Movie Tab II

[donniedarko]

Might
Persona (Bergman, 1966) 3.5
Office Space (Judge, 1999) 3
WAR: Apocalypse Now (Coppola, 1979) 4

+rep for watching these.
2 of them are part of the elite 15 films I've given 5 stars and the other one is an extremely funny comedy

[linespalsy]

Love in the Time of Twilight (1995) Bizarre (by American standards) date movie with ghosts, gangsters, time travel, vomiting, murder, a Cantonese Opera version of Snow White and the Seven Dwarfs, and lots o' slapstick. 3
The Big Sky (1952) Uses wonderful dialog and naturalistic cinematography to tell the story of a French-American expedition up the Missouri river to trade with the Blackfoot. There's plenty of good and evil to go around in the impressive ensemble of rough-and-tumble characters, but the movie leaves room for you to form your own opinions. 3.5
Triad Election (Election 2) (2006) A couple years after the previous Triad election history seems about to repeat itself, but what nobody realizes is that the end of Hong Kong's independence from China might mark the end of Triad independence as well. 3
Parents (1989) Bob Balaban plays David Lynch and shows he can direct a creepily effective take-down of Norman Rockwell. 2.5+
Bronson (2008) 2.5+
Midnight Cop (1988) 2.5
Konsul (1989) Low-key satire in which a Polish ex-con keeps performing capers that have a tendency to blow up and inadvertently draw people from all social strata into scandal and embarrassment. 2.5
Lone Star (1996) Stuart Dryburgh's gorgeous cinematography is un-ostentatious but unmistakable in this fine-grained murder-mystery set on the Texas/Mexico border. It's also a blatant allegory for how history and personal/communal identity are created. 4
Spice World (1997) 2
Woman in Witness Protection (1997) Itami Juzo's final movie (before his mysterious suicide) is a political thriller that reminds me of the murder of Sakamoto Tsutsumi (http://en.wikipedia.org/wiki/Tsutsumi_Sakamoto) by the Aum Shinrikyo cult. Of course, there's a humorous bookend that basically tells you it's a heavily fictionalized composite, and it's much too fun and exciting to call a docudrama, even if it feels slightly over-long. 3.5
The Cat People (1942) 3
The Curse of the Cat People (1944) 3
Double feature. I liked both these movies equally and was impressed at how they manage to feel like they're in entirely different sub-genres while also offering a coherent continuity between the two.
Thief (1981) Due to the style and 1980s new wave soundtrack of Bronson I kept thinking of it while watching this, and going back and forth on which one I liked better. I enjoyed both, but I think the ending of this gave it an extra little push. 3-
Bride of the Monster (1955) 3
Duck, You Sucker (1971) 3+
You Can't Take It with You (1938) Even though I felt it was a little bit heavy on corn toward the end I laughed out loud many times at this (politically) audacious and romantic 1930s comedy. After the movie my (88-year-old) granddad treated us to Polly Wolly Doodle on his harmonica. 3+
Swing Time (1936) 2+
Hotel a la Swing (1937) (short) 2
Embrace of the Vampire (1995) I give this 1/2 an extra popcorn rating for Jennifer Tilly's small role. Otherwise, forget it. 1
The Raid: Redemption (2012) I didn't bother to count how many times I craned my neck to follow the blows in this low-plot/high-gore action-fest. I credit the fight and camera choreography. I'll wait until future viewings to see if I want to rate it higher. 3+

[JayDee]

Doing a weird thing I'm calling "14 days/14 movies", basically just a personal goal to see 14 movies I've never seen before each of a different genre in two weeks. Two days in:


Nice idea Skepsis. :up: Good way to expand your horizons and knowledge.

[Skepsis93]

Nice idea Skepsis. :up: Good way to expand your horizons and knowledge.

Thanks man. :)

Quick update:

I know "Foreign" isn't a genre, and am aware that Spirited Away is also a foreign language title, but since this is a personal exercise, it's an extremely loose definition. All that matters is this is a wide variety, I'm not forcing strict rules on my weird little experiment.

DAY 3 (ANIMATION): Spirited Away (Miyazaki, 2001) 4+
DAY 4 (FOREIGN LANGUAGE): City of God (Meirelles, 2002) 4.5
DAY 5 (SCI-FI): E.T.: The Extra-Terrestrial (Spielberg, 1982) 3-

I expect the E.T. rating requires some explanation. :p I saw it when I was small, and liked it then, but it had been a long time, and it was never a particularly "special" film to me (as, say, The Lion King was and still is), so there's no real nostalgia factor for me. I thought it lacked the charm and humour required to make me suspend my disbelief in order to get on board with the premise.

[mark f]

Yes, the E.T. rating still requires more explanantion, but I know there is none so just "fly" me. I deserve it. "Fly" basically means to exile to the outer realms of civilization, or actually, much worse. :)

[Upton]

I rewatched ET a couple of weeks ago for the first time in years and was surprised at how quickly it tore through my jaded resolve and now I think it's one of Spielberg's best. Particularly have a newfound appreciation for the whole getting away from the government set piece at the end - it's just really well done. Can Spielberg get all this Oscar-baiting, Lincoln/War Horse stuff out of his system once and for all? Tin Tin was weak, but I'm rooting for Robopocalypse to be a return to form



Thief (1981) Due to the style and 1980s new wave soundtrack of Bronson I kept thinking of it while watching this, and going back and forth on which one I liked better. I enjoyed both, but I think the ending of this gave it an extra little push. 3-

Have you seen Refn's Drive? It feels like a wholesale Thief remake half the time

[Iroquois]

The Cabin in the Woods (Drew Goddard, 2012) - 4

So, yeah, can't really say much about this without spoiling the premise (and while it mightn't hurt, the more surprises you get here the better), but it's basically a horror movie about five young people going to a cabin in the woods where...well, stuff happens. It's not perfect and probably not as clever as it thinks, but it's probably the best movie I've seen all year. Recommended, but preferably if you're not faint of heart.

Prometheus (Ridley Scott, 2012) - 2.5

It's hard not to think of this as the 2012 equivalent of Avatar with its emphasis on visual spectacle, illusions of depth and general inconsistencies in regards to plot and character development. Still, it's not exactly terrible.

The Shootist (Don Siegel, 1976) - 4

I'm still not completely sold on John Wayne's cult of personality, but this is a worthwhile deconstruction of the typical Wayne vehicle where he stars as an ageing gunslinger who learns he's dying of cancer. Strong performance by the man himself, complete with a solid ensemble cast and some well-shot action sequences. Could use a little trimming here or there, but otherwise a decent "old cowboy" kind of movie.

A Bucket of Blood (Roger Corman, 1959) - 3

A typical Corman picture, this black comedy is about a waiter trying to cover up a series of deaths (some accidental, some not) by disguising the bodies as works of art. About what you'd expect for a low-budget '50s exploitation kind of deal.

The Running Man (Paul Michael Glaser, 1987) - 3

Another '80s Schwarzenegger movie that casts the dude as a nigh-unstoppable juggernaut overcoming ridiculous obstacles - in this movie's case, being forced to compete in a futuristic game show where he must fight for his life. Admittedly one of his lesser movies, but there's still no shortage of camp value in the sheer '80s-ness of everything and the lovably awful one-liners.

The Naked Gun 2½: The Smell of Fear (David Zucker, 1991) - 2.5

Same basic plot as the first - Frank Drebin is a bumbling cop trying to stop a dastardly scheme and hilarity ensues. Not as good as the original.

The Dark Knight Rises (Christopher Nolan, 2012) - 3.5

This movie is pretty obscure, I'm not sure if you've heard of it...jokes aside, this is a pretty decent movie, if a little on the long side and somewhat underdeveloped in areas. May be worth a second viewing, though.

The Bourne Legacy (Tony Gilroy, 2012) - 2.5

I missed the last two Bourne movies, but I don't think that'll make much difference since they're basically using a whole new guy now. There's not really much you haven't seen done earlier or better - a 2.5 rating feels really generous, actually, but I'll let it stick for now.

[Brother Blue]

High and Low (Kurosawa, 1963) 5

http://s12.postimage.org/7g8ry9n8d/rsz_highlow.png

Viridiana (Buñuel, 1961) 4

http://www.jonathanrosenbaum.com/wp-content/uploads/2011/12/viridiana-lastsupper.jpg

[Tyler1]

^ Love both High And Low and Viridiana :up:

[Brother Blue]

Yup. They're both up there among their respective directors best work.

[donniedarko]

La Strada
http://upload.wikimedia.org/wikipedia/en/thumb/0/03/La_Strada_Poster.jpg/220px-La_Strada_Poster.jpg
The main problem in Fellini's La Strada is the annoying main character. She was like an annoying Charlie Chaplin, I understand Fellini wanted a naive character but why annoying.
This is definently the weakest film of Fellini I've seen. The imagery was superb but the concept was not. A long sad story that ultimately led to something very disappointing. *You'd expect Fedrecio to have a trick up his sleeve, but he just made you feel like he had one.
2

A Tale of Two Sisters
http://upload.wikimedia.org/wikipedia/en/thumb/2/21/A_Tale_of_Two_Sisters_film.jpg/220px-A_Tale_of_Two_Sisters_film.jpg
I think the whole world of S. Korean cinema has to stop using this supernatural sh*t that makes it look more like an Indian movie. This is similar to what I said about I'm a Cyborg But That's Ok. Both had an interesting premise but just got to out there. Instead they should use the great scenery and cinematographers that fill the land scape. Because they have a lot to use in those two categories. Thus far the only film from S. Korea I liked was Oldboy, everything else is something I had the potential to like. This film is just weird and pointless. The twist is not shocking nor original. I would avoid this film if I were you.
1.5

Master of the Flying Guillotine- 3

Short Films
Well it's the beginning of the school year for me so I do not have as much time to watch movies. As a compromise I will be exploring the world of Short Film for a couple months. If anyone has any recommendations for a good one streaming on Netflix please let me know.

Harrison Bergeron
Based on a short story by the same title this films attempts to show a world that everyone is equal in. Just like the book I wish for at least a moment it would show it outside that living room, but that's just a wish of mine. The dialogue was pretty much the same as in the story but I believe the character of Harrison was played very poorly. Even though the acting wasn't great the cast was a good one.
3

Un Chien Andalou
This silent short film dates back to 1929. It doesn't really show the violence all to often but it's guaranteed to make you squirm when it does. It's creative and every moment proves to have a significance. I can best describe it as a shorter an older version of Persona. And since I love persona I'm pretty much bound to like this one.
4

Some Folks Call it a Sling Blade
This short film stars Billy Bob Thorton, he is in a mental asylum and is having an interview the day before his release. I was worried that the talkative man would be picked to get interviewed because he didn't seem crazy enough, this was a psycho though. In the interview you expected to get shocked, with all the build up behind it. Instead you got a shoulder shrug. They were comparing this man to Charles Manson but this one while crazy seemed fairly calm. It just lead to nothing.
2.5

[honeykid]

Prometheus (Ridley Scott, 2012) - 2.5

It's hard not to think of this as the 2012 equivalent of Avatar with its emphasis on visual spectacle, illusions of depth and general inconsistencies in regards to plot and character development. Still, it's not exactly terrible.

I've not read it, but I know a few people who liked this for various reasons.
http://cavalorn.livejournal.com/584135.html



Some Folks Call it a Sling Blade
This short film stars Billy Bob Thorton, he is in a mental asylum and is having an interview the day before his release. I was worried that the talkative man would be picked to get interviewed because he didn't seem crazy enough, this was a psycho though. In the interview you expected to get shocked, with all the build up behind it. Instead you got a shoulder shrug. They were comparing this man to Charles Manson but this one while crazy seemed fairly calm. It just lead to nothing.
2.5
I'm assuming that this happens before the film?
http://www.imdb.com/title/tt0117666/

[linespalsy]

Short Films
Well it's the beginning of the school year for me so I do not have as much time to watch movies. As a compromise I will be exploring the world of Short Film for a couple months. If anyone has any recommendations for a good one streaming on Netflix please let me know.

Check out the Phantom Museums collection (brothers Quay). Not sure if it's still on there but there was a collection of shorts by Jiri Barta on there as well.

There're also a bunch of 1940s Superman cartoons.

[Tyler1]

American Graffiti (1973) 2-

The Last Picture Show (1971) 3+

Dirty Ho (1979) 3+

Written On The Wind (1956) 4

Hedgehog In The Mist (1975) 3.5

The Act Of Seeing With One's Own Eyes (1971) 0.5 I shouldn't have seen this ARRRGGG!

[re93animator]

Short Films
Well it's the beginning of the school year for me so I do not have as much time to watch movies. As a compromise I will be exploring the world of Short Film for a couple months. If anyone has any recommendations for a good one streaming on Netflix please let me know.

Check out the Phantom Museums collection (brothers Quay). Not sure if it's still on there but there was a collection of shorts by Jiri Barta on there as well.

The Jiri Barta one is called Labyrinth of Darkness BTW. Both wonderful collections.

I don't know much about the current Netflix selection, but some other good short filmmakers are Norman McLaren, Osamu Tezuka, Terry Gilliam, David Lynch, Don Hertzfeldt, Robert Morgan, and Jan Svankmajer; and some influential ones are Wladyslaw Starewicz, Maya Deren, Stan Brakhage, and Kenneth Anger. Comedians like Charlie Chaplin and Buster Keaton have some great silent shorts as well. You can find most of these films on youtube.

The realm of short films is very interesting to explore. There's much more room for experimentation among filmmaking and writing, so you can often see things from certain filmmakers that you otherwise wouldn't. Many of those filmmakers have altered my impression of cinema.

Some of my favorites are the 1953 version of The Tell-tale Heart, Franz Kafka's It's a Wonderful Life, An Occurrence at Owl Creek Bridge, Samuel Beckett's FILM, and Tim Burton's Vincent.


The Act Of Seeing With One's Own Eyes (1971) 0.5 I shouldn't have seen this ARRRGGG!
Were you able to get through the whole thing? I did. I couldn't give it a rating though, since it's almost purely a document, and very difficult to focus on anything but what's being documented.

[Tyler1]

^ I did watch it in all of its 30min glory. Anyway Stan Brakhage's films are not my cup of tea. :(

[re93animator]

^ I did watch it in all of its 30min glory. Anyway Stan Brakhage's films are not my cup of tea. :(
I'm not too fond of his work either to be honest, but I like the prelude to Dog Star Man a lot, and Brakhage himself was a pretty cool guy.

[Brother Blue]

The Act Of Seeing With One's Own Eyes (1971) 0.5 I shouldn't have seen this ARRRGGG!

:laugh: That's a nice depressing way to spend half an hour.

[Tyler1]

Whoa! Thanks to re93animator's tidy recommendations I've watched:

Franz Kafka's It's A Wonderful Life 4
Robert Morgan - The Separation 4
Norman McLaren - Pas de deux 5
Tell-Tale Heart 3

ALL ON YOUTUBE!!

I'm familiar with most of the films of Maya Deren and Kenneth Anger. Would be interesting in seeing more Svankmajer (and the other filmmakers that were mentioned).

[Brother Blue]

*The Crazies (Eisner, 2010) 2

http://s11.postimage.org/izcwbr8sj/The_Crazies_2010_costumes_wardrobe.jpg

Solid if unremarkable remake of the Romero's cult classic. Olyphant is good as the character he always plays. Entertaining enough but ultimately forgettable.


*Grizzly Man (Herzog, 2005) 3.5

http://s13.postimage.org/nxw1sjkpj/grizzly_man.jpg

Herzog's investigation into the highly troubled Timothy Treadwell, his time in the wilderness and his eventual death at the hands of the animals he loved, along with his girlfriend Amie Huguenard. Herzog's typical idiosyncrasies and directoral oddities are on show (the way he chose to shoot the sequence with the corroner is a perfect example of this, among many others) but they do not over power the story being told. Very good.

Crumb (Zwigoff, 1994) 3.5

http://s12.postimage.org/cgtp9s7rh/rsz_crumb_1994_4.jpg

A documentary shot mere months prior to his emigration out of the US to the south of France. In which his work, his inspiration, his upbringing are all discussed. We meet past wives, girlfriends and other associates. But most interesting of all are the glimpses into his family life in which his brothers and mother are interviewed. To say that he's from an eccentric household would be a complete understatement - when R. Crumb comes across as the most "normal" person in the room you know you've definitely crossed over into some other world you weren't meant to see. All of which makes this an incredibly intriguing film to sit through.

--------
* Rewatches

[donniedarko]

Update on my current adventures on the short film world.

Starring Kevin Spacey
Envelope- This could very well be made into a full length film. Based on true events and semi accurately in the time it had. Kevin and the cast had great Russian accents and the scenery made it feel like Russian farm land. Truly stunning. 4.5
The Ventriloquist- A sad story but not one that makes sense. For one who could a broke ventriloquist have such a nice house. Putting that aside I think it accomplished its goal of making a sad story. 3
Spirit of A Denture- This would be better as a comedy skit then anything. The idea was actually kinda neat but it was to dry. If they gave a group like SNL this then there'd be some laughs to go around.3

Polanski
Mammals- A very funny short that deals with the issue of getting out of work. When there is a delay there's different music then the tune played when one is working. In less then 15 minutes you could feel the characters feelings. I personally even began rooting for one of them. It ended up kinda being like Spy vs Spy from Mad comics. Exhibited Polanski's natural film making talents. 3.5
Two Men and a Wardrobe- Like mammals this is also a buddy film but the tension isn't between the main characters. The men dragged a wardrobe out of the sea and now they can't do anything, let alone sell it. They ended up tossing it back in the sea. I think what Polanski was trying to say with this is don't let a burden hold you down. 3

Quay Brothers
Nocturna Artifiali- This is the first short in the Phantom Muesems collection and I won't be returning for more. The brothers obviously love what they do, but this was extremely hard to watch. Just so slow and pointless. The Robot Chicken crew worked more fluently with puppets then they did. 1

Frank Kafka's It's a Wonderful Life- A cheesy but surprisingly good short film. The writer being portrayed is an uptight coward suffering from Writers Block. He is trying to find something that a regular man would all of a sudden become a ginormous version of. Distracting him are a bum looking for "his little friend", a party below him, and a vagabond costume seller. They all tie into the story at the end. While it seemed like something you'd see on PBS at two in the afternoon it just felt nice to watch. The humor was entertaining and the road to the end was filled with its moments. 4

[Sleezy]

http://i76.photobucket.com/albums/j38/iusreview/hungergames.jpg

The Hunger Games (Gary Ross, 2012) 3

Pretty solid, but not the gem I was expecting. Jennifer Lawrence makes for a great emotional center, new to the scene though she is, and the attention to detail on the production is obviously very strong. I just don't feel like there's much of a payoff once the actual arena battle begins. The audience is largely spared any overt violence, which might have helped given the controversial nature of the subject matter (though the studio obviously marketed to younger audiences, given their young stars). Likewise, the forest setting, complete with slow and unrealistic "survival" scenes, makes the actual games seem pretty bland, though I understand the goal was to be accurate to the novel. It just felt a little lightweight, considering that movies these days can take us to so many uniqe and awe-inspiring locales.

Speaking of the novel, I haven't read it, but the girlfriend says it stuck pretty close to the source material and didn't sacrifice too much... though in retrospect, it feels like much of the story's strength is lost without Katniss' internal thoughts and feelings. That's really a shame, as it seems there's something truly missing from the heart of the movie. And the ending feels oddly complete, though I know we can expect at least two more films. Still, for a quiet Sunday evening, The Hunger Games was time well spent.

[JayDee]

The latest gathering of reviews from my Movie Musings thread. If you've not stopped by yet, then where the f**k have you been?!!! :D


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In the Line of Fire

4.5 +

An old favourite of mine this. And given my recent spate of Clint Eastwood films I thought it was time for a rewatch. Indeed up until a few months ago this was just about the only Clint film I had ever seen. I know a lot of people may see this as just another standard action thriller but I've always had a real place in my heart for it. I'm not sure if I'll be able to explain exactly why it rises above numerous similar films but I'll give it a go.

If Unforgiven was Clint's last hurrah in the western genre, then this can be seen as his goodbye to the cop flick. And released just a year apart it's fascinating to see the many parallels between the characters. Unforgiven's Will Munny and In the Line of Fire's Agent Horrigan are so incredibly similar. In both films .................

Read the full review here (http://www.movieforums.com/community/showthread.php?p=838046)

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Rear Window

4.5 -

Over the last couple of years I've became a huge fan of both Alfred Hitchcock and James Stewart. And the occasions were they teamed up - Vertigo, Rope and The Man Who Knew Too Much – were all big hits with me. So you'd expect that I'd have been desperate to watch this and would have done so a while back. Well I was going to but decided to save it as a treat, something to really look forward to. And a couple of nights ago I decided it was finally time.

And it's another great example of Hitchcock's wonderful craftsmanship. It's actually quite a simple film in some ways. It's a really taut, rigid A to B story which is told in ....................

Read the full review here (http://www.movieforums.com/community/showthread.php?p=836831)

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The Beguiled

4 +

Another effort from the combo of Don Siegel and Clint Eastwood, and another winner! Though this certainly stands out as being quite different from their other films together; it's really downright strange! In fact with its storyline you feel it could easily delve off into an erotic flick/porno at any moment! :D And it is a very aptly named film as it is certainly a beguiling experience; very hypnotic and immersive.

I have to ask, is Don Siegel the greatest director of all time? Well no, probably not. But he is damn good! This is the sixth film of his I've seen now and I've not been disappointed yet. And again he has left me incredibly impressed with his directorial style. Here, in conjunction with ace cinematographer Bruce Surtees, he has just imbued this film with an incredible amount of atmosphere. It's just so ....................

Read the full review here (http://www.movieforums.com/community/showthread.php?p=835298)

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We Need to Talk About Kevin

4

Do you remember Kevin McAllister? The character Macaulay Culkin played in Home Alone. He got into arguments with his relatives, disrupted the family meal, destroyed his brother's room and told his mum he wishes his whole family would just disappear. He was a little bit of a brat. Well this Kevin is...worse! A lot, lot worse. :D

I certainly wouldn't describe this as a particularly easy watch. It's disturbing, uncomfortable viewing which really gets under your skin and sticks with you for the following days. What really grips and fascinates is the complex relationship between mother and son, and how it's portrayed by ....................

Read the full review here (http://www.movieforums.com/community/showthread.php?p=838548)

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Duel

3.5 ++

Well here it is, where it all started. Steven Spielberg is arguably the most successful director of all time, with a career encompassing aliens (both good and bad), dinosaurs, killer sharks, adventurous archaeologists and nazis amongst numerous other subjects. And while he made a little film by the name of Firelight which had a buget of $500 and made a $1 profit! this is universally considered to be his feature length debut.

And it really is a masterclass in simplicty and economical film-making. For the very large majority of this film all Spielberg has at his disposable is one character (Weaver's David), two vehicles (David's car and the satanic truck) and one setting (a lonely, never-ending dusty highway). And yet he is able ................

Read the full review here (http://www.movieforums.com/community/showthread.php?p=836058)

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The Last of Sheila

3.5

This murder mystery is quite quirky. Quite camp. And quite a lot of fun. It's a film that I actually found quite reminiscent of the previous year's Sleuth which I reviewed a while back; an elaborate tale of gamesmanship and parlour games, full of twists and turns they're both fun but with a dark edge. And while it concerns a group of friends, it doesn't seem that any of the actually likes anyone else.

It's not often that the writers of a film cause such interest for me. As the opening credits were rolling I saw the phrase 'written by Stephen Sondheim and Anthony Perkins.' I immediately stopped the film to get on the web and check if these were the two same people I was aware of. And it is. This film was ..................

Read the full review here (http://www.movieforums.com/community/showthread.php?p=838545)

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Disturbia

3 +

After my viewing of Rear Window I thought I'd give the young pretender a shot.

Does everyone remember that series of For Dummies books? They're probably still about but I feel like I haven't seen them for years. Anyway so you got Computers for Dummies, Windows for Dummies etc. Will this is like Rear Window for Dummies. And as such it inspired me to make this new movie poster for it. :D

See the poster and read the review here (http://www.movieforums.com/community/showthread.php?p=837359)

[re93animator]

Quay Brothers
Nocturna Artifiali- This is the first short in the Phantom Muesems collection and I won't be returning for more. The brothers obviously love what they do, but this was extremely hard to watch. Just so slow and pointless. The Robot Chicken crew worked more fluently with puppets then they did. 1

It's their earliest surviving film, and one that they've sort of distanced themselves from since. Bad starting point. On the actual Phantom Museums DVD, it was separated from the rest of their films at their request, and just listed as a special feature.

I'd recommend giving them one more shot with Street of Crocodiles (their best). If you don't like that, they're really not for you.

[linespalsy]

This is my favorite Quay short - Can't Go Wrong Without You.

http://www.youtube.com/watch?v=9Se7U-iLcA4

[linespalsy]

http://i286.photobucket.com/albums/ll120/abedalx/thefalls01.jpg

The Falls (Peter Greenaway, 1980)

If anyone's curious to see what I think is the oddest piece of intellectual nonsense in moviedom, look no farther. And yet I keep coming back to it, I think for the 3rd time now, so I think it's worth trying do describe a little bit.

This movie tackles the subject of the end of civilization in 92 biographies of people who have been effected by a Violent Unknown Event. It seems to want to be an exhaustive catalog of the side-effects of the event, in particular the different kinds of languages, dreams, and human-bird transformations that result. Much of the movie's humor is at the expense of hopeless attempts to cope with the VUE intellectually, and the different organizations that offer competing explanations: the SOX (Society for Ornithological Extermination) and the producers of the film itself, the BFI (that's Bird Facilities Investment, not British Film Institute). Or in producing neologisms such as "Guller" (someone who flies over water: for example Icarus). Besides references to many of director Peter Greenaway's other (not-yet-made) films, other filmmakers who are referenced include Hitchcock and the Quay bros.

The Falls is nowhere near as visually lush and integrated as Greenaway's later films, but it does have a lot of beautifully photographed landscapes, most of which include bodies of water.

Chronicle (2012) 2.5
ParaNorman (2012) 2.5+ (surprisingly excellent soundtrack and use of music)
Bridesmaids (2011) 3
2012 (2009) 2.5 (gets pretty tedious at times but the sheer scale and effects are impressive)
Mighty Joe Young (1949) 2.5 (Harryhausen kicks ass!)
The Day the Earth Stood Still (2008) 2
Harry Potter and the Prisoner of Azkaban (2004) 3.5+
Hollywood Ending (2001) 2-
Mister Roberts (1955) 2.5

I watched about thirty vintage Warner Brothers cartoons over a couple days, but the only two that I'd rate over 2.5 are Pigs in a Polka and Porky Pig's Feat (both 1943). The former is a brilliant adaptation of The Three Little Pigs set to Brahms (with almost no dialog) and the latter is a giddy piece of insanity directed by Frank Tashlin. Besides those two I saw several okay cartoons and a whole bunch of forgettable ones.

I also re-watched the three Betty Boop cartoons featuring the music and rotoscoped dance moves of Cab Calloway. All three of them belong in my top "100", but especially Minnie the Moocher (1932). The other two are Snow-White and The Old Man of the Mountain (both 1933).

