dune's sound and vision, and expecting little else. It sounds like you went in hoping for more depth, story and character. I brought that along with me like a packed lunch, but I can't imagine what this film might be like to people who have never read Dune or seen Lynch's version of it.

[crumbsroom]

I've never read the books but as a piece of film, Dune was pretty amazing.

[Takoma11]

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Snapshot (aka The Day After Halloween), 1979

Angela (Sigrid Thornton) is a young woman who works as a hairdresser, and finds herself chafing under the constant criticism of her overbearing mother and supposedly perfect little sister. One day a client at Angela's saloon, Madeline (Chantal Contouri), poaches Angela away to come and do some modeling for a friend of hers, Linsey (Hugh Keays-Byrne). After reluctantly agreeing to do a topless shoot, Angela finds herself the object of a lot of attention, most of it unwelcome. And things get worse as her much-older boyfriend, Daryl (Vincent Gil) steps up his campaign of stalking and harassment.

This movie almost comes together, though I left it feeling that it was a near miss. There are some striking moments of staging and some fun character twists, but overall its peek inside the dark side of the modeling world ends up feeling like a much lesser version of something like The Neon Demon.

I really liked Thronton's performance as Angela. She's just old enough to want her independence, but frequently in over her head. As with any young person, I found myself frequently alternating between annoyance and sympathy for the choices she makes. Angela often realizes just a beat too late what's really going on around her, and that dynamic puts her perpetually in iffy situations.

The supporting cast is also pretty good. Keays-Byrne is a lot of fun at the "artsy" photographer who can't really be bothered to reconcile his pretensions at great art with his pandering to an audience that just wants to see naked young people. In most films the character of Linsey would have been overtly predatory, but here he's made just a bit more complex because we can see the fracture between who he wants to be and the reality of the kind of work that gets him a paycheck.

Contouri also gives a good performance as the seemingly carefree Madeline. How exactly she feels about Angela seems always a bit obscured. Is she genuinely happy for her success? A bit jealous? Maybe both? The film also frequently hints that Madeline might actually be gay (or bisexual), and so she acts as both Angela's best ally and confidant and as another character who might just be out to exploit the young woman.

There are some effectively thrilling or tense sequences, such as when Angela finds herself in the home of a man who promises to help her in her career, just as long as he can take some candid shots---tasteful nudes, of course. (Apparently scenes that were cut from the film let us know that this character is supposed to be Madeline's husband, which certainly puts a really different spin on this scene!). All through the film Daryl lurks at the edges, and in one part Angela returns to the apartment to find that there's someone sleeping in her bed. At its best, the film shows us a person who is at the mercy of so many people around her--all of whom claim to want to help or love her--that she can't tell where the real threats are coming from.

Ultimately, though, it doesn't quite hang together. The film introduces and then drops several characters. At times the glut of characters is effective because we can understand just how overwhelmed Angela is. But a lot of the time it feels more sloppy than intentional. When things move into the final act and we come to understand just who has really been behind all of the bad things happening to Angela, it feels a bit limp. Our attention has been pulled in so many directions that all I could muster was, "Oh. Yeah. I guess that makes sense."

There's definitely potential in the story, and some of the characters are a lot of fun. In the end, though, it just didn't cohere for me.

3.5

[Takoma11]

I can live with not connecting with his characters (and I very much don't) but I mostly do not connect with his style and his particular cinematic voice. I find his movies sort of ugly and they have a deliberately detached feel that I believe is meant to be cool but just strikes me as an empty pose

Agreed. We know that narrative/connection is something I value a bit more than you, but why it especially gets me in Besson's films is because a lot of scenes seem to hinge on caring about the characters. It's literally what Subway builds to and it felt like it was expecting me to feel things that I absolutely didn't.

I think it says a lot that I looked away for a second and he had clearly been shot or stabbed and my reaction was "Wait! Why is he bleeding? . . . Eh." and I literally couldn't be bothered to rewind the film a minute and figure out why he was dying on the floor of the subway.

[Jackie Daytona]

I've never read the books but as a piece of film, Dune was pretty amazing.

The movie was a reasonably faithful adaptation, as far as I could tell.

[PHOENIX74]

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Guardians of the Galaxy Vol. 2 - (2017)

As expected, I didn't like this film as much as I did the first Guardians of the Galaxy (a very tough act to follow really.) That's not to say I didn't enjoy it, because I enjoyed watching it a lot - I think this ensemble is one of the best groups of characters we've seen in a science fiction franchise since Star Wars. They all work particularly well - Dave Bautista is hilarious as Drax the Destroyer, and the story itself has that sense of irreverent humour that works so well in these films. Rocket stealing the batteries the team has just defended from Abilisk? Perfect. As I hoped would be the case, the story actually has great meaning - especially for Quill (Chris Pratt) whose father finds him, and tasks him with a horrifying inheritance, teaching him who his real father has been all along (Yondu - played by Michael Rooker.) There are real stakes, and we advance the story instead of seeing another meaningless episode flash by. Baby Groot is adorable. What all of this is adding up to is the fact that I'm a big fan of James Gunn's work - Super is one of my favourite films of all time, and I love Brightburn, The Suicide Squad and of course the first Guardians of the Galaxy film.

7/10

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The Hole in the Ground - (2019)

You ever watch a film and find it hard to fault due to how competent it is, but by the same measure, find it so uninspiring you'd hate to watch it again? That's The Hole in the Ground for me, a horror film directed by the guy who is going to deliver us the next Evil Dead film this year - Lee Cronin. What's meant to be spooky just feels so grey, dull and dreary in a colourless world where 'Invasion of the Body Snatcher' type antics are going on via a sinkhole in the Irish countryside. Sarah O'Neill (Seána Kerslake) starts suspecting her son, Chris (James Quinn Markey) isn't really her son, but who will believe her? I like a horror film that has some thematic resonance (this one about parenthood) but at the same time The Hole in the Ground is workmanlike and uninspired. Lacks the excitement to capture the imagination and scare us.

5/10

Ghost Train - (2013)

Ghost Train is a 2013 short film by Lee Cronin which has a great story, but lacks a little in execution. Two middle-aged brothers visit an old broken-down and abandoned ghost train ride every year - they were once playing there when the amusement park ride took their friend, who was never seen or heard from again. One of the guys has an admission to make, and both brothers are about to be revisited by a particular horror from their past. Actually quite scary at times, with a very imaginative short story.

6.5/10

[Siddon]

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Babylon (2022)

I don't know what it says about me where two of my favorite films of the year feature explosions of bodily fluids but Damien Chazelle's Babylon is the most divisive film of the year and I'm on the positive side. This movie is three hours long and it flies by the 20 minute pre-credit party scene is amazing. This is a film that I don't youtube will let you but you need to pause parts to see all the debauchery in the background.

The party sets up the plot where a Hollywood leading man (Brad Pitt) his gofer (Deigo Calva) and a party crasher (Margot Robbie) have a fun time which leads into a silent film shoot the next day. Robbie gives what I feel is the performance of the year as an unashamed drug addict looking to become a star. She's incredible in this the only thing keeping her from the Oscar is she keeps her clothes on (sort of). But she has five or six sequences in this film that are pure manic energy.

Brad Pitt is also in this as the inverse of Cliff Booth, Jack Conrad the biggest star in the world who has to deal with the changing of the times. Pitt is doing the best work of his career right now, he walks a fine line between being on a full on libertine and a melancholic man. His story really sticks with you and you wish he was more of a focus of the film. Sadly he's more a supporting figure than the lead which is a shame because he's the one who emotionally grounds the film.

Unfortunately because all films have to look the same we have three other stories for "diversity". Joven Adepo plays a trumpet player who gets a full character arc and it frankly feels anachronistic. It really sucks that this character is in the film because it feels less like a contrast and more like an insult. His character sticks out like a sore thumb in this one. What's worse is it contrasts with Li Jun Li as Lady Fay Zhu. Fay Zhu plays a Chinese lesbian who feels authentic to the era turning into the stereotypes of the era but creating her own character. She feels like she belongs in this world unlike Sidney Palmer....who should be in a different film. One you would skip because it's dull.

Diego Calvao plays a gofer who rise to executive in this crazy world. He's very good in this and feels like a real person. He's flawed makes some poor choices but is a solid POV character for the film. He starts to pass himself off as a Spanish from Spain producer in the film...which is a subtle shift that works. His early scenes are better than his later ones and he doesn't have the jaw dropping scenes like Li, Pitt, and Robbie. The climax of the film feels a big detached because Calvao doesn't really deserve what's happening to him.

The final thing that's great about this film is all the bit parts. Chazelles wife gets a nice little meaty role as a director. And you have a bunch of cameo's from figures of the silent age. I couldn't even keep track of all of them. I feel sad for people who are going to end up watching and finding his on TV or on their computer. This is something to be seen on the Big Screen.

4.5

[Wooley]

I agree with you about Javier Bardem - we feel curiously distanced from his character, and it therefore feels like he's not really in the film. Dave Bautista was barely in the film, and from what we got I wish we'd seen more of him. I wonder what exactly ended up on the cutting room floor. I thought Jason Momoa's Duncan Idaho had a lot more to do, and you can kind of glean his character a lot more from his physicality and presence. Timothée Chalamet I was unsure about - since yeah, not a multi-layered performance - but I just came down on his side in the end, and I was probably being far too kind. His role is kind of crucial, but amongst the plethora of great acting in Dune his name never pops into my head. I'm sure if Villeneuve and Chalamet could have another go at it, they'd change things. I mean, I've seen from Call Me by Your Name that the guy can act, and I think he kind of found himself with this child-among-adults part and dialed it down to spoiled but well-trained boy trying to be a man instead of just giving Paul Atreides a personality, and playing him as just another guy in the story. People playing messianic roles tend to dilute them of any idiosyncrasies and character - instead freeing them from flaw and giving them a perfect and boring temperament.

Denis Villeneuve's film is far from the perfect cinematic version of Dune that seems like a Holy Grail for the history of film - but I really enjoyed the snapshot we got. What it lacked in depth it made up for with scale, some great performances and production design. It's shallow, but so beautiful that it's entrancing and extremely likeable. I can't get the whole story from this film alone, but it makes for a very nice compendium to Frank Herbert's legendary tale. I'm surprised this film didn't extend itself to a 200 minute running time, but I expect it might have drawn criticism for being too punishing in an era where audiences are getting tired of this trend of longer and longer runtimes. Because everything was so good, I would have liked more of everything too - especially the things you pointed out - but I thought it was a very good film in spite of that drawback. You see, I came into it expecting to be blown away with Dune's sound and vision, and expecting little else. It sounds like you went in hoping for more depth, story and character. I brought that along with me like a packed lunch, but I can't imagine what this film might be like to people who have never read Dune or seen Lynch's version of it.

I think what I brought to it was that this is two of my friends' favorite book of all time but is simply too long for an ADD-addled brain like mine to handle, so I was hoping Villeneuve could show me why this story is considered so seminal. He did not.
But if I could say one thing to fix the film, I hate to say it, but it needed to be longer. We needed to know who some of these people were. We needed more Isaac to care as much as we were supposed to by the part with him. We needed more Momoa to appreciate what he does at his time. We needed more Bautista to understand why they bothered to cast Bautista and not some much-cheaper muscley-guy. And the dense story just needed time to breathe so there wouldn't have to be so much exposition->exposition->exposition->action->exposition with Villeneuve-breaks for lengthy wide-shots.
This film needed more room to breathe. If you don't already know the story, so much "happens", whether it's lengthy expository back-story fill-ins or lengthy expository explanations of the current situation, or the sheer number of characters being "introduced", I came away from it not understanding Dune hardly one bit better than I did when I went in.
In a time when too many movies pass the 150-minute mark, this one absolutely needed to pass the 180-mark and I agree, I think I'd go 200 to make this work.

[Wooley]

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Guardians of the Galaxy Vol. 2 - (2017)

As expected, I didn't like this film as much as I did the first Guardians of the Galaxy (a very tough act to follow really.) That's not to say I didn't enjoy it, because I enjoyed watching it a lot - I think this ensemble is one of the best groups of characters we've seen in a science fiction franchise since Star Wars. They all work particularly well - Dave Bautista is hilarious as Drax the Destroyer, and the story itself has that sense of irreverent humour that works so well in these films. Rocket stealing the batteries the team has just defended from Abilisk? Perfect. As I hoped would be the case, the story actually has great meaning - especially for Quill (Chris Pratt) whose father finds him, and tasks him with a horrifying inheritance, teaching him who his real father has been all along (Yondu - played by Michael Rooker.) There are real stakes, and we advance the story instead of seeing another meaningless episode flash by. Baby Groot is adorable. What all of this is adding up to is the fact that I'm a big fan of James Gunn's work - Super is one of my favourite films of all time, and I love Brightburn, The Suicide Squad and of course the first Guardians of the Galaxy film.

7/10


As someone who was disappointed by the first Guardians film, I actually liked this one quite a bit. Quite a bit more, actually.

[Wooley]

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Babylon (2022)

I don't know what it says about me where two of my favorite films of the year feature explosions of bodily fluids but Damien Chazelle's Babylon is the most divisive film of the year and I'm on the positive side. This movie is three hours long and it flies by the 20 minute pre-credit party scene is amazing. This is a film that I don't youtube will let you but you need to pause parts to see all the debauchery in the background.

The party sets up the plot where a Hollywood leading man (Brad Pitt) his gofer (Deigo Calva) and a party crasher (Margot Robbie) have a fun time which leads into a silent film shoot the next day. Robbie gives what I feel is the performance of the year as an unashamed drug addict looking to become a star. She's incredible in this the only thing keeping her from the Oscar is she keeps her clothes on (sort of). But she has five or six sequences in this film that are pure manic energy.

Brad Pitt is also in this as the inverse of Cliff Booth, Jack Conrad the biggest star in the world who has to deal with the changing of the times. Pitt is doing the best work of his career right now, he walks a fine line between being on a full on libertine and a melancholic man. His story really sticks with you and you wish he was more of a focus of the film. Sadly he's more a supporting figure than the lead which is a shame because he's the one who emotionally grounds the film.

Unfortunately because all films have to look the same we have three other stories for "diversity". Joven Adepo plays a trumpet player who gets a full character arc and it frankly feels anachronistic. It really sucks that this character is in the film because it feels less like a contrast and more like an insult. His character sticks out like a sore thumb in this one. What's worse is it contrasts with Li Jun Li as Lady Fay Zhu. Fay Zhu plays a Chinese lesbian who feels authentic to the era turning into the stereotypes of the era but creating her own character. She feels like she belongs in this world unlike Sidney Palmer....who should be in a different film. One you would skip because it's dull.

Diego Calvao plays a gofer who rise to executive in this crazy world. He's very good in this and feels like a real person. He's flawed makes some poor choices but is a solid POV character for the film. He starts to pass himself off as a Spanish from Spain producer in the film...which is a subtle shift that works. His early scenes are better than his later ones and he doesn't have the jaw dropping scenes like Li, Pitt, and Robbie. The climax of the film feels a big detached because Calvao doesn't really deserve what's happening to him.

The final thing that's great about this film is all the bit parts. Chazelles wife gets a nice little meaty role as a director. And you have a bunch of cameo's from figures of the silent age. I couldn't even keep track of all of them. I feel sad for people who are going to end up watching and finding his on TV or on their computer. This is something to be seen on the Big Screen.

4.5

Alright, I'm goin' to see it as soon as I can.

[Neesonfan]

Indiana Jones and the Kingdom of the Crystal Skull (8/10): probably the most despised entry in the franchise; however I've never hated it and find it quite entertaining. I will say I have serious doubts with Indy 5.

[Gideon58]

https://m.media-amazon.com/images/M/MV5BMDk5OTBiZWEtMDExOS00NzZmLWFhMTUtMjBjOGY3ZjhhYWNlXkEyXkFqcGdeQXVyMzQwMTY2Nzk@._V1_FMjpg_UX1000_.j pg


2.5

[LChimp]

https://m.media-amazon.com/images/M/MV5BOWRiNmI1OTItYjc0Zi00YTYwLWI4OTEtMmE0YTNlODJkOTQwXkEyXkFqcGdeQXVyMDM2NDM2MQ@@._V1_.jpg

Don't remember laughing this hard with a movie in a long time. The credits song is hilarious. Al is (was?) just amazing

[Deschain]

As someone who was disappointed by the first Guardians film, I actually liked this one quite a bit. Quite a bit more, actually.

I also prefer the second Guardians movie to the first mainly because I find Peter and Gamora kinda boring, and in 2 the characters I like more (Rocket, Groot, Drax, Yondu) get more screen time with their own side adventures. Plus the Ravager Funeral is one of the more emotional moments in the whole MCU, especially since they don’t undercut it with jokes for once.

[Stirchley]

90759

Not bad. Nothing major.

90760

Excellent movie. Really enjoyed it.

[Siddon]

https://wps3.dbknews.com/uploads/2022/09/bros-2048x1365.jpg

Bros(2022)

One of the most controversial films of the year as straight people violently refused to watch Billy Eichner's magnum opus of the gay rom com. Could I person that is bored and dislikes PC culture give a film like this a fair shot. Who was this movie made for? And why did it get such great reviews.

Well Bros is....perfectly fine a film that is average and misguided in it's basic structure but yet still a watchable film. The film has sporadic comedy bits in which I laughed a few times. The problem with Bros is it's two different films...on one hand it's a lecture series. The film is often talking to the audience about it's political agenda. If you wish to make that your movie fine cool. But the problem with Bros is that I know the lecture is wrong. One of the major plot points is the whole "Lincoln gay President" this thread has a full on arc. Well I know my history and Lincoln could have been gay or bisexual but the guy before him James Buchanan was probably gay. But as Buchanan was a bad president that guy can't be the focal point.

And that's kinda the problem with Bros, the lecture part of the film also tip toes around race and gender. The majority of the supporting characters are POC and yet they have no agency. While that's the bad part of the lecture the film is also a rom com. Problem with the romcom is it's a derivative and cliche'd as rom coms get. You know the formula and while Eichner goes in some good directions with the formula it's still a formula.


rating_2_5

[Fabulous]

Cimarron (1931)

3

https://image.tmdb.org/t/p/original/mgo2XCKPHzZINzcm0YFjSUGpPIr.jpg

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw780%2FvoBoX6dk4NoQ9BZCiwNbiUv9LCk.jpg&f=1&nofb=1&ipt=a2e31ed47a98b8dc76881c5c451e5e815d6f5651dca018d380403e67bdb4c04f&ipo=images

Night Mail, 1936

This documentary follows a mail train as it goes about its nightly routine of sorting, dropping off, and collecting mail in Scotland.

As dozens and dozens of YouTube videos of containers being filled to the precise top, or machines producing perfect sized foods have demonstrated, there's something really compelling and satisfying about watching an efficient system at work. This film taps into that feeling as we watch the synergy of men and machines working through a familiar series of actions.

There's a lot to love here if certain things appeal to you aesthetically. Do you like trains? Check. Do you like watching well-choreographed team tasks? Check. A lot of the content of this film is stuff I would categorize as being things I find enjoyable in a very gentle way.

At the same time, there are some fun moments of tension. Bags of letters must be hung outside of the train at the right moment to be grabbed by metal arms and then dropped into waiting nets. It gives a good sense of the timing and coordination required.

The film is a very positive portrayal of the jobs of the workers. Everyone does seem a bit more chipper than you might expect on a mail delivery night shift. If this work comes with serious risks or downsides, they aren't included in the film. Still, there's just enough of a staged feeling to it all that this doesn't feel inherently too dishonest. Maybe it's a kind of honest-dishonesty.

Overall this was a fun, brisk watch, and a very cozy sort of documentary.

4

[CharlesAoup]

The Net, 1995 (C-)

Sandra Bullocks finds about a hack/virus/backdoor, and is pursued by hackers trying to silence her.

Not great at all. The hackers are basically magicians, but not in a fun, Angelina Jolie's Hackers kind of way, but in a plot foresight, can do anything to stretch the runtime almost to 2 hours kind of way. Largely just a chase movie with a very stupid resolution, with a plot that can barely even justify itself with how underwhelming everything is.