[Brother Blue]

The Cabin in the Woods (Goddard, 2011) 4

Interesting concept, excellently executed. Although the film wouldn't have been as enjoyable as it was if Richard Jenkins and Bradley Whitford weren't among the cast to steal every scene.

*Cape Fear (Scorsese, 1991) 3

Love how it's shot and edited but there are a few niggling annoyances that for some reason I just can't let go. DeNiro's accent being one of the major ones - nitpicky I know, but it just bugs me. Still prefer the original, but this is a highly entertaining watch none the less.

A Personal Journey with Martin Scorsese Through American Movies (Scorsese & Wilson, 1995) 3.5+

Scorsese discusses some of the American films that inspired him as a child and a student. Taking us from the silent era, up to the early 60s when he became a filmmaker himself. I could listen to the man discuss film for hours, and I did considering this is almost four hours long.

In a Lonely Place (Ray, 1950) 4

Excellent. The first Nicholas Ray film I've seen, thanks to Tyler1 for putting me onto him. Will definitely be checking out more of his stuff soon.

----
*Rewatch

[linespalsy]

Have you seen Refn's Drive? It feels like a wholesale Thief remake half the time

That's a good comparison. I thought Drive was okay for the most part. The big difference was that as Thief progressed I actually started to care more about the main character.

[donniedarko]

Ingmar Bergman
The Passion of Anna- If you make it past a very dull first 50 mins you should enjoy it. If it remained at the same pace as the first fifty-minutes this would've been more toward the 2 star range. There will be one scene in this first half that'll leave you shaken up, the rest will leave you yawning. After this the film builds up as you see Anna's darker side. She was always a weird one but we never saw the sinister version of her. Bergman style is very unique even using clips from past films of his and interviewing the actors for character analysis mid movie. 3

David Lynch
http://mutantreviewers.files.wordpress.com/2010/02/losthighway1.jpg
Lost Highway- While this doesn't compare to Eraserhead, Elephant Man, and Mulholland Drive it still is a good film. It's not as much of a mind f**k as his other works, it'll still keep your mind working though. In this case there's more of a plot to follow also. Our villain who isn't on screen to often is creepy and bizarre. It's pretty much two stories that are only connected for brief moments. This film had the best soundtrack ever. Over The Graduate, over Donnie Darko, over Drive, it was the absolute best. I think this is one of the few films of Lynch that you don't have to be a Lynch fan to enjoy. It's pretty much for everyone. 3.5

Grandmother- Just as bizzare as Lynches full length films but doesn't offer anything to make you care. 2

The Alphabet- 3

Scorsese
http://filmmenu.files.wordpress.com/2011/05/the-big-shave.jpg
The Big Shave- This early six minute Scorsese short film from 67 is said to be about the US self destruction in Vietnam. Regardless of political statements it's hard to watch. 3

Quay Brothers
Street of Crocodile- 2.5

Norman Mclaren
http://www.body-pixel.com/wp-content/uploads/2009/10/MCLaren_pas_de_deux.jpg
Pas De Deux is absolutely mesmerizing and beautiful. It's way ahead of its time and ballet fan or not you will be awed by the beauty. 4

Jan Svankmajer
I've watched three of his stop motion short films on Youtube and am already a fan. I even ordered one of his collections. Check him out.
http://www.icoessentials.org.uk/uploadedfiles/IKthumbs/flm_films_15_dimensions-of-dialogue-js-1.jpg
Dimensions of Dialogue (Image Above)- Split into three categories this stunningly animated short film awed the mind. It was split into three sections and I can only imagine the patience it took to create them. The first section where the figures were made of pans, fruits, or clay would start mixing and creating new figures showed Svanmajers patience in making this fluent. The second where to clay figures start having intimate relations and end up destroying each other was very creative. Like the third section with two heads using there tools to help each other, at first succeeding and later hilariously failing. It was unique and to the point, thus far it's the best shirt film I've seen. 4.5

Darkness, Light, Darkness- Another Svankmajer short film and another impressive one. This was the creation of a human that started with one arm. It was clear where the film was going but still kept you intrigued on what body part is coming next. How will the other bod parts deal with it. And how can Svankmajer make something that's kinda disgusting look so beautiful. 4


Food (Image Below)- Another genius short film from Svankmajer, this time dealing with food Breakfast, Lunch, and Dinner. I actually wouldn't recomend watching this before or after eating. While most would think "Dinner" was the hardest part to swallow with a rich couple eating penises and other organs I thought the most disgusting was "Lunch". I'll let you see why. "Breakfast" had the most intresting concept, and even when using people Svankmajer insists on using stop motion animation. He loves to do it an he's great at it. 4


http://www.weirdwildrealm.com/filmimages/svankmajer_food.jpg

[Skepsis93]

Recently:

Hearts of Darkness: A Filmmaker's Apocalypse (Bahr & Hickenlooper, '91) 3.5

"As a student of character I have a feeling that trying to make this commercial may cost the Dean his sanity, and my camera follows the fire, not the smoke. Ever seen 'Hearts of Darkness'? Way better than 'Apocalypse Now'. - Abed, Community

I might agree, given my ambivalence toward Coppola's famed Vietnam War story. This is a fascinating insight into how it was made.

All the President's Men (Pakula, '76) 4
Wonderful performances allow the film to simmer all the way to a tight and satisfying finale.

Chinatown (Polanski, '74) 4.5
Both cerebral and visceral; and a perfect combination of the two.

Liar Liar (Shadyac, '97) 3.5
Goofy fun with the comedic weight placed squarely on the shoulders of Jim Carrey. The film is nothing without him.

Vertigo (Hitchcock, '58) 4.5
The best ever? Not to me, but I certainly wouldn't argue with that consensus.

[honeykid]

Liar Liar (Shadyac, '97) 3.5
Goofy fun with the comedic weight placed squarely on the shoulders of Jim Carrey. The film is nothing without him.
I disagree. This is the only reason to watch Liar, Liar.

http://www.jennifer-tilly.e-znane.pl/zdjecia/jennifer-tilly.jpg

[HitchFan97]

In a Lonely Place (Ray, 1950) 4

Excellent. The first Nicholas Ray film I've seen, thanks to Tyler1 for putting me onto him. Will definitely be checking out more of his stuff soon.

----
*Rewatch

Love Cape Fear, and I just finished watching In a Lonely Place. Great film. :yup:


David Lynch
http://mutantreviewers.files.wordpress.com/2010/02/losthighway1.jpg
Lost Highway- While this doesn't compare to Eraserhead, Elephant Man, and Mulholland Drive it still is a good film. It's not as much of a mind f**k as his other works, it'll still keep your mind working though. In this case there's more of a plot to follow also. Our villain who isn't on screen to often is creepy and bizarre. It's pretty much two stories that are only connected for brief moments. This film had the best soundtrack ever. Over The Graduate, over Donnie Darko, over Drive, it was the absolute best. I think this is one of the few films of Lynch that you don't have to be a Lynch fan to enjoy. It's pretty much for everyone. 3.5

Grandmother- Just as bizzare as Lynches full length films but doesn't offer anything to make you care. 2

The Alphabet- 3


Lost Highway is my least favorite Lynch movie, still good but definitely not for everyone. I'll have to check out those shorts.


Recently:
Chinatown (Polanski, '74) 4.5
Both cerebral and visceral; and a perfect combination of the two.

Vertigo (Hitchcock, '58) 4.5
The best ever? Not to me, but I certainly wouldn't argue with that consensus.

Two of my all-time favorites, glad you loved them.

[donniedarko]

Lost Highway is my least favorite Lynch movie, still good but definitely not for everyone. I'll have to check out those shorts.

Maybe for everyone was an over statement but I do believe that it's for even non Lynch fans. Other then Elephant Man (and possibly Straight STory which I have not seen) it has the most of a plot to follow. And with this it adds in the mind f**k David Lynch usually works in. I'm not saying it's his best, out of the full length films I've seen of his it's my least favorite, but I think it's the one the largest amount of people can enjoy (being 3 and up)

So what did you think of Eraserhead?

[Tyler1]

Jan Svankmajer
I've watched three of his stop motion short films on Youtube and am already a fan. I even ordered one of his collections. Check him out.


Check out The Flat and Down to the Cellar. Both are fantastic. What didn't you like about Street of Crocodiles??

[re93animator]

Check out The Flat and Down to the Cellar. Both are fantastic.
Yep. Also, his version of The Pit and the Pendulum (called Kyvadlo, jáma a nadeje) is one of my favorites of his.

Death Race 2000 (1975) – 3_5

Eating Raoul (1982) – 2_5

Felidae (1994) – 3_5
Bizarre animated murder mystery… made up of cats. Pretty engrossing story with some good suspense.

Tuvalu (1999) – 3
A comical, post-apocalyptic looking fantasy. Not as visually impressive as it was trying to be, but interesting.

... and a Keaton-athon:
The Cameraman - 4
The Navigator - 4
Our Hospitality - 3
Seven Chances - 3_5
Steamboat Bill Jr. - 3

[donniedarko]

Check out The Flat and Down to the Cellar. Both are fantastic. What didn't you like about Street of Crocodiles??

Well for me 2.5 isn't anything awful it just isn't anything good. I thought the puppeteering was actually great and fluent but I just didn't see anything to make it a "film". A man spits and a world comes to life, just a bit cheap if you ask me. I think just what the Quay brothers find intresting I find bland.

And both of the ones you reccomended are on the set I bought so when it comes I'll make sure to keep my eyes open on them.

And BTW I got introduced to Scamkmajer by a 5 star review you did a while back on Dimensions of Dialogue, so thank you for that :up:

[Tyler1]

^ Well, I found out about Svankmajer and Brothers Quay from Terry Gilliam's top 10 animated films. Re93animator's the expert for short films.

Anyway here's an interesting article on the 3 segments of Dimensions of Dialogue.

Moznosti Dialogu can be translated as Dimensions of Dialogue or Possibilities of Dialogue. In either translation the idea that there is a depth of interpretation within the exchanging of ideas remains. The three "act" film by the casual and uninterested eye is assumed to be beyond reason and seen as merely a smörgåsbord of materials arranged and rearranged to create a stunning art show. However, to those who understand that in the time it was made in Czechoslovakia that there was no purpose for purposelessness-no time to be frivolous-the film is speaking volumes about culture, the plight of humanity, and politics. The very fact that most people are stumped or drawn to simple interpretations when asked to explain it means that Svankmajer, a modern-day Melies, did exactly what he set out to do. Unable to risk speaking openly against the Socialist regime, he had to work his magic under the guise of Dadaism and Surrealism.

The three parts, according to their titles, deal with different types of communication: discussion, discourse, and conversation. The theme is destruction resulting from interaction.

The first and most cryptic part is entitled Exhaustive Discussion, and it explores the interplay of three revolutions: the agricultural, industrial, and informational. Although the only one that is usually seen as a revolution is the industrial revolution, I believe that they are all revolutions in their own right for the changes that were implemented and their intermingling with one another had a significant global impact.

Materials are arranged in the shape of a human profile. There is one comprised of vegetables and grains, another of tools and machinery, and a third of writing and calculation materials. The first collision is between the face of agriculture and the face of industry which march towards one another, chomping hungrily, amidst triumphant battle-like music, which set the musical tone for the rest of the film. This continues a few more times, as each face's materials progressively break down into mush.

Eventually, these revolutions become an indistinguishable pastiche of food, machinery, and intellectual tools. What results from their regurgitations is a realistic clay face. Finally, instead of creating an opponent, it creates duplicates of itself, procreating alone. The idea is that through the amalgamation of these staples of our evolution we see ourselves as refined humans, although to progress we had to fight, coalesce. But does the end justify the means? Did the exhaustive discussion bring about progress or was something raw lost in the merging and streamlining of each unique form of sustenance? Of course, another more timely interpretation could be anti-socialist propaganda. Through the merging of separated industries, real people will emerge. It is inevitable that a battle will occur when people are divided and seen as mere faces of production. Thus, only through a cataclysm will humanity prevail as such. The fighting will later be replaced with a focus on procreation rather than toil.

The second and least cryptic part is entitled Passionate Discourse, and it explores the interplay of relationships in a literal manner. The type of relationship is what the multiple interpretations can be based upon. It could be a romantic relationship, however I am apprehensive about seeing as such because it seems too easy. Another likely option is that it is a creative collaboration expressed by the metaphor of a romantic relationship. As I wonder how this part could be speaking out like the others against Socialism, I know that the last interpretation I can muster up might be a stretch.

The romantic relationship theory works well enough to satisfy most people's curiosity. A man and a woman make love, a child is born, neither wants the responsibility, and their fighting leads them into a physical confrontation in which they destroy each other. A deeper look reveals that this could show us a creative endeavor gone wrong. Neither would like to claim the finished article, and in their disgust over creating it, forget all their original feelings in order to vent their frustrations. Or could it be that this is a metaphor for powers coming together with apparently similar interests, reveling in oneiric ideologies, what they see as their brilliance, and then when they realize they have created something that is apart from them, different, neither want to deal with it. They try to ignore it, and when they cannot, when it cries out for help they pass the buck to the other collaborator. Eventually, when they see they cannot rid themselves of the nuisance of the unexpected aftermath of their irresponsible political intimacy, they rage against each other until nothing-no one-is left.

The third seems the most likely because I must continue to consider the political problems roiling within the Czech Socialist Republic. In addition, the title adds a tone less indicative of love. Passionate Discourse signifies a formal yet emotional exchanging and debating of intellectual ideas. That sounds like politics to me.

The final piece, a middle-ground of oracularity, shows two male heads made of clay. It is called Factual Conversation.

The two busts begin by supplying each other with what the other needs. This continues smoothly with various combinations until they switch places. Then everything goes wrong and they do not supply each other with what is needed. They switch places a second time and unfortunately, each supply each other with the same thing. They then begin withering. By the end, they have both collapsed in exhaustion.

What is being said is that when people are assigned to take on tasks that others were fine doing to begin with, they will not be as successful, if at all. In trading places, harmony and, thus, productivity is lost. This relates to Socialist ideology because the state controls what a person does and does not do for work, negating the individual's talent or penchant for a particular task.

[TheGirlWhoHadAllTheLuck x]

I'd recommend giving them one more shot with Street of Crocodiles (their best). If you don't like that, they're really not for you.

That one's terrifying! :(

[TheGirlWhoHadAllTheLuck x]

Cold Comfort Farm (1995) 3

http://t3.gstatic.com/images?q=tbn:ANd9GcREjKQ6lEWjsjCqtIAhM2ulOgeD8Ie4Gq5Tz_0oqptiAgWr2oPs

This bucolic comedy is based on Stella Gibbons' novel. In the twenties, urban orphan Flora Poste (Kate Beckinsale) goes to stay with her doomladen country cousins at Cold Comfort Farm, whose lives are ruled by tyrannical old Aunt Ada (Sheila Burrell), who saw "something nasty in the woodshed" as a girl. Flora takes it upon herself to sort them out using her modern ways.

The film's strength lies mainly in the strength of the source material rather than the interpretation. Saying that, there is some good acting from Kate Beckinsale as the no-nonsense Flora; Rufus Sewell as smouldering Seth; and Ian McKellan as the hellfire preaching patriarch. I know Cold Comfort Farm from a play version, where everything was tied off a little more neatly. The film is perhaps held back by the large cast of characters and the need to satisfactorily flesh them out, but this is still an entertaining comedy.

[TylerDurden99]

What I've been watching over the past week or so...

Beverly Hills Cop (1984) 4
http://upload.wikimedia.org/wikipedia/en/a/a2/Beverly_Hills_Cop.jpg

Alien (1979) 3.5+
http://upload.wikimedia.org/wikipedia/en/c/c3/Alien_movie_poster.jpg

Top Gun (1986) 4
http://upload.wikimedia.org/wikipedia/en/4/46/Top_Gun_Movie.jpg

Ed Wood (1994) 5
http://upload.wikimedia.org/wikipedia/en/a/a8/Ed_Wood.jpg

Street Fighter (1994) 2
http://upload.wikimedia.org/wikipedia/en/9/97/StreetFighterMoviePoster.jpg

The Living Daylights (1987) 2.5
http://upload.wikimedia.org/wikipedia/en/b/b0/007TLDposter.jpg

Timecop (1994) 3.5+
http://upload.wikimedia.org/wikipedia/en/7/79/Timecopposter.jpg

A Time To Kill (1996) 4+
http://upload.wikimedia.org/wikipedia/en/6/60/Time_to_kill_poster.jpg

Demolition Man (1993) 3.5
http://upload.wikimedia.org/wikipedia/en/0/05/Demolition_man.jpg

The Searchers (1956) 4
http://upload.wikimedia.org/wikipedia/en/a/aa/The_Searchers.jpg

A Few Good Men (1993) 3.5
http://upload.wikimedia.org/wikipedia/en/0/0c/A_Few_Good_Men_2.jpg

[Tyler1]

The Rebel (2007) 3

*The Fly (1986) 5 One plot-hole I noticed: Why didn't the pod fuse the steak and the plate in an earlier experiment? And why did the pod fuse man-fly with the pod itself? I think Cronenberg must've overlooked this. I plan to re-watch Videodrome when I have the time.

Amores Perros (2000) 3.5+

Touki Bouki (1973) 4-

[re93animator]

*The Fly (1986) 5 One plot-hole I noticed: Why didn't the pod fuse the steak and the plate in an earlier experiment? And why did the pod fuse man-fly with the pod itself? I think Cronenberg must've overlooked this. I plan to re-watch Videodrome when I have the time.

It's been a while since I've seen it, but maybe it only fused living/organic things.

[Tyler1]

Yeah... but that does not explain why it fused the man-fly with the pod in the final scene. I know it fuses DNA, but let's ignore the fact that the pod could splice the DNA of bacteria in air as well.

[Brother Blue]

Ariel (Kaurismäki, 1988) 4

Bridesmaids (Feig, 2011) 3

In the Year of the Pig (Antonio, 1968) 5

Crimson Tide (Scott, 1995) 3.5

[donniedarko]

Holly Rollers (2010)
http://upload.wikimedia.org/wikipedia/en/thumb/6/61/Holy_Rollers_%282010_film%29_poster.jpg/220px-Holy_Rollers_%282010_film%29_poster.jpg
I can understand why this film was poorly received, in some criticisms of it, but over all it's a solid drama. I think when you here drug smuggling you think of a violent action. Don't expect this, it was very timidly paced and didn't show the really bad side. It wasn't in your face, and didn't even hint at violence in the drug smuggling business. This took out a realistic feel for this film, but the movie intentionally stayed away from it. The point was a low key spiritual message, when you think drugs low key and spiritual usually don't come up. I think the problem was how the crew produced it and not the film itself. The beloved Roger Ebert stated that "(the Hasidic Jews) never seem to be anything but Hasidic Jews". I strongly disagree with this statement this film also showed there sexual desires and family life. It wasn't all set in a Shul like Mr.Ebert portrayed. The film has a clear message, and without ever saying it you know what it is. Eisenberg acted his heart out and developed the character well from start to finish. It was slow, but at the same time there was a lot to enjoy.
3

Svankmajer Collected Shorts, Disk One
I should be watching the second disk in this coming week, here as some short reviews for the short films featured on the first one.

Et Cetera- Showing many themes like Darkness, Light, Darkness in a different animation style this was quiet intresting. You watched a little man learn to use a whip, a house, and wings. Don't ask me how those things go together. 3.5

A Game with Stones- Starts off very slow and weak, don't let that fool you though. Svankmajer turns it into a beautiful use of stop motion animation, with a bunch of stones 3

Punch and Judy- What I didn't like is some of this films sequences made it similar to Brother Quay, who I'm not a huge fan of. While the "story" was boring the end was quick and fun. 3

The Flat- The best short on this disk. Svankmajer is at best when using humans or human like figures. This was a perfect everything goes wrong, with a weird surrealist imaginative feel. 4

Picnic with Weismann- Very cool and intriguing short. It shows an unseen mans suit relaxing, playing chess, and digging a grave. Looks great, and while th stop motion felt some what slow it was still good. 3.5

A Quiet Week in the House- A man looks at through a peeping hole to see intimate objects, doing, hell I don't know what they were doing. Weird, spooky, but seemingly pointless. 3

The Fall of the House of Usher- This one sucked, and it's the only one that did. Not only was the story boring the animation didn't even help this time around. The narration and sometimes moving objects on the screen made it feel like an audio book. I found myself having trouble just reading the subtitles. 1.5

[Skepsis93]

Tootsie (Pollack, '82) 4.5
Is Dustin Hoffman the best, or is he the best? I'll add this to the staggering pile of amazing DH performances, and Tootsie is hilarious and surprisingly heartfelt to boot.

La vita e bella (Life is Beautiful) (Benigni, '97) 2.5-
A History of Violence (Cronenberg, '05) 3
Sex, Lies, and Videotape (Soderbergh, '89) 4

[Tyler1]

Train of Shadows (1997) Ignore the b&w portions, enjoy the exquisite beauty of tranquility captured in colour. 3

Quest for Fire (1981) Imagine if Kubrick made a movie about the apes in 2001: A Space Odyssey. A movie that attempts to recreate the earliest form of life of the human race. 4

Iron Sky (2012) Audacious and provocative but the entertainment is surprisingly lacklustre. 2

ParaNorman (2012) I found the dialogue awful and the humour distasteful. Neither scary nor funny, ParaNorman is the worst animated movie I've seen. Watch Coraline and you can tell that the animation in that movie is much more stupendous than the latest feature by Laika studios. 1

Eternity and a Day (1998) *Rewatch* I allowed myself to be washed away by its serenity. I used to dislike its slow style but now I love it. 4

[honeykid]

I felt the similarly about Iron Sky. It may grow on me, but too much of it just didn't work too well, for me.

[Brother Blue]

Poetry (Chang-Dong, 2010) 5

The second film of Chang-dong's that I've seen after the magnificent Peppermint Candy (1999) and he continues to impress. The excellent Yun Jeong-hie plays an ageing woman who is not only grieving over the news that her grandson--who she is raising due to his parents indifference--was involved in a gang rape that lead to the victim committing suicide, but also that she has Alzheimer's. On a whim she decides to take part in a poetry class and the film follows her in her attempts to finish the one assignment the class has, which is to complete a poem. The film doesn't pull any punches as one would expect from Chang-dong, directly commenting on the patriarchal divisions within Korean society both in terms of the relationships between individuals, in this case grandmother and grandson and in terms of the society at large where the reputation and the welfare of the boys who commited this crime is more important than that of the victim or her family, who it is thought can just be bought off so as not to get the press or the police involved. Nor is it sentimental. In less capable hands this kind of subject matter could very well become overly melodramatic. The film remains restrained throughout and it is the strength of Mija (Jeong-hie) and her perserverence that really grounds the film. It is fundamentally a film about loss and it is superb.

Kiss Me Deadly (Aldrich, 1955) 3.5+

Very good conspiracy thriller/noir. The film is brought down by some really hammy and over the top performances (anyone who's seen the film will recognise the phrase "Va-va-Voom! Pretty POW!" immidiately and I hope the same hatred washes over you as it does me).

[Tyler1]

Poetry (Chang-Dong, 2010) 4.5


I've only seen Oasis and that's no less than a 5 star movie. I'm planning to watch Peppermint Candy.

[Brother Blue]

I've only seen Oasis and that's no less than a 5 star movie. I'm planning to watch Peppermint Candy.

I've not seen Oasis yet, but it's definitely on my to watch list and has been for a while along with Secret Sunshine. I luckily stumbled upon Poetry last night at about 1am on C4.

[ThomasP]

High Noon http://www.movieforums.com/images/popcorn/5box.gif
Thin Red Line http://www.movieforums.com/images/popcorn/3box.gif
The Birds http://www.movieforums.com/images/popcorn/3.5box.gif
The General http://www.movieforums.com/images/popcorn/5box.gif

[Sleezy]

http://i76.photobucket.com/albums/j38/iusreview/blackdeath.jpg

Black Death (Smith, 2010) 4
Surprisingly well-crafted British horror-actioner about a group of medieval God-bringers venturing across the countryside in search of a mysterious village that is seemingly immune to the Bubonic plague sweeping Europe.

I was honestly expecting pretty low budget fare with only a glorified cameo from Sean Bean, who's plastered on the title art. But that's not the case at all. Smartly written and well-shot, with surprisingly great performances and some sharp cinematography against the backdrop of a very ancient-looking German countryside, Black Death really feels like the work of a filmmaker who's more interested in delivering a gripping film than simply mailing in a cheap genre picture. And aside from a few loose ends in plot, he very definitely succeeds. The pacing is fairly tight, the sets and special FX work are all really nice, and there are many legitimately well-realized scenes throughout.

This will no doubt draw comparisons to Nicolas Cage's dual flops The Wicker Man and Season of the Witch, but I think a "darker" 13th Warrior with sprinklings of Game of Thrones and Kingdom of Heaven is a more fair estimation. Definitely recommended.

[Used Future]

Iron Sky (2012) Audacious and provocative but the entertainment is surprisingly lacklustre. 2


I felt the similarly about Iron Sky. It may grow on me, but too much of it just didn't work too well, for me.

I switched it off after twenty minutes. Way too much green screen and misfire humour. Liked the costume design and hokey premise, but it wasn't enough.

Anyway, I'm laid up with a broken arm at the moment so I'll just list and rate what I've been watching...

* = re-watches...

Tourist Trap (David Schmoeller, 1979) 2 Cult un-classic about a homicidal loner who uses telekinetic powers to bring his museum mannequins to life. This has some effective surreal atmosphere and a nice Pino Donnagio score, but it's way too slow and boring, with a twist you'll guess in the first ten minutes.

White Dog (Samuel Fuller, 1982) 3
Interesting but uninvolving tale of young woman (Kristy McNichol) who takes in stray that has been trained to attack and kill black people, and the attempt by a black dog handler (Paul Winfield) to reprogram him. Well acted, but the ultra low key style does it no favours.

God Forgives...I Don't! (Giuseppe Colizzi, 1967) 2.5
First paring of Terrence Hill and Bud Spencer is standard Spaghetti western fare about stolen gold, played disappointingly straight by the duo. Still entertaining though.

The Hunting Party (Don Medford, 1971) 2
Awfully nihilistic western has Gene Hackman's possessive misogynist hunting down a miscast Oliver Reed and his gang with state of the art sniper rifles after they kidnap his wife (Candice Bergen). Dreary in the extreme, with action scenes devoid of tension as Reed's posse is picked off in gory fashion from long range. Only redeeming factor is Cecilia Paniagua's gorgeous photography.

The Life And Times Of Judge Roy Bean (John Huston, 1972) 4.5
Offbeat comedy western delight from Huston about difter Bean (Paul Newman) who establishes and rules small town in his own eccentric (and often self serving) but decidedly hilarious way. Episodic treat, is full of great supporting cameos, not least Stacy Keach as the riotous Bad Bob, Anthony Perkins as a loony Priest, Roddy McDowell as Bean's scheming lawyer nemesis, Anthony Zerbe as a dastardly mugger, Ava Gardner as Bean's pin-up idol, and the director himself as Grizzly Adams. Full of classic vignettes - when Bean loses at poker he raises the price of beer to $20 a glass. start losin' or stop drinkin' he retorts. Plus the belly laugh inducing casual execution of a drunken outlaw who dares to put a bullet in Lilly Langtry's poster. I found this one totally enchanting, and if the ending doesn't bring a tear to your eye, then you have no heart.

The King's Speech (Tom Hooper, 2010) 4
One of Kathy's choices on our roster is wonderfully acted, not just by the oscar winning Firth, but also Geoffrey Rush as his delightfully unpretentious mentor. One of those I didn't think I would, but I did occasions...like it that is.

*The House On The Edge Of The Park (Ruggero Deodato, 1980) 2.5+
David Hess plays another lunatic (ala his turn in Wes Craven's The Last House On The Left) who invites himself and simpleton pal Ricky (Italian splatter regular Giovanni Lombardo Radice) along to a yuppie house party with disturbingly sleazy and murderous results. Low brow gutter trash is sickeningly gratuitous, but often so inept as to defy credibility resulting in many unintentional laughs - not least the ridiculous twist ending. A must for fans of Italian horror and extreme cinema. Everyone else should give this a wide berth.

*The Honeymoon Killers (Leonard Kastle, 1969) 3+
Cult classic was originally to be directed by Martin Scorsese who was subsequently replaced. Overweight on the shelf nurse Martha (a brilliant Shirley Stoler) hooks up with slimy Gigolo, Ray (Tony LoBianco) via a lonely hearts column and is sucked into his cycle of swindling spinsters for their savings. Does Ray genuinely love Martha as they con and murder their way to her idealistic suburban facade of normality? We never really find out (though his constant strays would suggest not sexually), but this disturbing downbeat true story is strikingly filmed and acted on a budget making it a worthy cult item.

Vengeance Is Mine (Shohei Imamura, 1979) 3
Imamura's celebrated document of events that led to real life con artist and muderer Iwao Enokizu's reign of terror on the lam, and subsequent capture. Told mainly in flashback it's a sometimes convoluted, but engaging story with a chilling matter-of-fact portrayal from Ken Ogata as the misanthropic monster; a tragic product of criminal insanity and disfunctional family circumstance.

Count Yorga, Vampire (Bob Kelljan, 1970) 3.5
This savvy contemporisation (at least for 1970) of the vampire mythos is graced with a wonderful arch, knowing performance from Robert Quarry as the titular neck biter. Kelljan injects the film with an attention grabbing sense of style (the opening seance sequence is masterful) and later dialogue exchanges between Yorga and the inquisitive Dr. Hayes (Roger Perry) are as satisfyingly playful as they are enthralling. Not especially original, and dated now, yes. But stylistically this is seminal, with enough substance to please the most demanding genre fans who appreciate the old school.

The Return Of Count Yorga (Bob Kelljan, 1971) 2++
Disappointing cash-in sequel makes no sense considering the climactic events of the first film. Kelljan still knows how to create atmosphere with a particularly hypnotic opening graveyard encounter however, and the wry humour is still present (an unwitting Yorga comes second to the crappy Lugosi imitator at a fancy dress competition) but it's really just an inferior retread with ever more threadbare production values and Craig T. Nelson (best known as Coach) in an early role as a bungling cop.

The Avengers (Joss Whedon, 2012) 2.5
Overly busy, minimal plot chennanigans often resembles one long video game cut scene, but is redeemed by a fabulous cast who all look to be having a blast. Fun popcorn flick.

The Legacy (Richard Marquand, 1978) 2.5
Perennial gravel 'gargler Sam Elliot and seventies hottie Katharine Ross wind up stuck in an English country house run by satanists, after a motorcycle accident. Apparently Ross is the next heir to rule their sect or some nonsense. The plot is a derivative snooze, but Elliot's rootin' tootin' culture clash with the limeys is a hoot; as is the support from the likes of Charles Gray (you know something's a-miss when Blofeld's playing 'normal'), and Who front man Roger Daltry checking out via a reckless tracheotomy! Worth a look for fans of seventies occult horror daftness.

Airborne (Dominic Burns, 2012) 2
Woefully acted (poor old Mark Hamill) bargain basement British disaster/conspiracy/occult horror thriller cashes it's credibility chips in the opening five minutes, when a plane containing a laundry list of high risk passengers is allowed to take off despite knowledge of an incoming storm. Not even Alan 'Brick Top' Ford on autopilot (not literally) can save this one. A real bust on every level.

The Innkeepers (Ti West, 2011) 2.5
Well made, but puzzlingly unoriginal haunted hotel outing from 'one to watch' director West. Sara Paxton - surely another one to watch - is eminently likable as the young receptionist at a sparsely occupied inn nearing end of season. Naturally she gets more than she bargained for when (along with cowardly fellow employee Luke played by Pat Healy) she begins looking for evidence of ghosts. Good support from Kelly McGillis as a washed up actress turned medium helps, but the scares aren't really there as we've seen it all before.

Stiletto (Nick Vallelonga, 2008) 2
How's this for a knock it out the park slice of miscasting? Tom Berenger is a Greek mob boss, with Michael Biehn as his crazed enforcer, and William Forsythe a fellow hitter stirring the sh*t. Together they have to contend with sub-Ms.45 wannabe hit-woman Raina (Stana Katic displaying all the charisma of a lobotomised jellyfish) who wants their balls in a sling. Berenger and Forsythe look uncomfortable while Biehn chews the scenery (along with his lunatic British moll) in this ultra violent meal ticket. Only ray of light is Tom Sizemore wasted in a small role as a coke fueled drug dealer. Cheap but not very cheerful.

*The Deep (Peter Yates, 1977) 3.5
Long but always exciting island adventure yarn from Peter Benchley, with Robert Shaw's curmudgeon treasure hunter assisting Nick Nolte and Jacqueline Bisset's holidaymakers in the hunt for sunken loot. Beautiful underwater sequences, and one surprisingly tough fight involving an outboard motor highlight this underrated thriller.

Jack And Jill (Dennis Dugan, 2011) 1.5+
Lowest common denominator Adam Sandler comedy is almost, but not quite redeemed thanks to Al Pacino; a hoot playing himself.

Hot Tub Time Machine (Steve Pink, 2010) 2.5
Peggy Sue Got Married meets Back To The Future via The Hangover in this well conceived, but toilet humour heavy sleaze comedy.

[honeykid]

I switched it off after twenty minutes. Way too much green screen and misfire humour. Liked the costume design and hokey premise, but it wasn't enough.
Yes, that's one of its problems. It's a seventies exploitation flick made with C21st tech. As is usually the case, they just don't have the charm of the real McCoy and I don't find knowingly tongue-in-cheek as entertaining as badly acted played seriously.

Of course, that's not always the case.

http://www.youtube.com/watch?v=D9Kd4CIIUXw

I still prefer Mega Shark Vs Giant Octopus for the reason that it's played straight(er).

[TylerDurden99]

Sharktopus is great, Mega Shark though... :down:

[HitchFan97]

Eraserhead (David Lynch, 1977)- 3.5. A baffling work of surrealism that further displays Lynch's mastery of atmosphere, even if this atmosphere isn't as seductive as Blue Velvet or Twin Peaks. To me, it works best as a blacker-than-black comedy about fatherhood.

Jurassic Park (Steven Spielberg, 1993)- 4. Yeah, up until now I had never seen the film. Anyways, it's awesome and whatnot. Spielberg is a master of pathos.

Rebel Without a Cause (Nicholas Ray, 1955)- 5. Visually ravishing, and a much more complex film than it seems at the surface. Brilliant for its jolting critique on the social values of 50s America, but timeless for its portrayal of youth dysfunction.

Close Encounters of the Third Kind (Steven Spielberg, 1977)- 4.5. I had the pleasure of seeing this for the first time on the big screen. For me, it's trumped only by Jaws among Spielberg's films, and it's one of the best science fiction movies I've ever seen.

Wild at Heart (David Lynch, 1990)- 4.5. I never would've guessed this film would be so funny; it's a brilliant self-parody and one of the most excessive films I've ever seen (I mean that in a good way).

In a Lonely Place (Nicholas Ray, 1950)- 4. A dark and captivating noir featuring an unconventional role for Humphrey Bogart. It works well as a mystery thriller, but even better as a tragic examination of a relationship's breakdown.

Charlotte and her Jules (Jean-Luc Godard, 1960)- 3. It's interesting to see pre-Breathless Godard, and this short film displays his wit quite well.

Lolita (Stanley Kubrick, 1962)- 4. Kubrick's most underrated movie, and one of his most entertaining. I'll take this over Dr. Strangelove or Barry Lyndon any day.

West Side Story (Robert Wise, 1961)- 4. A visually stunning musical and a lot of fun too. I was shocked to see Richard Beymer from Twin Peaks, 30 years younger and singing.

The Magnificent Ambersons (Orson Welles, 1942)- 2.5. It's visually elegant and features some of the best use of lighting I've ever seen, but that doesn't excuse the dull narrative that completely failed to draw me in. However, given the film's reputation, perhaps the studio is to blame for that.

[Monkeypunch]

I haven't posted in a while and here is where I get everyone questioning my sanity, but I can't hold it in anymore!!!

The Dark Knight Rises - Expected to love it and...didn't. Personally, I want more BATMAN in my Batman movies. More than maybe forty minutes, anyway. This was relentlessly bleak, depressing, and disturbing, like the director decided to make this no fun for anyone. I miss Tim Burton. Hell, after this I miss Joel Schumacher. I don't wanna leave a summer superhero movie feeling bad...Maybe they can get Sam Raimi for the reboot? I think that would be awesome. More Batman, please, and less politics and implied gang rape. That made my girlfriend squirm and want to leave the cinema. we almost did, but I was holding out hope that the ending would be awesome. Kinda wasn't.

Expendables 2 - This movie, on the other hand, was just pure awesomesauce.

[ThomasP]

BLADE RUNNER (1982) http://www.movieforums.com/images/popcorn/5box.gif - It works to well because it managed to mix both science-fiction or film noir. It is sleek, and it makes you think a lot about each of the characters' identities.

MODERN TIMES (1936) http://www.movieforums.com/images/popcorn/5box.gif - Can't say much that hasn't already been.

SHERLOCK JR (1924) http://www.movieforums.com/images/popcorn/4.5box.gif - Yay, Buster Keaton. A quite entertaining, not that funny, but it's hard to fault this.

IN THE MOOD FOR LOVE (2000) http://www.movieforums.com/images/popcorn/4box.gif - I enjoyed this film, but it lacked something in my eyes. I'll have to give it another try, because it definitely had the potential to be an incredible film.

GLADIATOR (2000) http://www.movieforums.com/images/popcorn/2.5box.gif - I'm sorry, I just didn't like this.

[donniedarko]

Man Bites Dog (I will be posting the review here and The Official Criterion Review Tab, the latter of the two will have the review for the Criterion disc itself too though)

http://upload.wikimedia.org/wikipedia/en/thumb/0/0e/Man_Bites_Dog_film.jpg/220px-Man_Bites_Dog_film.jpg
This film is violent, nasty, and has some of the best black humor since Dr. Strangelove. The serial killer being followed by the documentary crew in this mockumentary is Ben. He is an expert in killing, dirty jokes, and probably majored in philosophy in college. Which is probably why he steals to pay the bills. While I wouldn't rank this near the most disturbing film like many have, there were sequences of violence that were hard to watch. Most notably the rape scene, which had an even more gruesome aftermath than the one in A Clockwork Orange.

Ben killed 34 people in this film, one of them a child. We only saw one man escape from him. All the kills were unique, the three directors didn't reuse ideas. We can only assume the countless amount of people he killed before this showbiz crew somehow found him. While the serial killer is enjoyable to listen to the cast made sure you didn't forget how bad he really was. That's a problem with some of the films that follow purely the villain, you start rooting for him.

There were a few plot holes I spotted. Why wouldn't the police seize the documentary footage? It didn't really take much away but it could be the reason this is refereed to as an exploitation film. Which is not what the directors intended. The movie could bring humor into dark areas. It was even cartoonish in a sense, Ben looked at killing as if he was animating Tom & Jerry. This made it a unique and powerful film.
4

No C4 for Daniel- Daniel
A short film from the directors included on the criterion, it was like wathcing an 11 minute trailer for a C action movie. 1.5

Other Watches
Sound Of Noise- 3
Soul Surfer- 1
Ran (Kurosawa)- 2
A Woman is a Woman (Godard)- 2

[TheGirlWhoHadAllTheLuck x]

West Side Story (Robert Wise, 1961)- 4. A visually stunning musical and a lot of fun too. I was shocked to see Richard Beymer from Twin Peaks, 30 years younger and singing.


Not quite. They dubbed him for the majority of the film. You can hear him start some of the songs off but then it goes into the dubber's voice. A bit like what they did with Audrey Hepburn in My Fair Lady.

[TheGirlWhoHadAllTheLuck x]

Anna Karenina 3

http://ia.media-imdb.com/images/M/MV5BNTg0MzcyNjg1MF5BMl5BanBnXkFtZTcwMTEwMzQ1Nw@@._V1._CR341,0,1365,1365_SS100_.jpg (http://www.imdb.com/rg/mediaindex/unknown-thumbnail/media/rm3689920256/tt1781769)

I have eagerly anticipated/dreaded this film but finally got to see it on the day it was released. If you don't know the story, Anna (Keira Knightley) is a young woman married to dull older man Alexei Karenin (Jude Law) who has an affair with dashing young Count Alexei Vronsky (Aaron Taylor Johnson) and pays the price for it. Meanwhile, gentleman farmer Levin (Domnhall Gleeson) is trying to win the heart of Princess Kitty (Alicia Vikander), who loves Vronsky.

The film is for the most part set in a nineteenth-century theatre, which makes for some opulent visuals but considerably drags the pace of the film as one has to adjust to this Brechtian style that calls attention to the artifice of the film. The actors do not act in a theatrical style apart from Aaron Taylor-Johnson as Count Vronsky, Anna's bit on the side. As well as being too young for the role, he is styled ludicrously, resembling a Scandinavian Eurovision entry from the 70's. Poor Taylor-Johnson tries to play dashing but looks more like a schoolboy who'd give you a good time round the back of the bike shed than a charming soldier.

Keira Knightley is actually quite good in the title role. She plays Anna as an overgrown schoolgirl who starts an affair with Vronsky just because she can- and the interpretation works. Actresses have often found it hard to play Anna as completely sympathetic and ironically by going for the opposite, Knightley manages to get some sympathy. Anna is tragically self-absorbed and will persue her own happiness even at the unhappiness of others. What Knightley doesn't quite pull off is Anna's initial affection for Karenin (Jude Law), which makes her later repulsion towards him all the more tragic.

Jude Law is unrecognisable as Karenin. It's a strange casting move when Law could probably have played Vronsky as little as five years ago but the styling is pretty effective. He is every inch the stuffy government man and moral guardian, controlled by the interfering Countess Lydia (Emily Watson). It is easy to play Karenin as the bad guy so it's nice to see a good guy interpretation here but Law perhaps makes him a little more heroic than he should be, considering that in the novel Karenin is far from a hero.

Fans of the novel will be pleased to see that we get the Levin subplot. Domnhall Gleeson is a very sincere Levin, if perhaps a little bland at times. Alicia Vikander is an angelic Kitty and their relationship is the heart of the film. There's a lovely moment where Levin reveals his feelings to Kitty by using toy cubes with letters on them. Unlike the 1997 film, the Levin subplot fits in perfectly.

Whilst I love the film's interpretation of the novel, the film is fatally hindered by the stylism.

[Brother Blue]

*The Apartment (Wilder, 1960) 4.5

Deserves its "classic" status.

Investigation of a Citizen Above Suspicion (Petri, 1970) 5

Excellent indictment of the post war Italian political system.

The Candidate (Ritchie, 1972) 3

Decent if unremarkable political satire. Both Redford and Boyle are excellent.

Mishima: A Life in Four Chapter (Schrader, 1985) 4

Very interesting take on the remarkable life of one of my favourite Japanese authors, Yukio Mishima.

[meatwadsprite]

https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTXcwT53koBp7cpRHyKBg_sp0nDXbn66irRjGzOLMrhXroicj5BKQ 4 https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcQLrj4Tis-HRPHS-zRUKThucb-JW10Zs6Ny2FC5W1JLjoRn0cvl 5 https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcT9-41RM4ZHUVcOAGmoEAZv0b9jcqfaEAGfIIIVBK54cC0r7h6SqA 5

https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTnW4jeH3SKrdWFe7KaYPncTEmkJasuDsYZ1NPXGTEOcAF3cK8jjQ 3.5 https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTBtM2Jx7vW0ucKyfu1Cw6Jc8ABAYmuefhZVkxNMkwGY45J_fbn 3.5 https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcRB5aI9tLhggPxKIqgW4F2PfpkmuDctYMiM7-wrqliXJ7KYUZbC9A 4

https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcRhnGXpqCiD_BcyDZLfQbKkR-iFb1BlVCRPDjGrmXcU6gm8me7cyg 1 one of these movies does not belong

[linespalsy]

Runaway Train (Andrey Konchalovskiy, 1985) 4
Dead Alive (Peter Jackson, 1992) 3+
À Nous la Liberté (René Clair, 1930) 3
Matewan (John Sayles, 1987) 3.5+
21 Jump Street (Phil Lord & Chris Miller, 2012) 1.5
The Dark Knight (Christopher Nolan, 2008) 4-
Whip It (Drew Barrymore, 2009) 2.5+
Savior of the Soul (David Lai and Corey Yuen (written by Wong Kar-wai), 1991) 2
The Comb (Stephen and Timothy Quay, 1990) (short) 3.5
Roman Polanski's Fearless Vampire Killers (1967) 3.5
Birthday Girl (Jez Butterworth, 2001) 1
Unmade Beds (Nicholas Barker, 1997) 2-
Breakfast at Tiffany's 4
Love Actually (Richard Curtis, 2003) 3
Batman Begins (Christopher Nolan, 2005) 2.5
Harry Potter and the Order of the Phoenix (David Yates, 2007) 2
Harry Potter and the Goblet of Fire (Mike Newell, 2005) 1.5

[Skepsis93]

Catching up on some essential Hitchcock:

Dial M for Murder (1954) 4
Rope (1948) 3.5
I guess the "stagey" qualities of both of these are somewhat polarizing, I myself like it a lot especially when theatrical performances solidify the concept. They were both stage adaptations, and are successful by virtue of staying true to their source, I think. The liberal dash of wit and dark humor in Dial M make it the slightly better experience over the more straight suspense of Rope.


http://trueclassics.files.wordpress.com/2011/01/dial-m-for-murder1.jpg

http://2.bp.blogspot.com/-Dv0yvtjG_oE/TZKOGEinlNI/AAAAAAAACT0/yMV8OYQrlrw/s1600/Rope+cast.jpg

North by Northwest (1959) 4+
Not much I can say that you haven't heard before. Heart-pounding, ambitious and magnetic performances, and never a dull moment.

http://www.ritholtz.com/blog/wp-content/uploads/2011/05/North-By-Northwest-Hitchcock-Cary-Grant-pic-2.jpg

To Catch a Thief (1955) 3
Might be Hitchcock's most visually beautiful effort, but the story is a little contrived and not hugely entertaining. The leads are great though.

http://www.imcdb.org/i013886.jpg

Others:

This Is Spinal Tap (Reiner, 1984) 3.5
Definitely needs a re-watch to uncover all those comedic gems I just know are hidden just under the surface.

The Crow (Proyas, 1994) 4
Dark, camp and kooky. Very entertaining.

Ghostbusters (Reitman, 1984) 4
Supremely fun way to spend 90 minutes.

Some Like It Hot (Wilder, 1959) 4
Manic, absorbing classic comedy and another sublime Jack Lemmon performance.

[rauldc14]

Love Dial M for Murder and North by Northwest. Rope was a bit of a disappointment to me. And, although I'm on the same page as you with To Catch a Thief, I still think it's a decent watch (because of the leads, like you said).

[Skepsis93]

And, although I'm on the same page as you with To Catch a Thief, I still think it's a decent watch (because of the leads, like you said).

Yeah, Grant and Kelly definitely make it watchable (as do the visuals, which really are spectacular). Also nice to see John Williams after loving his turn in Dial M.

[rauldc14]

To Catch a Thief could have honestly have been a top 5 Hitchcock if a few things here and there were improved upon in my opinion.

[Mysticalunicornfart]

http://www2.pictures.zimbio.com/mp/ERoMtYRQbVcl.jpg
The Sleeping Beauty
4/10
I wish Catherine Breillat would stop making movies. The Sleeping Beauty is better than Breillat's Fat Girl, but that's not saying much.

Once Anastasia is within her dream state there's some visually interesting scenes that are one the few highlights of the film, another highlight is the actress playing Young Anastasia, but after about 40 minutes in the film things go down fast. Things become confusing, and muddled.. finally when Anastasia awakes from her rest it just becomes unwatchable, the actress playing her now is much less charismatic than young Anastasia's and the actor playing Johan is almost as unappealing as the character himself.

[Tyler1]

Land of Silence and Darkness (1971)

Werner Herzog's fascinating documentary about the deaf-blind is as ennobling an experience as watching Night and Fog.

Near Dark (1987)

Frightening and absorbing horror movie that has great dialogue and suspense.

Splinter (2008)

Very poor camerawork and boring story that's been told countless of times. An absolute waste of time.

[meatwadsprite]

https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcR_MaSN6bxoOUelwSVBE1ANXkNZhvKCYup6d-lgy_3vncK4Cbrt 4.5 https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcRAkBgUZdQuszAgdHTk6MTjr5Mks5JKEdVXxZnnnDe-SvpGXKmf 4 https://encrypted-tbn3.google.com/images?q=tbn:ANd9GcTNJ3NvteYlO6dgDBgQfZqrceClp40hQ_9q65_l01IIxSYb-z6cnQ 4 https://encrypted-tbn2.google.com/images?q=tbn:ANd9GcT79WtzFYE0rktUuQ2RwxSJZngvYFJRgMfBI31Q-V4PqnAulfWQjA 4 https://encrypted-tbn1.google.com/images?q=tbn:ANd9GcQTWRldAl8Bh6XpuNg8F17m0GTll_vQtF2HAcg90wW3xBUPpxtN 3.5

[Daniel M]

Watched two films today:

Rise of the Planet of the Apes (2011)

Overall I enjoyed it, Serkis and the visual effects in the film are brilliant and the main purpose of the film is to show the emotions and actions of the apes as they develop throughout. The script is poor and the acting is just what is required, nothing more, some of the stuff is quite unrealistic as well, more attention could have been paid in these areas but really they just act as the back story to allow the apes to develop like they do.

*** (out of 4)

Silence of the Lambs (1991)

I've been wanting to see this film for ages so when I saw it was on TCM the other day I recorded it and finally got round to watching today. As expected I loved the film, an excellent thriller with excellent performances from Jodie Foster and Anthony Hopkins, one that I'll definitely watch to see again.

**** (out of 4)

[donniedarko]

If I was going on a Four star rating stem mine would be the same as yours, I gave Rise 3.5 stars and Silencs 5 stars, and it's one of my favorites.

But in Apes I thought the Franco put up a great performance and they can only get realistic to a certain point in those kind of films.

Couldn't help but feel bad for the lovable ape Ceaser

[Mysticalunicornfart]

But in Apes I thought the Franco put up a great performance
http://25.media.tumblr.com/tumblr_m6ez987Cz61rziwwco1_250.gif

[Daniel M]

If I was going on a Four star rating stem mine would be the same as yours, I gave Rise 3.5 stars and Silencs 5 stars, and it's one of my favorites.

But in Apes I thought the Franco put up a great performance and they can only get realistic to a certain point in those kind of films.

Couldn't help but feel bad for the lovable ape Ceaser

I don't feel the acting was bad, good performances all round, what was required of them but overall there was little effort put in to their characters and scripting as compared to the rest of the film. Franco probably was the best on out of him, his girlfriend and his dad, his girlfriend didn't really contribute anything :P

But yeh Ceaser was brilliant, another great performance by Serkis (and FX crew) he really makes the film what it is and why I enjoyed it a lot.

[Mysticalunicornfart]

C'mon guys. I was surprised how bad Franco was in Apes.

[Sexy Celebrity]

http://25.media.tumblr.com/tumblr_m7tq63ybm91r7urx3o1_500.gif
The Texas Chainsaw Massacre 2
This damn movie again - because the Blu-ray just came out this week.

[Daniel M]

Been waiting to watch this for a while and finally got round to watching it after recording it on Film4.

http://upload.wikimedia.org/wikipedia/en/thumb/6/62/Eternal_sunshine_of_the_spotless_mind_ver3.jpg/220px-Eternal_sunshine_of_the_spotless_mind_ver3.jpg

Eternal Sunshine of the Spotless Mind

Thought it was a great film, confusing at the start but the way it's done means it works well and the way everything works out is very interesting. Very good performances from Winslet and Carrey (who I don't like that much in other films).

4.5

[donniedarko]

Eternal Sunshine is a film I respect but not one I like. I gave it a 4 but it will never be close to one of my favorites. I found most of it boring, but the twist came very respectively and caught me off gaurd

[donniedarko]

Broken Embraces
http://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Broken_Embraces.jpg/215px-Broken_Embraces.jpg
The only other Almodovar movie I've seen is "All About my Mother". While I enjoyed that one I would pick this one over it any day. This film had wonderful story telling. It put humor into dark areas, it was chilling and disturbing at the same time. Almodovar let you figure out the twists on your own, without making it to out there and obvious. And yes there were a lot of twists. Penelope Cruz was great, and Almodovars use of colors made this a beautiful and a never boring experience.
4

Metropolitan
http://upload.wikimedia.org/wikipedia/en/thumb/4/45/Metropolitan-poster.jpg/220px-Metropolitan-poster.jpg
I'm split on the debut film of Stillman. I'll start with the good. It seemed like an accurate satirical view of the upper class of New York. With there socialist beliefs and there unhappiness in their successes and inheritances. It had a fun script with intellectual jokes.*

On the bad side in the three years of portrayal the characters didn't change at all. Physically or mentally. Not even a haircut. If Stillman wanted to be lazy he could've set this over one night. That would also take away from the other con of the relationships between characters were confusing and indifferent.
2.5

Other Movies I've Watched
Planes, Trains, and Automobiles- 3.5
Pursuit of Happyness- 2
Forbidden Games- 3
The Beat that My Heart Skipped- 1.5

Short Films
Flatlife- 3.5
The God- 3.5
Lavatory Lovestory- 2.5
Sniffer- 2.5

[JayDee]

The most recent collection of reviews from my Movie Musings. As I recently said I'm going to be taking a little break from writing the extensive reviews so enjoy them while you can! :D Though we have something new coming up next!




mirror
No Way Out

4.5

After watching A Perfect World I felt in the mood for some more Costner action, and decided to go with this film which has been on my radar for a long while but until now hadn't watched. Now I'm not sure how well known, or indeed well liked, this film is but I absolutely loved it!

The film's plot has more than a hint of classic Hitchcock about it. You've got the innocent man accused of a crime he did not commit, and unfortunately every shred of evidence seems to point back to him. The interesting little twist this film has is that it's the supposed guilty party himself who is leading the investigation. And along the way we are treated to a series of twists and turns, bluffs and double bluffs. It's ...........................