[Fabulous]

Going My Way (1944)

3

https://image.tmdb.org/t/p/original/jiGn1FXSQVfN2nhix0tQtmoGWcF.jpg

[xSookieStackhouse]

rating_5 i really really really loved it, the cartoon reminds me of spider-man into the spider verse <3. but i miss the old cartoon from back in the day
https://movies.universalpictures.com/media/02-pib-dm-mobile-banner-1080x745-km-f01-061422-62a9f2d372f3a-1.jpg

[cricket]

Sonny Boy (1989)

1.5

https://m.media-amazon.com/images/M/MV5BZTE1N2Q4OTAtYWUxMi00YTk3LWJiNTUtNjBiMzkwZTEwYTQ5XkEyXkFqcGdeQXVyODEwNDQ0Mzc@._V1_.jpg

I gave this a try because it had decent reviews as a cult exploitation film and it stars David Carradine and Brad Dourif. It's wacky and has it's moments but it just isn't very good.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.discdish.com%2Fwp-content%2Fuploads%2F2020%2F09%2FDownpour-1972.jpg&f=1&nofb=1&ipt=1eafa05072d2486b232311bbdef8c40182e88aa1ba8d33b03d46602039bcc1ca&ipo=images

Downpour, 1972

In a small town in Iran, schoolteacher Mr. Hekmati (Parviz Fanizadeh) arrives at his new position and struggles with being seen as an outsider. When the adult sister of one of his students, Atefeh (Parvaneh Massoumi), comes to the school to argue with him about how her brother has been disciplined, a conversation between the two in an empty schoolroom becomes the basis of the whole town suspecting the two are engaged in an illicit romance. This puts both Hekmati and Atefeh on the spot, as it is assumed that Atefeh will marry the local butcher and tough guy, Rahim (Manuchehr Farid).

This is a really neat film, which uses the structure of a romantic comedy to lay out implicit political critiques about the dynamics of watching and being watched.

Part of the way through this film, I began to get the feeling that I was missing something really important about what the film was saying. I am incredibly grateful for an essay that was written by Hamid Naficy (the essay is called "Furtive Glances" and is available on the Criterion website) that helped me to understand the political context of the film. The movie was made at a time when many Iranians were frustrated and fearful by the government's spying (and torture and execution) on citizens.

Even without the understanding of the underlying political content, there is a lot to enjoy in this film. I always say it's a good sign when I agonize over which still image to include in a review. There are so many delightful visuals here, especially in the first half.
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimg54.pixhost.to%2Fimages%2F25%2F203631747_hdencode_screenshot_0.png&f=1&nofb=1&ipt=c559aeb532a7b5992321ae6c20c7273153da4d36e5645ad6ade878ad9d709274&ipo=images
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcriterion-production.s3.amazonaws.com%2Fcarousel-files%2F34d7c282f07a1adee5fa19ce8297a76e.jpeg&f=1&nofb=1&ipt=e344c763ccf55c2fbb7bc5bc0a83934d61a7209795b38ad37b21da50ca4446de&ipo=images
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.themoviedb.org%2Ft%2Fp%2Fw1066_and_h600_bestv2%2FtRXwj28Lt7p31wvS8ItdhANBX2T.jp g&f=1&nofb=1&ipt=e370b6f8d787dbedba857cf35ea6a98232c3a3d3ed509cb4687e5e60e0c62eaa&ipo=images
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcriterionforum.org%2Fimg%2Fcaptures%2FC260AA39-E621-4F81-C5A0-8C7A0F3F6369.jpg&f=1&nofb=1&ipt=7c921c8c30b6bf61da988a6fa8c3f15d7b02ed52c7fa199fcf720498407bdb09&ipo=images

The film makes great use of expansive spaces, such as in a shot where we see the protagonist up high on a ladder as he works to fix up an old theater space or in the long shots of students doing exercises in the school's blacktop. There are also some very funny visual moments, like a character trying to exit a room that is full of a comically absurd number of overturned chairs.

On the surface, the romance itself is almost textbook. Hekmati and Atefeh cautiously circle each other for ages, finally having a breakthrough conversation during a rainstorm where they share an umbrella. The town delights in gossiping about the pair. Rahim, obsessed with his hair and harrumphing around the town is basically a real human version of Gaston from Beauty and the Beast. In a montage sequence, Hekmati cleans up the theater space so that the children can perform in it.

But underneath this fairly typical story, the watchful eye of the entire town becomes something more menacing. It doesn't seem that way at first. At first it feels like a built-in part of the slapstick nature of the movie. The image at the top of this review is preceded by a shot in which there are no children.
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fcriterion-production.s3.amazonaws.com%2Fcarousel-files%2F6e9de45550089c994ed7cf2b7b701185.jpeg&f=1&nofb=1&ipt=1b91276a8df3c9843f2c9053921d80a544939165770ebae6c54e5b31d1ed3d42&ipo=images

The way that the children suddenly appear (not just behind the tree, but up in the trees) feels almost like some demented homage to The Birds. But in the third act, where we expect a typical resolution, things take a turn. The relentless surveillance and suspicion is no longer a fun, exaggerated quirk. It becomes something that does permanent harm.

Overall I thought that this movie was very strong. It does feel a bit overlong by maybe 20 minutes. There's a sequence toward the end where Hekmati goes out drinking with someone else that just felt like it dragged and dragged. The film finishes really strong, but the 15 minutes that come before the last 10 minutes kind of stall out the film's momentum.

Definitely recommended. This film was barely saved from oblivion and required an extensive restoration.

4

[Yoda]

I always say it's a good sign when I agonize over which still image to include in a review.
This is low-key one of my favorite ways to determine how beautiful I found a film.

[Thursday Next]

Aftersun (2022)

Having seen this appear on several 'best of the year' lists, I was keen to see this. I wonder if my expectations hampered my connection to the film at first, because for the first 40 minutes or so there didn't seem anything special about it, just the simple story of a father and daughter on holiday in the 90s, doing ordinary holiday things, taking videos, having conversations.

But it builds and grows so quietly and subtly that by the final third I was completely gripped, hit by a wave of sadness. It's not about what does or doesn't happen (and I'm sure there are people who will watch this and complain that nothing happens), it's about the feeling it evokes. By the end it felt so real that I didn't want the holiday to end either.

Although, unlike Sophie, it was because I could perceive that her father was depressed and that this would be the last time they see each other. That she doesn't know it even as it becomes clear to the audience, gives it an extra edge of poignancy.

It doesn't always look pretty, but the shots are well framed, often from Sophie's child's perspective, with her father in shadow or reflection. The 90s details feel accurate without being obvious and the soundtrack works well, especially when well known songs are distorted. I never went on a holiday like this but there was enough about it that felt familiar to make it very evocative and real.

The acting is very good as well.

4.5

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/6/62/Glass_Onion_poster.jpg

3

SF = Zz



[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=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw533_and_h300_bestv2%2Fvq0F0CMUTK5Her7lTmIUzOEtYWF.jpg&f=1&nofb=1&ipt=ce1e2773bb6a2d3e032f83a5f05faf99f736c774346126ce578d581ee427ae85&ipo=images

The Legend of Suram Fortress, 1985

On a rural mountainside, a tsar builds a fortress that is plagued by misfortune. No matter how many times the fortress is rebuilt, the walls end up crumbling. There are hopes that a fortune teller (Veriko Anjaparidze) might be able to say what must be done to keep the fort standing. But when she finally delivers the answer, will it be what they want to hear?

This film is painterly from the first frame, and my immediate thought was that it looked a lot like The Color of Pomegranates. And . . . that makes a lot of sense because it was made by the same man who directed that film.

In a way, knowing that really helped, because I was immediately able to get into the mindset that understanding the narrative particulars would not be the main objective. And that isn't at all to say that the movie doesn't have a story or that it's too hard to tell what's happening. There are a few different plots and character arcs through the film, and all of them are clear enough that you can get the emotional gist of them if not every nuance of the relationships and outcomes.

Really, though, it's the visuals and the way that they sing. In one sequence, a man is taken by his master to a field where he must throw pomegranates into the air for two wealthy men to cut with their swords. The man and his mother are later sold to another master who forces them to be put in a yolk and pace back and forth over wheat. The mother's heart gives out, and the man leaves with her body on a small sled. The staging of the wealthy men on a crest of land over the suffering servant and his mother. The slashed pomegranates falling to the ground. The man pulling a rope that leads behind a wall, only then for the mother's wrapped body to emerge.

The conclusion to the saga of the crumbling fortress is pretty spectacular, and I think it's a real shame that most plot summaries on the internet just straight up spoil how the tsar tries to solve the problem in the end based on the fortune teller's advice. If you decide to watch this film (I watched it on YouTube), I'd encourage you to avoid even the most basic plot summaries.

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw780%2FmHo4MkvPnHVtwbZkou9Vbtp7gt1.jpg&f=1&nofb=1&ipt=7988ffa704e86354df7081a2acffac690eba440d93bc8741ef4c6f309f18012d&ipo=images
https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.marculescu.ro%2Fwp-content%2Fuploads%2F2014%2F01%2FSuram-Fortress-1984-Paradjanov-12.jpg&f=1&nofb=1&ipt=67823cd5ee5780a1439e9de01a736588eed6c1e2a12a74db8d3f2baf82e2f566&ipo=images

Really beautiful, and with a final act that really packs a punch, visually and emotionally.

4

[Wooley]

Aftersun (2022)

Having seen this appear on several 'best of the year' lists, I was keen to see this. I wonder if my expectations hampered my connection to the film at first, because for the first 40 minutes or so there didn't seem anything special about it, just the simple story of a father and daughter on holiday in the 90s, doing ordinary holiday things, taking videos, having conversations.

But it builds and grows so quietly and subtly that by the final third I was completely gripped, hit by a wave of sadness. It's not about what does or doesn't happen (and I'm sure there are people who will watch this and complain that nothing happens), it's about the feeling it evokes. By the end it felt so real that I didn't want the holiday to end either.

Although, unlike Sophie, it was because I could perceive that her father was depressed and that this would be the last time they see each other. That she doesn't know it even as it becomes clear to the audience, gives it an extra edge of poignancy.

It doesn't always look pretty, but the shots are well framed, often from Sophie's child's perspective, with her father in shadow or reflection. The 90s details feel accurate without being obvious and the soundtrack works well, especially when well known songs are distorted. I never went on a holiday like this but there was enough about it that felt familiar to make it very evocative and real.

The acting is very good as well.

4.5

Finally someone saw it. Sight & Sound named it the best film of the year, as did several other organizations, so I've been really interested.

[iluv2viddyfilms]

Five in the past few days:

Come and See: A-
The Birds: B+
Man Hunt: C+
The Fortune Cookie: A
L'Eclise: A+

[cricket]

Meat Grinder (2009)

3-

http://www.slashingthrough.com/images/reviews/meatgrinder_5.jpg

Thai horror with a sure fire recipe; woman runs restaurant and serves up human meat. I was surprised at the amount of backstory and character development for a film like this. There's a real attempt to make a good film, but unfortunately it lacks humor and personality. It does not disappoint in the gore department.

[SpelingError]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw533_and_h300_bestv2%2Fvq0F0CMUTK5Her7lTmIUzOEtYWF.jpg&f=1&nofb=1&ipt=ce1e2773bb6a2d3e032f83a5f05faf99f736c774346126ce578d581ee427ae85&ipo=images

The Legend of Suram Fortress, 1985

On a rural mountainside, a tsar builds a fortress that is plagued by misfortune. No matter how many times the fortress is rebuilt, the walls end up crumbling. There are hopes that a fortune teller (Veriko Anjaparidze) might be able to say what must be done to keep the fort standing. But when she finally delivers the answer, will it be what they want to hear?

This film is painterly from the first frame, and my immediate thought was that it looked a lot like The Color of Pomegranates. And . . . that makes a lot of sense because it was made by the same man who directed that film.

In a way, knowing that really helped, because I was immediately able to get into the mindset that understanding the narrative particulars would not be the main objective. And that isn't at all to say that the movie doesn't have a story or that it's too hard to tell what's happening. There are a few different plots and character arcs through the film, and all of them are clear enough that you can get the emotional gist of them if not every nuance of the relationships and outcomes.

Really, though, it's the visuals and the way that they sing. In one sequence, a man is taken by his master to a field where he must throw pomegranates into the air for two wealthy men to cut with their swords. The man and his mother are later sold to another master who forces them to be put in a yolk and pace back and forth over wheat. The mother's heart gives out, and the man leaves with her body on a small sled. The staging of the wealthy men on a crest of land over the suffering servant and his mother. The slashed pomegranates falling to the ground. The man pulling a rope that leads behind a wall, only then for the mother's wrapped body to emerge.

The conclusion to the saga of the crumbling fortress is pretty spectacular, and I think it's a real shame that most plot summaries on the internet just straight up spoil how the tsar tries to solve the problem in the end based on the fortune teller's advice. If you decide to watch this film (I watched it on YouTube), I'd encourage you to avoid even the most basic plot summaries.

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimage.tmdb.org%2Ft%2Fp%2Fw780%2FmHo4MkvPnHVtwbZkou9Vbtp7gt1.jpg&f=1&nofb=1&ipt=7988ffa704e86354df7081a2acffac690eba440d93bc8741ef4c6f309f18012d&ipo=images
https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.marculescu.ro%2Fwp-content%2Fuploads%2F2014%2F01%2FSuram-Fortress-1984-Paradjanov-12.jpg&f=1&nofb=1&ipt=67823cd5ee5780a1439e9de01a736588eed6c1e2a12a74db8d3f2baf82e2f566&ipo=images

Really beautiful, and with a final act that really packs a punch, visually and emotionally.

4

I should check that one out. Huge fan of the director.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fcdn.collider.com%2Fwp-content%2Fuploads%2Favengers-age-of-ultron-trailer-screengrab-4.png&f=1&nofb=1&ipt=503d03009f8db7d4fa702599365da381544c58b3375197c31df38456cdbc45d3&ipo=images

Avengers: Age of Ultron, 2015

The Avengers are back, this time dealing with a sentient artificial intelligence called Ultron (James Spader) who is accidentally unleashed by Tony Stark (Robert Downey Jr.) and Bruce Banner (Mark Ruffalo). They must also reckon with a pair of twins, Wanda (Elizabeth Olsen) and Pietro (Aaron Taylor-Johnson), who have powers granted them by human experimentation and bear a grudge against the Avengers.

My feelings on the Marvel films are pretty well established at this point. I like some things about them, while overall finding the whole "universe" thing overwhelming and the runtimes chronically about 30-45 minutes too long. Despite having some mixed feelings about certain elements of it, I actually enjoyed this one overall.

I'm not sure what the general consensus is on this one, but it definitely had a lot of the elements that I most enjoy in a film of this type and scope. Generally speaking the action scenes were to the point and easy to follow. The opening and closing battles were too long for my taste, but all of the action in between was fine. I particularly liked how many sequences were staged in smaller spaces, like the showdown at Stark's house. It kept the action from feeling too sprawling.

I also liked the character arcs at play. While I thought he could have been better developed, I liked the idea of Ultron and his twisted views on how to bring about peace. While I also thought that the twins were a tad underdeveloped, they brought an interesting dynamic to the film as their relationship with Ultron evolved through the story. I also liked the way that we see some of the fractures in the Avengers in terms of their philosophies on what it means to do their work. Using Wanda's powers to illuminate their fears was a nice way to give each character a small personal crisis to deal with.

At this point, all of the actors are very comfortable in their roles, and they are all fine. I enjoyed the addition of Wanda and Pietro, as well as the character of Vision (Paul Bettany). The supporting cast is also their usual reliable selves, like Cobie Smulders and Linda Cardellini.

But like so many of the Marvel films, this one goes on and on. I didn't feel the length as badly as in some of the other films, but still was very aware of it. I knew that the final showdown would feel bloated. Again, not as bad as some of the others, but I really start to glaze over once things have been being smashed for like 10 minutes. I will say, however, that I thought this final battle had some of the best actual stakes in terms of real consequences and character dynamics.

I also had mixed feelings about the writing. Every time the movie would get me on its side, it would do something. Oh, this banter between the group is kind of fun! Oop! Tony Stark just made a joke about being able to legally rape women. Awesome. Hey, this fight scene is kind of fun. Oop! The Hulk just face-planted into Black Widow's cleavage. Hilarious. (Sidenote: this film was so cleavage obsessed. Just looking right down shirts the whole time.)

While my feelings on the film are generally positive, I can't score it much higher than most of the other Marvel films I've seen, despite it feeling like a notch above them. I would say, though, that this is one of the only ones I could actually imagine rewatching.

3.5

[Raven73]

Northman
7.5/10.
An epic fairy tale that collides myth with stark reality and moral ambiguity.
https://images.justwatch.com/poster/278242024/s592/the-northman

[Tugg]

Red Rocket (2021-2022) 2.5
https://thereelbits.com/wp-content/uploads/2021/12/red-rocket001f.jpeg
The Banshees of Inisherin (2022) 4.5
https://static01.nyt.com/images/2022/10/20/arts/20banshee-review/20banshee-review-facebookJumbo.jpg
Glass Onion: A Knives Out Mystery (2022) 3.5
https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/i/10b1df17-9b3e-455b-aa27-cd3c6a602a43/dfgjmzm-0999557e-c1d3-43e9-9a33-dd2f8c28ba55.png
Black Box (Boîte noire) (2021) 3
https://frenchfilmfestival.us/wp-content/uploads/2022/02/boite_noire-6-1024x682.jpeg
Hustle (2022) 3.5
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Do Revenge (2022) 3.5
https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/2c54b004-9dbd-44b7-8031-08fadd6517c1/dfedx8o-61c738d7-bcf5-4f76-80ed-18b85aec1c51.png/v1/fill/w_512,h_512,strp/do_revenge_2022_v1dss_by_ungrateful601010_dfedx8o-fullview.png?token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQzNzNh NWYwZDQxNWVhMGQyNmUwIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6W1t7 ImhlaWdodCI6Ijw9NTEyIiwicGF0aCI6IlwvZlwvMmM1NGIwMDQtOWRiZC00NGI3LTgwMzEtMDhmYWRkNjUxN2MxXC9kZmVkeDhv LTYxYzczOGQ3LWJjZjUtNGY3Ni04MGVkLTE4Yjg1YWVjMWM1MS5wbmciLCJ3aWR0aCI6Ijw9NTEyIn1dXSwiYXVkIjpbInVybjpz ZXJ2aWNlOmltYWdlLm9wZXJhdGlvbnMiXX0.6TK-bZY51SS_3hyDzxhbkYLBK07OvAU-rQV66tYJL7I
Puss in Boots: The Last Wish (2022) 3.5
https://www.lovebugsandpostcards.com/wp-content/uploads/2022/12/PussInBootsLastWish-7-480x270.jpg

[Wooley]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fcdn.collider.com%2Fwp-content%2Fuploads%2Favengers-age-of-ultron-trailer-screengrab-4.png&f=1&nofb=1&ipt=503d03009f8db7d4fa702599365da381544c58b3375197c31df38456cdbc45d3&ipo=images

Avengers: Age of Ultron, 2015

The Avengers are back, this time dealing with a sentient artificial intelligence called Ultron (James Spader) who is accidentally unleashed by Tony Stark (Robert Downey Jr.) and Bruce Banner (Mark Ruffalo). They must also reckon with a pair of twins, Wanda (Elizabeth Olsen) and Pietro (Aaron Taylor-Johnson), who have powers granted them by human experimentation and bear a grudge against the Avengers.

My feelings on the Marvel films are pretty well established at this point. I like some things about them, while overall finding the whole "universe" thing overwhelming and the runtimes chronically about 30-45 minutes too long. Despite having some mixed feelings about certain elements of it, I actually enjoyed this one overall.

I'm not sure what the general consensus is on this one, but it definitely had a lot of the elements that I most enjoy in a film of this type and scope. Generally speaking the action scenes were to the point and easy to follow. The opening and closing battles were too long for my taste, but all of the action in between was fine. I particularly liked how many sequences were staged in smaller spaces, like the showdown at Stark's house. It kept the action from feeling too sprawling.

I also liked the character arcs at play. While I thought he could have been better developed, I liked the idea of Ultron and his twisted views on how to bring about peace. While I also thought that the twins were a tad underdeveloped, they brought an interesting dynamic to the film as their relationship with Ultron evolved through the story. I also liked the way that we see some of the fractures in the Avengers in terms of their philosophies on what it means to do their work. Using Wanda's powers to illuminate their fears was a nice way to give each character a small personal crisis to deal with.

At this point, all of the actors are very comfortable in their roles, and they are all fine. I enjoyed the addition of Wanda and Pietro, as well as the character of Vision (Paul Bettany). The supporting cast is also their usual reliable selves, like Cobie Smulders and Linda Cardellini.

But like so many of the Marvel films, this one goes on and on. I didn't feel the length as badly as in some of the other films, but still was very aware of it. I knew that the final showdown would feel bloated. Again, not as bad as some of the others, but I really start to glaze over once things have been being smashed for like 10 minutes. I will say, however, that I thought this final battle had some of the best actual stakes in terms of real consequences and character dynamics.

I also had mixed feelings about the writing. Every time the movie would get me on its side, it would do something. Oh, this banter between the group is kind of fun! Oop! Tony Stark just made a joke about being able to legally rape women. Awesome. Hey, this fight scene is kind of fun. Oop! The Hulk just face-planted into Black Widow's cleavage. Hilarious. (Sidenote: this film was so cleavage obsessed. Just looking right down shirts the whole time.)

While my feelings on the film are generally positive, I can't score it much higher than most of the other Marvel films I've seen, despite it feeling like a notch above them. I would say, though, that this is one of the only ones I could actually imagine rewatching.

3.5

Interesting. I think of this as being one of the weakest of the pre-fall MCU films (I guess up to the end of Endgame) and yet it's not because it was cleavage-obsessed, which I as a mostly heterosexual male, still somehow missed. I liked the love-story between Natasha and Bruce, evolving out of their previous interaction where he was the only thing in the World she was truly afraid of and of course, that's his pain in a nutshell. I thought Marvel dropped the ball by not following up on the promise of that thread. I liked Spader but thought he was woefully underutilized because they wanted more action. I liked seeing Hawkeye's other life and, as always, Linda Cardellini has that unique quality that makes some people special even when they aren't on-screen very long. There must have been some other things. Oh I liked the first scene with the hammer.
But this movie got ruined by the head of Marvel at that time who famously told Joss Whedon that either Thor's entire plot-thread or Hawkeye's home had to be excised from the movie in favor of more action, and he could choose. And you can just tell that this movie has so much more crammed in til its busting at the seems and so much less of the interpersonal that made old MCU work. It has no time to breathe and it's really hard to even follow the plot, particularly vis a vis, The Vision, even when you already know the whole story from the comics.
As far as cleavage. Maybe it's cause I live in the South, but I see more cleavage just walking around work or at the bar last night than I did in this movie.

[Takoma11]

But this movie got ruined by the head of Marvel at that time who famously told Joss Whedon that either Thor's entire plot-thread or Hawkeye's home had to be excised from the movie in favor of more action, and he could choose. And you can just tell that this movie has so much more crammed in til its busting at the seems and so much less of the interpersonal that made old MCU work. It has no time to breathe and it's really hard to even follow the plot, particularly vis a vis, The Vision, even when you already know the whole story from the comics.

I actually thought that this one had a plot that was easy to follow and that it was relatively streamlined. And I liked the balance between the interpersonal conflicts and the external conflicts.

As far as cleavage. Maybe it's cause I live in the South, but I see more cleavage just walking around work or at the bar last night than I did in this movie.

I guess. I think it's because the film uses the same angle over and over, and it happens to be with a character filmed from above, leaning toward the camera. And the only two main female characters have costumes that are either deeply cut or loose fitting. So not so much the presence of cleavage, but the sense of the camera looking down their shirts.

[Wooley]

I actually thought that this one had a plot that was easy to follow and that it was relatively streamlined. And I liked the balance between the interpersonal conflicts and the external conflicts.



I guess. I think it's because the film uses the same angle over and over, and it happens to be with a character filmed from above, leaning toward the camera. And the only two main female characters have costumes that are either deeply cut or loose fitting. So not so much the presence of cleavage, but the sense of the camera looking down their shirts.

I thought the Vision storyline was a little hard to follow and Thor showing up literally out of nowhere (since his entire journey was cut from the film and he just disappears for the entire second act) and being like, "no, the synthezoid that we just met 5 seconds ago, that was created by the villain, is a good-guy and our best weapon, and I'll fight any of my friends that say otherwise"... even knowing the whole backstory I was like, "What just happened?"
As for cleavage, I'm not gonna fall back on the "yeah, many women wear clothes that show a little décolletage, what's the big deal" thing here even thought Marvel has let the camera absolutely drool over shirtless Chrisses in multiple films, including Haley Atwell's wonderful, real-life-that-got-filmed reaction to Evans half-naked body in The First Avenger, because I know you'd just smack me down for it, but, I just really didn't think it was egregious here and was a huge tone-down from the usual over-sexualized female SH costumes.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fmadeinatlantis.com%2Fgreatmovies%2Fwp-content%2Fuploads%2F2019%2F07%2Fa-short-film-about-love-1988-2.jpg&f=1&nofb=1&ipt=f98f47b373837c23ac9c1ae9e729703965be67685517358ee46332fb2d2c97c7&ipo=images

A Short Film About Love, 1988

Tomek (Olaf Lubaszenko) is a young man living in an apartment with his godmother. He is obsessed with his neighbor across the way, an older woman named Magda (Grazyna Szapolowska). Tomek spies on her and increasingly does things to sabotage her relationships or bring her into contact with him. When Magda realizes what's happening, she finds herself both intrigued and repulsed by Tomek's interest.

I have liked or loved every film I've seen from Kieslowski (and The Double Life of Veronique has a special place in my heart). He has earned a lot of trust from me as a viewer. While I really struggled with certain aspects of this film and where its sympathies seemed to lie, I appreciate that it was strong in its performances and how it was filmed. I'm still sorting through what I think about its message and where it leaves its characters.

The big hitch here, for me, is that we have a guy who is stalking, harassing, and violating the privacy of a woman he supposedly likes. It goes way beyond just him watching her through a telescope (which on its own is upsetting and yucky). He messes with the delivery of her milk. When she starts to have sex with a man, he calls in a fake complaint about a gas leak in her apartment. He sends her fake notices about money being sent to her so that she'll show up at his workplace, something that humiliates her and threatens to get her in legal trouble. He calls her telephone at night, breathing into the receiver. I don't know if anyone here has ever experienced this kind of behavior, but it's really scary and unnerving.

To the film's credit, though, this isn't a case of these behaviors happening where we are supposed to believe that Tomek is a "nice guy". He actually is pretty clearly dealing with some mental health struggles. At one point, after watching Magda crying in her apartment, he asks his godmother, "Why do people cry?". Let that soak in for a moment. This actually manifests in other ways, as Tomek is at times overly earnest and compliant. When a boyfriend of Magda's yells for Tomek to come out and face him, Tomek does. Clearly outmatched, Tomek obediently puts up his fists only to get punched in the face. While part of me certainly felt bad for Tomek--who is socially isolated, sexually inexperienced, and very awkward--I felt that his actions were so manipulative and cruel that it was hard for me to handle the development of a relationship between him and Magda.

Magda herself is also a complicated character, though I found it a lot easier to sympathize with her. She is, despite herself, intrigued by Tomek and his bluntness. (To me that bluntness is more a sign of mental illness than honesty). As she spends time with him, she clearly oscillates between feeling a sort of flattery at his interest and a desire for revenge for the anxiety and fear he's caused her. She alternates kindness with cruelty in a way that is a bit hard to watch, even though her feelings are very understandable. Szapolowska really embodies a weariness in Magda, a woman who seems to have given up on love and looks at Tomek and thinks, hey, why not? (Of course, the fact that Tomek has been actively sabotaging her relationships for a year could have something to do with it, right?).

Adding to the disturbing dynamic is the character of the godmother, played by Stefania Iwinska. The godmother, it becomes increasingly clear, is aware of Tomek's behavior. And not only has she failed to discourage it, she seems to be mostly angry at Magda because Tomek has fallen for the wrong woman. It's kind of dizzying, and one of the reasons I found it hard to suss out my feelings here is that it's hard to tell in the last act--where certain things happen that cast Magda as the guilty party--how much the film agrees with the guilt that Magda feels and the aspersions cast on her by the godmother. I honestly couldn't tell at the end if we were supposed to think that Magda was being gaslit, or if she was coming to an honest emotional/personal revelation.

The performances are all very solid. Lubaszenko is maybe a bit too handsome to quite fit the character. I think, honestly, that casting someone that good looking subtly works to get you on his side. He looks like the lead in a romantic film. Or maybe the intent is to critique that dynamic of typical romances? I don't know.

After watching Downpour, it was interesting to watch another film where the idea of watching someone and perception was such a central theme. Whatever my mixed feelings about the story, this theme is closed out in a really beautiful and powerful way in the last act and especially in the last moments of the film.

4

[Takoma11]

I thought the Vision storyline was a little hard to follow and Thor showing up literally out of nowhere (since his entire journey was cut from the film and he just disappears for the entire second act) and being like, "no, the synthezoid that we just met 5 seconds ago, that was created by the villain, is a good-guy and our best weapon, and I'll fight any of my friends that say otherwise"... even knowing the whole backstory I was like, "What just happened?"

I actually kind of liked that they just went BOOM, here he is. Then Vision is like "Yeah, I'm not this or that, I'm my own thing. I'm on the side of life. Let's do this."

As for cleavage, I'm not gonna fall back on the "yeah, many women wear clothes that show a little décolletage, what's the big deal" thing here even thought Marvel has let the camera absolutely drool over shirtless Chrisses in multiple films, including Haley Atwell's wonderful, real-life-that-got-filmed reaction to Evans half-naked body in The First Avenger, because I know you'd just smack me down for it, but, I just really didn't think it was egregious here and was a huge tone-down from the usual over-sexualized female SH costumes.

I mean, yes, everyone moseys around with their toned bodies in tight leather outfits.

I'll admit that I was working on grading quite a bit while watching this movie, and three different times that I looked up, it was right as the camera was looking down someone's shirt (Black Widow twice, then Wanda in the scene on the train). By that third time I was like, "Again?!" It's the extra perviness of looking down the shirt that was getting me.

[PHOENIX74]

As someone who was disappointed by the first Guardians film, I actually liked this one quite a bit. Quite a bit more, actually.

I'm surprised! I liked both Guardians movies a lot, but the first shaded the second with a much more focused ending. Was it one thing about the first one that disappointed you or the whole movie overall?

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/7/7d/Thor_Ragnarok_poster.jpg
By http://www.impawards.com/2017/thor_ragnarok_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=53738935

Thor : Ragnarok - (2017)

This was a pretty radical and wild departure from the tone of previous Thor films and also previous MCU films - I initially thought this would be a pretty big departure for Taika Waititi from his usual style, but it looks like the Marvel films are bending to his approach instead. This is the first Marvel film I'd classify as an all-out comedy, with jokes and humour really at a constant, and not all jokes really land - but enough of them do to not completely alienate me from this. In fact, I'm onboard, since something new was going to be needed to keep the series fresh. It's also (as the advertising suggests) a sparklingly colourful film, with a visual form that's wonderful to take in - there's great flair and a lot of polish to the effects and optics. The story is better than previous Thor films as well, with a lot more at stake and nobody and nothing comes through it unscathed. Mind you, the serious tone of the story doesn't quite mix with the cartoonish and absurd comedy - but considering how good the film is in an overall sense, that's a small quibble. I don't know if the series can sustain this tone for long though.

7/10

https://upload.wikimedia.org/wikipedia/en/f/f9/Spider-Man_Homecoming_poster.jpg
By http://www.impawards.com/2017/spiderman_homecoming_ver4.html, Fair use, https://en.wikipedia.org/w/index.php?curid=53586522

Spider Man : Homecoming - (2017)

This was more or less your usual superhero and Spiderman film - the most interesting element of which is the way it ties in to Marvel's universe with alien technology being stolen by arms dealers - starting with the alien tech left on Earth after the invasion in the first Avengers film. A new Spiderman, still coming to terms with a suit that Tony Stark (Robert Downey Jr.) has made him, along with a lack of maturity that leads to him taking on more than he should alone, is what we have here. I thought it was fine, but nothing that's going to be memorably special, except for using Michael Keaton as a "Birdman" type villain, which was inspired casting. Oh - and also Donald Glover. I really like Donald Glover.

6/10

[Neesonfan]

The Abyss (Theatrical Cut): 9/10

[donniedarko]

M3GAN (Johnstone, 2022)

Maybe I'm just coming off watching Manchester by the Sea, which coincidentally follows a similar macro-plot, but man is this film under-acted. The main cast feels like a NBC supporting crew. The supporting roles, feel like cheap commercial actors. The cameo roles seem like folks they got off the streets to read a line. I mean it's WEAK.

I'm amazed to see how strongly this has been received as a horror. Scary? I mean as scary as any doll-chase movie with a final fight sequence at the end. Built up with killings of flawed & annoying characters you don't get the chance to care much for. Splash a little shock violence, and ya it's gripping enough. About as scary as the new Chucky movie

The over-reaching fears this unpacks? Ya, they're there and you kinda think about them. AI acting for it's own good and the existential consequences or just emotional/parental. All probable, but is this really the best media to make you spit ball it? Atleast Black Mirror throws some creativity you couldn't think of on your own while chewing on all the latest tech reports.

On a positive note M3GAN is very entertaining, and a super easy watch. Helps how funny it's as well. Plenty of laughs to go around. It never takes itself all too seriously, and absolutely flies by. One of the most audience freidnly horror flicks you can find, but not much more.

2


https://media.tenor.com/uPLd9fUsBsEAAAAd/m3gan-megan.gif

[Fabulous]

Hit Man (1972)

2

https://image.tmdb.org/t/p/original/9RSnNEsf3mbLdePVn20g1xcjS3c.jpg

[Wooley]

I'm surprised! I liked both Guardians movies a lot, but the first shaded the second with a much more focused ending. Was it one thing about the first one that disappointed you or the whole movie overall?

To be fair, I was very familiar with the characters and didn't love some of the portrayals of them and that nagged at me throughout even when the movie was fun.
But my own baggage aside, the things I never get over are the narrative inconsistencies and one-dimensional writing like, "Is Gamorra the 'most dangerous woman in the galaxy' or does she need to be rescued from a few regular dudes by Drax?" "Is Drax even more powerful than Gamorra (since he rescues her) or is he the guy who just gets his ass kicked later while she beats Nebula?" And Ronin, the villain, being the most one-dimensional "I seek more power, from the MacGuffins, FOR REASONS! MUAHAHA!"
Personal baggage versus the comics, like making Drax, whose most striking characteristic beyond he can and will kill virtually anyone is his humorlessness, the comic relief of the film, the indecision over just how tough Gamorra is (can she be effectively fought by Quill with his gadgets and such and need rescuing from just a few regular dudes or is she "the deadliest woman in the galaxy" which they do say... and if they mean it then what are they saying about women?), and the fact that Ronin is actually a rich, deep, and interesting character with inner conflicts in the comics and such a paper-thin POWER! MACGUFFIN! REVENGE OR SOMETHING!-villian, man it's just a slog for me every moment Rocket isn't on screen.

[Wooley]

https://upload.wikimedia.org/wikipedia/en/7/7d/Thor_Ragnarok_poster.jpg
By http://www.impawards.com/2017/thor_ragnarok_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=53738935

Thor : Ragnarok - (2017)

This was a pretty radical and wild departure from the tone of previous Thor films and also previous MCU films - I initially thought this would be a pretty big departure for Taika Waititi from his usual style, but it looks like the Marvel films are bending to his approach instead. This is the first Marvel film I'd classify as an all-out comedy, with jokes and humour really at a constant, and not all jokes really land - but enough of them do to not completely alienate me from this. In fact, I'm onboard, since something new was going to be needed to keep the series fresh. It's also (as the advertising suggests) a sparklingly colourful film, with a visual form that's wonderful to take in - there's great flair and a lot of polish to the effects and optics. The story is better than previous Thor films as well, with a lot more at stake and nobody and nothing comes through it unscathed. Mind you, the serious tone of the story doesn't quite mix with the cartoonish and absurd comedy - but considering how good the film is in an overall sense, that's a small quibble. I don't know if the series can sustain this tone for long though.

7/10


Though The Avengers will always rule my heart because of my childhood and the fact that they pulled it off, Thor: Ragnarok will undoubtedly be the MCU film I watch the most often. I just think it's so fun. And, pro tip, it's even fun when you're high! Maybe more so.
Such a damn shame the follow-up, with all the same people, gets Phase Foured and is a useless piece of shit.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fimages.mubicdn.net%2Fimages%2Ffilm%2F32159%2Fcache-22731-1536900522%2Fimage-w1280.jpg%3Fsize%3D800x&f=1&nofb=1&ipt=7cec5c7a2ec9b21da9df5d6f80ac3f96536647ec4a66b8ba7cad64f585435702&ipo=images

H-8, 1958

Based on a real incident in which a car recklessly passed a truck on a highway at night, causing the truck to collide head on with a passenger bus, this film imagines the lives of the passengers and those in the truck in the hours before the fatal collision. This includes a doctor (Andro Lusicic) reeling from a scandal at his hospital that killed several children, a young woman (Djurdja Ivezic) yearning to find connection, and a reporter (Boris Buzancic) grappling with the ethics of how he's reported a story.

There are plenty of films that follow the format of the disaster film. H-8 sets itself apart by being almost exclusively about the events before the collision. While the film begins building suspense from the beginning---telling us which seats will hold those passengers who die, but forcing us to wait to see who will actually be sitting in them at the time of the crash--the rest of the film forces us to witness the small and large dramas that for some of the characters will be brutally cut off.

The film does cram quite a lot of high drama into the lives of its characters. I'll admit that there is some satisfaction from the way that the stories overlap, but at other times it stretches credulity a bit. What are the odds that a man would read a scandalous story about a man sitting in the seat behind him, only to find that the reporter who wrote the story is sitting just a few rows back from him?!

Much stronger and more moving are the characters experiencing smaller moments. The young woman makes a connection with a young man on the bus. Will she work up the courage to say something to him? A few seats back, a woman frets about her daughter's well-being. Over on the truck side of things, the driver and his son eat a meal together, and the son makes an adorable sales pitch as to why his father should not think about remarrying having been widowed. These struggles are not life-or-death, but somehow they do a better job of hammering home that these people should have had a chance to play out their lives.

As the film moves into its last act, the suspense really starts to ratchet up. Every time a character moves to the front of the bus or trades seats, we're on edge. In an ironic moment, the driver of the truck makes a man he's giving a lift get off of the truck for having suggested an immoral business scheme. When his son pleads that they should let the man back in the truck cab, the father relents.

The contempt for the driver who caused the accident really comes through in the last act. In reality, the driver was never caught, and all they knew about them was that the beginning of their license plate was H-8. The final shot is from the point of view of the car driver, looking out the windshield as they carry on down the highway after causing the wreck. On-screen text says that the film is dedicated to that driver. It has a similar effect of that last shot of Memories of Murder where the camera turns a similarly accusing eye on the perpetrator.

An interesting look at a tragedy that puts its focus squarely on the victims and the shame of lives interrupted.

4

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Pinocchio_%282022_animated_film%29.jpg/220px-Pinocchio_%282022_animated_film%29.jpg

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

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fscreenmusings.org%2Fmovie%2Fblu-ray%2FDaisies%2Fimages%2FDaisies-074.jpg&f=1&nofb=1&ipt=b9f328234561733d70d8067f2784c51f0dcf53a7e8e44431ec045d4808971b69&ipo=images

Daisies, 1966

Marie (Jitka Cerhová) and Marie (Ivana Karbanová) are two young women who decide that if the world around them is rotten, they might as well be rotten. They wander between their apartment and different other locations, doing whatever they want and leaving a trail of destruction and offended parties in their wake.

This movie is a great example of how you can critique the patriarchy and also, just, you know, have like a good time with your bestie eating cakes and doing wild arts and crafts.