See the full review here (http://www.movieforums.com/community/showthread.php?p=841418)

mirror
A Perfect World

4 +

As I recently posted I have actually seen this film before. Sort of. A few years back it was on TV and even though I was taping it I did catch a decent bit of it in the background, and what I saw of it I really liked the look of. Now most people (normal, rational people!) would then want to go ahead and watch it in full very shortly after that. I however didn't, for fear it wouldn't live up to those initial impressions I had built up. Yes I'm weird! Let's move on. :D Anyway it perhaps didn't quite live up to the high promise I had heaped upon it, but I still greatly enjoyed it. And it's a film I can see my appreciation growing for on repeated viewings.

Going by the film's plot summary of “a convict takes a young boy hostage .........................

See the full review here (http://www.movieforums.com/community/showthread.php?p=840020)

mirror
Jeremiah Johnson

4

In a number of ways this Pollack/Redford effort feels very much like a prototype Dances With Wolves, both in terms of structure (a lone man learning to survive in a great frontier while developing a respect and a relationship with the Native American indians who populate the area) and style (deliberate, ponderous and poetic). It's a film that shows both the mythological nature of the mountain man, as well as showing some of its realities. It's a harsh and brutal depiction of the life Jeremiah has chosen and what it takes to survive in such an unforgiving environment. It opens in quite a documentary-style fashion as it shows the realities of this life, before moving down a more picturesque adventure route. It's also a film that I found to be surprisingly humorous, certainly early on, in large part thanks to the eccentric characters Jeremiah meets along the way, and the colourful dialogue and wisdom that they spout.

Read the full review here (http://www.movieforums.com/community/showthread.php?p=840812)

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Half Nelson

3.5

Freedom Writers, To Sir With Love, Dead Poet's Society, Mona Lisa Smile, Mr Holland's Opus, Finding Forrester, The Great Debaters, Coach Carter, Kindergarten Cop! :D and on and on - Hollywood isn't exactly lacking in inspirational teacher movies, in fact it seems to churn one out every couple of years. While this film may exist in that environment it sidesteps a lot of the clichés of the genre that you expect it to include. Yes it may have a teacher trying to inspire his students with a unique, unorthodox style. And yes it may have a white teacher teaching a class of poor black kids. But Gosling's teacher is no great idol, it shows him having just as many issues and troubles as the students he teaches. And yet he still has an effect on the life of one of his students. Though it is the student who eventually has just as much of a profound effect on his life.

See the full review here (http://www.movieforums.com/community/showthread.php?p=843117)


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The Eiger Sanction

3.5 -

I found this Clint effort to be very much along the same lines as The Gauntlet. It's a bit rough and trashy. Heck I'd even say it's a bit naff in points. And yet somehow it emerges as another entertaining vehicle for Mr Eastwood. Actually I just said 'somehow', but I know exactly why it works. There are two main reasons - Clint himself and the stunning on location photography and stuntwork.

In 1976 the James Bond series was still in full flow, and in many ways this almost feels like a two hour audition tape made by Clint with the aim to don the famous tux. I don't know if this is the closest Eastwood got to the adventure genre but it's certainly the nearest that I've seen so far. Eastwood's Jonathan Hemlock certainly has a James Bond vibe to him; a talented spy and assassin who .......................

See the full review here (http://www.movieforums.com/community/showthread.php?p=839215)

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The Help

3.5 -

I found this to be a rather manipulative little film. It's a film which knows which buttons to press, and when, to have maximum impact upon the viewer. I also struggled to get past the rather safe and simplistic manner in which it tackles the story. I just felt like the film was guilty of pandering to middle America, to the critics and to the Academy. However once the film has chosen the path its going down, and after I was able to accept and move past it, what emerges is quite a good film.

Despite me finding this to be merely a good film as opposed to a great one, I am not at all surprised by the huge dent it made at the US box office, the numerous awards and nominations it garnered .......................

See the full review here (http://www.movieforums.com/community/showthread.php?p=840401)

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Dead Ringers

3

I think I need a shower! That's the feeling this film left me with. I found it to be a rather skeezy, unseemly effort. Tapping in to the fascination of twins that many people seem to have, it's quite a disturbing little tale of these brothers who have an unnaturally close, and unhealthy relationship. Though I should probably have seen the tone coming right from its faintly ominous opening credits, as images of birth and surgical tools dance across the screen against a backdrop of dark crimson.

For me what I found this film to be was a showcase for the acting talents of Jeremy Irons. It's quite a staggering achievement from the man who would be Simon Gruber as he depicts two very similar, but .........................

See the full review here (http://www.movieforums.com/community/showthread.php?p=843117)

[JayDee]

And here are my new reviews. Returning to the way I used to do it. Nowhere near as in-depth, just some little ramblings. I was just planning on a paragraph or two at most but as you'll see the first film got away from me a little! :D

As you'll be able to see I've gone on a bit of an AFI list spree, so a lot of classics here. And with quite a few lowish scores for them I'm sure thre will be a few unhappy readers.


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The Godfather

4 +

Well slap my ass and call me Judy! Or in other words – well colour me surprised! After years and years of putting it off turns out I enjoyed The Godfather a lot more than I could ever have predicted. Going in to the film I had two main reservations. No. 1 – In general I'm really not a fan of gangster films, too often finding them to glorify the characters and their lives. I was surprised not to find that to be the case here however. It doesn't feel so much like a film about gangsters, as a film about characters who just happen to inhabit this world if you know what I mean. A film about the corruption of power and the disasters that often occur when revenge is introduced. It actually brought to mind the Confucius saying "Before you embark on a journey of revenge, dig two graves." And the violence for the majority of the time was not of the sensationalised, 'cool' variety. And the only instances were it comes close have their reasons. It happens either when the Corleones are killed off by their rivals so that while everyone is a criminal we know who we are meant to be rooting for. Or at the end with the Corleone's revenge which is to highlight just how large a shift has occurred in the character of Michael. And no. 2 – With it being such a critically acclaimed, AFI-topping film that just happens to run at nearly 3 hours I feared it might be quite a dense, ponderous and inaccessible film; one I'd struggle to get through. But it really wasn't! In a number of ways it actually fit quite nicely into my good old 70s thriller season, the only difference being it is presented exclusively from the side of the criminals.

There is certainly a lot of quality on show. As for the performances, I know he won the Oscar for it but I couldn't help finding Marlon Brando to be rather hammy to a slightly annoying level. The star performer for me was definitely Al Pacino as Michael Corleone, the man who is corrupted by this life. Following him I'd have to give props to Robert Duvall. The film looks gorgeous; whether it's the gritty New York streets or the sun-drenched landscapes of Sicily it is presented just beautifully. And Nino Rota provides a sweeping, provocative score. All coming together to create a rather enthralling experience.

I know the score will still be criminally low to the majority of people on here but it's a lot higher than I thought it would get, and that was with it having to overcome the reservations I had going in. So who knows what it could accomplish on repeat viewings. Probably the best compliment I can pay the film is that I now want to see the sequels, something I really didn't think I'd be saying.

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The Grapes of Wrath

4 -

Despite tackling some pretty grim and bleak subjects I found this film to eventually be really moving and quite beautiful. It has a really quite grand, epic sense of scale and that is brought to life by some beautiful black and white cinematography. And Henry Fonda gives a quite staggering performance in the main role of Tom Joad. For 99% of its running time I was wondering why this film was on the AFI's 100 Cheers list but then the film does allow us a brief glimpse of hope at its conclusion. It doesn't come from any moment in the film though, it comes about as the result of a character and how she represents the human spirit that even in the face of so much strife and pain we can keep going on, keep surviving and even prospering.



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The Graduate

3.5 +

While I did really like this film I know I should have liked it even more. It's one of those films were I could appreciate the quality of it more than really liking it. Hoffman is just terrific in the lead role, the way he morphs from this edgy, awkward kid into a guy with a bit of swagger is a great transformation. I couldn't help but be reminded of the work of Wes Anderson throughout, it definitely had something quite reminiscent of his films; a mixture of drama, offbeat humour, a melancholic nature and some screwed up family dynamics. Particularly the reveal of Ben in full scuba gear felt so much like something Anderson would use. Oh and the soundtrack provided by Paul Simon and sung by Simon and Garfunkel is wonderful.



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West Side Story

3.5 -

A bit of a mixed bag for me this one. At times I found it dynamic and energetic, at others slow, plodding and too much like I was just watching a stage production as opposed to a film. The real problem areas for me arose from the Tony/Maria relationship. I felt the performances of the two stars, Richard Beymer especially, were very much like sandwiches – a bit cheesy and a bit hammy! :D And their songs were definitely the weak points for me; lyrically I found them awkward and clumsy, with lines that were just too on the nose. And they were filmed in soft focus and a very romanticised fashion; all creating a very cloying tone to me.

What did save it however were some of the other musical numbers, mostly featuring the gangs. Particular highlights for me were “America”, the very funny “Gee, Officer Krupke”, “Cool” and “I Feel Pretty.” Definitely getting top spot though would be “America” which is both very entertaining but has the deeper context of being about the aspirations of the American dream, but also the reality of it for many people.

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Annie Hall

3 +

My first ever Woody Allen film, and while I enjoyed it more than I thought I probably would my main reservation to exploring his work previously proved to be right – I really don't like Woody Allen. I just find him incredibly irritating. There's a line Diane Keaton says to Woody along the lines of how her grandmother would find him to be 'a real Jew!' And that is a large degree of my problem with him – he's so Jewish! Now it's not that I have a problem with Jewish people, but Allen seems like a Jewish stereotype they'd wheel out for a Saturday Night Live sketch where they wanted a really over the top, stereotypical Jewish character. And I have to be up front and admit to a certain dislike of him on a personal level in terms of him seeming like a creepy b***ard, what with the relationship with Soon-Yi, numerous disturbing allegations about his behaviour with other kids and his defence of Roman Polanski. It's probably another reason I'd put off exploring his work for so long.

Now there are some funny lines and some funny, slightly wacky scenes, notably when Allen enters Snow White (not like that, grow up people! :D). However that was outweighed by the moments that I found annoying, in particular the frequent breaking of the fourth wall as he addresses the audience. It could have been funny but was way overdone, feeling forced and pretentious. For me it also had a sense of desperation about it, as if he needed these scenes to bring some laughs in unfunny stretches. So while I did fairly enjoy this I think if Allen had only written it, and it had starred anyone other than him I could probably have been adding on another popcorn bucket to my score.

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American Graffiti

3

I found this film to be pleasant enough I suppose, but at no point did it really appeal. I just struggled to find much for me to engage with. By a long distance the undoubted highlight for me was the fantastic soundtrack. I honestly can't imagine how they were able to get the rights to assemble such a soundtrack; a soundtrack of dozens and dozens of recognisable songs. Of the different story strands that are told in the film the one that most appealed to me was of John Milner and the young girl he touchingly befriends. What I did find interesting was learning about the massive car culture and the concept of cruising that was apparently such a big thing in the early 60s in America. It wasn't something I was particularly aware of.




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Horse Feathers

2.5 +

Two films in and I have to say that I'm still not sure about the Marx brothers. There are some undoubtedly inspired bits of wordplay and slapstick here but eventually they just get on my nerves. It's just so full-on, I just wish they'd take a little break every now and then and slow down. It's just all about trying for a laugh every second with no real characters or plot given any thought. I could see myself enjoying them in the way I can the Three Stooges, in small bursts of 15-20 minutes. But for a full movie (even if it's only 65 minutes) I just found myself getting exhausted with their antics and longing for it to end.

[Daniel M]

Good to hear you liked The Godfather, it's one of those films I train to explain to my mum that it's not all about violence (she says she doesn't want to watch it because of the horse head scene :P ) and that it's much more, I say the same with The Sopranos TV show which I also love, as you can probably tell I am a fan of crime films.

I also watched The Grapes of Wrath recently and though it was a very good film by Ford, like you said when you're watching it you'll find it hard to understand why it's in the 'cheers' list as throughout we see the family and others suffer at the hands of the depression, apparently the ending is different from Steinbeck's novel (I'm sure I heard somewhere, but don't quote me) which is meant to be more in fitting with the rest of the story.

[JayDee]

Good to hear you liked The Godfather

Thanks mate. :up: And I was delighted to see your appreciation for Eternal Sunshine... - one of my very favourites!

[Daniel M]

Watched two more films, one today and one yesterday. Will get round to full reviews eventually but my brief thoughts on both:

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Mean Streets

As a big fan of Scorsese I was looking forward to watching this film. Goodfellas is one of my favourite crime films, and Raging Bull and Taxi Driver are two of my favourite films of all time. Robert De Niro is simply brilliant in this film despite being supporting actor behind the main man Harvey Keitel (which changes later in Taxi Driver as De Niro becomes more established), his entrance his brilliant and his portrayal of a crazy, psychopathic character is superb. As a film I was very impressed with Mean Streets, it's be no means perfect, you can notice that it's the early work of a great director as some technical aspects are not up to the standard of Scorsese's future films but in terms of content it's got all you could want from a crime film with various themes explored and some great characters.

My Rating

4.5



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Brazil

I recorded this on Film4 and part of their description was that the film was part of a 'Freaky Futures' series, this is an accurate description of one of the weirdest films that I have ever seen. This film can be compared to Kubrick's great 'Dr. Strangelove' in terms of its black comedy/satire style, the main idea of the film is too mock the bureaucratic system that is in place in the future, from the opening scenes we find ourselves laughing in disbelief as we see how one tiny error creates such a huge confusion in a world filled with paperwork. Robert De Niro stars but has little time on screen with Jonathan Pryce being the main star and the victim of an administrative error as he tries to correct a simple mistake. With Brazil Gilliam creates a visually superb, dark and gloomy future world, filled with fog and shadows that help reflect the sinister atmosphere of the film.

My Rating

4.5

[donniedarko]

An American Werewolf in London
This film felt like a mix of many other prior and later films. The concepts and some scenes were similar to those in Fearless Vampire Killers. I actually enjoyed this one though. The scare tactics were much like those in the second poltergeist. And the humor was so similar to a movie I love the original Fright Night.*

The credits to this film had campy fun music. This was placed right after a sad scene. Without a fade out or anything. Almost as if Landis didn't know what he was doing. But he did, and the credits even added to the tune of the film. I recommend this as a late night comedy, for almost every age group. This is (for a lack of a better word) a fun movie.
3.5

The Artist
Let me start off by saying this isn't all that original. Mel Brooks did something very similar in Silent Movie. Not only was it Silent like this, it was a similar plot. So I wish people would stop calling this the most original work. I did enjoy how the film changed as the world of film changed, which was an interesting touch. This made it almost like a tribute, if you would like a true tribute to film though watch Cinema pardisio. It must've took a lot of studying to write a screenplay for a silent movie in this day and age though. So I'm impressed by that, also the dream scene was one of my favorite of 2011. But this shouldn't have been best picture in my mind. Out of the five other nominees I saw I would've proffered all of them, even a handful of films that weren't nominated. It was Oscar bait though, and not to much more
2.5

[mark f]

Boudu Saved From Drowning (Jean Renoir, 1932) 3; Art House/Classic Rating: 4 - Funny comedy about an uncouth bum (the incredible Michel Simon) who's saved by a bourgeoise Parisian bookseller and allowed to stay in his home. Needless to say, he turns the household upside down, becoming great friends with the husband, sleeping with the wife and trying to steal the maid from his savior. I first saw this at UC Irvine about 1976, but I enjoyed it much better yesterday. Renoir feels really loose here, and if it seems familiar, Paul Mazursky remade it as Down and Out in Beverly Hills in the 1980s. I highly recommend watching both, back-to-back, if possible.
http://www.youtube.com/watch?v=HHLIhZAI2Pc

Down and Out in Beverly Hills (Paul Mazursky, 1986) 3.5 - It's appropriate that one of America's best social satirists of the '70s/'80s remakes one of France's best social satirists of the '30s best flicks. Mazursky adds a son and daughter to the mix, and makes the Boudu character a bit more refined than Renoir does. Nick Nolte, Richard Dreyfuss and Bette Midler all add a lot, but nobody can compare with Michel Simon from the original. It's less poetic, but equally funny and surprising.
http://www.youtube.com/watch?v=mqS-LFdhDoo&feature=fvwp

Jazz on a Summers Day (Bert Stern, 1960) 3; Cult Rating: 4 - One of America's best still photographers decided to make his first film by personally photographing the 1958 Newport Jazz Festival which was being held at the same time and place as the Americas Cup Finals. There are many highlights, including Anita O'Day teasing everyone with her cool vocal stylings, Chuck Berry getting the kids dancing during his set, Louis Armstrong being an incredibly fun Master of Ceremonies during the end, and Mahalia Jackson moving everyone with her beautiful rendition of "The Lord's Prayer".
http://www.youtube.com/watch?v=dqJFx-tT-Cw

The Twelve Chairs (Mel Brooks, 1970) 3.5 - This is one of Brooks' best films although it may be one of his least-known. It's set in the Soviet Union, post WWI, where all the main characters are looking for fabulous jewels which may be hidden in a set of twelve dinner chairs. Ron Moody knows the most about them, but he's currently hooked up with huckster Frank Langella who wants his share. Dom DeLuise is hilarious as an Orthodox priest who'll do anything to get the valuables and Brooks adds some laughs as an almost slave-like worker who lived with Moody's family when they were still wealthy. It's filmed in Yugoslavia, passing for Soviet Russia and always makes me laugh a lot.
http://www.youtube.com/watch?v=QKH-Wz5DK2E

[mark f]

Mel Brooks' Silent Movie is completely a color film. Young Frankenstein is Brooks' B&W film. The Artist is definitely better than Silent Movie which I saw partially shot at my alma mater, UC Irvine, during the electric wheelchair scenes.

[Daniel M]

mirrorThe Royal Tenenbaums

Before watching this film I had only seen "Fantastic Mr. Fox" from Wes Anderson and I really loved the unique style of that film. With "Tenenbaums" Anderson creates a strange and unique world inhabited by a dysfunctional family. Anderson is one of my favourite directors already and I'm certainly looking forward to viewing more of his work, he brings his own original style to the screen that can be seen by cleverly organised sections, a fantastic pallet of colours on screen and fantastic use of props to create great looking sets for his characters, his shots used such as his 'from above' shots are also great.

The cast work so well together in this film, each one of them brings their own bizarre character on screen, in particular I very much enjoyed Hackman's performance as Royal Tenenbaum. Talking about the films plot, it's an enjoyable tale that although is covered with clever comedy is essentially an at-times touching family story with moments of sadness as well as laughs.

My Rating

4.5

[donniedarko]

Mel Brooks' Silent Movie is completely a color film. Young Frankenstein is Brooks' B&W film. The Artist is definitely better than Silent Movie which I saw partially shot at my alma mater, UC Irvine, during the electric wheelchair scenes.

Ahh my bad. I edited my review

[Used Future]

http://i733.photobucket.com/albums/ww335/GialloFunk/dredd3d-movie.jpg

Dredd 3D (Pete Travis, 2012) 3
As a teenage fan of the comics devastated by that Stallone travesty of justice: I've been anticipating this re-boot with strangely apprehensive optimism. The result is a mixed though largely satisfying bag of laconically flavoured ultra-violence, with a thankfully excellent tight lipped performance from Karl Urban as old stoney face. The film is stunningly lit and photographed ensuring the often sparse (and far too current looking) production design comfortably avoids the 'direct to dvd' aesthetic some were predicting (If anything the low budget adds to the dark, gritty tone of the film). This is further bouyed by consistently stunning Slo-Mo effects sequences that perfectly compliment the 3D technology, and are nowhere near as over used as some reports would suggest.

Elsewhere Garland sticks admirably close to the source material, even if his simplistic script too often lapses into the kind of genre cliche in which bad guys get the drop on leading characters, only to be shot in the back at the last second. The biggest flaw however is that between them, the makers are unable to inject any real sense of urgency into a claustrophobic scenario that recalls action classics such as Carpenter's Assault On Precinct 13; Die Hard, and more recently The Raid: Redemption. Despite this the film still works as a hard edged, effortlessly cool futuristic Dirty Harry outing, with enough blood soaked mayhem to please ardent action fans. I frequently got shivers at seeing Judge Dredd finally realized on screen the way he should have been all those years ago, and the film left me desperately wanting more in the best possible way. I can only hope US and Canadian audiences buy into Dredd; a comic book anti-hero who richly deserves a much needed, bigger budgeted sequel to expand on such a promising opening. But even if they don't: this is guaranteed to become a cult classic on dvd.

http://i733.photobucket.com/albums/ww335/GialloFunk/3Nta1n8Jfu2.jpg

Running On Empty aka Fast Lane Fever (John Clark, 1982) 3+
This Australian post punk hot-rod flick is the cultiest thing I've seen in months. Think a mixture of Mad Max, Two-Lane Blacktop, Dead-End Drive In, and The Fast And The Furious (2001) and you have this admittedly derivative, but decidedly cool-ass piece of cinema. It may be your standard tale of moody young outsider Mike (Terry Serio) and his sexy girlfriend Julie (Kylie Minogue look-a-like Deborah Conway), intimidated into street racing numbnut gang leader Fox (Richard Moir) and his dodge charger for money. But this really catches fire when Mike journeys into the outback to hustle the locals in a series of street races, so he can raise funds to supe up his wheels. Here he befriends a character simply known as Rebel (Max Cullen) a blind (yes blind) master builder of muscle cars who likes to drive his blown back 57' Chevy (pictured) through the desert in the middle of the night. Rebel and his wife live in a 1950's timewarp (a sort of nod to Rebel Without A Cause from which this film borrows liberally) with their clothes, speech and taste in music all warmly nostalgic. It's this burgeoning friendship that gives the film it's wonderful offbeat backbone, compensating for the merely adequate lead performances and often juvenile dialogue from the bad guys. The racing scenes are fantastic, as is David Gribble's photography which perfectly captures the stark beauty of the outback lending this that all important desolate atmosphere. An instant favourite.

http://i733.photobucket.com/albums/ww335/GialloFunk/2326821020A.jpg

Harry In Your Pocket (Bruce Geller, 1973) 3
Slight but engaging story about young amateur thief, Ray (Michael Sarrazin) who hooks up with curious free spirit Sandy (the lovely Trish Van Devere) after her bags are stolen at a Canadian rail station. Together they're inducted into a life of professional pickpocketing by James Coburn's slippery shark Harry, and aging master Casey (an excellent Walter Pidgeon). Taut film works well as group character study, whilst dissecting the art of pickpocketing, and exploring familiar themes of honour. Particular highlight is a fluid, one shot slow motion sequence depicting Ray and Sandy distracting a victim, whilst Harry deftly removes his wallet before discreetly passing it on to Casey. Nothing spectacular, but well executed with a great all be it abrupt, downbeat conclusion.

http://i733.photobucket.com/albums/ww335/GialloFunk/1322123209-m-1.jpg

Short Eyes (Robert M. Young, 1977) 4

Short Eyes. Prison slang for child molester.

Excellent film adaptation of Miguel Pinero's Tony nominated play about prison life, and the impact the introduction of a paedophile, Clark (sympathetically played by Bruce Davison) has on the general population. Incredibly raw, uncompromising and challenging piece, explores prison code of ethics, between inmates and guards as well as effectively getting under the skin of what makes such a monster tick - best illustrated by a protracted conversation between Clark, and empathetic inmate Juan (Jose Perez). No prizes for guessing where story is heading, but it's written and performed with such authenticity you wont be able to look away. Curtis Mayfield (who also appears as an inmate) performs the score, adding an extra layer of soulful introspection to the proceedings.

Other stuff I watched...

* = re-watches...

Lipstick (Lamont Johnson, 1976) 1.5
Margaux Hemingway plays an oddly timid top model raped by her young sister's (Mariel Hemingway) slimeball music teacher (Chris Sarandon), who subsequently beats the charge in court. To add insult to injury he then proceeds to rape her underage sister which turns Margaux into an unlikely angel of vengeance with a hunting rifle. Cold blooded, cynically gratuitous film attempts to dress up exploitation fare as glossy 'A' picture with a message, but instead falls between the genre cracks into joyless moral ambiguity. Well acted by the leads to be sure, but dumb, with an insultingly tacked on 'happy' ending.

Get The Gringo aka How I Spent My Summer Vacation (Adrian Grunberg, 2012) 3
Decent neo-noir type thriller with Mel Gibson perfectly cast as a weary put upon bank robber winding up in a Mexican prison. A pleasant blackly comic surprise.

Saigon aka Off Limits (Christopher Crowe, 1988) 2.5
Forgettable whodunnit has a US military officer carving up Vietnamese prostitutes circa 1968 as Willem Dafoe and Gregory Hines investigate. By the numbers stuff with a predictable killer; distinguishable only by the Vietnam backdrop.

*The Asphyx (Peter Newbrook, 1973) 3.5
Talky but rewarding Gothic horror outing with Robert Stevens and Robert Powell's scientists developing a machine to trap the spirit of death or 'Asphyx' as it's called here, in the hunt for eternal life. Naturally it all goes horribly wrong in this recommended mixture of William Castle's The Tingler, and Stuart Gordon's Re-Animator.

*The Medusa Touch (Jack Gold, 1978) 3.5
Richard Burton has 'a gift for disaster' in this often unintentionally funny (cliff top car death anyone?) horror thriller in which he can cause death simply by willing it to happen. Think a high end spin on Ray Danton's 1973 crapfest Psychic Killer and you're on the right track for this minor classic. Hokeyness aside Burton delivers some fantastic barbed dialogue, and Lee Remick is on hand as his psychiatrist with much of the story told in therapy session flashback. This cult item has a great twist ending, and was even spoofed (along with lots of other British classics) by The League Of Gentlemen BBC sketch show if anyone remembers.

*Outland (Peter Hyams, 1981) 3.5+
Take the industrial production design of Alien, mix it with the basic plot of High Noon and you have this tense, underrated outer space gem from Capricorn One and 2010 helmer Hyams. Always a pleasure to revisit.

*Nemesis (Albert Pyun, 1992) 2+
Guilty pleasure direct to video fodder from notorious cyberpunk hack Pyun, is shamefully unoriginal, and unfathomably convoluted, but also quite stylish with good low budget effects work, and impressive locations. This has aged rather well, delivering plenty of pyrotechnic fueled shootouts, and deserves a widescreen dvd release.

Alphaville (Jean-Luc Goddard, 1965) 2.5
Frustratingly obscure sci-fi noir with Eddie Constantine's secret agent Lemmy Caution sent on a missing person search to a distant city, where failure to adhere to logic is punishable by death. Confusing and muddled with frequent grating voice overs from the computerized dictatorship that sounds like a ninety year old smoker gargling marbles. Probably rewards repeat viewings, but I wouldn't want to brave the excruciating boredom a second time. Not my kind of movie to be sure.