I'm sure there are plenty of people here who have seen the bit from Community where Annie does a "sexy" Christmas song and dance to a confused and uncomfortable Jeff as Annie's voice goes increasingly babyish as the sexiness is supposed to derive from the singer being young and stupid.

Whenever they are in public, the Maries push the "silly girl" trope to its absolute limits, with one of the most commonly used images from the film being one of the Maries playfully sucking on her thumb. It's interesting to watch the various sequences as the people around them--and especially the men who desire them--are willing to let the behavior slide up to a certain point. As Marie messily eats cake in a restaurant, or as the girls blow bubbles in a nightclub, tolerance begins to tip into annoyance.

It's a fun way to make a point about the results of infantilizing women, and question the expectations of what exactly people in groups that are infantilized are supposed to do about it. Something a friend said about a man she'd observed talking in a group: "He kept saying he wanted to find someone who was into soccer. But then he wouldn't even respond to [other woman who knows a lot about soccer]. What he really meant was he wanted someone who knew just enough about soccer that he could explain things to her." If being naive and childlike is a virtue, at what point does that become absurd? And what does it say about people who idolize the idea of someone's attractiveness depending on them being in a lower position of power/intelligence than them?

But beyond the social critique, this is just a very playful and fun film. There are all sorts of overt silliness happening in the way that the movie is made, from the use of sound effects to color filters clicking on and off, to the frame literally cutting itself into pieces when the two Maries go after each other with scissors. The women take the idea of childlike femininity to extremes, and so the film itself takes the idea of editing and other technical aspects to extremes.

The overall effect is pretty delightful. You never quite know what to expect next, and the movie makes fun use of switching between a desaturated look and vivid colors. I really liked the repeated use of a metronome-like clicking, something that's mimicked later in the film by the girls as they take advantage of an unattended banquet.

Very enjoyable.

4

[GulfportDoc]

You Will Meet a Tall Dark Stranger (2010)

Assuming that I’d seen every film in Woody Allen’s output over the past 50+ years, from What’s Up, Tiger Lily? through Rifkin’s Festival, it was surprising and delightful to stumble upon his 2010 picture which I had not seen while surfing Netflix. In fact not having realized that it was an Allen movie I started watching it simply based upon the title and brief description. But as soon as the opening credits started rolling with the telltale white anachronistic font on a plain black background, while catchy ragtime/dixieland style music played, I knew it was a Woody Allen picture.

The main protagonist Sally’s (Naomi Watts) parents Alfie and Helena (Anthony Hopkins & Gemma Jones) have decided to divorce. Soon the father takes up with a much younger prostitute, and marries her, much to the chagrin of Sally. She herself is in a failing marriage with Roy (Josh Brolin), who is stalled on finishing a second novel. Helena starts seeing a medium/astrologist who advises her that she has had a past life, and tells her that she will fall in love again.

Meanwhile Roy has fallen for a lady who he has been watching across the way in another apartment, and Sally has fallen for her boss (Antonio Banderas) of the gallery in which she works. Unfortunately the boss has been smitten by Sally’s protege.

Roy’s novel is rejected, which eventually causes him to steal a brilliant unpublished novel by a friend of his who is thought to have been killed in a recent automobile accident. Helena has fallen for the proprietor of an occult bookshop.

This does not develop as confusingly as it sounds. Allen’s writing balances and shifts these characters and their outcomes around like pieces in a fine chess set, providing both humor and frustrating outcomes for all but Helena. The story line and dialogue are presented in Allen’s quintessential inimitable style.

The film is as much drama as it is comedy, and it’s played out by a fine ensemble cast. Set in London, it was Allen’s third picture set in that city. If you like delightful interpersonal romps this little film will fit the bill.

Doc’s rating: 7/10
90794

[Thief]

TERMINATOR SALVATION
(2009, McG)

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


"I have been dead a while and I'm getting used to it."



If there's a good thing I can say about Terminator Salvation is that, at least it tried something new, regardless of the end results. Set in the post-Judgment Day future, the film follows the endless battle between Skynet and the human Resistance led by John Connor (Christian Bale). Meanwhile, Marcus (Sam Worthington), a mysterious ex-prisoner tries to figure out his place in this battle.

I'm not familiar with McG's other works, but he does kickstarts the film with a somewhat impressive "continuous" shot that follows Connor as he gets on a helicopter to pursue the enemy, only to crash. It is perhaps the only jolt of life that the direction has to offer, as the film lacks any other notable setpiece or action sequence. On the contrary, some of the action feels like a checklist of things to include: here's Guns n' Roses *check* here's "Arnold" *check* here's how John got his scar *check*

Grade: 2.5


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2360334#post2360334)

[Takoma11]

https://d32qys9a6wm9no.cloudfront.net/images/movies/backdrop/e8/38cc5318c2fa327737caccfd7132c8b6_706x397.jpg?t=1641580439

A Chinese Ghost Story, 1987

Sincere, timid debt collector Ling Choi San (Leslie Cheung) arrives in a town with soaked belongings and nowhere to go. Spending the night by necessity in a haunted temple, he encounters the lovely Lip Siu Sin (Joey Wang), a ghost who is forced by an evil spirit to lure men to their deaths. With the help of Taoist swordsman Yin Chek Ha (Wu Ma), Ling fights to save her soul.

This film is a glorious mish-mash of about half a dozen genres: horror, comedy, romance, action, fantasy, and drama. With a tone that manages to be at once light and sincere, it blazes along at a glorious pace full of wicked trees, stolen kisses, rapping martial artists, and absurd courtroom antics.

Leslie Cheung is absolutely adorable in the lead role, bring a sweet naivete to the role of Ling. His character's genuine spirit makes for a great match for Wang's somber, suffering ghost. The romance that builds between them through the film is sweet, pure, and just a little bit flirty and sexy.

The film is full of elements that could have felt like tired tropes, but instead feel fresh and engaging because of the magnetism of the leads and the fun staging of it all. Consider a sequence in which Ling must hide in a large bath basin in order to hide from the evil spirit and her underlings. During this scene, Ling must strategically surface for air without being noticed by the villains. At one inopportune moment, he surfaces and catches a good look at an embarrassed, undressed Sin. But before you can roll your eyes too much at this contrivance, Sin sees that he's in danger of being spotted and, plunging forward she kisses him, pushing him back under the water. This move is followed by the camera and it's a great image and gives Sin back some agency and makes her a more equal part in the burgeoning attraction between the two.

In addition to the central romance, there's also a whole slew of extravagant action sequences. Killer trees and impossibly long tongues, yards and yards of fabric and flying spirits. Every action scene has its own flavor and purpose, and they all feel distinct from one another, especially the final battle that takes place in the underworld.

The only downside for me was that a handful of moments of comedy didn't quite work for me. There's a sequence where Yin is . . . sort of rapping while he trains that I found more cringe than funny. But this is a pretty minor complaint.

This movie is just plain fun.

4

[Neesonfan]

The Color Purple (1985): 4/10


I admit I had a bit spoiled years ago. Having said this, I found the story unfocused and meandering. Some good performances, but def not for me.

[PHOENIX74]

To be fair, I was very familiar with the characters and didn't love some of the portrayals of them and that nagged at me throughout even when the movie was fun.
But my own baggage aside, the things I never get over are the narrative inconsistencies and one-dimensional writing like, "Is Gamorra the 'most dangerous woman in the galaxy' or does she need to be rescued from a few regular dudes by Drax?" "Is Drax even more powerful than Gamorra (since he rescues her) or is he the guy who just gets his ass kicked later while she beats Nebula?" And Ronin, the villain, being the most one-dimensional "I seek more power, from the MacGuffins, FOR REASONS! MUAHAHA!"
Personal baggage versus the comics, like making Drax, whose most striking characteristic beyond he can and will kill virtually anyone is his humorlessness, the comic relief of the film, the indecision over just how tough Gamorra is (can she be effectively fought by Quill with his gadgets and such and need rescuing from just a few regular dudes or is she "the deadliest woman in the galaxy" which they do say... and if they mean it then what are they saying about women?), and the fact that Ronin is actually a rich, deep, and interesting character with inner conflicts in the comics and such a paper-thin POWER! MACGUFFIN! REVENGE OR SOMETHING!-villian, man it's just a slog for me every moment Rocket isn't on screen.

Sometimes it's so much easier coming into these films without having read any of the comics and without having specific ideas about the characters in them. I had no idea who any of these characters were, or were meant to be (aside from the Howard the Duck cameo.) I just took Guardians of the Galaxy as the light comic relief of the entire MCU, and because of that I gave it all kinds of leeway I wouldn't ordinarily have given it. I actually liked the Ronin character in spite of us not really getting into why he's doing what he's doing or his backstory - and I'm afraid to confess that he simply looked like a really cool, menacing villain with a lust for world-destroying power - and the hate to use it. Gamora however is the least interesting of the Guardians, aside from the feud she has with her sister (who is more interesting than Gamora herself.) I did think for a moment "She's meant to be a real galactic badass?" during the scenes where she needed to be rescued, but I dismissed that thought easily - like a small fault in someone you've really fallen for. Drax might be a lot different in the comics, but he's one hell of comedic element in these films - he probably gets the most laughs, so I embrace him being different in the films. I love him.

Though The Avengers will always rule my heart because of my childhood and the fact that they pulled it off, Thor: Ragnarok will undoubtedly be the MCU film I watch the most often. I just think it's so fun. And, pro tip, it's even fun when you're high! Maybe more so.
Such a damn shame the follow-up, with all the same people, gets Phase Foured and is a useless piece of shit.

I've been hearing about the massive drop-off in quality in the Marvel Cinematic Universe a lot lately - but it's probably hitting it's peak here with this imaginative Thor movie. It was a really brave departure and it works wonderfully. I fear phase four.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/d/d6/Black_Panther_%28film%29_poster.jpg
By http://www.impawards.com/2018/black_panther_ver3.html, Fair use, https://en.wikipedia.org/w/index.php?curid=54261761

Black Panther - (2018)

So here's another huge change of pace for these Marvel films which had really exaggerated comedic elements in Thor : Ragnarok, but much more serious ones in this, Black Panther. There's a lot at work here, and themes that touch on the use and abuse of power, race, loyalty and technology with the fictional African state of Wakanda being introduced - a nation that is more technologically and socially advanced than the rest of the world. What responsibilities, with regards to other nations and oppressed Africans come with such power? Most of the film adheres to the old comic book superhero formula, but these added elements were enough to propel Black Panther to a Best Picture Oscar nomination (it won 3 technical Oscars in the end.) Loved Michael B. Jordan in this, and yet again the person playing the bad guy has the most to work with. It's great seeing an MCU film that uses the tried and tested formula to produce different kinds of superhero films, and this was enjoyable enough while at the same time feeling somewhat familiar.

That makes it 8/8 for the Best Picture nominated films at the 2019 Oscars for me - not a great year really, with Green Book winning (a film which really should of come in at 8th place among the 8.) Other nominees were Roma, The Favourite, BlacKkKlansman, Vice, A Star is Born and Bohemian Rhapsody. Roma or The Favourite should have won, but I would have accepted BlacKkKlansman or Vice. Green Book may actually be the strangest choice in the Academy's history.

7/10

https://upload.wikimedia.org/wikipedia/en/5/56/Desperately_Seeking_Susan_movie_poster.jpg
By https://www.movieposterdb.com/desperately-seeking-susan-i89017/186cbb5b, Fair use, https://en.wikipedia.org/w/index.php?curid=3478918

Desperately Seeking Susan - (1985)

This is a real 1980s movie, and at the time Madonna was huge - without her this film would have escaped into the ether never to be heard of again, but just by appearing in it she made sure the film did okay. You have to face the fact that she seems to obstinately refuse to be an actress in this, instead projecting a kind of stylish star quality with an extra dose of sex. The movie just manages to be okay - it's screenplay isn't exactly the kind of thing that you'd want to put in a time capsule to preserve. Just the opposite - burn it. It's a kind of lost-memory comedy/thriller when it's not being cute or funny, with Rosanna Arquette getting bonked on the head and accidentally making off with stolen Egyptian ear-rings and all of Madonna's stuff - closely followed by villains and good guys alike. It's passable fluff.

6/10

[MovieBuffering]

Top Gun:Maverick - 2022

Finally watched it the other night. To be frank the first Top Gun isn't really my cup of tea. Maybe if I was born in 77 instead of 87 and I grew up with the movie it would hold more importance to me. It's a fine movie but feel like you have to be a certain age to cherish it and I was just before my time. However everyone gave it glowing reviews, plus figure I'd support Miles. Grew up in the same small county in Florida same age, we have some mutual buddies. He actually had his high school picture in his baseball uniform in the movie that was funny. Miracle coming from our county he is a movie star ha.

I gotta say I sort of enjoyed it more than the original. It took everything that was fun from the first one and slid it in this flick. Had the right amount of nostalgia and it's own authenticity to it, sort of how Creed pulled it off to Rocky. Tricky formula to pull off. Major props for that.

However I think people dug it so much because it was an actual attempt at a cinematic film experience instead of some CGI digital money grab. I felt like I was watching cinema instead of an iphone movie. Plus it never ever felt preachy at all. Just wanted to entertain. I thought it was shrewd they made the enemy faceless/nameless. Would have just been social media backlash if they made it China/Russia or whoever. Again the goal was to just entertain. Refreshing. Listen the story itself was shallow, but it didn't need to be some deep thought provoking movie. They acted like the fans of the first movie mattered and I think it paid off. Maybe the rest of Hollywood should pay attention.

Anyways will I run to watch it again soon? Nah. But I'd stop if it was on tv or if someone else wanted to watch it I'd throw it on. It was fun. Porbably a solid 3 but I'll give it an extra half just for actually attempting to make a cinematic experience.
3.5

https://upload.wikimedia.org/wikipedia/en/1/13/Top_Gun_Maverick_Poster.jpg

[StuSmallz]

Avengers: Age of Ultron, 2015


My feelings on the Marvel films are pretty well established at this point. I like some things about them, while overall finding the whole "universe" thing overwhelming and the runtimes chronically about 30-45 minutes too long. Despite having some mixed feelings about certain elements of it, I actually enjoyed this one overall.


I'm not sure what the general consensus is on this one, but it definitely had a lot of the elements that I most enjoy in a film of this type and scope. Generally speaking the action scenes were to the point and easy to follow. The opening and closing battles were too long for my taste, but all of the action in between was fine. I particularly liked how many sequences were staged in smaller spaces, like the showdown at Stark's house. It kept the action from feeling too sprawling.


I also liked the character arcs at play. While I thought he could have been better developed, I liked the idea of Ultron and his twisted views on how to bring about peace. While I also thought that the twins were a tad underdeveloped, they brought an interesting dynamic to the film as their relationship with Ultron evolved through the story. I also liked the way that we see some of the fractures in the Avengers in terms of their philosophies on what it means to do their work. Using Wanda's powers to illuminate their fears was a nice way to give each character a small personal crisis to deal with.


At this point, all of the actors are very comfortable in their roles, and they are all fine. I enjoyed the addition of Wanda and Pietro, as well as the character of Vision (Paul Bettany). The supporting cast is also their usual reliable selves, like Cobie Smulders and Linda Cardellini.


But like so many of the Marvel films, this one goes on and on. I didn't feel the length as badly as in some of the other films, but still was very aware of it. I knew that the final showdown would feel bloated. Again, not as bad as some of the others, but I really start to glaze over once things have been being smashed for like 10 minutes. I will say, however, that I thought this final battle had some of the best actual stakes in terms of real consequences and character dynamics.


I also had mixed feelings about the writing. Every time the movie would get me on its side, it would do something. Oh, this banter between the group is kind of fun! Oop! Tony Stark just made a joke about being able to legally rape women. Awesome. Hey, this fight scene is kind of fun. Oop! The Hulk just face-planted into Black Widow's cleavage. Hilarious. (Sidenote: this film was so cleavage obsessed. Just looking right down shirts the whole time.)


While my feelings on the film are generally positive, I can't score it much higher than most of the other Marvel films I've seen, despite it feeling like a notch above them. I would say, though, that this is one of the only ones I could actually imagine rewatching.Yeah, I can agree with most of this; I actually prefer it to the original Avengers, since, while it was still fundamentally disposable on the whole, it still had more style/personality than the original, which felt like a pretty generic Superhero movie to me, even with the novelty of seeing all these heroes together for the first time onscreen. And that's a fair point about the "man falling on top of a woman" gag (which Whedon reused in his version of Josstice League with Wonder Woman & The Flash), which felt kind of hypocritical on the movie's part, taking advantage of Scarlett's sexiness by having her wear these sexy necklines, only to essentially mock her just for having breasts later (and of course, despite my positive feelings towards it on the whole, Utron still doesn't have the substance to compensate for that objectification as much as something like this does: )

https://m.youtube.com/watch?v=Tj5zvVwAmQI

[LChimp]

https://i.pinimg.com/564x/3b/eb/cc/3bebcc9950513d4ed548e588bdc4b982.jpg

[Torgo]

Bloody Nose, Empty Pockets - 4

Not quite fictional and not quite a documentary, this movie chronicles the final day of operation of fictional Las Vegas dive Roaring '20s. From frame one, it follows Michael, a former actor, the most devoted customer and the one with possibly the most depressing story as he spends all day there, his interactions with the other regulars ranging from funny to sad to contentious. As morning becomes early morning on the following day, the movie plays out per an observation a co-worker and I made during my retail days when I worked evenings: "the later it gets, the stranger the customers and we get." Oh, and things gets a lot sadder, too.

I discovered that this movie is fictional after finishing it. To elaborate, the bartenders and barflies are all performers - with Michael appropriately being the only professional one - and what's more, the bar is not in Las Vegas, but in suburban New Orleans. My initial reaction was one of betrayal, but as I thought about what I saw even more, it turned into appreciation for how convincing it is. Michael even hints at this in one of his rants about his days as an actor about the importance of capturing the truth in his performances. He's not the only one who does it - I especially liked the work of the two veterans and the single mom bartender - but I also have to call out the MVP, which happens to be an inanimate object: the TV. I should have known that the proceedings are not real based on how well-timed the programming on it is in relation to the customers' topic of conversation, with much of it involving luxuries that are only available to the very few such as game shows and tips for going on a cruise. As such, from the stories ranging from broken dreams to the lack of appreciation for veterans to resentment towards baby boomers, it's a very American story. Thankfully, it's one that manages to find the humor in topics like these, my favorite being the scene where the drunkest customer's employer calls the bar to tell him to go to work since they know that's where he probably is.

Despite the movie's unique presentation, not all of the situations in it are unique. The stories involving a ruffian who is always trying to pick fights and a few of Michael's monologues about his regrets and feeling like a failure seem a bit clichéd, for instance. It remains a movie worthy of praise for again, convincing me that what I was watching actually happened, and for managing to tell stories that are relevant to these times even though they’re ones that have sadly been told several times in my country's history and likely will be told again. In sum, as the font in the end credits indicates, it comes across like an attempt at making a more realistic episode of Cheers, and it’s one at which directors Ross and Ross IV very much succeeded.

[Wooley]

https://i.imgur.com/FIVodXv.jpg?5

Ok, so my favorite new watch of the year (Rockers) was from 1970s Jamaica until it got bumped by... this movie from 1970s Jamaica.
I am actually left a little bit confused, I've grown up from a teenager to a 50 year-old, thinking of this movie as some low-budget cult-film, just a curio for stoners and Reggae fans.
I actually think this movie should be on the Sight & Sound 100.
This is the story of Ivan (Jimmy Cliff), a young man who comes to Kingston from the country when his grandmother dies. Perhaps innocent when he arrives, the harshness of life in the Jamaican slums turns him first to work for the local preacher and then to the only real employment there is, to try to make a record.