[Pyro Tramp]

The Artist
. It was Oscar bait though, and not to much more
2.5

I don't see how this could have been Oscar Bait, it was a pretty surprising winner considering it's French production and stars. It may have had the sentimentality about Hollywood angle that voters love and a campaign run by the Weinsteins but was hardly made solely for the intention of winning Oscars

[Sedai]

Mr. Mom (Dragoti, 1983) 3_5

http://1.bp.blogspot.com/-MruA1Cer84o/TsiGvtIT8zI/AAAAAAAAAsc/k3nUc_BZmVc/s1600/Mr.-Mom-kitchen-mess.jpg

I dunno, lots of people rag on this film, it seems, but I just love it. I used to watch it a ton when I was 11-12 years old, so perhaps it's nostalgia. Chalk it up to guilty pleasure, I guess? Some great lines (that i have apparently been quoting for decades) from Keaton and Martin Mull.

The Adventures of Bukaroo Banzai Across the 8th Dimension (Richter, 1984) 1

TRASH RATING 5

http://www.themodernword.com/pynchon/images/bb_3.jpg

One of my favorite trash flicks of all time. If you don't like this flick, you are FIRED.

[Sexy Celebrity]

http://upload.wikimedia.org/wikipedia/en/thumb/1/1e/Darjeeling_Limited_Poster.jpg/220px-Darjeeling_Limited_Poster.jpg

[linespalsy]

The Kids Are Alright (Lisa Cholodenko, 2010) 3.5
The Little Girl Who Lives Down the Lane (Nicolas Gessner, 1976) 1.5
Young Adult (Jason Reitman, 2011) 2.5
The Lovely Bones (Peter Jackson, 2009) 3
The List of Adrian Messenger (John Huston, 1963) 2.5+
The Ring (Gore Verbinski, 2002) 3.5

[Mysticalunicornfart]

The Little Girl Who Lives Down the Lane (Nicolas Gessner, 1976) 1.5


What a weird movie lol

[mark f]

Yes, weird, but I thought it was quite good; same thing with Adrian Messenger which is hugely enjoyable and didn't need the gimmick it utilized at all, even though the gimmick certainly doesn't detract either.

[Godoggo]

I liked it too. I agreed with most of Lines's ratings except for that one. Jodie Foster was such an exceptional young actress.

[linespalsy]

Adrian Messenger... was okay (yes, even the unnecessary gimmick!). I watched it in three sittings though. The first night I was enjoying it but it was late and I started to fall asleep. The second night I was was too busy thinking about something else (how to relate Euler's formula for connected planar graphs to a planar graph inscribed within a circle). The third night I realized that I missed something the second night but I just wanted to finish it.

The Little Girl Who Lives Down the Lane... I can see the potential appeal of the basic story idea more than the thing itself. I guess I just disagree (with probably the majority of people) about Foster's acting, but really the entire movie seemed mechanical and dull.

[Skepsis93]

The second night I was was too busy thinking about something else (how to relate Euler's formula for connected planar graphs to a planar graph inscribed within a circle)

I know that feel. This distracts me from movies all the time, man...

[Daniel M]

mirrorRoad to Perdition

Road to Perdition is a crime film but unlike the majority it has its own unique style and feel. The plot means that the film is at times predictable and lacks in some departments but that is made up by great performances from its actors such as Tom Hanks and absolutely superb cinematography (for which it won an Oscar).

On the point of its Oscar win, the film is beautifully illustrated, the sets, costumes, colours are wonderful. One scene in particular towards the end in the pouring rain stands out and wonderfully reflects the rest of the film, we see the dark world filled with shadows and little light, the rain covers the characters and drips from their hats. If you're a fan of Boardwalk Empire then I think you'll like this film where the attention to detail creates a fantastic look.

My Rating

4

[Used Future]

Adrian Messenger... was okay (yes, even the unnecessary gimmick!). I watched it in three sittings though. The first night I was enjoying it but it was late and I started to fall asleep. The second night I was was too busy thinking about something else (how to relate Euler's formula for connected planar graphs to a planar graph inscribed within a circle). The third night I realized that I missed something the second night but I just wanted to finish it.


Thank you Niles Crane ;)

http://press.comedycentral.co.uk/files/imagecache/teaser-cast_main/2008/11/20/FR-Pierce003d.jpg

[JayDee]

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Singin' in the Rain (1952, d. Stanley Donen)

4.5

I was positive I had seen this film, but either - a) I was mistaken b) I'd only seen bits but not the whole thing or c) I had seen it but not for many years – as I remembered very little of it. Anyway the film is just a joyous spectacle; the songs, the dancing, the performances, the story, lots of laughs, a sweet romance – it all comes together for what must be one of the great feel-good movies. The trio of Gene Kelly, Donald O'Connor and Jean Hagen are tremendous (the other star, Debbie Reynolds, is fine but is overshadowed due to being landed with the dullest character). In particular I loved the grating voice Hagen gifted to her character. In the scenes were those three are together I was actually reminded strongly of the legendary trio that starred in Some Like it Hot. You've got the slightly arrogant leading man (Kelly/ Tony Curtis), the kooky and loveable comic relief (O'Connor/Jack Lemmon) and the ditzy blonde (Hagen/Marilyn Monroe). There are a number of great scenes, but in particular there are two which stand out above the rest. The first is O'Connor's wild, manic performance of “Make Em Laugh” which is just a riot. However even that can't top Gene Kelly's classic rendition of “Singin' in the Rain”. It is one of the truly great moments of cinema, perfectly capturing the magic of the movies. Even if I was constantly reminded of Morecambe and Wise's version of it throughout! :D

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Black Dynamite (2009, d. Scott Sanders)

4 ++

This film is entertaining throughout, and frequently extremely funny; none more so than when it gets wonderfully ludicrous (Doughnut assassin, the gang's knowledge of Greek and Roman gods, Richard Nixon!, Abraham Lincoln!). While I'm not at all familiar with the blaxploitation genre other than in its general style I found there were a lot of other touchstones for me. The grubby 70s sheen of its aesthetic reminded me of TV shows like Starsky and Hutch. The humour often reminded me of the wonderful, if short-lived, TV show Police Squad!. And when it got really out-there (the ghost of Lincoln) it brought to mind those daft comedies of the 80s such as Hot Shots and Three Amigos! Michael Jai White is tremendous as our titular hero, both when it comes to his spot-on line delivery and great far off looks into the distance. There are a lot of great moments and lines, probably my biggest laugh was at the line “Haha! I threw that s**t before I walked in the room!” :D All in all a massively entertaining comedy, one I could see my appreciation growing for on each subsequent viewing.

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The Third Man (1949, d. Carol Reed)

3.5 +

For whatever reason I didn't connect with the story as much as I would have liked, and indeed felt I should have been doing. So the majority of my score is actually for the direction which I just adored. It's just one excellent shot after another, very creative and impressive. With numerous tilted angles creating the same unbalanced and disorientated feeling that Holly Martins must have, and a number of beautiful shots its thrilling to look at. It also has a very expressionistic appearance at times, making wonderful use of shadows. Oh and I also loved the rather quirky score which was successful at being both playful and adventurous, and somewhat haunting and unsettling. Next time I watch the film I hope the story grabs me as much as the technical elements did, because if it does this could become a film I really love.

Oh although I have to admit that when it comes to the look of a film in terms of angles and specific shots I'm still never sure whether the credit should go to the director or the cinematographer.

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Rio (2011, d. Carlos Saldanha)

3.5

It's always great when you're surprised by a film, and this was one of them. After some lacklustre looking trailers I had no real interest in seeing it, so I was delighted to find that I greatly enjoyed it. With colourful locales and characters, and a big musical opening number there is definitely more than a trace of The Lion King in its DNA. And while it never threatens to scale those kind of heights it is a highly enjoyable and bright little adventure. Maybe I was just in the perfect mood for it.





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Superheroes (2011, d. Mike Barnett)

3 +

As a big lover of comic books and comic book movies I was always fascinated by the idea of the 'real life superheroes.' A number of times I've read about them in magazines and online, and always thought it would make a great subject for a documentary. Well here it is, though I was a little underwhelmed by it. I never felt like it really got under the skin of the characters to find out why they have undertaken such a direction. There are a real mix of characters; guys who can actually handle themselves and are realistic about their abilities, and then those who I did worry about psychologically and for their own safety. There is a lack of incident which I initially found disappointing, but considering some of the heroes that was more than likely a very good thing.



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Shane (1953, d. George Stevens)

3 -

A decent if unspectacular (in my eyes) film. I've said a few times on here that the Western is a genre I'm still struggling to really embrace. I have come to a bit of a conclusion about it though. For the most part the action and adventure affairs featuring cowboys, Indians, gunslingers, lone wolf heroes etc don't do a great deal for me. What I do really like are the more revisionist efforts, particularly if they are a bit offbeat. So my favourites so far would be the likes of Little Big Man, Dances With Wolves, Unforgiven and Jeremiah Johnson. Although I will admit you could perhaps see Shane as a revisionist western of a sort. Anyway there were a couple of things about the film I really enjoyed, in particular the cinematography capturing some stunning scenery and a number of really characterful performances from the cast.



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Puss in Boots (2011, d. Chris Miller)

2.5 +

A disappointing and underwhelming outing for the feline adventurer. It just about gets by on Banderas' charisma and a couple of good laughs but too often it's just a bit bland and forgettable. As a sidekick in the Shrek films Puss was a great character, but I just don't know there's enough there for a solo vehicle.







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Mirror, Mirror (2012, d. Tarsem Singh)

2

Worst film of 2012 so far. Not that I was surprised by that, it was not my choice to watch it. I just found it very dull and unmemorable, not really brining anything new to the Snow White legend. Tarsem Singh's visual flourishes are the best moments but there are nowhere near enough of them. I'll admit to not being much of a fan of Julia Roberts and this wasn't going to change my mind. And as for the other two leads, Lily Collins and Arnie Hammer; well it's a case of the bland leading the bland!

[Used Future]

I must be the only one who thinks Black Dynamite is wiggedy wack.

It's obviously made with a lot of love and looks very authentic, but I didn't find it funny, and I'm a big fan of the genre it's sending up. I dunno but it just stuck me as a vanity exercise for Michael Jai White to wheel out his Jim Brown impression whilst auditioning for the cover of Men's Health. The plot is all over the place because they try to spoof too many different films (mainly Slaughter, Black Belt Jones, Willie Dynamite, and Three The Hard Way). It's really just a messy one joke film with the gags quickly becoming repetitive (yeah we get it he's a virile black alpha male and martial arts expert, and it's the freaky-ass seventies). Maaaan, I shoulda' loved it, but this is one jive-ass comic book that didn't come off...at least for me sucka.

[Skepsis93]

So glad you liked Black Dynamite, JayDee. :up: Might not be the strongest plot, but man, when the gags are that funny, it doesn't need to be.

[Monkeypunch]

The Cabin in the Woods - Absolutely brilliant movie, a scary and hilarious satire on horror films themselves, plus a bit of commentary about the loss of privacy in the modern world to boot...

Five college kids head to the titular dwelling for a weekend party, only to find themselves beset by supernatural forces...right now you're thinking you've seen this before. And you have...sort of. I really don't want to give away the twists and turns of this fantastic movie, so there's almost nothing I can say about it except watch it, preferably with the lights turned down.

[Mysticalunicornfart]

http://www.filmmonthly.com/wp-content/uploads/2012/07/Scalene.jpg
Scalene
6/10

This film is purely hoisted by it's performances and interesting story-telling technique. Margo Martindale's performance alone is worth seeing, Adam Scarimbolo also fulfills his role.

The film is weighed down, however, by an uncharacteristically over-the-top opening scene, as well as questionable behaviour that doesn't have justifications in regards to the character. And, while Hanna Hall delivers in some areas, dialogue scenes between her character and others felt awkward and she portrayed unintentional unlikeability.

[Skepsis93]

Monty Python and the Holy Grail (Gilliam & Jones, 1975) 3.5
Lots of hugely funny moments not strung together quite as well as I think they could have been.

Master and Commander: The Far Side of the World (Weir, 2003) 4
I've loved both the Peter Weir films I'd seen previously (The Truman Show and Dead Poets Society) but this is a departure from the style of those movies. This is a true epic, seamlessly blending action, humor and drama to form a very entertaining 2 hours.

Cigarettes & Coffee (Paul Thomas Anderson, 1993) 3.5++
Finally managed to find a watchable version of this on YouTube. An early glimpse of PTA's ability to form one story from several seemingly unrelated ones - an intelligent mystery fit neatly into 20-ish minutes. Essentially a mix of the feature it was expanded into, Hard Eight, and Magnolia.

La Jetee (Marker, 1962) 4.5
I thought this was really, really great. Visually beautiful and a compact, fascinating narrative.

My Dinner With Andre (Malle, 1981) 4
If there were ever a film that demands to be seen twice, it's this one. There's lots I picked up on buried in that dense, enormously thought-provoking dialogue, but I know there's a ton I missed, too. It helps that it's wonderfully performed, and a marvel of writing skill.

Capote (Miller, 2005) 4.5
Powerful, captivating biopic driven by a tour-de-force performance by Hoffman. His portrayal of Mr. Capote is up there with the best I've ever seen, I think.

Doubt (Shanley, 2008) 4-
Another very theatrical, performance-driven film in that there's not much filmic innovation or creativity, but Hoffman, Adams, Streep and Davis are all great in a fast-paced, involving story.

http://img.poptower.com/pic-66981/philip-seymour-hoffman.jpg?d=600

http://afflictor.com/wp-content/uploads/2010/07/lajette5.jpg

[Miss Vicky]

http://www.angelfire.com/music6/walteregan/MoFoPics/amy-adams-joaquin-phoenix-the-master-poster.jpg

The Master

This film was not entertaining in the usual sense of the word. It's very long (2 1/2 hours). Its pace is slow and, aside from the outbursts of rage from its two central characters, not a lot actually happens.

And rage Joaquin Phoenix does. To borrow from Peter Travers's review in Rolling Stone, Phoenix's "Freddie Quell" is best described as feral. He doesn't belong anywhere or to anyone. He feeds on instinct and emotion. He is not rational and probably not sane. He lashes out violently when he feels threatened or trapped. And he is riveting to watch.

But equally riveting is Philip Seymour Hoffman as "Lancaster Dodd, The Master." At times he is cool, calm, collected, manipulative. But there is something seething underneath and every now and then a seam tears and it comes out.

But the movie gives no answers, no explanations. The two men are drawn to each other and yet, in many ways repulsed by each other. It's fascinating, beautiful, and bizarre.

3.5

[Exist]

The Master, I'm looking forward to watching it. Also glad that Joaquin Pheonix is back on the screen. I still enjoy watching serious dramas even though they're obsessed with pushing 'morose' to the limits these days.

Rampart with Woody Harrelson is a great example of morose. I just saw this film a couple days ago, it was worth watching in my view. Harrelson is also one of my favoriet actors, the differences between his character in Rampart and his cheery evangelical character in Trassiberian is like night and day.

Rampart 3/5
Transsiberian 4/5

[Godoggo]

Pirates! Band of Misfits Never manages to rise above amusing and cute. Supporting characters can make a movie, but the ones here are severely under utilized. For example, there is a female pirate who tries to pass as male. This could have made for some funny situations, but except for a couple of mild jokes and gags nothing really goes any further than a female pirate dressed as a man as if this should be funny enough in and of itself.

Kids will probably like Charles Darwin's monkey butler and there is plenty of slapstic comedy and chaotic chase scenes for them, but those sans kids might want to give this a miss. D+-Very surprised to be giving such a low grade considering my love for Chicken Run.

Cabin in the Woods Thoroughly enjoyable; very something you would expect from Joss Whedon. The less you know going in the better, so that' s all I have to say. B+

Lockout Cliche after cliche. There is some entertainment value if you just want to see some shoot-em-ups and explosions, but if your looking for more look elsewhere. D-

[ThomasP]

Aguirre, Wrath of God - http://www.movieforums.com/images/popcorn/5box.gif - an amazing, minimalist tale - filled with amazing visuals. It's truly one of the greatest films made.

North by Northwest - http://www.movieforums.com/images/popcorn/5box.gif - I can't believe I haven't seen this before last night. It was amazing - and extra credit for Cary Grant - born in Bristol, my home town.

Eraserhead - http://www.movieforums.com/images/popcorn/4box.gif - a very strange film, but it was definitely worth the watch.

The Conversation - http://www.movieforums.com/images/popcorn/4.5box.gif - amazingly executed, but it felt like it should have been a short film.

Juno - http://www.movieforums.com/images/popcorn/3.5box.gif - although I admire the film for the way it carried itself, I couldn't get into it.

L.A. Confidential - http://www.movieforums.com/images/popcorn/3.5box.gif - it was good, but it was not as good as people say it is.

[Sleezy]

Capote (Miller, 2005) 4.5
Powerful, captivating biopic driven by a tour-de-force performance by Hoffman. His portrayal of Mr. Capote is up there with the best I've ever seen, I think.

http://www.insidesocal.com/outinhollywood/12207__infamous_l.jpg

That image isn't from the 2005 film. It's actually from 2006's Infamous (http://www.imdb.com/title/tt0420609/) with Toby Jones as Capote and Daniel Craig as Perry Smith. It's the same story, essentially, though I've only seen the latter. I nearly picked up Infamous last night for two bucks, in fact... but then I remembered the mountain of unwatched DVDs at my apartment. :laugh:

[Skepsis93]

Oh wow, you're right. They do look very similar, don't they? I'm not going crazy? :p

[Daniel M]

mirrorPan's Labyrinth

I have been planning to watch this film for a week or two now and finally did so last night and with high expectations for it I was not disappointed.

The film is set in a visually stunning fantasy world that at times is beautiful yet also extremely brutal. The film is nothing like your traditional fairy tale and the majority of the story is in fact focussed on the brutal fascist regime of General Franco in place during 1944 Spain. This harsh regime is personified by the brutal Captain Vidal who is brilliantly portrayed as a cold and sadistic leader, he is the new step-father of the young girl Ofelia who the film is set around.

The fantasy world that she discovers acts as a way for her to break free of the cruelty of reality (this film really is brutal, we see a guys face smashed to a pulp and someone's hand split in half from torture) and she must complete a number of tasks to return to the fantasy world (the story is explained from the start).

One of the main themes of the film is the choices made by people, we see characters like Mercedes and Ofelia making tough decisions that disobey what is expected due to their own morals and characters, this becomes key throughout and is important until the films end.

It's no surprise that this film picked up Oscars for both its cinematography and make-up for it is truly brilliant. Guillermo Del Toro creates a magnificently enchanting world that is filled with some of the most fascinating creatures you'll ever see such as the Faun and the toad, one of the best and perhaps most horrifying characters though is 'the Pale man' as we see Doug Jones work brilliantly under a bizarre costume.

My Rating

5

[honeykid]

Capote (Miller, 2005) 4.5
Powerful, captivating biopic driven by a tour-de-force performance by Hoffman. His portrayal of Mr. Capote is up there with the best I've ever seen, I think.

That image isn't from the 2005 film. It's actually from 2006's Infamous (http://www.imdb.com/title/tt0420609/) with Toby Jones as Capote and Daniel Craig as Perry Smith. It's the same story, essentially, though I've only seen the latter. I nearly picked up Infamous last night for two bucks, in fact... but then I remembered the mountain of unwatched DVDs at my apartment. :laugh:
There's a good few people who'll tell you that Infamous was the better of the two.

[Skepsis93]

Ok, now I look at it it's really obvious. I was even aware of Infamous but didn't notice. :facepalm:

[meatwadsprite]

https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQPZygTRLUcss6ka3qHEqDJNumdUpX0YVZqj9b2NbQRPS5HotY 4.5 https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSCTVtbhq4u5fEnskNUpr79dX3IN2vd3VME98fuPnYWiUc70CN-8w 3.5

[Godoggo]

There's a good few people who'll tell you that Infamous was the better of the two.

I prefer Capote, but I really like both movies. For one thing, Capote has the better cast. Toby Jones is excellent , but I like Hoffman's interpretation of Capote just a little bit better.

I had a problem with Daniel Craig being cast as Perry. Its not that he didn't do decent job, its just that Perry's physical stature was a pretty important element of the story. Robert Blake in In Cold Blood was perfectly cast.

It's interesting to watch both movies back to back and compare two. Or you can completely saturate yourself in the story and watch In Cold Blood as well

[Daniel M]

Kramer vs. KramerKramer vs. Kramer

Watched this film earlier and I pretty much got what I expected. I knew it wasn't going to be an amazing film, one of my all time favourites and I'm pretty sure that I'll find Apocalypse Now (a film released in the same year) much better than it. But just because people see it as one of the weaker Best Picture winners doesn't mean it's a bad film.

It is a very enjoyable story, the strongest part I felt was the middle section with just Hoffman and the child, that's not to see Meryl Streep wasn't great but I felt Hoffman was the best actor in this film with an outstanding performance. The film feels real, it's an emotional story that gives an unbiased view of events that happen all the time in real life.

My Rating

4

[JayDee]

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V for Vendetta (2005, d. James McTeigue)

4 +

This is a tremendously interesting and intriguing film. It's a film that delivers on costumed action thrills, but also proves to be though provoking stuff and it is able to address a number of large issues and themes such as fascism, authoritarianism, the power of an idea, anarchism, vengeance, corruption, idealism, a few other isms! :D and about knowing the time when one has to rise up against their own government. When do things cross the line from it being an act of treason to a noble action which must be taken against an inept or corrupt government to change things for the better?

Alan Moore was originally inspired to write V for Vendetta by the political landscape of of early 1980s Britain. And while we're now a couple of decades down the line ....................

Review continues here (http://www.movieforums.com/community/showthread.php?p=845227)

mirrorAmadeus (1984, d. Milos Forman)

4.5 -

A sumptuous film of great beauty. It's a feast for the eyes, and a rousing spectacle for the ears. To look at it's a thing of wonder; the sets, the costumes, the make-up, the art direction all spectacular. And making use of such sublime and recognisable music it has an stirring soundtrack and score. F. Murray Abraham is immense in the role of Salieri, very deserving of his Oscar. His character is so filled of jealousy and hatred that such a man as Mozart should be blessed with so much talent. Made all the worse by the fact Salieri has been cursed with the ability to recognise and appreciate Mozart's greatness, but without the ability to replicate it. I have to admit that initially I was a bit taken aback by Tom Hulce's depiction of a giggling, childish twit of a Mozart; it was like seeing a character from the American Pie films stuck in the 1700s. Once I'd gotten used to it however I enjoyed it and was then able to appreciate the layers he reveals of desperation and pressure taking their toll on him. Yes it may take some liberties with its historical accuracy, but who cares when its helps create such a terrific romp? A lavish film that is just quite beautiful.

mirrorSerpico (1973, d. Sidney Lumet)

4

A truly terrific turn from Al Pacino powers along this fascinating tale of police corruption helmed impressively by Sidney Lumet. His performance is terrific; creating a character of conviction who is also witty and warm hearted. It really has been an extremely pleasant surprise for me discovering Al Pacino. Before seeing any of his work I had already pre-judged him really, and placed him in the same category as the likes of Jack Nicholson and Robert de Niro, two actors I don't particularly like (Nicholson especially I can't stand), probably down to their always macho and aggressive style perhaps reminding me of my a**hole of a father! Anyway every Pacino performance I've seen so far (Dog Day Afternoon, Godfather, Glengarry Glen Ross) has been very layered and sensitive. The film could easily have fell into a repetitive place as Serpico repeats the pattern of discovering corruption, reporting it, having it ignored over and over. However Pacino's performance keeps it a gripping experience throughout. Oh and I also really enjoyed the film's score which I actually found quite quirky, and not all what I would have expected for a cop drama/thriller.

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We Bought a Zoo (2011, d. Cameron Crowe)

4 -

Up front I'll admit that the score I've given this is driven purely by my heart rather than my head. On a technical level there is nothing particularly extraordinary here, but I just found it to be a really nice and immensely likeable film. A lot of that is down to the involvement of Matt Damon, one of my favourite actors currently around. He gives a strong and touching performance as Benjamin Mee , and has nice chemistry for Scarlett Johansson. And there is some lovely wildlife photography of the numerous majestic animals which inhabit the zoo. Oh and Maggie Elizabeth Jones (who plays Damon's daughter) is freaking adorable!!




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Sunshine (2007, d. Danny Boyle)

3.5

Oh what a missed opportunity I found this to be. For about 60/70 minutes I found this to be an intelligent and gripping slice of sci-fi, and then it rather fell apart a little bit in the film's final third. The film throws in a twist and asked me to make a leap I just wasn't prepared to make. For a film based on strong logic for the most part it just felt out of place, and was really disappointing to see it descend into the somewhat horror/lasher territory of films like Alien and Event Horizon. Because as I said I had really been into the film up until then. The film's effects, and some of the images they create are astonishing; just beautiful to look at. And it's a strongly acted ensemble effort, with particular credit due for Cillian Murphy and Chris Evans. There's certainly a lot to enjoy but for me personally it just slipped away. While I'd still say it's a good – very good film, I just felt it came up short of the great film it could at the very least have been.



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Inglourious Basterds (2009, d. Quentin Tarantino)

3 +

I know there are a lot of people on here who love this film who will no doubt strenuously disagree, but I felt this was the work of a director whose ego had rather been able to run wild. It just felt so bloated an effort and occasionally self-congratulatory. Every Tarantino film has been edited by the same person, Sally Menke. Now I have no idea of their relationship but in my mind I've created a scenario were they are very close friends and perhaps as such a fan of his work she allows it to cloud her judgement. I just felt the film could have done with a harsh editor coming in with the scissors and chopping a few chunks out. There was stuff I loved; it looks great, the cinematography and set design especially are terrific as is some of the score. Acting wise I thought Pitt was so ridiculous that he crossed into brilliant, none more so than with his attempts at speaking Italian. However who I came away being most impressed by was Melanie Laurent as Shosanna, imbuing the character with great strength and courage, while being occasionally heartbreaking as in her strudel meeting with Landa when she breaks down after he leaves. As for Christopher Waltz I was kind of underwhelmed. It's a good performance but not the immense, monstrous creation I was expecting from all the hype.

If I'm honest I think I had a problem with the farcical, comic book style being taken to such a serious subject. For me personally it just felt silly and immature. Indeed while it may seem strange as it's the film's hook/draw I think I may have enjoyed this more if the Basterds story was dropped and it just focused on Shosanna's tale of a girl left alone by a cruel action who inherits a cinema and finds some peace in a love of cinema, before having to sacrifice the cinema that means so much to her to achieve revenge. Perhaps it's just a film that requires a repeat viewing before I can really appreciate it.

One thing I will say about Tarantino's films is that even when I don't love them, and this was one I was far from loving, I'm glad that they are around. Whatever you think of him I don't think there is any denying that he is a unique filmmaker, making films that few others would. And we should be happy to have as many distinctive voices in Hollywood as we can. And clearly this film spoke to a lot of people, I just didn't happen to be one of the.

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Quantum of Solace (2008, d. Marc Forster)

2.5 ++

From it's opening sequence; a frantic and brutal car chase, this film is quite an action-packed affair. However none of the action scenes are creative or memorable enough to make an impression in the classic canon of Bond action. And for a film with quite so much action I found it a fairly flat effort. For me personally a lot of that is likely down to Daniel Craig. I know a lot of people like him as Bond, and as an actor in general. For me however he just doesn't do anything for me as Bond. I wouldn't go quite as far to call him a charisma black hole, but he just doesn't excite or interest me the way Bond should. One thing I did really like about the film though was the developing relationship between Bond and M (the terrific Judi Dench).

All in all I found the film to be just a bit dull, and that surely is about the biggest crime a Bond film can commit. Even the weaker entries in the series are usually entertaining but this was just average and forgettable. It still isn't the Bond films I grew up watching and loving. Though it did give me a bit of an unintentional laugh when a character demands a payoff in Euros as the American dollar is so unstable. Ah such different times! :D

[Skepsis93]

I strenuously disagree! :D Love Inglorious Basterds. I'm particularly interested in this point:

If I'm honest I think I had a problem with the farcical style being taken to such a serious subject.

I had a very similar, very intense reaction to Life is Beautiful, but not to this. I know you love that film, so I'm just curious as to what you see the difference being between the two.

[Daniel M]

I strenuously disagree! :D Love Inglorious Basterds.

I have to agree with Skepsis here

Yes you may say Inglourious Basterds is absurd and farcical but it is what you view as such that I see as elements that make the film so god damn great. The reason I love Tarantino's films so much is because they are just so much fun, he makes films based on his loves and throws what you would normally expect out of the window. Here he combines all his usual crazy elements with World War II, somehow making it 'fun' with its dark humour (the whole plot itself, killing Hitler).

Have to disagree about Waltz as well. I'm not sure what you expecting but his crazy style and voice just works so well to create a character that is bizarre and lovable villain despite being a really horrible man, a leader of the SS. He is just crazy and the scenes towards the end where he speaks to Pitt (That's a Bingo! etc.) are brilliant, I think every film with him in I enjoyed not only because of his bizarre, humerus style but he also managed to combine it with an uneasy presence (particularly the scenes with Soshanna).

Sorry if that comes across as a bit of a jumble (both in my point and grammar), really tired and just about to go off, I'll have to get a review up of Inglourious Basterds soon I guess :P

[JayDee]

I strenuously disagree! :D Love Inglorious Basterds. I'm particularly interested in this point:

I had a very similar, very intense reaction to Life is Beautiful, but not to this. I know you love that film, so I'm just curious as to what you see the difference being between the two.

I knew it would case some uproar! :D And I had a feeling you may be involved seeing as it's on your top 50.

I guess it's just personal opinions and differences. I thought Life is Beautiful was, well beautiful indeed. It took a horrible, horrible! subject but injected it with warmth and heart. It was a delightful love story for the first half, and then the second half was about a father doing all he could to protect both the life and the innocence of his son. Even right down to the ending which While at the same time I felt it still portrayed just how awful it all was.

Inglourious however I felt rather boiled down the incredible efforts and sacrifice of millions of brave people into a revenge fantasy fanfic. So Hitler was not defeated by the incredible efforts of war veterans but by a small group of vicious, bloodthirsty guys who indluge in torture and sick practices. And yes I know it's pure fiction and should not be taken all that seriously (highlighted by the stunt casting of Roth and Myers) but what can I say, I just did.

And I can see people having the exact opposite opinions on both films. And who knows maybe on a repeat viewing it will appeal to me more.

[Deadite]

I don't think every movie involving WW2 has to be a solemn lament. Inglourious Basterds is first and foremost escapism, and there ain't nothin wrong with that, especially when it's crafted so well. You may as well complain about the comic book Nazis in Indiana Jones movies, but that too would completely miss the point. Basterds is a rowdy action-adventure, a warped Dirty Dozen for our time.

[donniedarko]

3 stars is in no way a bad rating in my mind, I gave it only half a star more and it still made the lower section of my top 100. Yes I could see why people would have a problem with a topic like this being handled so lightly, I felt like it could've been more badass. It was probably the bigger troll trailer ever. It was a beautiful film though.

[JayDee]

I don't think every movie involving WW2 has to be a solemn lament. Inglourious Basterds is first and foremost escapism, and there ain't nothin wrong with that, especially when it's crafted so well. You may as well complain about the comic book Nazis in Indiana Jones movies, but that too would completely miss the point. Basterds is a rowdy action-adventure, a warped Dirty Dozen for our time.

No I take your point that not every war film has to focus on the horrors, but can celebrate the heroics in boys own adventure style films like Where Eagles Dare, The Dirty Dozen, Kelly's Heroes, Escape to Victory etc but there was just something about it I personally wasn't all that comfortable with.

[Deadite]

That's understandable. I'm not the biggest fan of IB myself, actually. I enjoyed it but there are other Tarantino films I like much more, such as the underrated Jackie Brown that I feel compelled to mention at every opportunity. :D

Perhaps your difficulty with the film was similar to mine, in that it was somewhat disjointed in its mixing of violent scenes for different intents, and I do think in that respect it was trying to have its cake and eat it too. Ultimately, I don't think that really hurts the film because it's all a revenge fantasy in the end as you say, but IB perhaps shoots itself in the foot by juxtaposing brutality for the sake of stylized excess and dark humor (eg. the Bear Jew beating an officer to death) against brutality depicted as genuinely horrific (eg. the murder of the jewish family hiding under the floor), and that cavalier attitude on one hand joined with the more grounded violence on the other hand could indeed offend some viewers.

Sound about right? Close?

[Deadite]

There's a good few people who'll tell you that Infamous was the better of the two.

It was certainly more entertaining.

[Tyler1]

Giants and Toys (Yasuzo Masumura, 1958)

http://upload.wikimedia.org/wikipedia/en/thumb/f/f1/Giants_and_Toys_FilmPoster.jpeg/220px-Giants_and_Toys_FilmPoster.jpeg

“The public are worse than dogs.... they don't think, work like slaves... That's when we come in, fill their empty heads with slogans”

Synopsis: Yasuzo Masumura's dark satire of postwar Japan's cutthroat business culture stars Hiroshi Kawaguchias Nishi, a young executive for a candy company locked in fierce competition with two rival companies. By chance he and another executive in his company meet a loudmouthed female taxi driver with bad teeth, Kyoko (Hitomi Nozoe), who they transform, through a clever marketing campaign, into an unlikely sex symbol to launch their new line of caramels. Nishi also tries to extract information about his competitors' marketing plans through an old college friend at one company and a girlfriend at another. Along the way he finds himself falling for Kyoko, but finds that the worlds of business and love are painfully incompatible.

Released in 1958, before the advent of the French New Wave and Japanese New Wave, Giants and Toys was shot in beautiful techicolour unlike most other films of that era. During the 50s post-war Japan experienced what many call an economic miracle; in the span of 20 years Japan not only rebounced back from its WW2 devastation, but also emerged as a superpower with astounding economic growth. Giants and Toys takes aim at the newly cutthroat corporate climate, where giant corporations compete for sales, bemoaning the loss of traditional samurai values of compassion even between rivals.
http://foodandfoodiesinjapan.files.wordpress.com/2012/05/16.jpg?w=487

The star of this film however wasn't Hiroshi Kawaguchi (whose exaggerated performance ruined certain crucial scenes) but the young teenage girl with ugly teeth who was used as a mascot for World company. World Company under the leadership of Mr. Goda planned to dress the pretty mascot up in space suits and spent lavish amounts of money to turn her into a superstar in an attempt to catapult declining caramel sales.

The downside of the film however is that it lacks the urgency that made Kubrick's Dr. Strangelove a gripping and terrifying experience. Its so “in-your-face” and repeats the same old ideas as if the audience doesn't already know that the company is in desperate need for more sales, its also too unsubtle for the audience to ponder over the ramifications of corporate greed since it does all the talking. It doesn't really engage your mind like how a satire should.

Nonetheless, Masamura’s ‘Scope compositions, pop art colors and space age props make for a perfect window dressing of a social satire that feels not only prescient but prophetic.

3

[JayDee]

Perhaps your difficulty with the film was similar to mine, in that it was somewhat disjointed in its mixing of violent scenes for different intents, and I do think in that respect it was trying to have its cake and eat it too. Ultimately, I don't think that really hurts the film because it's all a revenge fantasy in the end as you say, but IB perhaps shoots itself in the foot by juxtaposing brutality for the sake of stylized excess and dark humor (eg. the Bear Jew beating an officer to death) against brutality depicted as genuinely horrific (eg. the murder of the jewish family hiding under the floor), and that cavalier attitude on one hand joined with the more grounded violence on the other hand could indeed offend some viewers.

Sound about right? Close?

Yeah I'd say you've just about got it. :yup: It's like two different movies mashed together, the trashy revenge fantasy meets the more sensitive and powerful tale of Shosanna. And that goes back to what I originally said about how I think I'd have enjoyed the film more if it were just her story. Perhaps I'd even have enjoyed the film more if it were just the Basterds, as perhaps I could have got into the spirit of it a bit more if that was the whole thing. But by trying to present the war both as a serious subject and a comic book it just felt like an awkward clash at times.

I actually forget to mention the opening scene with the family under the floor which was probably my favourite moment of the whole film. Building an almost unbearable amount of tension I thought it was the most skilled section of the film, and one of the few scenes that justified their length. Too many of the others just felt bloated and draggy to me

[Deadite]

It's an interesting and valid point, one that certainly wouldn't go over the head of a discerning viewer. My own inclination is to treat that slow build as an introduction to the sociopathic tenacity of Waltz's "Jew Hunter" but I also concluded after finishing the film that it was a misleading beginning.

I felt similarly about his character as you did about Shosanna; He was somewhat wasted in the film, a great character that was swallowed up by a broad and uneven story. I could have easily enjoyed a film that focused on those two, sans the cartoonish violence and derring-do of the Basterds.

By the absurd end, I didn't care anymore. I enjoyed most of the parts even though they didn't add up to the greater whole I initially had hoped for. I praise the movie for what it is while noting the missed opportunity, the twinklings of true greatness. It was fun yet ultimately immature, like the inspired play of a gleeful undisciplined child genius who doesn't always know when to quit. :)

[honeykid]

Perhaps I'd even have enjoyed the film more if it were just the Basterds, as perhaps I could have got into the spirit of it a bit more if that was the whole thing.
Maybe this would be more to your liking.

http://upload.wikimedia.org/wikipedia/en/thumb/e/e4/The_Inglorious_Bastards.jpg/220px-The_Inglorious_Bastards.jpg

It's not a favourite of mine, but I quite like it and I certainly enjoy it a lot more than I did Tarantino's effort.

[HitchFan97]

Cries and Whispers (Ingmar Bergman, 1972)- 4.5

Possibly the most devastating and emotionally draining film I have ever seen. God, what a masterpiece.

The Seventh Seal (Ingmar Bergman, 1957)- 3

This one didn't impress me as much. There's no doubt about Bergman's talent as a director, but this is quite a downer (even though I guess that's the point). Still, it kind of exists to stigmatize the art house as doom-and-gloom.

The Thin Red Line (Terrence Malick, 1998)- 3

My thoughts on this are similar to what I had to say about The Tree of Life. The images are beautiful, but Malick is just not very good as a storyteller. That or I just don't connect with his obvious love of nature.

Boogie Nights (Paul Thomas Anderson, 1997)- 5

Similar to Goodfellas and every bit as engrossing. Another masterpiece from PTA.

Meshes of the Afternoon (Maya Deren, 1943)- 4

Certainly unlike anything else in Hollywood in those days. Storytelling existing within the subconscious, objects used as memory motifs- all of these things were utilized by Lynch decades later, so its very intriguing to see where the King of Weird got his inspiration.

OTHERS:
Heartbreak Ridge (Clint Eastwood, 1986)- 3
Old School (Todd Phillips, 2003)- 2.5

I also saw The Master, but I'll be seeing it again this weekend so I'll write about it after that.

[Daniel M]

PsychoPsycho (1960)

Being a massive fan of Alfred Hitchcock and his work in such films as "Vertigo" and "North by Northwest" it was only a matter of time before I finally got around to watching Psycho.

Unlike those two titles mentioned, "Psycho" was deliberately filmed in black and white to give a cheaper, less visually rich but more frightening feel to the whole thing. I've heard people say that "Psycho" may not be as 'scary' at present day and is more of a psychological thriller (the same argument applied to the likes of "The Shining" and "Silence of the Lambs" but I have to disagree, the master of suspense creates a gripping film and one that definitely has a great deal of shocks and scares. One particular scene I had my volume up to full watching it on my computer as not much had happened previously and sudden attack and screeching violins of the excellent Bernard Herrmann certainly gave me a shock.

One of the best things about "Psycho" is the performance of Anthony Perkins, his character really his scary and creepy and it horrifies my to thing of someone like Vince Vaughan playing this character. The final scene is one of the best, most memorable and one of the creepiest in the whole film.

Slight Spoilers - Due to the film's synopsis and stars involved it was great for the film to take so many unexpected twists along the way that I was certainly not expecting.

Like when I had seen "Vertigo" and "North by Northwest", with "Psycho" I knew I had just seen a masterpiece, I will definitely be watching it again as this already becomes one of my favourite films of all time.

My Rating

5

Apocalypse NowApocalypse Now (1979)

After "Psycho" I decided to watch "Apocalypse Now" for similar reasons. Both were two of the highest films on my watch list and recent posts by a member on here persuaded me not to delay my viewings and finally watch them. The work of Hitchock made me want to see Psycho after immediately falling in love with some of his films, the same can be said of Coppola although I had only seen "The Godfather" it was a film that afterwards I knew I had just watched a masterpiece.

AN is a film of three thirds (I decided to watch the Redux version, perhaps two halves is more applicable to the original) and it's no surprise that Quentin Tarantino rates this film as one of his favourites of all time with the first third something you'd expect to see from the director himself.

In the first third, Coppola manages to create one of (if not) the greatest battle scenes in film history. We see the Americans lead by Capt. Kilgore destroy an entire Vietnamese village, although some may see this seen as maleficent and uneasy due to the sheer amount of bloodshed, the superb performance of Kilgore turns it in to an extremely enjoyable, bizarre and fun scene. We see him turn on music and joking around before killing hundreds of people, then once the men land on ground we see him getting ready to search the waves amidst all the chaos as he produces one of the film's most memorable lines, "I love the spell of napalm in the morning".

In the middle the film tends to drag more than the other thirds, some of the scenes are justified as we learn more about Captain Kurtz, an ex soldier who has gone insane and set himself up as a God among the local people. At first it seems that we can attempt to justify some of Kurtz actions and can understand why he may have gone crazy, it is not until the finally scenes that the full extent of his command is revealed.

Watching the Redux version I can certainly understand the criticisms that people have for the film with two scenes, the second meeting with the playmates and the dinner conversation with the French family seeming odd and out of place as well as lengthening the film without little contribution.

I wont say much about the final third in case you have not seen the film, but once we finally get to the Kurtz compound the scenes that follow are brilliant and horrifying at the same time. The film's sound is also like no other for which it deservedly won an Oscar for.

"Apocalypse Now" is a war film like no other and immediately finds itself as one of my favourite of all time. You may have recently seen by thoughts on "Kramer vs. Kramer" a film produced in the same year and even though I enjoyed it, like I expected it is shocking how such as film was able to win Best Picture over AN, a masterpiece.

My Rating

5

[JayDee]

Not seen Apocalypse Now but a big :up: for your thoughts on Psycho. Terrific film.

[Tyler1]

Both are masterpieces. :) You should check out Aguirre, the Wrath of God (1972) which was a direct influence on Coppola's film.

[Daniel M]

Both are masterpieces. :) You should check out Aguirre, the Wrath of God (1972) which was a direct influence on Coppola's film.

Believe it or not that's one of the next films I was planning on watching, didn't know it was an influence on Coppola but I wanted to see it as I've only heard great stuff about it and have yet to see a Herzog film.

[donniedarko]

Wow! Two classics in one dat, that's what I call productivity :)
Appocalypse Now is one of the few films I've given five stars
Did you watch the Redux version?

[donniedarko]

The Killing (Kubrick)
http://globalcomment.com/wp-content/uploads/2009/07/TheKillingStanleyKubrick.jpg
The early Kubrick film noir that inspired Tarantinos Resevoir Dogs, goes out of the norm for Hollywood. While a flop at the box office this drew a lot of attention to the crew among which is Sterling Hayden. The film followed five different views of a heist. Showing family lives and the heist itself. Personally I only felt a connection with George, who had the most personal and seem story. It felt bland in its narrative, but this changed after the heist was done. The concluding fifteen minutes were pure awesomeness. Especially the concluding scene will be remembered by me for awhile
3+

Other Movies Ive watched
Contempt (Godard)- 2-
The Mission (Joffe)- 3-
Waiting... (McKitrick)- 2
Bus 44 (Short Film)- 3.5

Rewatches
Antichrist (Von Trier)
Some may remember me heavily trashing this film. While yes it's still one of the most disturbing films, and has the most disturbing scene of all time (The handjob scene) I actually got it this time. I actually felt the horror, my heart was racing. I think this is because i knew that she would attack him, an the anticipation to get that scene over with was ther. It truly is a great horror and art house, and as I found out requires multiple watches. Maybe Ill give Europa another try, wasn't to hot about that one either. 4

Upcoming Planned Watches
Breathless (Godard)
The Killers Kiss (Kubrick)
Melancholia (Von Trier)

[Deadite]

Glad to know you finally saw reason. :D

[Daniel M]

Wow! Two classics in one dat, that's what I call productivity :)
Appocalypse Now is one of the few films I've given five stars
Did you watch the Redux version?

Yeh I did. I've looked at what it's got added and it seems the little bits are fine and I still loved it - the only two things that seemed odd were second playmates bit and the 20 minute French dinner conversation, although they didn't contribute much I wouldn't say they made it considerably worse or meant that I didn't enjoy the film any more.

[donniedarko]

The Dinner scene wa a bit over extended but one of the few that you could just sit back and relax in. I think the taking of the surfboard scene was too silly for the film

[HitchFan97]

What were your thoughts on Contempt? Personally, I have a much easier time respecting that film than actually enjoying it.

Daniel, that's a hell of a double feature right there! Two of the best movies I've ever seen, Psycho being my favorite film of all.

[donniedarko]

What were your thoughts on Contempt? Personally, I have a much easier time respecting that film than actually enjoying it.

I though it was a weak imitation Fellini, most notablly La Dolce Vita except with a lot weaker dialogue Nd just completely watered down. The early scene about love was just stupid and even annoying, the change from B & W to color was a pointless as it was in Europa. The only think I can really respect is Godards use of colors.
Oh ya and it was really boring

[Daniel M]

Cool Hand LukeCool Hand Luke (1967)

A tough yet enjoyable prison film starring Paul Newman who puts in a brilliant performance as Luke, a likeable prisoner who eventually decides to fight against authority and attempt to escape. Newman's performance is excellent. Always smiling, his physical appearance as well as his emotional performance is key to the film where he must suffer seemingly unfair physical torture.

George Kennedy is also great as Dragline, a prison inmate who quickly befriends Luke after gaining his respect through fighting him. Although he hammers Luke repeatedly he refuses to go down and this is to be the story of the film, Luke attempts to escape suffers endless pain although he knows that he is well beat and there is no escape for him from the harsh prison.

The film has some great scenes, such as the conversation between Luke and his mother and all of the escape attempts with one boss who's eyes we never see providing us with a harsh character who is constantly torturing Luke near to the point of death. The final scenes in particular are great as Luke attempts to speak to God for not the first time in the film. The films famous line, "What we've got here is failure to communicate" is very fitting here as Luke is ultimately unable to understand God and comes to the realisation that his character is doomed.

My Rating: 4.5

[donniedarko]

Melancholia, Von Trier, 2011
http://imgboot.com/images/michreviewstheworld/melancholia2011.jpg
Melancholia was the story of a insane spoiled brats wedding and the destruction of the world. Whether that sounds intriguing to you or loony it doesn't work. Lars Von Trier uses his typical style here, the only difference I noticed was the camera was more distant from the characters than in most of his films. He really stayed away this time from zooming into the Rated R scenes unlike in his last film Antichrist.

This film also had some similarities to Tree of Life from the same year. They both had a scenes of captivating momens and then had a long problem family story. Tree of Life (directed by Terrence Mallick) put it together better though.

The cast led by Kristen Dunst were well selected and fit there parts perfect. I would relate Dunst performance to that of Theron in Young Adult. Neither film was anything near good, but the leading females did a hell of a job. It was an intresting concept but by the time the wedding was over I was already zoning out, and I had another one and a half hours to go.
2

The Silence, Ingmar Bergman, 1963
http://ohshillings.files.wordpress.com/2010/02/thesilence.jpg
The Silence is the first Ingmar Bergman film I couldn't connect to. Which is odd since it's not to much different to ones I have loved. I felt no emotional attachment to the three characters. The tension between sisters was absolutely irrelevant to me. Passion of Anna (which I gave 3 stars) is the next worse Bergman to this, but I still felt like I was in it. Not physically, but I was following the story, not here. This frustrates me because it is one of the more applauded films from Bergman, but I couldn't get into it at all. I still adored the Bergman directing aspect of it. How there were moments with no sounds and suddenly the noise returns. But at the end it felt inconclusive, and it didn't grasp with me.
2.5

[Deadite]

Bergman, for me, is best watched in an unforced reflective mood, and while I greatly admire his work, I rarely can bring myself to watch two of his films close together. It's overkill. They work best for me when I'm not trying to get anything out of them. I watch one of them, let myself absorb it as it comes without trying to look too deep, then put it aside and let it stew in the back of my mind. I find that in the long run, I get much more out of them this way.

[HitchFan97]

I actually started watching The Silence yesterday, I'll finish it tonight. Deadite, I think you're right about Bergman. When I first saw Persona, I was looking too hard for some profound meaning, rather than just absorbing the film, and I hated it. The movie has grown on me ever since, and I have renewed interest in Bergman after experiencing the force of nature that is Cries and Whispers.

[Deadite]

I absolutely love Persona. One of the most powerful viewing experiences I've ever had.

[Skepsis93]

When I first saw Persona, I was looking too hard for some profound meaning, rather than just absorbing the film, and I hated it.

I think I had a very similar experience with that film.

[donniedarko]

Persona is:
Bergmans best work
Best Sweedish film
The best foreign film
One of the top 5 films
Biggest Mindf*ck
best chemistry between cast members
Best Direction ever
Best use of props
Best Arthouse film
the movie that makes you think about life the most
Best film of the 60s

What a huge list of highly official rewards :p

[TheGirlWhoHadAllTheLuck x]

Carmen Jones (1955) 3_5 (or 4 if you are interested in cultural history)

http://t2.gstatic.com/images?q=tbn:ANd9GcTLazu46oWLN6ZVWtVbDEyosiK4unX7984x0A4o-16wmauDQRuo

http://www.youtube.com/watch?v=1fi7xOuUAxM

Carmen Jones looks like a musical but it's actually an opera. More specifically, it's George Bizet's opera Carmen, set in a modern day army base and performed by an all-black cast. Oscar Hammerstein II (yep, he's the Hammerstein in Rodgers and Hammerstein) wrote the lyrics and they're actually a pretty good translation. Instead of being translated into formal English, they're translated into black American vernacular. There's a few too many "dat's" and "i is's" at the start but the film soon slips into something more natural.

Dorothy Dandrige made history as the first black woman nominated for Best Actress Oscar. Her portrayal of Carmen is feisty and sexy, as we see when she's untwisting Belafonte's belt and she pulls him towards her, but she's also vulnerable and doomed. Her Oscar nom is an even bigger achievement considering that she was dubbed by Marilyn Horne. Harry Belafonte (dubbed by LaVerne Hutcherson) plays Joe, an Air Force man who Carmen tears away from his sweetheart, wholesome Cindy-Lou (Olga James, who is adorable).

Some critics have dismissed it as simply being a showcase for black actors, but this is far too cynical. It's a good enjoyable movie. The plot may be slight but then the plot is the plot of the opera. The opera music works fine once you know that it's an adaptation of Carmen and I see no reason why people shouldn't accept it. My favourite songs would be "Dat's Love" (Habenera in the original opera) and "Dere's A Cafe on The Corner". Even if you don't like the music, it's a great movie, particularly at the beginning where Joe and Carmen first fall in love.

[Tyler1]

Persona is:
Bergmans best work
Best Sweedish film
The best foreign film
One of the top 5 films
Biggest Mindf*ck
best chemistry between cast members
Best Direction ever
Best use of props
Best Arthouse film
the movie that makes you think about life the most
Best film of the 60s

What a huge list of highly official rewards :p

Except that it is only YOU who's bestowing such awards.

[donniedarko]

Except that it is only YOU who's bestowing such awards.

Who else matters? :p

[honeykid]

*Ahem* ;)

[Daniel M]

SnatchSnatch

As a big fan of Ritchie's "Lock, Stock and Two Smoking Barrels" I was looking forward to watching Snatch, which is a similar film, taking place in London where various parties become involved in a series of intertwining events.

One difference in the films is the actors involved. Although stars such as Jason Statham and Vinnie Jones reappear after their first feature film performances in "Lock, Stock...", Ritchie is able to add bigger stars to the cast, notably Brad Pitt and Benicio Del Toro.

One of the main criticisms I have heard for this film is that it lacks in originality and ultimate relies on the same formula that made "Lock, Stock..." so good. Whilst I can understand why you may want to see something new from Ritchie I was still able to enjoy this film, if it was released as a one of its kind, say Ritchie's first feature film then I am sure it would have much more positive reviews.

So what makes this film so good? Once again Ritchie gives us a variety of different characters, each involved in their own way and each having their own style and unique nicknames ranging from "Turkish" to "Brick Top". The cast is excellent, Del Toro and Pitt are great additions but possibly my favourite was Stephen Graham as Tommy, a slightly less intelligent character who is Turkish's partner throughout.

The plot and editing keep us on edge as the tales intertwine and take unexpected twists and turns throughout with Ritchie's editing and shots creating a stylish and enjoyable film that is a whole lot of fun in the same way "Pulp Fiction" is.

Snatch is a highly enjoyable and fun film, filled with an excellent cast and bizarre plot with many twists and turns. If you haven't seen "Lock, Stock..." then I think you'll enjoy it more as the plot twists and humour will seem more fresh. Snatch is an upgrade on "Lock, Stock..." where Ritchie gets to have fun upgrading each aspect of his films to get the most out of his extremely fun and extremely funny style.

My Rating: 4.5

[meatwadsprite]

https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcR7L1rUjSU2WGi20WdVRsgaoLnxP9RMt-ZaFJ3PN2n0BlazOwbV 4 https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcRnZaPBp-SgZTsyFPfjzBedrT3wPJJj8XgUfG8W7BHFkKnRc-tj 4 https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQmfGw4jrWHZqbgMRt39gCly6Y5yqlCC03mPeT8A6Xb-JTFOpuc 3

I don't know why I almost fell asleep when I saw Avengers in the theatre. But, (regrettably) I have to say it really is better than Dark Knight Rises. Non-stop clever and the action is brilliant.

[Daniel M]

Live and Let DieLive and Let Die

It's James Bond day in celebration of 50 years of 007 and Sky have launched a new channel on which they are show casing every Bond film ever made (at least I think) as we wait for the release of Skyfall.

As a kid the James Bond films were favourites of mine, I'm not exactly sure why because I didn't pay much attention to films back then although I recall collecting a video collection of all the films up to Brosnan.

One of my favourite films was always "Live and Let Die", certainly the most memorable, so when I saw I had the chance to give it another viewing today after many years I was happy to do so.