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

And he has a great song (you still hear it on the radio today), but when he's cast out by the Preacher and exploited by the producer, he turns to a life of crime that just gets worse and worse as Ivan's ambition turns him into a dangerous outlaw and a self-made urban legend.

https://i.imgur.com/MtqjI16.png

Like Rockers, The Harder They Come is made for a small budget, about $200k, and features the grittiness of life in the slums of 1970s Jamaica. Like Rockers, it has fantastic music. And like Rockers, it is a fantastic movie. Unlike Rockers, which has almost a kind of sweetness to the way the community pulls together to help one of their own and fight The Man in the face of extreme poverty, THTC shows the dark side Kingston's slums, drug-dealing and violence and murder, while spinning an outlaw tale for the ages.
I saw a few very good movies in 2022 but, admitting the possibility of recency bias, I have to say I think The Harder They Come was my favorite first-watch of the year and possibly my favorite film I saw this year.

5

[Wooley]

On that topic, these are Wooley's Favorite First-Time Watches Of 2022 (in no order):

The Harder They Come
Memoria
Rockers
Portrait Of A Lady On Fire
Nope
Malatesta's Carnival Of Blood
Alphaville

[Gideon58]

https://s3.amazonaws.com/nightjarprod/content/uploads/sites/122/2022/10/06092855/the-menu.jpeg


4

[Thief]

I always say it's a good sign when I agonize over which still image to include in a review.

This is low-key one of my favorite ways to determine how beautiful I found a film.

I just had the similar yet opposite experience when looking for a still image for my review of Terminator Salvation. I mean, what image *defines* that film? :shrug: :laugh:

[Yoda]

I just had the similar yet opposite experience when looking for a still image for my review of Terminator Salvation. I mean, what image *defines* that film? :shrug: :laugh:
I was asking myself this literally just the other day, for an essay I'm almost done with, and I think I can say it's really just beige and chrome over and over for like two hours.

[Stirchley]

90808

Re-watch of a very entertaining movie. Interesting to me that the two leads are both British, but very convincing as Americans. Excellent movie.

90809

Not bad once I got into it. Looks kinda cheap & grungy though.

[Gideon58]

90808

Re-watch of a very entertaining movie. Interesting to me that the two leads are both British, but very convincing as Americans. Excellent movie.

90809

Not bad once I got into it. Looks kinda cheap & grungy though.

I loved Queenie and Slim too.

[Gideon58]

Desperately Seeking Susan - (1985)

This is a real 1980s movie, and at the time Madonna was huge - without her this film would have escaped into the ether never to be heard of again, but just by appearing in it she made sure the film did okay. You have to face the fact that she seems to obstinately refuse to be an actress in this, instead projecting a kind of stylish star quality with an extra dose of sex. The movie just manages to be okay - it's screenplay isn't exactly the kind of thing that you'd want to put in a time capsule to preserve. Just the opposite - burn it. It's a kind of lost-memory comedy/thriller when it's not being cute or funny, with Rosanna Arquette getting bonked on the head and accidentally making off with stolen Egyptian ear-rings and all of Madonna's stuff - closely followed by villains and good guys alike. It's passable fluff.

6/10[/QUOTE]

Sorry you didn't like this movie. I think the story is very clever and I think Roseanna Arquette was brilliant.

[Stirchley]

Desperately Seeking Susan - (1985)

This is a real 1980s movie, and at the time Madonna was huge - without her this film would have escaped into the ether never to be heard of again, but just by appearing in it she made sure the film did okay. You have to face the fact that she seems to obstinately refuse to be an actress in this, instead projecting a kind of stylish star quality with an extra dose of sex. The movie just manages to be okay - it's screenplay isn't exactly the kind of thing that you'd want to put in a time capsule to preserve. Just the opposite - burn it. It's a kind of lost-memory comedy/thriller when it's not being cute or funny, with Rosanna Arquette getting bonked on the head and accidentally making off with stolen Egyptian ear-rings and all of Madonna's stuff - closely followed by villains and good guys alike. It's passable fluff.

6/10

Sorry you didn't like this movie. I think the story is very clever and I think Roseanna Arquette was brilliant.[/QUOTE]

Favorite scene is when Madonna dried her “pits” under a hand dryer in the toilet. So funny.

[Fabulous]

Houseboat (1958)

3

https://www.themoviedb.org/t/p/original/3kAr74zkQZchwKhDTypZY7nWZt7.jpg

[Takoma11]

Utron still doesn't have the substance to compensate for that objectification as much as something like this does: )

https://m.youtube.com/watch?v=Tj5zvVwAmQI

LOL. I will not rise to this!

it's really just beige and chrome over and over for like two hours.

What a review!

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.genevievevalentine.com%2Fwp-content%2Fuploads%2F2012%2F10%2Fsolomon3.jpg&f=1&nofb=1&ipt=fee88ea5bd7c9099e28a203c8b29dc58ec709bc16655fdb372cd34391f492914&ipo=images

Solomon Kane, 2009

Solomon Kane (James Purefoy) is a ruthless, violent man whose world is rocked when an agent of Satan comes to claim his soul. Fearing eternal damnation, Kane gives up violence and retires to a monastery. But while escorting a family through the land he realizes that demons and witches are plaguing the land, Kane must decide whether he's willing to take up his sword again.

There's nothing wrong with an action film being a little thin when it comes to character development, or overall narrative, or world building. But when it comes to this particular movie, it's just not very good at anything.

It's not terrible, per se. There are some nice things that can be said about it. I liked the way that camera angles and costumes were used to suggest the change in Kane's lifestyle. In layered clothing and an imposing long coat, Kane makes for a threatening and dashing figure. But when shot from a high angle and in a simple tunic and pants, he seems hardly threatening at all.

The performances are not bad either, but the actors are given pitifully little to work with. Purefoy has some charisma. Rachel Hurd-Wood trembles and screams in her role as the abducted daughter of the family Kane is escorting. Pete Postlethwaite as the head of the traveling family and Max von Sydow in the role of Kane's father lend the film much more gravitas than it deserves.

But the character growth is virtually non-existent. Kane's entire plot arc can be summed up as "I love violence", "Wait! God doesn't like violence! No more violence!" "Wait! Bad people are doing bad things? What if I do violence, but violence against bad people!". That's . . . it. That's the movie. And that's the biggest plot arc. Everyone else just dies or gets taken captive and there's almost no agency for any of the supporting characters.

It could maybe be forgiven if the action and sorcery element of the film were stronger, but it all feels incredibly haphazard. All of a sudden there are demons and witches roaming around. And zombies. And people being possessed by other possessed people. And mirror monsters? There is no rhyme or reason to any of it, and it sort of clunks along until Kane gets a chance to fight a monster that can only be called "the final boss". The action leans way too often on semi-decent CGI and there are precious few thrills to be had. Everything is dark and bordering on murky.

Again, this isn't a bad film. But it's just barely competent at the kind of film it's trying to be.

3

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fstatic.guim.co.uk%2Fsys-images%2FGuardian%2FPix%2Fpictures%2F2015%2F7%2F3%2F1435922279955%2Fef3f7fc7-8c9e-413b-bf56-1c61a16af939-2060x1236.jpeg&f=1&nofb=1&ipt=6d093631a55b847213db50ed76ffa6e3748c5f7200b60b5270d1ba1841133e2b&ipo=images

Hawk the Slayer, 1980

The valiant Hawk (John Terry) ventures through the land assembling a team to help him fight his evil brother, Voltan (Jack Palance). As part of his evil machinations, Voltan has kidnapped an abbess (Annette Crosbie), and is demanding a large ransom. With his crew of warriors, Hawk works to save the abbess and defeat his brother.

I don't know why it was 2/3 of the way into this film before I realized it was Lord of the Rings smashed together with Robin Hood, but none of the good things about either of those stories.

This movie looked so much like the film Wizards of the Lost Kingdom that there were several times that I sincerely found myself listening for a sarcastic take-down of the on-screen action. It's very 80s fantasy action, but in that sort of underwhelming way.

And everything about this film is just that: sort of underwhelming. Hawk, the hero of the story, simply isn't a very interesting character. And Voltan, his nemesis, is a flatline as well. There's no great chemistry in their animosity, and their confrontations feel very tepid. (It really doesn't help that Palance is 31 years older than Terry, something that's not necessarily impossible in medieval times, but makes the fact of them being brothers feel like a real stretch.) Almost every other character in the film is nondescript to the point that I struggle to remember their names. There was . . . the giant, and the dwarf, and the elf, and the . . . guy with the sideburns? Ray Charleson's turn as Crow the elf is so unaffected as to seem almost on a different level from the rest of the film. Only Patricia Quinn, as a sorceress who assists Hawk's crew (and is wise enough to cover her face, LOL) makes much of an impression, and that's mainly visual.

I think that this piece of trivia tells you everything you need to know about the movie: "The grand finale fight between Voltan and Hawk lasts about 45 seconds and was filmed completely in slow motion."

I couldn't quite hate this film, despite its many (many, many, many) faults. I think that if I were 8, I might have a soft spot for it. But my main feeling after watching it is that it feels more like a gesture than an actual film.

3

[beelzebubble]

https://i.imgur.com/FIVodXv.jpg?5
.
We wore the record for this out when I was a kid.

[Wooley]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.genevievevalentine.com%2Fwp-content%2Fuploads%2F2012%2F10%2Fsolomon3.jpg&f=1&nofb=1&ipt=fee88ea5bd7c9099e28a203c8b29dc58ec709bc16655fdb372cd34391f492914&ipo=images

Solomon Kane, 2009

Solomon Kane (James Purefoy) is a ruthless, violent man whose world is rocked when an agent of Satan comes to claim his soul. Fearing eternal damnation, Kane gives up violence and retires to a monastery. But while escorting a family through the land he realizes that demons and witches are plaguing the land, Kane must decide whether he's willing to take up his sword again.

There's nothing wrong with an action film being a little thin when it comes to character development, or overall narrative, or world building. But when it comes to this particular movie, it's just not very good at anything.

It's not terrible, per se. There are some nice things that can be said about it. I liked the way that camera angles and costumes were used to suggest the change in Kane's lifestyle. In layered clothing and an imposing long coat, Kane makes for a threatening and dashing figure. But when shot from a high angle and in a simple tunic and pants, he seems hardly threatening at all.

The performances are not bad either, but the actors are given pitifully little to work with. Purefoy has some charisma. Rachel Hurd-Wood trembles and screams in her role as the abducted daughter of the family Kane is escorting. Pete Postlethwaite as the head of the traveling family and Max von Sydow in the role of Kane's father lend the film much more gravitas than it deserves.

But the character growth is virtually non-existent. Kane's entire plot arc can be summed up as "I love violence", "Wait! God doesn't like violence! No more violence!" "Wait! Bad people are doing bad things? What if I do violence, but violence against bad people!". That's . . . it. That's the movie. And that's the biggest plot arc. Everyone else just dies or gets taken captive and there's almost no agency for any of the supporting characters.

It could maybe be forgiven if the action and sorcery element of the film were stronger, but it all feels incredibly haphazard. All of a sudden there are demons and witches roaming around. And zombies. And people being possessed by other possessed people. And mirror monsters? There is no rhyme or reason to any of it, and it sort of clunks along until Kane gets a chance to fight a monster that can only be called "the final boss". The action leans way too often on semi-decent CGI and there are precious few thrills to be had. Everything is dark and bordering on murky.

Again, this isn't a bad film. But it's just barely competent at the kind of film it's trying to be.

3

Yeah, as a fan of the source material I had high hopes, though admittedly low expectations for this. For a while I felt like the film hung in there pretty well... until it totally didn't.

[Thief]

WALKABOUT
(1971, Roeg)

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


"I don't know why you are telling him all this. He can't understand. He doesn't know what a ladder is. I expect we're the first white people he's seen."



This Walkabout starts when the "girl" and the "white boy" are forced to flee from their father who tries to kill them in the middle of the Outback, and then ends up shooting himself. As the kids aimlessly wander the wilderness, they come upon the "black boy" who starts teaching them how to survive. The three start an interesting relationship that begins as a simple means to survive but evolves into something more as the film progresses and they all adapt to their new situation in different ways.

Communication plays a key role in their relationship, which you can see in the above quote. The "black boy" only speaks in his native language, while the "girl" unsuccessfully tries to communicate through English. The "white boy" on the other hand is quickly taken by the "black boy", and they learn to communicate through gestures and signals. The contrasting ways that both the "girl" and the "white boy" react, adapt, and interact with the "black boy" is a common thread through the film as one seems to embrace the customs of the Aborigine more easily, while the other seems more reluctant to abandon her "city ways".

Grade: 4


Full review on my Movie Loot (https://www.movieforums.com/community/showthread.php?anchor=1&p=2360666#post2360666)

[Wooley]

We wore the record for this out when I was a kid.

Oh yeah, I've probably listened to the album a couple/few hundred times without exaggeration. Everyone in my crew pretty much knows it by heart.
But the movie is one of those I put off forever because the moment wasn't right or I thought it would be disappointing or whatever and then, poof, I was 50 years old and still hadn't seen it (life be like that). So I fixed the problem and I'm glad I did.

[Thief]

CLOVEN
(2018, Fakhro)

https://i.imgur.com/wyrC1i1.png


"What are you doing out here this late? There's no one around you. It's a scary area, and that stop isn't even in use anymore. You should be more careful."



Cloven is a Bahraini horror short film that follows an old man (Mubarak Khamis) that picks up a mysterious lady (Reem Erhama) at a secluded bus stop in the middle of the night. It is based in a local folktale about a creature called "Um Homar" that hunts unsuspecting children and people.

Stumbled upon this by mere chance and it was quite a pleasant surprise. With a 6 minute runtime and a fairly simple premise and setting, there's not much to say about it. But director and co-writer Mohammed Fakhro makes the most out of that to present a weirdly effective and chilling short that had me smiling with glee in the end.

Grade: 3.5

[Takoma11]

Yeah, as a fan of the source material I had high hopes, though admittedly low expectations for this. For a while I felt like the film hung in there pretty well... until it totally didn't.

I was just never sure what the point was.

And the stuff about Kane deciding whether or not to use violence was portrayed in a way that didn't make him seem conflicted so much as kind of dumb and waffling until AFTER three good people (including a child) were killed

[Wooley]

I was just never sure what the point was.

And the stuff about Kane deciding whether or not to use violence was portrayed in a way that didn't make him seem conflicted so much as kind of dumb and waffling until AFTER three good people (including a child) were killed

He has no such conflict in the stories. He's there because he's the guy who can kill the werewolf or conjure-man or whatever it may be.
It's another case of wondering why script-writers (if they still exist), I assume at the whim of producers, insist on over-telling stories and amping up source material to feel like a bigger version of every other story. A number of kane stories probably could make entire movies as they are.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Flh3.googleusercontent.com%2Fproxy%2FmEcJi4qInLI1gUAZNXjvExl4jh6WbhueNaX-GqPi-QaUxNudE1uTIkpp08m_a8jIeuBVopjRIEZJPW3Pb7yJTcgStsC6m8JLPbIDJDNLdFlxWZlfDw%3Dw720-h405&f=1&nofb=1&ipt=6e3a37f19605545adb2a1ea06e185a770cca5f39b4ea2b81f0c101a34c738c3b&ipo=images

Like Water for Chocolate, 1992

Tita (Lumi Cavazos) is the third daughter of the imposing matriarch Elena (Regina Torné), and as such is given no choice of a life outside of caring for her mother. When Tita falls in love with the handsome Pedro (Marco Leonardi), her mother denies Pedro's request for Tita's hand. Pedro decides that he will marry Tita's sister, Rosaura (Yareli Arizmendi), so that he can be close to Tita. In the ensuing emotional turmoil that follows, Tita discovers that her feelings are conveyed through her cooking, often having an effect on those around her.

I had vague memories of being shown part of this movie in high school, and have sort of wanted to revisit it ever since. For the most part it did not disappoint as a mix of fantasy and romance.

The central conceit of the film is the power of the food that Tita prepares, and how it impacts those around her in large and small ways. When Pedro brings Tita a bouquet of flowers, Tita uses them in a dish that ignites sexual passion in everyone who eats it. Her sister Gertrudis (Claudette Maillé) becomes so overheated that her body heat sets the showerhouse alight and summons a nearby revolutionary fighter. When Pedro and Rosaura wed, the wedding cake Tita prepares creates a deep longing in everyone so powerful that it proves fatal to one of the guests.

Arizmendi is an engaging lead, a woman who suffers various indignities in the name of being close to the man she loves. She chafes under the oppression of her mother's household rules, but cannot fully find it in herself to break free. In trying to play by the rules, she ends up in a situation more painful than if she'd simply tried to find happiness elsewhere, or run away with Pedro from the get-go.

Mario Iván Martínez turns in a very engaging performance as Dr. John Brown, a kind and progressive doctor who tends to the various members of Tita's family and slowly builds a romance with Tita that's constantly under threat from her lingering attraction to Pedro. Brown is, on paper, a perfect gentleman, and he's a great foil for Pedro. Torne's Elena is a fascinating villain: from the beginning we know that she has probably had at least one of her children as the result of an extramarital affair. Normally you would have sympathy for someone who had endured what Elena's been through, but she's taken the circumstances of her own life and used them to justify the extreme cruelty and control that she inflicts on her children, especially Tita.

Pedro is the most challenging character in the film. He is incredibly self-centered, and not all that well developed, honestly. There were quite a few times, and especially as the film went on, that I found myself thinking "This guy? Still? Really?". But in some ways, I think that's kind of the point. What exists between Tita and Pedro is the immediate, instinctive, undefinable part of love. Even toward the end of the film when Tita can see Pedro's flaws--his selfishness, his jealousy, his neediness--she can't help but be drawn to him. While this is incredibly frustrating at times, it does heighten the tragedy that so much suffering could have been avoided if Tita and Pedro had been allowed to be together in the first place.

The film does have a few not-great points. While Rosaura is definitely not a nice person, the way that the film treats her is incredibly demeaning. It makes a joke of the fact that Pedro doesn't want to have sex with her. Later the film makes the point that her children don't thrive under her care. It feels overly hateful at times, pulling out all the things that are used against women (not a good mom, can't breastfeed, gets fat, etc). And for a film that lingers in an epic way on Tita's pain, it is surprisingly easy to minimize the experience of a native woman, Chencha (Pilar Aranda) who is sexually assaulted. Given the time that the film takes to resolve the emotions of other characters, it's weird that this traumatic event is essentially dropped immediately after it happens.

I liked this one and its magical realism. I didn't love the central romance, but the overall structure of the film was very engaging.

4

[Takoma11]

He has no such conflict in the stories. He's there because he's the guy who can kill the werewolf or conjure-man or whatever it may be.
It's another case of wondering why script-writers (if they still exist), I assume at the whim of producers, insist on over-telling stories and amping up source material to feel like a bigger version of every other story. A number of kane stories probably could make entire movies as they are.

I guess it sort of makes sense that they were trying to do an origin story thing. It would have probably fared a lot better if it was just him doing his killing-evil thing.

[StuSmallz]

LOL. I will not rise to this!Hey, I'm just saying!

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/6/6e/The_Banshees_of_Inisherin.jpg
By http://www.impawards.com/2022/posters/banshees_of_inisherin_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=71458552

The Banshees of Inisherin - (2022)

I loved this - perhaps Martin McDonagh's best film, with Colin Farrell and Brendan Gleeson playing very similar characters to what they did in the film In Bruges. Set on a quaint Irish Island where the Irish Civil War rages just out of sight, with the occasional cloud of dust and echo of gunfire reminding the residents that it's still on, Colm Doherty (Gleeson) comes to the sudden realisation that as time flies by his existence will amount to nothing unless he invests more in composing music. This makes idle chit-chat with his simple-minded friend Pádraic (Farrell) unbearable - but renouncing this friendship will not be easy, and will in fact get particularly nasty. My description doesn't do the film justice, with Ireland picturesque as always, the score quite memorable and the story and screenplay very intelligent and thought-provoking. There's something unusual about one man completely severing ties with a friend (and his fingers) due to an existential and philosophical crisis - but that is what we have here, and it reflects on civil strife of all kinds - unfair as it is on the idea of friendship itself, no matter the cost. Colin Farrell gives an Oscar-nomination-worthy performance amongst many fine actors here.

9/10

https://upload.wikimedia.org/wikipedia/en/4/4d/Avengers_Infinity_War_poster.jpg
By http://www.impawards.com/2018/avengers_infinity_war_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=53151892

Avengers : Infinity War - (2018)

This quiet, low-key affair from Marvel snuck by unnoticed by most. Just kidding. Avengers : Infinity War is one of the most explosive star-laden blockbusters I've ever seen, with the various characters that now populate Marvel's universe bringing in a-listers by the dozen to help bring the 'Infinity Saga' to a near-close. I have to say, I was pretty awed by what we're given here, and I found that Josh Brolin's Thanos lived up to all the hype which had been building with his occasional appearance here and there in previous films. There's a lot packed in, but I have to admit getting a thrill whenever unexpected guests (like those from the Guardians of the Galaxy series) dropped in. It's not the fate of Earth anymore, it's the fate of the universe with this building to a climax and cliffhanger that draws together most of the previous 20 or so MCU blockbusters, and leaves you tearing your hair out for having to wait for Avengers : Endgame. This was one of the good ones.

7.5/10

https://upload.wikimedia.org/wikipedia/en/2/2c/Ant-Man_and_the_Wasp_poster.jpg
By http://www.impawards.com/2018/antman_and_the_wasp_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=56449896

Ant Man and the Wasp - (2018)

I have to confess to the fact that Ant Man is not my favourite Marvel hero, and that if this wasn't the next film in phase three of the MCU I wouldn't have bothered with Ant Man and the Wasp, but I flew through it because I want to get to Avengers : Endgame as quickly as I can. It's fine - maybe even a little better than the first Ant Man movie, with action and comedy that works most of the time. I can't really fault the film, but it suffers a little in comparison to the other huge films I've seen in the preceding 24 hours.

6/10

[LChimp]

https://m.media-amazon.com/images/M/MV5BNWNiNGQyMzUtN2VmMi00NDI2LWI3NGUtMTEwZGQxYzFjZTNjXkEyXkFqcGdeQXVyMTEyNDk3MjY3._V1_.jpg

[Gideon58]

https://fffmovieposters.com/wp-content/uploads/49789.jpg



2.5

[Neesonfan]

Empire of the Sun (1987): 8/10


A good war movie from a curious perspective.


Hook (1991): 8/10


I rate them the same but this one has MUCH more replay value for me (my 3rd viewing of it). A flawed gem, but (for me anyway) one of Spielberg's most entertaining films. Also, I have a big love for Hoffman's performance here.

[Darth Pazuzu]

I saw a couple movies recently...

I regularly take advantage of the interlibrary loan system and borrow movies for free. And my most recent viewings were of two movies from 1987 dealing with life among society's down and out.

https://upload.wikimedia.org/wikipedia/en/thumb/4/4d/Barfly_1987_film_poster.jpg/220px-Barfly_1987_film_poster.jpg

BARFLY (1987) 7/10
starring Mickey Rourke, Faye Dunaway, Alice Krige, J.C. Quinn, Frank Stallone
directed by Barbet Schroeder
written by Charles Bukowski

https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Ironweed_%28movie_poster%29.jpg/220px-Ironweed_%28movie_poster%29.jpg

IRONWEED (1987) 7/10
starring Jack Nicholson, Meryl Streep, Carroll Baker, Michael O'Keefe, Tom Waits
directed by Héctor Babenco
screenplay by William Kennedy, based on his novel

Overall, I thought both movies were very strong. But there were certain things about one movie that I liked more than the other. For example, I thought that Meryl Streep was very powerful and very moving in the role of Helen Archer in Ironweed. However, her performance definitely had the feel of a movie star doing a "turn." I was reminded of something rather catty that critic Pauline Kael once said about Streep, saying that she had made a career out of seeming to overcome being miscast. (I don't remember the quote word for word, and I'm probably paraphrasing.) Granted, that's rather harsh, and while she's not necessarily one of my favorite actresses, I think she's generally better than that. Her performance of the musical number He's Me Pal is also quite a stunner (albeit a momentary digression into fantasy). But for my money, Faye Dunaway was definitely right on the money with her performance as Wanda Wilcox. Between Dunaway and Streep, I think Dunaway takes the prize. If you remember Dunaway from her performances in '60s and '70s movies like Bonnie and Clyde (1967), Chinatown (1974), Network (1976), Eyes of Laura Mars (1978), or her gloriously uninhibited trainwreck of a Joan Crawford in Mommie Dearest (1981), you'll remember her very much as a powerful actress with a radiant glamour which definitely recalls old-school Hollywood. (Although that likeness probably has as much to do with the retro film noir ambience of Chinatown and the conflation of her own screen image with that of Crawford's post-Mommie Dearest as much as anything else.) But in Barfly there is definitely something disturbingly de-glamorized about her, something very much stripped down to barely functioning wires. Her elegently wasted Wanda Sykes is almost barely recognizable as the classic Dunaway of old, brilliantly spare and yet somehow spiritually aristocratic. In Barfly and Ironweed, both Dunaway and Streep deliver extremely moving portraits of alcoholic, ravaged women, but Dunaway's somehow feels much more authentic and is less "showy" (for lack of a better word) than Streep's.

On the other hand, I felt a great deal more emotionally moved by Ironweed than I did by Barfly. Somehow, in the Schroeder/Bukowski film, you get this feeling that the wasted and self-destructive behavior of Mickey Rourke's Henry Chinaski is something of an indulgence. Granted, you're not really given much insight into Chinaski's past, but you almost feel like there's a willful refusal of "normal" society's standards of what's generally considered to be sober, sensible, or productive. Sure, that's perhaps the whole point of the movie, a kind of sympathy with a "rebel stance" against the mainstream. But while I do empathize strongly with rebellious behavior myself, in Barfly's case I wasn't necessarily convinced that it was anything positive. However, the movie definitely has its charms. The acting is wonderful, the chosen filming locations are effective, and Bukowski's writing does have a certain wit. (There's also, I feel, something brilliantly and sneakily subversive about the casting of Frank Stallone as the belligerently macho bartender Eddie, who Rourke's Henry regularly gets into these admittedly rather pointless fistfights with. I rather like the idea of the brother of Rocky Balboa and John Rambo being cast as the face of traditional, all-American "ladies' man" machismo. Chinaski's rebellion against such an ideal is actually the one rebellious aspect of his character that I can identify with and relate to.)

With the Depression-era tale of Ironweed, on the other hand, you have characters with extremely tragic backstories, who carry a great deal of sadness and guilt with them. Jack Nicholson's Francis Phelan, for example, is wracked with guilt over accidentally dropping and killing his infant son, and he regularly sees the ghosts of dead people from his past. In a way, the characters from Ironweed seem to be much more tragically human than those in Barfly. In Ironweed, you feel like these people have legitimate - or at least understandable - reasons for clinging to the bottle, and their alcoholism seems more strongly rooted in personal tragedy and adverse social circumstance. Whereas in Barfly the drinking feels like so much faux-bohemian self-indulgence and a refusal of society's standards. Honestly, Chinaski seems to frequently resemble nothing so much as a fascination strain of bacteria under a microscope, while Nicholson's Francis Phelan feels more like a flawed, vulnerable human being with whom one sympathizes much more strongly. Henry Chinaski may make the a truthful statement when he says that "Nobody suffers like the poor", but Francis Phelan more strongly embodies the truth of that statement.

Ultimately, however, what prevents Ironweed from being completely superior to Barfly is its rather overly weighty, depressive and gloomy feel. There's very little of the energy and humor of Barfly. Ironweed is ultimately superior in its sense of humanity and vulnerability, but Barfly somehow manages to be just a tad more fun to watch!

"To all my friends!" :)

[beelzebubble]

I saw a couple movies recently...

I regularly take advantage of the interlibrary loan system and borrow movies for free. And my most recent viewings were of two movies from 1987 dealing with life among society's down and out.

https://upload.wikimedia.org/wikipedia/en/thumb/4/4d/Barfly_1987_film_poster.jpg/220px-Barfly_1987_film_poster.jpg

BARFLY (1987) 7/10
starring Mickey Rourke, Faye Dunaway, Alice Krige, J.C. Quinn, Frank Stallone
directed by Barbet Schroeder
written by Charles Bukowski

https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Ironweed_%28movie_poster%29.jpg/220px-Ironweed_%28movie_poster%29.jpg

IRONWEED (1987) 7/10
starring Jack Nicholson, Meryl Streep, Carroll Baker, Michael O'Keefe, Tom Waits
directed by Héctor Babenco
screenplay by William Kennedy, based on his novel


"To all my friends!" :)
Both excellent old movies. I, too, love when Streep sings He's my Pal. It is my favorite part of the movie. You are right about the self-indulgence of Mickey Rourke's character. But that goes hand in hand with all of Bukowski. At least, what I know of him. I have to say that at the time I saw this, which was in 1987, I found Rourke's teeth distractingly grungy. I could not look away and it took me out of the movie itself. :laugh:


BORDER (2018) Swedish

4/10
When I started this movie, I knew the main character, an outsider named Tina, had the ability to smell emotions. So I knew this had to be a mystery movie wherein which she trackes down nefarious do-gooders. But not long into the movie, she meets a man, who's does not smell like the rest of humanity. They both look rather similar and he gives her a come hither look. I think , oh no not a romance within which the outsider finds love that had been withheld. I am not a big fan of movies that are only romance. But as it progresses things get odder and the mystery plot goes back into effect and later the romance comes back as well. They work in tandem in a rather predictable way. The important thing is not the plot of the romance or the mystery but the exploration of Tina's character and what she learns about her past, herself and possibly her future. which is not predictable. At least not to me. I was quite riveted by this story and the characters, but I don't want to give anything away so that is all I can tell you. Is it bizarre? Yes, yes it is. Right now this is available on HBO/MAX in the USA.

[Fabulous]

Knights of the Round Table (1953)

2

https://www.themoviedb.org/t/p/original/j6dymNs1Q7SRhZ9OrUPDEOWPx8k.jpg

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.unsungfilms.com%2Fwp-content%2Fuploads%2F2014%2F09%2FSomething-Wicked-3.png&f=1&nofb=1&ipt=a5a45bbcd79a58b81a060660e145c5776e7483de5e7f9dd4218abf8d0dcee98d&ipo=images

Something Wicked This Way Comes, 1983

Will (Vidal Peterson) and Jim (Shawn Carson) live in a small town where Will's father, Charles (Jason Robards) is the librarian. One day a strange carnival rolls into town, headed by the mysterious Mr. Dark (Jonathan Pryce). Soon the carnival begins working a strange magic on the town, granting its citizens their dreams of youth and beauty and attraction, but at a terrible cost.

There's a whole slew of films that I watch these days and think about how much I would have enjoyed them--and been thrilled by them--if I'd seen them as a kid. This one certainly falls into that category. While I overall enjoyed it, I think that its peak audience is probably kids about the age of the two young protagonists.

The film is chock full of what I would consider modest thrills. The premise of the story is one as old as time: people getting wishes granted, but with a twist. The children's teacher, Ms. Foley (Mary Grace Canfield) is given back her youth . . . only to go blind moments later.

The characters are all engaging enough. The relationship between Will and Jim is interesting. They are good friends, but there is just enough history and friction between them that Mr. Dark is able to drive a wedge into the relationship. Similarly, the gentle affection between Will and his father is very sweet. Pryce is good as Mr. Dark, and his looks very much suit the film, as he at once seems to look young and old.

It would have been nice if there had been a bit more variation in the temptations of the circus. Basically all the middle-aged or older people in the town want to be young and hot. I'm not saying that's inaccurate as to what would be on a lot of minds given a magic wish, but it does add a bit of repetition to what happens. I would have liked to see some different flavor of temptation.

Some of the film's visuals are pretty good--mainly when they stick with more practical effects. This is especially true of a scene where the boys have to hide under a street grate while an angry Mr. Dark raves above them, eventually dripping blood down on them from a clenched fist.

Certainly this is a great example of the kind of "beginning horror" that's great for kids who aren't ready for the heavier stuff yet.

3.5

[Wooley]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.unsungfilms.com%2Fwp-content%2Fuploads%2F2014%2F09%2FSomething-Wicked-3.png&f=1&nofb=1&ipt=a5a45bbcd79a58b81a060660e145c5776e7483de5e7f9dd4218abf8d0dcee98d&ipo=images

Something Wicked This Way Comes, 1983

Will (Vidal Peterson) and Jim (Shawn Carson) live in a small town where Will's father, Charles (Jason Robards) is the librarian. One day a strange carnival rolls into town, headed by the mysterious Mr. Dark (Jonathan Pryce). Soon the carnival begins working a strange magic on the town, granting its citizens their dreams of youth and beauty and attraction, but at a terrible cost.

There's a whole slew of films that I watch these days and think about how much I would have enjoyed them--and been thrilled by them--if I'd seen them as a kid. This one certainly falls into that category. While I overall enjoyed it, I think that its peak audience is probably kids about the age of the two young protagonists.

The film is chock full of what I would consider modest thrills. The premise of the story is one as old as time: people getting wishes granted, but with a twist. The children's teacher, Ms. Foley (Mary Grace Canfield) is given back her youth . . . only to go blind moments later.

The characters are all engaging enough. The relationship between Will and Jim is interesting. They are good friends, but there is just enough history and friction between them that Mr. Dark is able to drive a wedge into the relationship. Similarly, the gentle affection between Will and his father is very sweet. Pryce is good as Mr. Dark, and his looks very much suit the film, as he at once seems to look young and old.

It would have been nice if there had been a bit more variation in the temptations of the circus. Basically all the middle-aged or older people in the town want to be young and hot. I'm not saying that's inaccurate as to what would be on a lot of minds given a magic wish, but it does add a bit of repetition to what happens. I would have liked to see some different flavor of temptation.

Some of the film's visuals are pretty good--mainly when they stick with more practical effects. This is especially true of a scene where the boys have to hide under a street grate while an angry Mr. Dark raves above them, eventually dripping blood down on them from a clenched fist.

Certainly this is a great example of the kind of "beginning horror" that's great for kids who aren't ready for the heavier stuff yet.

3.5

I loved this movie when I was young (and I'm still quite fond of both Robards' excellent performance and Jonathan Pryce's Mr. Dark) but feel like it's a bit weaker than I remembered whenever I watch it as an adult. I would say I have more feeling for this film than I do actual appreciation of it.
Still, the library scene between Mr. Halloway (Robards) and Mr. Dark (Pryce) is still something I savor every time. Offering him all the years as he rips out the pages and throws them at him... "You're lost!!!"
"Give him a brief taste of Death... so that he may recognize it when it comes again."
Man, I loved that scene.
Anyway, the thing about everyone wanting youth had a lot to do with the theme of the book which is entirely about youth and how magical it is and how that magic goes missing as we age and very much about fathers and sons. The boys want to be older, the father (and so many others) wishes he were younger. Part of the reason Dark is able to tempt Will (though not as much as he is Jim, lacking a father) is because Will's father is so much older having fathered him later in life and he sees his father as an old man. I can't remember if that translated into the movie, but the reason the Carnival's main attraction restores turns back the years, specifically is because of the themes of youth and age. You may have caught all of that but I remember not all of that translated so well to the film and I can't remember how much of it came through.
If you haven't read the book, it's absolutely wonderful. Like virtually everything Bradbury ever wrote.

Post-script: Interesting reading now that Bradbury wanted Peter O'Toole or Christopher Lee for Mr. Dark. I think both would have been great but may almost have been too much for the scale of this film. Ultimately, I was pretty happy with Pryce.
And here's the problem right here: "As the film progressed, two differing visions emerged for the film, with Bradbury and Clayton wishing to stay as faithful to the novel as possible, while Disney wanted to make a more accessible and family friendly film. Bradbury and Clayton fell out during production after Bradbury discovered that Clayton had hired writer John Mortimer to do an uncredited revision of Bradbury's screenplay at the studio's insistence."

[Takoma11]

Anyway, the thing about everyone wanting youth had a lot to do with the theme of the book which is entirely about youth and how magical it is and how that magic goes missing as we age and very much about fathers and sons. The boys want to be older, the father (and so many others) wishes he were younger. Part of the reason Dark is able to tempt Will (though not as much as he is Jim, lacking a father) is because Will's father is so much older having fathered him later in life and he sees his father as an old man.

The theme of age--and the way that the boys covet age and authority--is definitely present, but it never feels fleshed out in a satisfactory way. At times it has the feeling of a Twilight Zone episode stretched to feature length. Not always in a bad way, but at times there are things that feel redundant.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/4/4e/Captain_Marvel_%28film%29_poster.jpg
By http://www.impawards.com/2019/captain_marvel_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=56660636

Captain Marvel - (2019)

I have virtually zero comic book experience, and as such had no idea who this new member of the Marvel franchise would be. Another origin tale at this stage had me tearing my hair out at first, but this film slowly won me over with a thunderclap of a finish. We're thrown in at the deep end with Captain Marvel because we pick up on a story that seems to have started some time ago, but there's a reason for this that you'll get once you've seen the whole film. I'm sure those familiar with the character will have figured out where this was heading much faster than I did - and once again I'm being vague on purpose for anyone who hasn't seen it yet. Nice to see Ben Mendelsohn get a Marvel gig, and Brie Larson gets by with plenty of charisma. A de-aged Samuel L. Jackson (we're getting a portion of the next Indiana Jones film with a de-aged Harrison Ford) had me questioning where all of this ability to bring the past back to life will head in cinematic terms. Like I said, I was pretty much hating this at first, but by the end it had completely won me over. Oh, and Goose - you're a star! But are you real or completely CGI?

Bring on Avengers : Endgame!

7/10

[Fabulous]

Those Magnificent Men in Their Flying Machines; Or, How I Flew from London to Paris in 25 Hours 11 Minutes (1965)

3

https://www.themoviedb.org/t/p/original/A0qYXYNgBbNRVUWezHcqUaTvsfX.jpg

[iluv2viddyfilms]

Apocalypse Now - A+
Blythe Spirit (1945, David Lean) - B
Waltz With Bashir - A
Licorice Pizza - A+

[WrinkledMind]

Argentina 1985
I watched it yesterday. It's technically well made, and the acting and casting in on point. But the whole things feels documentary like.
Some descriptions of the crimes committed by the military junta are hard to watch.
I see it won the best foreign film today at GG, & it might at the Oscars too.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/5/56/Desperately_Seeking_Susan_movie_poster.jpg

Sorry you didn't like this movie. I think the story is very clever and I think Roseanna Arquette was brilliant.

I thought it used Madonna particularly well, and in a far better capacity than other films did. It has a great soundtrack, and the film itself is stylish and hip in a very 80s way which makes me nostalgic. I probably sounded a little too negative in my dismissal of it, I didn't mind watching it and it's not something I hate.

[SWOH]

https://m.media-amazon.com/images/M/MV5BNWNiNGQyMzUtN2VmMi00NDI2LWI3NGUtMTEwZGQxYzFjZTNjXkEyXkFqcGdeQXVyMTEyNDk3MjY3._V1_.jpg

Worst movie of the 2020s so far?

[ScarletLion]

'Capote' (2005)
Dir.: Bennett Miller

https://upload.wikimedia.org/wikipedia/en/d/da/Capote_Poster.jpg

I know very little about Truman Capote, (was even unaware he wrote 'Breakfast at Tiffany's') and thought this film would fill in a lot of blanks. Phillip Seymour-Hoffman's performance is obviously brilliant, but in terms of the quality of the film it doesn't really grab the viewer.

It felt alot longer than the 2 hour running time. The content is mostly based around Capote's life and events leading up to writing the book 'In Cold Blood', in which he befriends a convicted serial killer who's early life is somewhat similar to his own.

But that's about it really. Not much else happens. We see glimpses of Capote's life in high society New York, his relationships, his fondness for alcohol and holidaying on the Spanish coast. But this film is neither a biopic, nor is it a 'slice of life' film that shows a few days or weeks in the life of someone, as films such as 'Blonde', 'Spencer' or 'Jackie' do so well. This sits somewhere in between. The film version of 'In Cold Blood' looks a more gritty, thrilling affair which may appeal more to my tastes.

It's not a poor film by any stretch, but it didn't really hammer home any particular themes or drama. Perhaps as Capote is more celebrated in the US as a legendary literary figure, the film would mean a little more if you grew up there.