It is far from the perfect film, I understand that but watching it again gave me a lot of enjoyment and a lot of thoughts regarding my initial love for the film. What exactly did I think when I watched the film originally, it's filled with racial stereotypes (created at the height of the blaxploitation era), sexual innuendos and is centred around a druglord who is secretly farming heroin.

Whilst I can understand others may see this film as silly and stupid, it remains one of my favourite Bond films and I was able to recall just why the film left a bigger impact on me than other Bond films. Roger Moore makes his debut as Bond and brings a calm and likable character to the screen. The film is fun and action filled, with the fictional island bringing us tarot card readers and memorable villains such as Tee Hee Johnson and Baron Samedi.

The final half hour of the film is particularly memorable and is one of my favourite of all Bond films, unlike other efforts the film is a more enjoyable and fun effort which is aided by Moore as bond. Baron Samedi is one of my favourite Bond villains and his appearance is certainly one that you'll remember with the spooky character literally having the last laugh of the film, probably my favourite shot.

With "Live and Let Die" we get a fun Bond played by new to the series Roger Moore. Is the film bizarre and stupid? Maybe it is, but when you sit back and enjoy the film for what is is you don't get many more enjoyable and memorable films than this one.

My Rating

4

[JayDee]

mirror



Children of Men (2006, d. Alfonso Cuarón)

4.5

An absolutely fantastic film. Occasionally haunting, occasionally beautiful – it's always engrossing and riveting. It's all beautifully directed, including some harsh and brutal action scenes which really capture the fear of the situations. And it's all set in a terrifically realised world. Never mind Oscars, the people responsible for set design and art design deserve a f**king medal, it looks incredible and there is just so much detail. Powerful stuff and a must see film; right up there alongside Pan's Labyrinth as my top film of 2006. All of that despite the presence of Jude Law, one of the blander actors out there in my eyes. Though if I'm honest he does a good job here, probably my favourite performance I've ever seen of his.


mirror

The Raid (2012, d. Gareth Evans)

4.5

Remember that scene in Pulp Fiction where Mia overdoses and they save her life with an adrenaline shot to the heart? Well if you find yourself in that situation but without an epi shot at hand, you could probably do worse than just sitting them in front of a TV and putting this on. This film really is like one huge shot of adrenaline for its entire running time. The display of martial arts skills and choreography in the hand to hand combat scenes are extraordinary, some of the most amazing I've ever seen on screen. It's like watching Jackie Chan in his prime except that instead of laughs it is all played for the sheer brutality of it. Indeed I don't think I've ever winced so much in my entire life! After a while I'm sure I could even feel my own body starting to bruise just from watching it! There were just so many moments that have already emblazoned themselves onto my mind – the back break on the wall, the near decapitation on the door etc. And how about the incredible 2 on 1 fight featuring the brothers against Mad Dog? Stunning. Oh and Mad Dog is one scary b**tard!

One concern I do have about the film is its replay value. To take it back to the film that was commonly mentioned in reviews of The Raid I look to Die Hard. I don't feel The Raid has the characters, the humour, the hero vs. villain interaction etc that made the Bruce Willis classic such a beloved film. So on repeat viewings of The Raid if the thrills of the action start to wane there may not be much else to keep the love going. Will just need to see on that one. But certainly on first viewing this was intense and thrilling stuff.

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Inside Man (2006, d. Spike Lee)

4 -

This was the first time I've watched this film since catching it at the cinema back in 2006. Back then I found it to be an absolutely terrific heist thriller, at least that's how I remembered it. So much in fact that I even thought it might have been a top 100 contender. While it didn't come close to living up to those memories I still found it to be a highly entertaining watch; an intriguing, intelligent and gripping film. It's also a strongly acted effort as you'd expect from a cast of such experienced pros – Denzel Washington, Jodie Foster, Willem Dafoe, Christopher Plummer. It does peter out a little bit come the finale, and there are a couple of missteps when Spike Lee resorts to making some commentary on racism. The worst being the moment were Clive Owen's hostage-taker connects with a young boy over a video game which glorifies gang life and racism – Lee commenting on how the entertainment industry glamorises such things.

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Butch Cassidy and the Sundance Kid (1969, d. George Roy Hill)

3.5 ++

I know I just recently mentioned how the action/adventure style of western didn't really seem to be up my street and this perhaps seems to contradict that. However I didn't really see it as a western as much as I did a buddy comedy that just happens to take place in the Old West as opposed to the streets of New York, the highways of America or other common settings for the buddy movie genre. The film has a number of elements and techniques which certainly set it aside from the normal western, some I liked, others I didn't. I liked the silent movie opening and the sepia tinted scenes. I did not however like the score penned by Burt Bacharach which I just felt was hokey, clunky and dated. The real draw of the film is most definitely the chemistry, wit and charm between Redford and Newman. Indeed I feel the film almost asks too much of them. Without there charms I can't see myself enjoying this half as much as I did.

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Sudden Impact (1983, d. Clint Eastwood)

3 +

Old Harry is starting to look a little tired. Four films in and I'd certainly have to put this down as my least favourite of the series so far. Probably the main reason is the film's deviation from the Dirty Harry blueprint. A large degree of the fun in the series comes from watching Harry hunt down the scummy criminals with his own particular brand of justice. For the most part however this effort dispenses with that, having Sondra Locke's victim cum vigilante perform this task. She's the one hunting down and dealing with the scum, while Harry is on her trail. Only towards the conclusion does Harry get involved and start to kick some ass. So while I'd certainly say it's the weakest of the series so far Eastwood's performance as Harry, some great lines (“Go ahead, make my day.”) and the basic structure of a Dirty Harry film makes sure it remains a rather entertaining watch. Oh and I really liked the horrible, obnoxious, pure evil character of Ray Parkins. What a woman! :D

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The Fountain(2006, d. Darren Aronosky)

3

What a load of twaddle! Occasionally fascinating, beautiful and gorgeous looking twaddle I'll grant you, but twaddle none the less. I mean monkey surgery, trees of life, Spanish conquistadors, eternal life and love, a baldy Hugh Jackman eating tree bark which is really his wife - it's quite a sprawling mess. One thing I certainly will give Aronofsky credit for is his ambition, even if I do feel he slightly over-reached himself. In fairness to the film I think I would need at least one additional viewing before coming up with some kind of concrete opinion on it. And with the type of film it is I could see it going either way; I could either fall in love with it or grow to absolutely hate it! Or it could stay as it is; occasionally beguiling but for the most part utterly baffling. :D


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The Birds (1963, d. Alfred Hitchcock)

3 -

Oh this was quite a disappointment. I've become a huge fan of Hitchcock and while there are still some highly regarded films of his I have to watch (The Lady Vanishes, Lifeboat, Spellbound etc) I think this was the last of his 'big' films; the really famous ones people loved and associated himself with. I found the first half of the film was incredibly slow to build, and I was just desperately begging for the bird attacks to start. But even when they did, I just didn't find myself as thrilled as I hoped, and as I usually am by Hitchcock. I think I just struggled to get past the daft and preposterous nature of its plot. I mean it's not like it's a million miles off Shyamalan's universally derided The Happening. It felt like the Master of Suspense, one of the greatest directors of all time, had lowered himself to making a gaudy B-movie. All that said Hitch does make the film a lot better than it would otherwise have been, his direction is by far the strong point of the film for me, still able to conjure up some great images and moments. My favourite being the crows massing in the playground behind an oblivious Tippi Hedren.

[TheUsualSuspect]

I love the back cover of the Raid.

99 minutes of action. 1 minute of romance

Hahahaha.

[TheUsualSuspect]

Every Tarantino film has been edited by the same person, Sally Menke. Now I have no idea of their relationship but in my mind I've created a scenario were they are very close friends and perhaps as such a fan of his work she allows it to cloud her judgement. I just felt the film could have done with a harsh editor coming in with the scissors and chopping a few chunks out.

Which makes me intrigued to see how Django Unchained feels up against his earlier films due to her death.

[Daniel M]

Butch Cassidy and the Sundance Kid (1969, d. George Roy Hill)
3.5 ++

The Birds (1963, d. Alfred Hitchcock)

3 -


First of all great post as usual man :D

I pretty much agree with your assessment of "Butch Cassidy and the Sundance Kid", it's far from a Western in the way that the old John Wayne or Sergio Leone films were. Like you said it's more an enjoyable buddy film with fantastic acting and chemistry between Newman and Redford. Whilst I enjoyed it very much and I think I'd give it slightly above your rating (a 4 out of 5) I agree that certain aspects were much better than others. The huge posse chase that takes up about half of the film (at least it feels like it) stuck in the middle just seemed to drag for me, when the pair were settled down at the start and end it was much better and enjoyable as we could focus on their relationship and endeavours. I've actually seen it twice in like the past few weeks, once myself and another time as my step-dad wanted to watch it as well so I might end up doing a review myself soon.

The Birds I'd also give slightly above your rating (a 3.5 I think, maybe a 4 if I push it) although once again I agree with most of your assessment. In terms of plot like you have said this is far from Hitchcock's strongest and I was a little bit frustrated that we got no answer to the mystery as the whole thing we are basically expected to accept which was frustrating comes the film end. Hitchcock's directional skills are what made the film enjoyable for me, that one scene in particular where the birds build behind Hedren outside the school is one of my favourite of all Hitchcock's films, in fact most of the scenes that are built up in traditional Hitchcock style are enjoyable, if this was combined with a better explained story it could have been won of his best. I'm not sure what the book is like but if this is a pretty much straight adaptation then you can't really fault Hitchcock and I'd be tempted to go with the higher rating.

[Skepsis93]

Oh nice, I saw Children of Men recently too. Pretty much agree with your assessment, although I'd give it a 4+. The action scenes were some of the best I've ever seen, I'd consider myself desensitized to all but the harshest film violence by now but Cuaron really made me sit up and take notice with just how stark and sudden and beautifully constructed they were. Really great film.

[JayDee]

First of all great post as usual man :D

I've actually seen it twice in like the past few weeks, once myself and another time as my step-dad wanted to watch it as well so I might end up doing a review myself soon.

The Birds I'd also give slightly above your rating (a 3.5 I think, maybe a 4 if I push it)

Thanks mate. :up:

Look forward to reading it if you do. Just don't give me too big a showing up by making it way better than my minor rambling. :D

If I gave it a rating that leant stronly on Hitchcock's direction then it would be higher but as a film on the whole, and as a piece of entertainment to me I think I may even have been a bit generous with my score

The action scenes were some of the best I've ever seen, I'd consider myself desensitized to all but the harshest film violence by now but Cuaron really made me sit up and take notice with just how stark and sudden and beautifully constructed they were.

Absolutely. :yup: They kind of reminded me of Saving Private Ryan in a way. While they are obviously on a much smaller scale they shared that harrowing, immersive kind of feel.

[Daniel M]

Thanks mate. :up:

Look forward to reading it if you do. Just don't give me too big a showing up by making it way better than my minor rambling. :D

If I gave it a rating that leant stronly on Hitchcock's direction then it would be higher but as a film on the whole, and as a piece of entertainment to me I think I may even have been a bit generous with my score.

Haha thanks, well I love your posts in here so I don't think I well, I try and post up my own little ramblings but I end up going on about the films I've seen and what I post almost turns in to a full review :D

And yeh it's difficult to judge when it is an adaptation of something else, especially if it's not changed much and in this case I have no idea what it is like compared to the book.

For example look at the Coen Brothers' True Grit, in terms of direction and cinematography, for me it is a near perfect film but other than that it is not as exciting or interesting as some of their other work, this seems to be the case for The Birds where Hitchcock's work is good but ultimately the story it's based on does not make for the greatest of films.

[Sexy Celebrity]

End of Watch 1
http://www.williamsport.com/movies/images/2606.jpg

Lengthy review by me is here. (http://www.movieforums.com/community/showthread.php?p=848336)

Discussion thread - here. (http://www.movieforums.com/community/showthread.php?t=29789)

[Mysticalunicornfart]

http://damiensaatdjian.com/things/pictures/caravaggio_film.png
Caravaggio
3/10

The best scenes in this movie were within Caravaggio's studio, otherwise, the film's pacing is awful, and all over the place. Intentional historical inaccuracies were riddled through-out the entire film, which became more distracting and ridiculous.. as the director gave us no indications of their symbolic meanings.

Aside from the studio scenes, and a few very nice, yet brief, scenes involving Tilda Swinton this movie was a turd.

[Thursday Next]

Haven't tabbed in a while but since I've got lovefilm again I've seen quite a few films recently, so:

Ali Fear Eats the Soul
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This film was absolutely incredible. I remember it being near the top of someone's top 100 list on here and that was one of my main reasons for watching it, so thanks to whoever that was. A really touching film about love and loneliness that doesn't shy away from how selfish and petty and spiteful people can be.
4.5

Island (2011)
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A woman goes to visit her birth mother with the intention of killing her. Amateurish, miserable, heavy handed and humourless. All three of the actors in this have given good performances in other things but it was hard to spot any redeeming features in this. Worse than Disco Pigs.
1.5

Albert Nobbs
http://www.ifiji.com/imhd/images/feb12/albertnobbs.gif
I really wanted to like this film, but despite its potential it was a little drab. There's plenty of pathos in Albert's story, but there wasn't much of a performance there from Close, all mask and no nuance. Janet McTeer was much more interesting as Hubert. The set-up was good, and some of the contrasts observed between the lives of the poor and the wealthy were poignant and not laboured. But sadly it all descended into melodrama.
3

American Splendor
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Watched this for the MoFo Millennium top 100. It was alright. It's creative, it's offbeat, but the grumpy Harvey didn't particularly charm me and it's not one I'd particularly seek out to watch again.
3

The Wrestler (2008)
http://upload.wikimedia.org/wikipedia/en/thumb/3/3e/The_Wrestler_poster.jpg/220px-The_Wrestler_poster.jpg
This was also watched for the Millennium top 100. I really liked this. It was understated but powerful. It reminded me a lot of Anvil: The Story of Anvil which came out the same year. Both funny and sad, sometimes at the same time, this is not a sports movie, it's a film about someone trying to come to terms with life, really.
4

Better Than Chocolate
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Below average rom-com that tries to cram in too many things at once. There are some funny and sweet bits, it's not a total loss, but it feels forced and clunky. The lesbian cliche leads move in together having known each other for a day, everything happens too fast to be convincing and it just tries too hard to tie everything up neatly.
2.5

Performance (1970)

I can't believe I hadn't seen this before, since it's so clearly an influence on so many other things. A gangster goes on the run and winds up at the home of a washed up rockstar and two women who live with him. The earlier scenes of the gangsters are the best, I thought, I have limited patience for trippy drug sequences.
4

[Mysticalunicornfart]

Albert Nobbs
http://www.ifiji.com/imhd/images/feb12/albertnobbs.gif
I really wanted to like this film, but despite its potential it was a little drab. There's plenty of pathos in Albert's story, but there wasn't much of a performance there from Close, all mask and no nuance. Janet McTeer was much more interesting as Hubert. The set-up was good, and some of the contrasts observed between the lives of the poor and the wealthy were poignant and not laboured. But sadly it all descended into melodrama.
3


I agree with this. It had a lot of potential to be interesting, so much time was wasted on Mia Wasikowska's character and I don't think I've ever seen anything with Wasikowska where she brought life and charisma to a character.

[Thursday Next]

The best scenes in this movie were within Caravaggio's studio, otherwise, the film's pacing is awful, and all over the place. Intentional historical inaccuracies were riddled through-out the entire film, which became more distracting and ridiculous.. as the director gave us no indications of their symbolic meanings.

Aside from the studio scenes, and a few very nice, yet brief, scenes involving Tilda Swinton this movie was a turd.

I saw this fairly recently and I don't agree that it's a turd. The pacing is all over the place, true, but I absolutely loved the deliberate historical inaccuracies. I felt that it was more about atmosphere than plot coherence, which might not have worked, but I felt the actors and the director pulled it off pretty well. I found it very absorbing and would give it 4

[Mysticalunicornfart]

I saw this fairly recently and I don't agree that it's a turd. The pacing is all over the place, true, but I absolutely loved the deliberate historical inaccuracies. I felt that it was more about atmosphere than plot coherence, which might not have worked, but I felt the actors and the director pulled it off pretty well. I found it very absorbing and would give it 4
I didn't feel the historical inaccuracies fit within the movie, and I agree that it was definitely more of a poetic telling of his story than a realistic biography, but at the same time it wasn't completely outrageous so the sudden use of things that were unheard of at the time felt off-putting to me.. and took me out of the movie.

[Daniel M]

MoneyballMoneyball (2011)

So I finally got round to watching this film after recording it on Sky and I was not disappointed with it. The key to it being such a good film is that although it is a based on a baseball team you do not really have to have any knowledge of the sport to enjoy the film, it's not a simple cliché underdog story but instead it is enjoyable because it is a smart and brilliantly put together film with some great performances from its actors.

Brad Pitt as Billy Beane is the film's main star but it is not his performance that will perhaps me the most memorable after watching "Moneyball". Instead it is Jonah Hill as Peter Brand, a young economics graduate who introduces the 'moneyball' philosophy to Billy Beane. Giving us a dramatic performance, Hill is excellent as a new style of character as opposed to his usual comedic style. He begins as a shy but ambitious character who has constructed a detailed formula to calculate the true value of players and grows more confident as he gains a key role alongside Beane in assembling a new look side, to the discontent of coach Art Howe.

Art Howe is portrayed by the always brilliant Philip Seymour Hoffman and him (and the club scouts) represent the more traditional style of coach involved in the game. He is unwillingly to accept the approach taken by Beane and Brand and is initially stubborn at selecting lower value players other proven stars, he like many criticise the new system that is being implemented, arguing that baseball is not simply a science that can be worked out with a few numbers.

Aside from statistical analysis we also have Billy Beane's personal story at the centre of the film, we see how he was once tipped to be a baseball great and was picked up in the first round of a draft, rejecting the opportunity of a scholarship at Stanford. This acts as an motivator for Beane who himself became a scout and his personal story adds a soulful touch to the story which comes in to play at the end which I will not spoil for those who do not know the story.

My Rating

4.5

[Daniel M]

Strangers on a TrainStrangers on a Train (1951)

I was in the mood for a viewing of Hitchcock so decided to finally give "Strangers on a Train" a viewing, one of his perhaps lesser known but still well acclaimed titles.

Made prior to any of Hitchcock's more famous release such as "Rear Window", "Vertigo" and "Psycho", "Strangers on a Train" uses a similar plot to many others from Hitchcock, one of his favourite ideas of an innocent man being found guilty for a crime he did not commit.

Hitchcock's most famous film with such a plot is "North by Northwest", although this film is perhaps more similar to his great 1943 film "Shadow of a Doubt", both films are shot in black and white, carrying an eerie feeling created by the dark and sinister atmosphere with fantastic performances for each film's villains.

Robert Walker portrays a sinister and strange psychopath Bruno Antony that meets a famous tennis player Guy Haines on a train, it is during their conversation that Bruno suggests a seemingly perfect murder plan, each man would 'dispose' of someone for each other, in this case Guy's wife whom is unwillingly to comply with a divorce and Bruno's father. The reason why this plan is 'seemingly' perfect is because it relies on both people fulfilling their role in it, it's when Bruno carries out his half to the shock of Guy that things begin to get complicated as the plan unravels and we begin to see the obsessive side of Bruno who begins to stalk Guy.

Like "Shadow of a Doubt" the film relies on its dark and sinister atmosphere created by the creepy villain and setting to create a successful thriller as a result of Hitchcock's direction and trademark suspense. "Strangers on a Train" is a great Hitchcock film and I am now eagerly anticipating viewings of some of his other earlier works.

My Rating

4.5

[JayDee]

Glad to see you were so taken with Strangers on a Train Daniel. While many of my Hitchcock films are on just one viewing, and so the order may change over time, this is my current no.1 favourite Hitchcock. Just so many great scenes, moments and images and a fantastic villain in Bruno.

[donniedarko]

Haven't seen much since my last post here's a quick update though

Taken 2
Honestly, did anyone feel any thrills? Did anyone have another thought other than "this is so cheesy". I know I didn't, Taken 2 fell down way lower than the original, the acting was so forced along with the whole film. The camera during the fight scenes was going all over the place, making it confusing, and hardly even there. Even Liam's Neesons badassery wasn't all there. Unrealistic in the scene that he calls his daughter with three guns pointed at him, gives her instructions, and than the kidnappers are confused on where she went. The only way they could save the franchise at this point has to be a prequel to the original, they sure do need something to save it after this crap.
1

The Messenger- 2.5-
Brick- 3.5++ (Review in Movie Club discussion)

[Daniel M]

RopeRope (1948)

Often seen as one of Hitchcock's weaker films, "Rope" is commonly describe as a failed experiment, I was aware of such thoughts before watching the film so wasn't expecting it to be as strong as some of his more known works but I have to say I was actually surprised by what I felt was a good film. "Rope" is set in one room throughout the whole film and plays like one long and continuous shot achieved through a number of long shots that are put together through focusing on objects such as the back of a jacket to complete the transitions between them.

The film is adapted from a play and although it feels like one in the sense it is all in one room, the performances and dialogues seem more real and convincing than you may expect from a traditional play. The two main characters portrayed by Farley Granger and John Dall, Granger likes in "Strangers on a Train" plays a more weaker, innocent character who struggles to keep himself together where as Dall is more calm, composed and sinister. Then there's James Stewart who as always is superb as Rupert Cadell, a teacher of the two men whose creative theories are being implemented by the pair who murder an innocent young man, once he begins to suspect that his theories are becoming a reality it is great to see the performances of the trio.

My Rating: 3.5

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RushmoreRushmore (1998)

The only two Wes Anderson films I had seen before this were "The Royal Tenenbaums" and "Fantastic Mr. Fox" which I thought were two great films so I was looking forward to watch one of his older works.

Like "The Royal Tenenbaums" the film is written by both Wes Anderson and Owen Wilson and the film's comedic style is extremely similar, it's smart and intelligent and wonderfully put together with a world that gives us an array of strange yet fascinating characters. But also similar in style its more serious and even dark undertones, this time shown through the life of the main character Max Fischer with Jason Schwartzman portraying him for his film debut. At the start of the film he is a strange and lovable character who we see partaking in almost every school club that there is, from Fencing to organising school plays. It's when he gets kicked out of school and realises that his love for a beautiful young teacher is unrequited he begins to become a more depressive character who struggles to find his place in life. Supporting him is Bill Murray, an actor whose career as a supporting man became revitalised as a result of Anderson's films, he is great as a grumpy and equally weird character who although his a strange admiration for Max ends up as his enemy for the majority of the film.

Overall I felt the film was very good, particularly the performances of it's two main men, the plot leads to a satisfying ending although I feel that on the whole the film was missing just that little something that I felt in "The Royal Tenebaums".

My Rating: 4

-------------------------------

JunoJuno (2007)

"Juno" is an extremely smart film based on a 16 year old girl Juno who falls pregnant unexpectedly. From the film's synopsis I was expecting a film where she would attempt to give the baby up for adoption but her and her boyfriend would end up changing their minds and complicating things, or she would be left regretting the decision afterwards. Instead it's quite different, it's an original and clever film that does a great job of giving us a look at contrasting lives of each of the characters involved in the adoption.

Ellen Page as Juno is undoubtedly the film's star with an outstanding performance as a teenager who is put in a variety of different situations, handling them with mature responses for the majority of the time. The supporting cast is strong as well with "Superbad" star Michael Cera playing the role of the baby's biological father, he is more innocent and doesn't get involved in the process of the adoption but his scenes are some of the most emotionally enjoyable with good chemistry between him and Page. Then there's Jason Bateman and Jennifer Garner as the couple who want to adopt the child, we see a relationship that is far from perfect from the start which is immediately shown through the contrast in introductions when they first meet Juno, Bateman's character is shown to be more of a child who acts as if he is a class mate of Juno with him sharing his music and videos with her, Garner's character is more of an adult, she is more serious and professional and the way she conducts herself in the first meeting and is desperate to have a child.

The film is an enjoyable and lovable tale from start to finish with a combination of humour, intelligence and great acting that creates some memorable scenes that seems real, it's believable and avoids most of the usual teen pregnancy clichés.

My Rating: 4

[Skepsis93]

Good Night, and Good Luck. (Clooney, 2005) 3.5
Immaculate, snappy, very enjoyable drama.

Bernie (Linklater, 2011) 3
Never quite clear what it wants to be and flicks between ideas far to often to really get into it. I give it the benefit of the doubt for a surprisingly subtle performance by Jack Black.

Breathless (Godard, 1960) 4
Easier to admire than to love, but very intriguing.

Moonrise Kingdom (Anderson, 2012) 4
Did I judge Wes Anderson too quickly? I really enjoyed this one, it looks awesome, and the trademark quirkiness fits rather than feels forced as it did in his other movies (IMO).

Jack Goes Boating (Hoffman, 2010) 3.5
Turns out PSH is a solid director, too. Lots of problems but they seem mostly to be with the script and a couple of patchy performances. A very charming little movie.

Before the Devil Knows You're Dead (Lumet, 2007) 4
Extremely smart thriller with a fantastic, heart-pounding conclusion.

Children of Men (Cuaron, 2006) 4+
Marvelous action sequences and a genuinely affecting story. Ambiguous, poignant, beautiful ending.

That Thing You Do! (Hanks, 1996) 4.5-
I freakin' love this movie. So upbeat, the few mediocrities and cheesy jokes just don't matter. Enormously fun and funny, heartfelt without getting too sentimental.

I finally, finally got round to seeing these top-tier must-watch movies this last week. Something clicked, like, "how the hell haven't you seen these yet? Stop procrastinating, you idiot." Here's my take:

The Godfather (Coppola, 1972) 4
Read JayDee's earlier review for pretty much my exact feelings. If I were rating based on context in film history, technical achievement and other such things then this is a stone cold 5, of course it is. But I'm not. I don't love the gangster genre (I feel the same way about Goodfellas), but this did keep my attention for all 3 hours without a break. On a personal level very, very enjoyable but not among my absolute favorites.

Psycho (Hitchcock, 1960) 4.5
Even with the multiple spoilers, inevitable given Psycho's cultural impact, this movie terrified me. The best example of Hitch's mastery of suspense by a long, long way.

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[JayDee]

Great post Skepsis. :up:

The Godfather (Coppola, 1972) 4

Read JayDee's earlier review for pretty much my exact feelings.

And thanks for the shout out! :D

And yeah we seem to be in the same boat regarding the film and the gangster genre. I certainly liked it a lot more than Goodfellas which I felt glamorised the world and the individuals a lot more. Out of interest did you enjoy it enough to catch the sequels sometime?

[Daniel M]

Great post Skepsis. :up:



And thanks for the shout out! :D

And yeah we seem to be in the same boat regarding the film and the gangster genre. I certainly liked it a lot more than Goodfellas which I felt glamorised the world and the individuals a lot more. Out of interest did you enjoy it enough to catch the sequels sometime?

I love gangster films and I am a massive fan of both The Godfather and Goodfellas but they are two completely different films, almost from two entire gangster worlds even though both are pretty realistic in terms of content (Goodfellas is based on a true story of course).