3

[LChimp]

Worst movie of the 2020s so far?
I could think of far worse movies than this. But yeah, it's not great.

[Wooley]

The theme of age--and the way that the boys covet age and authority--is definitely present, but it never feels fleshed out in a satisfactory way. At times it has the feeling of a Twilight Zone episode stretched to feature length. Not always in a bad way, but at times there are things that feel redundant.

Book is much better.

[Wooley]

https://upload.wikimedia.org/wikipedia/en/4/4e/Captain_Marvel_%28film%29_poster.jpg
By http://www.impawards.com/2019/captain_marvel_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=56660636

Captain Marvel - (2019)

I have virtually zero comic book experience, and as such had no idea who this new member of the Marvel franchise would be. Another origin tale at this stage had me tearing my hair out at first, but this film slowly won me over with a thunderclap of a finish. We're thrown in at the deep end with Captain Marvel because we pick up on a story that seems to have started some time ago, but there's a reason for this that you'll get once you've seen the whole film. I'm sure those familiar with the character will have figured out where this was heading much faster than I did - and once again I'm being vague on purpose for anyone who hasn't seen it yet. Nice to see Ben Mendelsohn get a Marvel gig, and Brie Larson gets by with plenty of charisma. A de-aged Samuel L. Jackson (we're getting a portion of the next Indiana Jones film with a de-aged Harrison Ford) had me questioning where all of this ability to bring the past back to life will head in cinematic terms. Like I said, I was pretty much hating this at first, but by the end it had completely won me over. Oh, and Goose - you're a star! But are you real or completely CGI?

Bring on Avengers : Endgame!

7/10

Two things:
1. When she flies right through the big space-ship and blows the whole thing up.
One of my favorite frames ever from a Marvel comic, it was actually Nova who did it, but man I loved seeing it on the big screen and then she just flies up to Ronin and he's like, "Yeah, we out."
2. I hope you watched the post-credits scene(s).

[Gideon58]

I saw a couple movies recently...

I regularly take advantage of the interlibrary loan system and borrow movies for free. And my most recent viewings were of two movies from 1987 dealing with life among society's down and out.

https://upload.wikimedia.org/wikipedia/en/thumb/4/4d/Barfly_1987_film_poster.jpg/220px-Barfly_1987_film_poster.jpg

BARFLY (1987) 7/10
starring Mickey Rourke, Faye Dunaway, Alice Krige, J.C. Quinn, Frank Stallone
directed by Barbet Schroeder
written by Charles Bukowski

https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Ironweed_%28movie_poster%29.jpg/220px-Ironweed_%28movie_poster%29.jpg

IRONWEED (1987) 7/10
starring Jack Nicholson, Meryl Streep, Carroll Baker, Michael O'Keefe, Tom Waits
directed by Héctor Babenco
screenplay by William Kennedy, based on his novel

Overall, I thought both movies were very strong. But there were certain things about one movie that I liked more than the other. For example, I thought that Meryl Streep was very powerful and very moving in the role of Helen Archer in Ironweed. However, her performance definitely had the feel of a movie star doing a "turn." I was reminded of something rather catty that critic Pauline Kael once said about Streep, saying that she had made a career out of seeming to overcome being miscast. (I don't remember the quote word for word, and I'm probably paraphrasing.) Granted, that's rather harsh, and while she's not necessarily one of my favorite actresses, I think she's generally better than that. Her performance of the musical number He's Me Pal is also quite a stunner (albeit a momentary digression into fantasy). But for my money, Faye Dunaway was definitely right on the money with her performance as Wanda Wilcox. Between Dunaway and Streep, I think Dunaway takes the prize. If you remember Dunaway from her performances in '60s and '70s movies like Bonnie and Clyde (1967), Chinatown (1974), Network (1976), Eyes of Laura Mars (1978), or her gloriously uninhibited trainwreck of a Joan Crawford in Mommie Dearest (1981), you'll remember her very much as a powerful actress with a radiant glamour which definitely recalls old-school Hollywood. (Although that likeness probably has as much to do with the retro film noir ambience of Chinatown and the conflation of her own screen image with that of Crawford's post-Mommie Dearest as much as anything else.) But in Barfly there is definitely something disturbingly de-glamorized about her, something very much stripped down to barely functioning wires. Her elegently wasted Wanda Sykes is almost barely recognizable as the classic Dunaway of old, brilliantly spare and yet somehow spiritually aristocratic. In Barfly and Ironweed, both Dunaway and Streep deliver extremely moving portraits of alcoholic, ravaged women, but Dunaway's somehow feels much more authentic and is less "showy" (for lack of a better word) than Streep's.

On the other hand, I felt a great deal more emotionally moved by Ironweed than I did by Barfly. Somehow, in the Schroeder/Bukowski film, you get this feeling that the wasted and self-destructive behavior of Mickey Rourke's Henry Chinaski is something of an indulgence. Granted, you're not really given much insight into Chinaski's past, but you almost feel like there's a willful refusal of "normal" society's standards of what's generally considered to be sober, sensible, or productive. Sure, that's perhaps the whole point of the movie, a kind of sympathy with a "rebel stance" against the mainstream. But while I do empathize strongly with rebellious behavior myself, in Barfly's case I wasn't necessarily convinced that it was anything positive. However, the movie definitely has its charms. The acting is wonderful, the chosen filming locations are effective, and Bukowski's writing does have a certain wit. (There's also, I feel, something brilliantly and sneakily subversive about the casting of Frank Stallone as the belligerently macho bartender Eddie, who Rourke's Henry regularly gets into these admittedly rather pointless fistfights with. I rather like the idea of the brother of Rocky Balboa and John Rambo being cast as the face of traditional, all-American "ladies' man" machismo. Chinaski's rebellion against such an ideal is actually the one rebellious aspect of his character that I can identify with and relate to.)

With the Depression-era tale of Ironweed, on the other hand, you have characters with extremely tragic backstories, who carry a great deal of sadness and guilt with them. Jack Nicholson's Francis Phelan, for example, is wracked with guilt over accidentally dropping and killing his infant son, and he regularly sees the ghosts of dead people from his past. In a way, the characters from Ironweed seem to be much more tragically human than those in Barfly. In Ironweed, you feel like these people have legitimate - or at least understandable - reasons for clinging to the bottle, and their alcoholism seems more strongly rooted in personal tragedy and adverse social circumstance. Whereas in Barfly the drinking feels like so much faux-bohemian self-indulgence and a refusal of society's standards. Honestly, Chinaski seems to frequently resemble nothing so much as a fascination strain of bacteria under a microscope, while Nicholson's Francis Phelan feels more like a flawed, vulnerable human being with whom one sympathizes much more strongly. Henry Chinaski may make the a truthful statement when he says that "Nobody suffers like the poor", but Francis Phelan more strongly embodies the truth of that statement.

Ultimately, however, what prevents Ironweed from being completely superior to Barfly is its rather overly weighty, depressive and gloomy feel. There's very little of the energy and humor of Barfly. Ironweed is ultimately superior in its sense of humanity and vulnerability, but Barfly somehow manages to be just a tad more fun to watch!

"To all my friends!" :)

Loved both of these movies...Dunaway is brilliant in Barfly. Ironweed is not an easy watch, but well worth it. Streep is fantastic.

[Stirchley]

90760

Excellent movie. Really enjoyed it.[/QUOTE]

Did AgrippinaX say she liked this movie? I think she did.

[Nausicaä]

https://upload.wikimedia.org/wikipedia/en/thumb/8/81/Beast_2022_American_poster.jpg/220px-Beast_2022_American_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

[Stirchley]

90846

Very good movie. Very powerful. Amazingly, the excellent lead actor - Felix Kammerer - has never been on camera before.

90845

Excellent movie based on a true story. Both leads really good. No surprise there.

AgrippinaX, I think you’d like this movie.

[AgrippinaX]

90760

Excellent movie. Really enjoyed it.

Did AgrippinaX say she liked this movie? I think she did.

Yes, I really didn’t expect to, but I did like it, I felt it was original (which I realise I say often, but it’s genuinely always a pleasant surprise given how much stuff is out there).

[AgrippinaX]

90846

Very good movie. Very powerful. Amazingly, the excellent lead actor - Felix Kammerer - has never been on camera before.

90845

Excellent movie based on a true story. Both leads really good. No surprise there.

@Agrippina, I think you’d like this movie.

Ah, that’s a great nudge, thank you. I really need to watch that. Have it on my list.

[Takoma11]

'Capote' (2005)
Dir.: Bennett Miller

https://upload.wikimedia.org/wikipedia/en/d/da/Capote_Poster.jpg


It's not a poor film by any stretch, but it didn't really hammer home any particular themes or drama. Perhaps as Capote is more celebrated in the US as a legendary literary figure, the film would mean a little more if you grew up there.

3

Have you seen the other Capote film that was released around the same time? Infamous with Toby Jones? I liked it a bit more than Capote.

[matt72582]

Harry Chapin: When in Doubt, Do Something

It's on YouTube and Prime.... I didn't know a thing about Chapin, and know less than 5 songs, but I enjoyed this one a lot.




https://youtu.be/nT_sB5jOMhQ

[Gideon58]

https://m.media-amazon.com/images/M/MV5BMGU0YjQ0MjEtZWFjZi00NmIwLWI1NWEtOGUzY2QxMzZlMWNiXkEyXkFqcGdeQXVyMjE5MDQzMDY@._V1_FMjpg_UX1000_.j pg

3

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fmedia.senscritique.com%2Fmedia%2F000018322155%2F1200%2Fl_enfant.jpg&f=1&nofb=1&ipt=5263bbef23dbb6935a987c51ab33c18ae90eed43fdb5bb5d5b2cdd4775edbca7&ipo=images

L'Enfant, 2005

Sonia (Déborah François) is a young woman who has just given birth to a baby boy, Jimmy. She comes home from the hospital to find that her pickpocket, hustling boyfriend Bruno (Jérémie Renier) has subletted her apartment and isn't exactly thrilled at the prospect of fatherhood. When Sonia lets Bruno take Jimmy for a short walk, he uses the opportunity to sell the baby through a black market connection. By the time he realizes the gravity of what he's done, it may be too late.

A lot of people are more than happy to give their opinions about who should or should not be allowed to have and raise children. While I of course have my own views, I think we can all agree that stupid, selfish people belong right down toward the bottom of the queue.

It's challenging, in many ways, to root for this couple. Even Sonia, who is the more sympathetic of the two, is hard to take at times. I mean, she and Bruno get into a rock fight while she's holding Jimmy in her arms. Later, with Jimmy in the back seat of the car, they get into an adorable wrestling match in the front seat as the car hurtles down the highway. We don't know the details of their relationship before the baby, but the fact that Bruno is a guy who makes his living stealing from others was obviously known to her.

And Bruno is . . . man. Bruno is a piece of work. He mainly collaborates with a 14 year old boy to steal purses and rob the elderly. He has on speed dial the kind of person who can sell a baby. Every action we see from Bruno is selfish, often explicitly hurting both strangers and those closest to him. When Sonia reacts in disbelief to the fact that he sold their baby, he shrugs and tells her "We'll just have another one." Bruno is probably in his mid-20s, but he's just old enough that you can't write off any of his behavior due to youth.

But this film isn't just about watching terrible people being terrible. Slowly, just by a matter of centimeters, something begins to change in Bruno. It wouldn't be entirely accurate to say that he really tries to "make things right". It's a bit different than that. But somehow you can tell that he's realizing something about the life he's living and the effect he has on others.

I really enjoyed the way that the film evokes realism. There is no score--the only music comes from the environment. The things that happen to the characters all feel "in bounds". And maybe most importantly, the kind of character arcs and growth that we see seem genuine in all their frustrating stutter-stops. The film is working right around the limits of empathy. I honestly didn't think that even Sonia seemed equipped to parent a child. But there's something to be said for people who make an effort, and the movie gives us a glimpse into what that might look like for even a person as despicable as Bruno.

4.5

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2F4.bp.blogspot.com%2F--NmAH6L331E%2FXFr1QWq0gaI%2FAAAAAAAAAWg%2FPuEIEx83cbINfv4X5SXl3NfUjPui-d7OACLcBGAs%2Fs1600%2FKramer-Vs-Kramer-1979.jpg&f=1&nofb=1&ipt=263a971cbb7735108ea5ec0eefd9599b9764954e04611cccdc169ffd9969cafe&ipo=images

Kramer vs Kramer, 1979

Ted Kramer (Dustin Hoffman), who works in a high-profile advertising firm, is shocked when his wife Joanna (Meryl Streep) declares that she's leaving him. Saying that she believes that their son, Billy (Justin Henry) will be better off without her, she leaves him behind with Ted. Ted experiences a sharp learning curve of single fatherhood as he must juggle work and child-care. But over a year later, after Ted and Billy have found a routine, Joanna arrives back in New York, suing for custody of Billy.

This drama, centered on great performances from both Hoffman and Streep, gives a sympathetic look at the way that assumptions about gender roles within the family and in society can lead to unfairness and injustice.

What I liked most about this film is that it didn't take any shortcuts in terms of getting the audience's sympathies on the side of either parent. While it's true that we spend almost all of our time with Ted, the writing and Streep's performance keep Joanna from being anything close to a one-dimensional villain.

The film also doesn't sugarcoat what life is like for Ted and Billy once Joanna exits their lives. There's the very stereotypical "dad trying to parent" stuff at the beginning: Ted struggles with making breakfast without burning it, loses his temper when Billy tests boundaries, and tries to keep his work happy while dealing with all the little fires that come with having a kid. But even once they settle into a routine, things can be challenging. Ted's workplace isn't at all understanding about Ted's parenting responsibilities, and right as he prepares to go into his custody battle with Joanna, he is fired. I appreciated that the movie didn't go down that simple route of saying that, hey, if you just try you can totally balance a kid and a job! That's just not reality.

Once things get into the courtroom, Ted has to push back against the idea that women are more naturally suited to be parents. What's ironic about this injustice is the fact that this very assumption is what led to Joanna being so miserable. Ted never took her desire to go back to work seriously and just assumed that she'd carry on in just the role of "wife-mother" in perpetuity. Both Ted and Joanna experience unfairness and hurt because of this assumption. I loved the little startle that Ted gives when he hears Joanna's salary. Despite all he's learned, it's clear that some part of him still didn't quite believe that she could successfully go back to the work force.

I found Streep's performance to be very interesting. She's clearly someone who is having to work through some serious issues. She misses her son and wants to be with him, but there's obviously a lot still going on in her head. Despite having gone off on her own and worked on herself, she's still deferential in a way that seems almost pathological.

I also really loved the way that the film portrayed the friendship that develops between Ted and his neighbor, Margaret (Jane Alexander), who is also recently divorced from her husband. While he initially blames her for putting the idea into Joanna's head, the two eventually bond over their shared experiences and become allies. (Though, interestingly, we only really see her helping him with his child and not the other way around. Hmm.)

Despite the film's being famous for the courtroom showdown in the last act, those were my least favorite scenes. So much yelling! So much interrupting! I can't speak to the realism of these sequences, but they felt over the top in ways that were not enjoyable. I did appreciate the painful element of Ted and Joanna having to watch their lawyers go after the other. (Though only Joanna actually apologizes for the behavior of her lawyer. Again: hmmm.) I was also pretty mixed on some of what we see from Ted that the film seems to think is okay. Let's set aside the part where he kisses a woman--a stranger--without asking her first because he's jazzed about getting a new job. I did not care for the part where Joanna first talks about wanting custody of Billy and Ted yells at her and then throws and breaks a glass against the wall. Like, sorry. Are we just supposed to see this as a passionate outburst? Combined with what we know about Joanna's self-esteem issues, and considering that this takes place in public, this feels more adjacent to abuse. (Yes, the film makes sure to have Joanna testify that she was never physically abused. But for a third time: hmmm.).

For the performances alone, this one is worth a watch. The story's relatively even-handed portrayal of the characters also makes for good viewing.

4

[Takoma11]

Streep wrote that courtroom monologue?! Good for her!

She insisted that Joanna's reasons for leaving actually be spelled out? Good for her!

She filmed the whole movie while pregnant and in mourning? Dang, girl!

Hoffman hit her to get her "in character" and used Cazale's death to get reactions out of her? What the actual hell!

I stand by all of my "hmmmm"s from my review!

[crumbsroom]

You only just watched Kramer vs. Kramer?


That movie needs more props. It kind of gets forgotten as some kind of soapy, topical cinema in comparison with a lot of the other great American new wave. But it's one of them, as far as I'm concerned.


And who the **** is Robert Benton?

[PHOENIX74]

2. I hope you watched the post-credits scene(s).

I always make absolutely sure that I catch all the post-credits scenes in the MCU films - when they're not teasers or bridges to the other movies they're damned funny and entertaining. I appreciated the Endgame setup and Goose's rather unusual hairball-vomit.

[Wooley]

I always make absolutely sure that I catch all the post-credits scenes in the MCU films - when they're not teasers or bridges to the other movies they're damned funny and entertaining. I appreciated the Endgame setup and Goose's rather unusual hairball-vomit.

I really liked the Endgame setup scene. As short as it is, there's just something about it, the way they set it off and she shows and there she is and all she says is "Where's Fury?"
I just really liked that.

[crumbsroom]

'Capote' (2005)
Dir.: Bennett Miller

https://upload.wikimedia.org/wikipedia/en/d/da/Capote_Poster.jpg

I know very little about Truman Capote, (was even unaware he wrote 'Breakfast at Tiffany's') and thought this film would fill in a lot of blanks. Phillip Seymour-Hoffman's performance is obviously brilliant, but in terms of the quality of the film it doesn't really grab the viewer.

It felt alot longer than the 2 hour running time. The content is mostly based around Capote's life and events leading up to writing the book 'In Cold Blood', in which he befriends a convicted serial killer who's early life is somewhat similar to his own.

But that's about it really. Not much else happens. We see glimpses of Capote's life in high society New York, his relationships, his fondness for alcohol and holidaying on the Spanish coast. But this film is neither a biopic, nor is it a 'slice of life' film that shows a few days or weeks in the life of someone, as films such as 'Blonde', 'Spencer' or 'Jackie' do so well. This sits somewhere in between. The film version of 'In Cold Blood' looks a more gritty, thrilling affair which may appeal more to my tastes.

It's not a poor film by any stretch, but it didn't really hammer home any particular themes or drama. Perhaps as Capote is more celebrated in the US as a legendary literary figure, the film would mean a little more if you grew up there.

rating_3


I think the drama is to be found in Capote's relationship with Smith. The complex relationship he has with befriending a man who has committed a horrible act, and after many years of not knowing how to end his story, finds himself shamefully and secretly hoping for this friend being executed. Just so he can have 'his ending'



I'm not sure how much of this ended up on screen, but Capote also apparently was somewhat in love with Smith. And was tortured through the rest of his life about his relationship to his story and being witness to his death.



I also don't think Capote is necessarily a great film, but for these Hollywood type biopics, I think it is a significant step upwards. I think it is nearly great.


One should definitely both read the book this is based on (Capote was absolutely one of the last great American novelists, and the fact that he really didn't write much after this is a terrible shame) and the original film of it, which is a legit masterpiece.



Probably also the Toby Jones version too. But I haven't seen it.

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/0/0d/Avengers_Endgame_poster.jpg
By http://www.impawards.com/2019/avengers_endgame_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=59301815

Avengers : Endgame - (2019)

In what seems to be a repeating pattern with me and Marvel films during this specific period, I was not very impressed with the opening stages of End Game, but was soon won over with it's mix of comedy and all-out "kitchen sink", breathtaking and cataclysmic action. I tell you, when time travel was unveiled as our hero's plan to right the wrongs of Infinity War I was rolling my eyes - but the way it was handled, delivering most of the film's comedy in a light-hearted first half, I got onboard with it and just let "anything goes" happen. From there on things just got better and better as Thanos, Nebula and Gamora become involved in what should have been a simple plan. I thought the final battle was great - and it seemed to take much inspiration from those Lord of the Rings battles a couple of decades ago. I liked that they divided the film into a first half comedy and second half action spectacle. Also, what seemed a kind of dumb move on Doctor Strange's part in Infinity War is finally unveiled as a pretty smart move. Stark was crucial to the "one in fourteen million" chance. Well, I never thought I'd be enjoying these films this much really - what a cast - when the credits roll at the end you realise that this is probably the biggest collection of big name actors ever assembled. That's worthy of a good score.

I wasn't so sure about the direction the Hulk is going in (I've watched the trailers to the rather bizarre She-Hulk : Attorney At Law) but most everything else I'm pleased with. That said, I reckon that Phase Three of the MCU is going to end up being the best - by the sound of it, there are many cracks starting to appear in the Marvel empire.

8/10

I really liked the Endgame setup scene. As short as it is, there's just something about it, the way they set it off and she shows and there she is and all she says is "Where's Fury?"
I just really liked that.

The whole cliffhanger ending of Infinity War (it was kind of a shock really) and the gravity that gave Captain Marvel was handled really well. Thankfully, Endgame came hot on the heels of that film.

[Takoma11]

You only just watched Kramer vs. Kramer?

The number of classic/essential/canon/etc films I still have yet to see is perpetually surprising to other people. And also sort of to me. Just think: I watched Willy's Wonderland three times before watching Kramer vs Kramer!

That movie needs more props. It kind of gets forgotten as some kind of soapy, topical cinema in comparison with a lot of the other great American new wave. But it's one of them, as far as I'm concerned.

I think that it suffers from its reputation as a courtroom drama. I was immensely relieved that I didn't have to spend an hour or so watching all the yelling lawyer stuff. I mean, the performances alone are worth the price of admission.

Though I do have to say: the more I read about the making of it, the more it sounds like Streep's advocacy saved her character from being a shrill nutcase.

I think the drama is to be found in Capote's relationship with Smith. The complex relationship he has with befriending a man who has committed a horrible act, and after many years of not knowing how to end his story, finds himself shamefully and secretly hoping for this friend being executed. Just so he can have 'his ending'
.
.
.

Probably also the Toby Jones version too. But I haven't seen it.

Everything you describe here is much better realized in Infamous.

[Takoma11]

I'll write a review tomorrow, but somehow I thought The Visitor (2007) was a gentle comedy.

It is not!

[Deschain]

I wouldn’t have seen Kramer vs Kramer if my college Sociology class hadn’t shown it to us. I don’t remember what the lesson the class wanted me to take from it but it’s a damn fine film.

[Allaby]

Tar (2022) Cate Blanchett gives a powerhouse, career best performance in this excellent film. The screenplay is intelligent and well written, definitely one of the year's best. Todd Field does a great job directing the film. Currently, I would rank Tar as the 7th best film of 2022. 4.5

[Jackie Daytona]

I wasn't so sure about the direction the Hulk is going in (I've watched the trailers to the rather bizarre She-Hulk : Attorney At Law)


I don't think the MCU knows what they're doing with the Hulk character at all, to be frank. He's supposed to be a guy who struggles to keep himself under control, in the movies he winds up just being some chill smart super-strong guy. They took away all the drama that makes Hulk a fun character.



She-Hulk actually gets it right in a way, the show is largely about Jen trying to come to grips with her Jen persona and her She-Hulk persona.

[PHOENIX74]

I don't think the MCU knows what they're doing with the Hulk character at all, to be frank. He's supposed to be a guy who struggles to keep himself under control, in the movies he winds up just being some chill smart super-strong guy. They took away all the drama that makes Hulk a fun character.

Yeah, that's exactly what I was thinking about the Hulk's direction - it's not as if the character is one-note, since anyone writing a screenplay can include as much Banner vs as much Hulk as they want. To just bundle it all together into something as dreary as they have seems a big mistake. They've taken all of the fun out of it - everything that the Hulk has to offer is in his unpredictability, and the unique trade-off the character has between brain/brawn.

[Deschain]

Yeah, that's exactly what I was thinking about the Hulk's direction - it's not as if the character is one-note, since anyone writing a screenplay can include as much Banner vs as much Hulk as they want. To just bundle it all together into something as dreary as they have seems a big mistake. They've taken all of the fun out of it - everything that the Hulk has to offer is in his unpredictability, and the unique trade-off the character has between brain/brawn.

I think the problem with Hulk is he’s too ******* powerful so they have to keep finding reasons to nerf him. Same with Captain Marvel who is always conveniently “off world” when there’s a bug threat.

[ScarletLion]

Have you seen the other Capote film that was released around the same time? Infamous with Toby Jones? I liked it a bit more than Capote.

No, I've steered clear of it on the (probably unfounded) basis that Englishman Toby Jones, as good as he is, won't be playing an American as well as Phillip Seymour-Hoffman is.

[ScarletLion]

'Overlord' (1975)

Dir.: Stuart Cooper

https://s3.gifyu.com/images/overlord-long.gif

Terrific film that follows a young naive lad named Tom as he carries out drill training for the D-Day landings in preparation for the big day. The film mixes some astonishing newsreel and archive footage of World War II with the fictional story of the soldiers, and the impending sense of doom that clouds the narrative really gets under the viewer's skin.

John Alcott, Kubrick's cinematographer for Barry Lyndon and a few of his other films shot this, and there are very obvious lineages between some of the images here and 'Full Metal Jacket', although Alcott passed away a year that film was shot.

Very few films convey the horror of events leading up to D Day as well as this film does. Even modern films like Saving Private Ryan don't get across what it must have been like in the days and weeks leading up to that event.

This is an underseen gem.

4.5

[matt72582]

'Overlord' (1975)

Dir.: Stuart Cooper

https://s3.gifyu.com/images/overlord-long.gif

Terrific film that follows a young naive lad named Tom as he carries out drill training for the D-Day landings in preparation for the big day. The film mixes some astonishing newsreel and archive footage of World War II with the fictional story of the soldiers, and the impending sense of doom that clouds the narrative really gets under the viewer's skin.

John Alcott, Kubrick's cinematographer for Barry Lyndon and a few of his other films shot this, and there are very obvious lineages between some of the images here and 'Full Metal Jacket', although Alcott passed away a year that film was shot.

Very few films convey the horror of events leading up to D Day as well as this film does. Even modern films like Saving Private Ryan don't get across what it must have been like in the days and weeks leading up to that event.

This is an underseen gem.

rating_4_5


And it's on YouTube for free... I think I'll give it a shot. Thanks!


https://youtu.be/ELWBC7mTxLQ

[matt72582]

Overlord - 7/10
I was drawn into this movie instantly. Surprised it was made in 1975 by the looks of it; I would have guessed 1965! Good movie, and thank you ScarletLion .

I might watch this movie again, as a quick phone call might have caused me to zone out a bit, as I am expecting company in a while.


And it's FREE on YouTube.. Everyone can access this, and if we watched the non-classics more, we could have some more conversations.


https://youtu.be/ELWBC7mTxLQ

[ScarletLion]

Overlord - 7/10
I was drawn into this movie instantly. Surprised it was made in 1975 by the looks of it; I would have guessed 1965! Good movie, and thank you ScarletLion .

I might watch this movie again, as a quick phone call might have caused me to zone out a bit, as I am expecting company in a while.


And it's FREE on YouTube.. Everyone can access this, and if we watched the non-classics more, we could have some more conversations.


https://youtu.be/ELWBC7mTxLQ

It's really great isn't it. There's just something so tragic and impending about it all. There always is with war films, but this was directed with alot of tenderness.

[Wooley]

Though I do have to say: the more I read about the making of it, the more it sounds like Streep's advocacy saved her character from being a shrill nutcase.


I have also read this. A lot about how this film was going down I was not really psyched with. I think Hoffman's a really good actor at his best, but some of his method bullshit in those days is really self-indulgent and actually harmful to cast-mates.

[Wooley]

I don't think the MCU knows what they're doing with the Hulk character at all, to be frank. He's supposed to be a guy who struggles to keep himself under control, in the movies he winds up just being some chill smart super-strong guy. They took away all the drama that makes Hulk a fun character.



She-Hulk actually gets it right in a way, the show is largely about Jen trying to come to grips with her Jen persona and her She-Hulk persona.
Well, Professor Hulk was a significant part of the character in the comics and I think they really wanted to get to it. I'm not sure they had a great plan for what to do with it once they got there but I thought it was fun to see.

[matt72582]

It's really great isn't it. There's just something so tragic and impending about it all. There always is with war films, but this was directed with alot of tenderness.


For me, it was a unique movie that stands alone although I've never seen "One Of Our Aircraft Is Missing" (would guess it's more 'standard' being from 1942), and I don't think I've seen Peter Watkins' "Culloden" or "The War Game" but I liked this movie for things not related to war directly, but the story about people, our motivations, inter-relationships between men, and then woman, who was appeared like an angel. I think I'm going to watch it (or parts) again :)

[Fabulous]

Sphinx (1981)

2.5

https://www.themoviedb.org/t/p/original/rYzvq0CwDQo3dLyLySegcy73NC9.jpg

[Thursday Next]

Drive My Car (2021)

I feel like I would have got a lot more out of this film had I ever read or seen Uncle Vanya. Nonetheless, I liked it.

4

[EndlessDream]

I watched the first two Zatoichi movies: The Tale of Zatoichi and The Tale of Zatoichi Continues. They follow the eponymous 'Ichi, a blind man who was once a masseuse and is now a deadly samurai for hire.

The first movie offers a great introduction to the character. He's so used to people trying to take advantage of his blindness that he can easily turn their ignorance against them. He does this in the opening scene, where he acts clumsy in a gambler's den, only to end up cleaning everybody out. I enjoy this cockiness of his. He knows he can outduel anyone in a fight, so he is very blunt with people.

What both movies do well is have sympathetic villains. The original sees Zatoichi and his friend Miki Hirate on opposite sides of a gang war. Miki has terminal tuberculosis, but he's always wanted to go toe-to-toe with Zatoichi, who he greatly respects. The second film pits Zatoichi against his one-armed older brother Yoshiro. They clearly love each other, but were separated after being in love with the same woman.

I'm glad I liked these first two Zatoichi movies because there are 23 more on the Criterion Channel for me to check out.

[Captain Steel]

Edge of Darkness (1943)

https://m.media-amazon.com/images/M/MV5BZWJiNWE5ZDEtOGQxZS00YjAwLWI0MDgtNTRjODc1NTRlY2QwL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjUxODE0MDY@._V1 _.jpg

I really liked this film about a Norwegian fishing village rising up against Nazi invaders during WWII.

The pacing is good as the tensions of the brutalized, peaceful villagers build to a violent crescendo where they have no choice but to finally take up arms and fight back.

I was a bit surprised that they didn't hold back on the violence considering the era the film was made and that this was not a battlefield movie of army against army, but was about civilians (including women) fighting against Third Reich soldiers. The combat scenes seem somewhat "advanced" (a bit graphic) for a 1943 movie.

https://i0.wp.com/cinema-cities.com/wp-content/uploads/2020/07/222.-edge-of-darkness.png?resize=500,375&ssl=1

This film has much in common with the much more modern film: Defiance (2008) which features the story of Polish Jews forced from their homes, who retreat into the woodlands and are pursued by Nazi forces, but who end up taking the fight BACK to their enemy.

If you liked Defiance, then you'll like Edge of Darkness.

4.5

[Takoma11]

No, I've steered clear of it on the (probably unfounded) basis that Englishman Toby Jones, as good as he is, won't be playing an American as well as Phillip Seymour-Hoffman is.

I'll admit it's been long enough that I can't comment on the relative strength of the performances. But Infamous was, in my opinion, decidedly better.

I have also read this. A lot about how this film was going down I was not really psyched with. I think Hoffman's a really good actor at his best, but some of his method bullshit in those days is really self-indulgent and actually harmful to cast-mates.

Yeah, agreed. I think that there has long been this romanticizing of actors who are really intense and willing to do whatever it takes to get the right reactions out of others or whatever. I'm glad that seems to be going out of vogue.

Like, I just read Geena Davis's account of being humiliated and touched in an unwanted way by Bill Murray during the filming of Quick Change and I really hope that the next few generations of actors will have to deal with less and less of that kind of junk.

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.cinesnob.net%2Fwp-content%2Fuploads%2F2008%2Finterviews%2Frichardjenkinspic.jpg&f=1&nofb=1&ipt=8118408386244a35df3c068279d250457fe074740ef00cef461fbebd3b4fedac&ipo=images

The Visitor, 2007

Walter (Richard Jenkins) is a college professor who spends most of his time in Connecticut. Walter has been phoning his work in, ever since the death of his wife. When he has to go down to New York, his technical residence, to present a paper, he is stunned to find Tarek (Haaz Sleiman) and Zainab (Danai Gurira) living in his apartment. After sorting out the initial misunderstanding, Walter agrees to let the couple stay until they can find alternate arrangements. Despite himself, Walter finds himself bonding with and getting involved in their immigration woes.

This is a very moving rumination on the importance of human connection and the unfairness that tests and even breaks those connections.

I appreciated the way that the film laid out Walter's half-hearted existence. He takes piano lessons in an effort to feel connected to his late wife. Despite his efforts (and several different teachers!), he is unable to make much headway. He teaches the same college course over and over, merely using white out to change the year at the top of the syllabus.

The film gives a brief (and, honestly, expected) honeymoon period where Walter, Tarek, and Zainab begin to develop their tentative friendship. But very soon thereafter, Tarek finds himself in trouble with the immigration authorities, and Walter is plunged into the world of green cards and infuriating bureaucracy.

I give the film a lot of credit for extolling the value of kindness and friendship, while recognizing the real-world bounds of those things. When Tarek is detained, Zainab does not feel comfortable staying in the apartment with only Walter. Tarek is from Syria, and Zainab is from Senegal. If one or the other of them is deported, it's likely they will never see one another again. Part of Walter's awakening is being thrust into the daily uncertainty that many immigrants and asylum-seekers live with. One of his realizations is that what he sees as common decency holds exactly zero value to the people he interacts with in the different offices and detention centers. Besides, they are merely the face of policies and laws decided by people who don't sit at the front desk buzzing people through.

Later in the film, Walter meets Mouna (Hiam Abbass), Tarek's mother. As they form a friendship, his loss of his wife and the new friendships with the young immigrants seem to cohere.

A running theme through the film is that Tarek begins to teach Walter drumming. Tarek must help Walter to learn the 3/4 time that goes with the music he plays, as opposed to the 4/4 time he is used to. It's like Tarek is giving him a new heartbeat, and the sense of rhythm threads its way through the movie, right up to the last frame.

I was particularly taken, I must admit, by the very last sequence in which, (MAJOR SPOILERS) having effectively lost Tarek, Mouna, and Zainab, Walter sits in the subway and bangs out an impassioned, loud beat on the drum that Tarek left in his care. As he uses the drum to howl his anger and frustration and loss, the arrival of a subway train drowns out his music..

A film with a lot of heart.

4.5

[Takoma11]

https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fphotos1.blogger.com%2Fblogger%2F2088%2F2881%2F1600%2Fnottinghill_54.jpg&f=1&nofb=1&ipt=cede21e0556c4f45ff37f8273764e998f88302474bcc8824122aa0c3593daded&ipo=images

Notting Hill, 1999

William (Hugh Grant) lives a relatively mild life as the half-owner of a travel bookstore. But things are shaken up when he falls into a tentative romance with American movie star Anna (Julia Roberts) who is in town to promote her most recent film. Despite their growing affection for one another, Anna's fame constantly puts a strain on their relationship.

This is a fun romantic comedy confection that cruises along amiably on the charms of its lead actors and a deep slew of supporting characters.

I didn't get all of the fuss about Hugh Grant in the 90s, but now that I've gone back to watch some of his films from that era, I get it. I get it. He's adorable. Roberts also displays some really strong comedic timing. (When William, pretending to be a journalist from Horse & Hound asks why the film didn't feature more horses, she diplomatically answers, "Well we wanted to. But that would have been challenging as the film was set . . . in space.")

There are also plenty of fun supporting turns, including Dylan Moran (basically playing his character from Black Books?!) and Gina McKee and Tim McInnerny as William's good friends who have experienced some tragedies in the last two years.

When it comes to portraying Anna's movie star life, the film leans into the way that it can be easy to forget that famous people are, you know, people. This hits pretty hard twice in the film. The first is when Anna and William overhear a table of men talking about movie stars, and their remarks about Anna start out relatively innocuous and then take a turn for more hurtful comments about her alleged drug use and her sex life. Later in the film, some racy photos and a video of Anna surface, and she has to face the humiliation of them being made widely public. The film uses other characters to mitigate there being too much "woe is me" stuff, but still manages to get its point across.

For all the charm of the film, though, I found the will they/won't they nature of the story only medium interesting. While I liked both William and Anna overall, it didn't seem like their understanding of one another evolved all that much. After William has twice witnessed the emotional and mental strain that her public life has put on her, he basically tells her to just get over it. It doesn't seem like they reach a mutual place of respect outside of their initial affection. Really, neither character seems to change. Instead they bobble back and forth on whether or not to be together.

Generally speaking, this was a charming romantic comedy, even if at the end it does feel a bit empty.

3.5+

[PHOENIX74]

https://upload.wikimedia.org/wikipedia/en/e/e5/The_Last_Emperor_filmposter.jpg
By The poster art can or could be obtained from Columbia Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=4113247

The Last Emperor - (1987)

This intricate examination of the life of Puyi, the last Emperor of China, is very interesting and also very sad. He became Emperor at the age of 2, but was forced to abdicate only 4 years later and lived out his childhood days a virtual prisoner in China's Forbidden City - albeit a prisoner with absolute power over the eunuchs who looked after him and also lived in the city. Upon marrying, he left the city to become an aimless playboy until the Japanese invaded Manchuria and needed a puppet figurehead to rule there. The naïve Puyi thinks he'll actually be emperor again, but all this move gains him is imprisonment when Russians invade and he soon finds himself being "reeducated" by the Communist Chinese after their revolution. The film actually begins with him attempting suicide while a prisoner of Red China, and the film is something of a 'flashback' affair - wonderfully told, with location filming (this really adds to the authentic feel of everything) and a final scene that really gets to me every time. Wistful, at times absurd, often tragic, The Last Emperor really captures the essence of Puyi's life - spoiled and cruel as a child, artless and ingenuous as a young man, we nevertheless see this through his nostalgic eyes - pining for a time when he was loved by an entire nation.

9/10

https://upload.wikimedia.org/wikipedia/en/7/70/Alien_Resurrection_poster.jpg
Fair use, https://en.wikipedia.org/w/index.php?curid=897514

Alien Resurrection - (1997)

After starting with two of the best films ever committed to celluloid, followed by a flawed but well-directed third film, Alien Resurrection was always on a hiding to nothing, displeasing most fans and getting a critical mauling from some quarters. While I'm far from in love with this iteration of the franchise, I think there are quite a few wonderfully imaginative moments in it. The horror (which is sadly over-censored to get a decent rating) feels about right - the scene where Ripley (Sigourney Weaver) finds various deformed clones of herself would be at home in the best of Alien films, and the alien birth towards the end, with a human/alien hybrid creature that looks perfectly and wonderfully horrid, gets my thumbs up. Overall, the story doesn't really go anywhere new and the screenplay isn't great, but I still don't think Alien Resurrection is a total loss. It doesn't live up to it's predecessors, but I have a big soft spot for it.

6/10

https://upload.wikimedia.org/wikipedia/en/d/dc/Dinner_for_schmucks_ver2.jpg
By The cover art can or could be obtained from IMP Awards or Paramount Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=27888062

Dinner for Schmucks - (2010)

The good news or the bad news first? The bad news is that Dinner for Schmucks is a typical comedy for it's day which follows a well-worn template and absolutely wastes half a dozen great comedians in it's climax. They have all of these guys in one room, and can't do a thing with the riches they have - it's a criminal waste really. The good news is that we get medium to good to average comedy, with Steve Carell carrying most of the load and once again Jemaine Clement drops in like he's been doing so much for me lately. Still - this should be far funnier than it is. Watchable and okay, but lazy and uninspired. I didn't hate it though I'm grading it harshly.

5/10

[Fabulous]

A Star Is Born (1937)

2.5

https://www.themoviedb.org/t/p/original/jAnHmUtfwKXjqLg1POC7Lod9U1K.jpg