Like you say Goodfellas does seem to glamorise the gangster lifestyle more to an extent, it's a fun film filled with lots of comedy and laughs between the main three characters, it's violent in parts and is very fast paced with three fun characters rather than the serious, personal look at the families in The Godfather. I can understand why people wont like Goodfellas, it's like a Tarantino film almost in a way that you have to enjoy what the genre and content is about to enjoy the films style where as almost all people can appreciate The Godfather due to it's non-glorification of the gangster lifestyle, the approach it takes and the sheer craftsmanship involved in creating it.

[Skepsis93]

And yeah we seem to be in the same boat regarding the film and the gangster genre. I certainly liked it a lot more than Goodfellas which I felt glamorised the world and the individuals a lot more. Out of interest did you enjoy it enough to catch the sequels sometime?

I like Goodfellas about the same as The Godfather, if not a little more. I prefer Scorsese's direction (I don't believe either glamorize the world, just FYI).

Absolutely I'll catch the sequels, Part II is a priority and I expect I'll want to see III at some point too.

[HitchFan97]

Skepsis- Breathless, The Godfather, and Psycho! That's a pretty hard trio to top :yup:

[JayDee]

(I don't believe either glamorize the world, just FYI).

Absolutely I'll catch the sequels, Part II is a priority and I expect I'll want to see III at some point too.

Fair enough. I think I felt it just as a result of Liotta's character worshipping them and talking about how wonderful the life was. And the fact that these horrible people were turned into entertaining and popular characters, Pesci's character in particular. The fact that these aren't fictional guys either, but real mobsters contributed. And even Scorsese's direction I felt just added a glamour and a twinkle to it.

I don't know about you but I really didn't think I'd feel compelled to go past the first one. I was only really watching it out of a sense of requirement if I want to be a true film buff. :D But right away I picked up the trilogy (for just £3!) and plan to watch the second one at some point soon

Rope (1948)
Often seen as one of Hitchcock's weaker films, "Rope" is commonly describe as a failed experiment


Perhaps, but it's actually got a place on the imdb top 250 at the moment so obviously a lot of people don't believe so

And I've got to say that I'm a big fan of Rope. Perhaps my 4th favourite Hitchcock at the moment. It's got three great performances (especially from Stewart who I love) and such a wonderfully ghoulish premise to work from. There's also some fantastic direction from Hitch; I particularly love the shot where he lingers on the trunk as Mrs Wilson clears the stuff of it. It's such an excruciating wait to see if the trunk will be opened and the secret discovered. If I remember correctly there is also some wonderful use of lighting outside the window to represent the passing of time

Out of interest did you pick up on the gay undertones? First time I saw it completely went over my head I have to admit

[HitchFan97]

Rope is my 4th favorite Hitchcock film as well. It's a vastly underrated suspense machine, I'd place only the holy trinity of Psycho, Vertigo, and Rear Window ahead of it.

[Skepsis93]

Fair enough. I think I felt it just as a result of Liotta's character worshipping them and talking about how wonderful the life was. And the fact that these horrible people were turned into entertaining and popular characters, Pesci's character in particular. The fact that these aren't fictional guys either, but real mobsters contributed. And even Scorsese's direction I felt just added a glamour and a twinkle to it.

I guess it depends how you would define "glamorize". There's certainly a lot of stuff in there that makes it seem pretty badass but the ultimate message is that crime doesn't pay, right? By the end Henry is a nobody, in a witness protection program because Jimmy has a hit out on him. I reckon you'd have to take the movie completely the wrong way to think it promotes the idea of organised crime as a viable career path.

Rope is my 4th favorite Hitchcock film as well. It's a vastly underrated suspense machine, I'd place only the holy trinity of Psycho, Vertigo, and Rear Window ahead of it.

I still have a lot of gaps in my Hitchcock filmography but I'd rank Rope among my least favorites. I'd give it a 3 thinking back on it now and especially comparing it to his other efforts, it didn't really click with me. I love the premise and there are some great suspenseful moments but it's not carried off quite as well as it could have been.

[Deadite]

Goodfellas did not glamourize the gangster lifestyle. The narrator glamourized the gangster lifestyle and look where it gets him. There's a reason why the movie changes rhythm during the last act. Now if you wanna complain that Goodfellas "glamourizes" the gangster lifestyle by being masterfully directed, superbly acted, and utterly enthralling from start to finish, then that's your problem.

[donniedarko]

Great set Skepsis! I'm hoping to watch a hefty amount of movies during this upcoming fall break, planning to go to the theater twice, watch a couple of my criterions, watch Blue Velvet, potentially Cries and Whispers. And a few recent Cannes winners on Netflix instant. Personally, I'm fairly excited :yup:

[donniedarko]

Bernie (Linklater, 2011) 3
Never quite clear what it wants to be and flicks between ideas far to often to really get into it. I give it the benefit of the doubt for a surprisingly subtle performance by Jack Black.
Heard great things about Blacks and maclaines performances

Breathless (Godard, 1960) 4
Easier to admire than to love, but very intriguing.
I should be watching my Criterion of this, this coming week

Moonrise Kingdom (Anderson, 2012) 4
Did I judge Wes Anderson too quickly? I really enjoyed this one, it looks awesome, and the trademark quirkiness fits rather than feels forced as it did in his other movies (IMO).
I gave it same rating, only Wes Anderson film I've seen, and from what I've seen it's the best of the year

Jack Goes Boating (Hoffman, 2010) 3.5
Turns out PSH is a solid director, too. Lots of problems but they seem mostly to be with the script and a couple of patchy performances. A very charming little movie.
I've had this one lying around in my DVD collection for awhile now.

The Godfather (Coppola, 1972) 4
Read JayDee's earlier review for pretty much my exact feelings. If I were rating based on context in film history, technical achievement and other such things then this is a stone cold 5, of course it is. But I'm not. I don't love the gangster genre (I feel the same way about Goodfellas), but this did keep my attention for all 3 hours without a break. On a personal level very, very enjoyable but not among my absolute favorites.

Psycho (Hitchcock, 1960) 4.5
Even with the multiple spoilers, inevitable given Psycho's cultural impact, this movie terrified me. The best example of Hitch's mastery of suspense by a long, long way.

I gave both of them a 4 and perhaps they're the most recolutionary films made (even though Psycho bit off of Diabolique)

[Daniel M]

Perhaps, but it's actually got a place on the imdb top 250 at the moment so obviously a lot of people don't believe so

And I've got to say that I'm a big fan of Rope. Perhaps my 4th favourite Hitchcock at the moment. It's got three great performances (especially from Stewart who I love) and such a wonderfully ghoulish premise to work from. There's also some fantastic direction from Hitch; I particularly love the shot where he lingers on the trunk as Mrs Wilson clears the stuff of it. It's such an excruciating wait to see if the trunk will be opened and the secret discovered. If I remember correctly there is also some wonderful use of lighting outside the window to represent the passing of time

Out of interest did you pick up on the gay undertones? First time I saw it completely went over my head I have to admit

Yeh I was mainly talking from a critical point of view and I've heard Hitchcock actually recognised it as a failure himself which is quite surprising if true. But yeh you are right, the way the trunk always seems to take foreground to create suspense is good and you are correct about the lighting changing as it becomes dark as well.

And for gay undertones, kind of but not that much, you could see there was something there with the characters who were excellently portrayed and strangely obsessed by their teacher and each other.

By the way guys this is how I'd rate Hitchcock's films I think, whilsts I enjoyed Rope I just think that the films I've put above it were more enjoyable experiences all round:

Psycho
North by Northwest
Vertigo
Strangers on a Train
Rear Window
Shadow of a Doubt
Rope
The Birds
To Catch a Thief
The Man Who Knew Too Much (1956)

My next watch I think will be Notorious.

[Daniel M]

Goodfellas did not glamourize the gangster lifestyle. The narrator glamourized the gangster lifestyle and look where it gets him. There's a reason why the movie changes rhythm during the last act. Now if you wanna complain that Goodfellas "glamourizes" the gangster lifestyle by being masterfully directed, superbly acted, and utterly enthralling from start to finish, then that's your problem.

I love Goodfellas and I think I can agree with JayDee to a point about why people wouldn't like it but would like The Godfather because like you said the narrator does kind of glamourize the style, it's because we see his life and endeavours and they are shown in a fun, fast-paced style with lots of music that it feels like more of a joy ride than a serious more epic-style film in The Godfather does. I think you have to enjoy the narrators story and lifestyle to an extent to be able to enjoy the film like Scorsese wants us to.

[Deadite]

The Godfather is a pompous soap opera that treats gangsters like a royal family. Goodfellas shows multi-faceted human beings who can be brutal and cunning or charming and funny as suits them. They're sociopaths, but real people too.

Godfather presents its gangster tale as if it were a tragedy of mythic proportions, whereas Goodfellas employs the style and trappings of a gangster power trip through the subjective recollections of its narrator to ultimately reveal its characters as being amoral opportunistic scum who turn on each other when they're desperate. Some "family".

If anything, Godfather's "noble criminal" bullcrap glamourizes that lifestyle consistently throughout, whereas Goodfellas subverts that very same romanticism that causes weak and narcissistic people to take a "easy shiny path" which leads them to destroy other people and eventually themselves and each other. It was an illusion.

Goodfellas is the superior film. It isn't boring, no. Gangster movies don't have to be dull to have a point.

[Sexy Celebrity]

I completely disagree with you, Deadite. I find that mythic quality of The Godfather to be something... I rather love. Goodfellas gets on my nerves.

[Deadite]

You're only disagreeing to the extent that you prefer the glamourization, which is your taste, but that doesn't address the valid points of difference between the two films.

[Skepsis93]

Heard great things about Blacks and maclaines performances

Black was great but MacLaine was actually cringe-worthy at times. Could just be me though.

[HitchFan97]

Great set Skepsis! I'm hoping to watch a hefty amount of movies during this upcoming fall break, planning to go to the theater twice, watch a couple of my criterions, watch Blue Velvet, potentially Cries and Whispers. And a few recent Cannes winners on Netflix instant. Personally, I'm fairly excited :yup:

Blue Velvet and Cries and Whispers are two of the best films I've ever seen, hope you love them as much as I do. Same for Breathless, if you're planning to watch that as well.

[Tyler1]

Cria Cuervos (1976)
http://1.ff-cover.com/video/11019/cover.jpg

Ana's dreams and hallucinations are seamlessly weaved into the story at various points, seeing the world from her perspective. Though it isn't as haunting or breath-taking as The Spirit of the Beehive, Cria Cuervos is still a noteworthy picture from Spain. 3-

[donniedarko]

Argo (Affleck)- having a real hostage from this time period in the theater was really something cool. And I must say this is the best film I've seen this year. It went from tense, to comedic, and back to tense. Filled with dialouge that evoked laughs from all generations. This film also used news reels to tell the story of what was going on in the U.S. while the mission was going down. You felt the anger and frustration of a nation. The casting was superb, as you'll see by the end of the move. The crew cared about making this historically accurate. This was the best film going experience I've had in a long time. I recommend this to almost anyone who has the slightest interest in movies. Lovely score, star studded cast, and Affleck continues to impress as a director. 4+

Shotgun Stories (Jeff Nichols)- An intense family drama, Jeff Nichols will be a serious name soon, and Michael Shannon has already made a name for himself. 3.5

Killers Kiss (Kubrick)- its not an amazing film by any means, it's not even a good one, but Kubrick got it done, I think many critics over rate it just because it has Kubricks name. Very long for a 67 minute film 2

Breathless (Godard)- The best and most entertaining Godard I've seen. I hate his Cinemetography style, but I can see the "classic" factor in this. Truly revolutionary and filled with dialogue 3.5

[meatwadsprite]

https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcRKfgS27dt16gaHbTIF3WQqaPQGi2TuSgRrOYidcYHBSA2FXQfJtA 3.5 https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcSnrWo8NAme2wUuRCAubynWo_MVOJ9Je0m7d5ixzkF7tVC6h0wZ 4 https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQuBBcby9Y2qZsqw4IgB_x35m4RyTaBnvq7JAFmNKjjvQtebZFf 3

[Daniel M]

Five films that I've watched recently, two newer releases and three classics.

Snow White and the HuntsmanSnow White and the Huntsman (2012)

My expectations weren't exactly high for this film and I got what I was pretty much expecting with the overall style and film, but this was certainly not a bad thing as I felt the film wasn't actually that bad.

Perhaps I'm being a bit generous with the rating I'm going to give considering the film certainly had its flaws, at times the pacing seems a bit odd and not all the performances are of that good standard with not the greatest of casts but for people wanting to sit down and see a darker, more thrilling take on a classic tale I don't really no what else you were expecting.

Like I have said the film could of been stronger, I can understand why some people won't be able to watch all two hours and more of this film, but the dark yet beautiful world created by great CGI and visual effects are strong and make up for the lack of good performances, a decent watch for that.

My Rating

3


The Girl with the Dragon TattooThe Girl with the Dragon Tattoo (2011)

After watching the original Swedish version which I rated highly (4.5 out of 5) I was looking forward to seeing the remake because unlike other remakes I had heard this one was strong albeit similar and after all it is directed by David Fincher, a director that I rate very highly.

Story wise the two films are pretty much identical with only a few missing/added scenes in either one so I can't really comment on the plot. You could argue "what is the point of this film?" and that would be a legitimate question but if you look past that and imagine you are watching both films without having watched the other you should be able to enjoy them for what they are.

Fincher brings his usual style of direction to the film, creating a fantastic visual and dark world that works well to suit the film (like "Seven" and "Fight Club") and I don't think there can be many complaints from that perspective. The original though did seem to lend more time focussing on the story of Lisbeth (subtance over style perhaps) and the twenty minutes of this film seemed slightly more out of place than they did in the original if I recall correctly.

On to the performances, Rooney Mara is very good as Lisbeth Salander, the young computer hacker who is the focus of Stieg Larsson's trilogy (I am yet to watch the two sequels of the original Swedish film) but it is Daniel Craig's performance that is largely different from Michael Nyqvist in the original. Although Craig's performance when judged alone is strong I just feel that the original performance suited the story much better. With Craig you can't help comparing him with James Bond, he is a clean, physically strong figure who brings a calming presence and appears more suited to his environment than the more innocent, rugged character created by Nyqvist in the original which made the film more unpredictable and exciting.

My Rating

4

Citizen KaneCitizen Kane (1941)

Now on to the 'classics' as I finally got round to watching Citizen Kane. What can I say that hasn't already been said about this great film? It's amazing to think that at such a young age Orson Welles was able to create and star as one of the most memorable fictional characters ever seen.

The film depicts the life of the famous Charles Foster Kane, a newspaper tycoon who is one of the richest men in the world, a man who is loved and hated around the country. On his death bed his final utterance was 'Rosebud' which leads to the media scrambling to uncover the meaning of the world as we get a look in to the man's life through a series of flashbacks shown through the eyes of those close to him.

The rise and fall of Charles Foster Kane is fascinating and shown through fantastic visual images and a number of layers which cover such a wide period of time as we see the rise and fall of Kane's empire. We are told that no word can describe a man's life, his life is grand, he can have everything a man could wish for yet we see how he himself is to blame for his own depressing downfall, a man whose life was never complete as he looked for something he just couldn't reach. One of the most individual and controversial figures shown in film history, it is amazing how much I could write about a man who is created for the film. And of course before I finish I have to mention the fantastic mirror scene, one of the strongest throughout the whole film and the famous final scenes which I will not ruin for those who have not seen it yet.

My Rating

5

ChinatownChinatown (1974)

Before "Chinatown" I had not seen a Roman Polanksi film and as a big admirer of noir style films I had also seen surprisingly little of them so for those two reasons it made sense that I gave this film a viewing.

Another reason that pulled me towards this film is Jack Nicholson, a actor of fantastic ability who is able to pull of both serious and eccentric characters. His role in this film is key to how it works as a noir, he is a private detective who becomes involved in a plot that sees John Huston gaining power through control over the Los Angeles' water supply. He is a character that we can easily despise, he is willing to murder those who get in the way of his greed and it is this greed that drives his plan towards controlling the water supply. Nicholson's character asks what Huston could possible gain out of his plan, he is already rich and it is simply damaging the hard working people who need the water to make a living.

Nicholson's character seems real, he is just an ordinary man who does his job to earn a living, he becomes increasingly frustrated with the lies of those around him and simply wants to uncover the truth. Like many noirs and detective based story, the paths begin to link up and result in an inevitable ending where they combine. This film's ending seems fitting and is a dark and depressing portrayal of the greed and corruption that is at the centre of the story. After this film I am certainly looking forward to viewing more work of Roman Polanski and I think my next viewing of his will be "Rosemary's Baby".

My Rating

5

BadlandsBadlands (1973)

After watching "The Tree of Life" I was left with a mixture of thoughts over what I had just seen, the visual images created by Malick were superb, the message was strong although I didn't feel as connected as others were to it, although I felt that it was perhaps too long although that would have been down to by inability to connect with the film's centre and message that it was trying to get across.

"Badlands" is supposed to be based on a true story of a couple who went on a killing spree together. The story itself is far from spectacular and fairly straight forward, it is similar to that of "Bonnie and Clyde" and has inspired two Tarantino screenplays in "True Romance" and "Natural Born Killers". It's the way that Malick shows the story that makes the film so powerful and spectacular.

It is amazing to think that this was Malick's first feature film, an independent production starring Martin Sheen as a James Dean style character and Sissy Spacek as his younger partner. The two fall in love with each other and their relationship is resented by the girl's father who kills her pet dog after he discovers the two have been keeping their relationship secret behind his back.

The story does not glamorise the killings in any way, it gives us the tale without any prejudice, without taking any side and this is what makes Martin Sheen's character so fascinating. He is a good looking, young man who is calm and likeable (as seen in the final scenes) and shows no remorse or emotions towards any of his murders. The girl is similar although her fascination in her lover seem to play a big part in this, the dialogue is superb, almost comedic, we are hearing the voices of two people who are happy to murder others yet the talk in such a style that makes the pair seem to innocent and surreal.

Like "The Tree of Life", Malick is able to create fantastic visual images using the beautiful landscape of South Dakota, combining this and the use of music that is so fascinating yet creepy he creates a strange and memorable film that is quite scary and haunting, one of the greatest and most memorable I have ever seen.

My Rating

5

[JayDee]

Out of interst Daniel do you quite often throw out a 5 star rating? Or are they fairly rare but you are just watching a lot of films just now you've absolutely loved?

[JayDee]

* indicates a repeat viewing

mirror

True Romance (1993, d. Tony Scott)

4.5

The greatest love story of all time!!! Ok, maybe that's a bit of a stretch but I was really quite surprised at just how sweet and touching a romance I found here. I was expecting the couple played by Christian Slater and Patricia Arquette to be really trashy, a couple just lusting for violence who went round indiscriminately killing people like Natural Born Killers or Bonnie and Clyde. But I just absolutely fell in love with them and their relationship. A lot of that was definitely down to the performances of Slater and Arquette. I've always liked Slater's edgy, slightly quirky style and he's great here. However for me the star of the show was Patricia Arquette. Holy s**t she was so incredibly sexy in this! She actually reminded me of Marilyn Monroe in that not only was she sexy but she was also really sweet and loveable, I just wanted to give her a hug. And it takes a lot to stand out in this film because what a cast!!! Even the smallest of roles is filled out by a whole host of recognisable and talented individuals, many delivering some wonderfully bizarre turns - Dennis Hopper, Christopher Walken, Brad Pitt, Val Kilmer, Tom Sizemore, James Gandolfini, Michael Rapaport and perhaps best of all Gary Oldman. One of the best, and undoubtedly coolest ensembles ever!

Tarantino's script and Scott's outrageously excessive, high octane direction are a great blend; damn near a match made in heaven. It actually felt rather reminiscent to Walter Hill's The Warriors in terms of being a violent, urban fantasy. Whereas that was like pure Greek mythology this is like a classic fairytale where the prince (Slater) rescues Arquette and they have to battle against all manner of demons and monsters (the gangsters). Though I don't remember their being quite so much blood when Disney told the story! :D I just found it to be wonderful fun, and so much better than I would ever have imagined.

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Rain Man (1988, d. Barry Levinson)

4 ++

Finally got around to watching this film, and what I found was a terrifically charming and surprisingly amusing film propelled along by two terrific performances. There are two elements without which the film would fall down; the writing and the actors. I say this because in many ways there isn't a lot to this film, there isn't a great deal that happens in terms of big plot points. It's quite a small personal tale of two characters and the effect that one of them has on the life of the other. So the writing and performances have to be of high calibre to keep our interest piqued throughout. And both succeed with flying colours. The script is highly impressive, mining the premise both for laughs and for the great heart of the story. And while I don't have the experience to say for definite, it certainly feels like the script was well researched on the subject of autism and as a result it feels realistic and respectful.

Read the full review here (http://www.movieforums.com/community/showthread.php?p=849715)

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Finding Neverland (2004, d. Marc Forster) *

4 +

This is often a really quite beautiful little film. A film as much about the power of the imagination and the magic of childhood, as it is a biopic of Scottish author and playwright J.M. Barrie, most renowned for creating the story of Peter Pan. It frequently looks gorgeous, the Victorian London setting nicely brought to life, and its Oscar-winning score is at times majestic. It's also a beautifully acted piece, with the particular stand-outs being Johnny Depp and young Freddie Highmore. Depp is excellent and provides a very decent attempt at a Scottish accent. When you take his age into consideration Highmore is just incredible in the role of young Peter. And while they might grab the spotlight the whole cast equip themselves well; with Winslet, and the rest of the young cast filling out the roles of the Davies children are on fine form. I love the little fantasy moments which bring Barrie's imaginations to life, very reminiscent of Heavenly Creatures

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Beauty and the Beast (1991, d. Gary Trousdale and Kirk Wise) *

4 -

This one didn't live up to my great memories of it. I had actually placed this on my last top 100 list I posted here but most of it was based on memories and its reputation. It had actually been years and years since I had seen it in full. And while it's still a great film it's certainly no longer top 100 material for me personally. The film does look great; the animation is excellent and it also sounds fantastic. Some of the songs are really fun and the score is delightful at times. However the story and the characters just didn't interest me as much as those in my top level Disney films such as Aladdin and The Lion King.





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Punch Drunk Love (2002, d. Paul Thomas Anderson)

3.5 +

Well this is quite a strange little film isn't it? I had gone in expecting a somewhat offbeat comedy-drama, but I don't think I was prepared for something quite this quirky and out there. Despite being rather taken aback by its quirks however I have to say I did grow to really enjoy the film, even if I would struggle to explain exactly why! :D I just found it to be really sweet and touching watching the relationship between Adam Sandler's Barry Egan and Emily Watson's Lena Leonard develop. I particularly liked the shot where they meet up in Hawaii. All of a sudden, dozens of people are bustling past them, but it doesn't matter. In amongst all these people these two unique individuals have found each other, and soon everyone just disappears and they are all that's left. It's a film that is well acted, well written and well directed. I really wouldn't be at all surprised to see my score for this film rise with repeat viewings.

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High Anxiety (1977, d. Mel Brooks)

3 +

Now that I've seen a decent number of Alfred Hitchcock films (19 and counting) I felt it was about time I gave this spoof homage to the Master of Suspense a go. Well the master deserved better. It's a decent little comedy but far from Brooks' best. There are a decent number of laughs but nowhere near enough to make up for a lacklustre story and set of characters. And the big disappointment for me was that very few of the laughs actually came from Hitchcock references, the majority just came from regular comedy sketches in my eyes. The kind of moments that could have featured in any of Brooks' films. The best Hitchcock homage for me came through the use of camera movement, highlighting Hitch's innovative use of the camera and having a bit of a laugh at it. Oh and some of the locations are very good.

[donniedarko]

I believe High Anxiety is one of Brooks best films. Loads of satire, and I liked it even before I saw a single Hitchcock movie. Liked even more after I watched enough to get the references. I think I've watched it four or five times now, which is pretty consistent for me when it comes to brooks filmography.

"I got it, I got it, I got it, I ain't got it"

[Daniel M]

Out of interst Daniel do you quite often throw out a 5 star rating? Or are they fairly rare but you are just watching a lot of films just now you've absolutely loved?

Well at the moment I have a massive watchlist of loads of great films that I need to get round to watching, almost 400 on IMDB in fact so I try to watch the ones I think I'll like and are rated the best as soon as I can hence Citizen Kane, Badlands and Chinatown. In the future it's unlikely I'll give three such great films a watch all in the space of a few days.

Also some others have questioned how kindly I rate films, maybe I'm a bit too kind but I seem to enjoy most films that the majority do, I used to be one of those people who'd refuse to give a 10/10 and just give a 9/10 for the sake of it even if it was one of my all time favourites, now if I think it's worthy for a mixture of reasons I'll go ahead and give it. Sometimes films won't be the best in terms of filmmaking but I'll enjoy them and sometimes it is the opposite so they end up getting a decent rating. I've just checked through my ratings on IMDB of those I've gave a 10 and I'd find it harsh to knock them down a half or full star to be honest.

Also just watched Dial M for Murder so expect a post about that sometime :P

[Skepsis93]

Also some others have questioned how kindly I rate films, maybe I'm a bit too kind but I seem to enjoy most films that the majority do

It would be interesting to note how many of the films you've rated 5/5 are also considered "classics". The extent to which expectation plays a part in how you experience a movie is intriguing to me. Not that I'm questioning the honesty of your reviews, of course. Chinatown is bloody fantastic and I'm fully aware of Badlands and Kane's reputation.

It always pleases me to see the less conventional films that people rate very highly and especially their reasons for loving them so much. One may not share other's love of the likes of Psycho or Apocalypse Now but the reasons are usually obvious, when you see something like TMNT (http://www.movieforums.com/community/showthread.php?p=739809) or Charlie's Angels (http://www.movieforums.com/community/showthread.php?p=798243) pop up on a list the reasons are often personal and fascinating - and give a real insight into what that person might be like (a breath of fresh air on the mostly anonymous Interwebs).

I think my max ratings say a lot about my general disposition toward movies and otherwise. Not that that's for me to judge, of course. (If you're curious they're my top 10 plus Almost Famous, The Truman Show, The Lion King, Leon, The Green Mile, There Will Be Blood and The Graduate).

^Just a few ramblings. It it makes any sense I'll be surprised.

[donniedarko]

Blue velvet (David Lynch)- This was the best film watching experience I've had in months. David Lynch (currently my second favorite director) brought in his usual mind twisting aspects and a solid dark Sherlock kind mystery. The villain in this film, David, stands amongst Lynches other surreal characters. The sextual tension (especially shown after Jeffery sees David) is similar to that of antichrist. Violently oriented and oddly seductive. Jeffery is comparable to Hoffman in "The Graduate", someone new to this world who shapes into it. Blue Velvet was intense from the opening scene to the closing sequence, true thriller this was. Odd, gorgeous, and tense, that's Lynch for you. 4.5+

Man on Fire (T. Scott)- watched this because it was in the Millenium top 100, really a lame and annoying film. Everything was so forced, and there were maybe fifteen minutes of true action. 2

Cyrus (Duplass Brothers)- Step Brothers with a lack of fart jokes. Still nice homey fun. 3

We Need To Talk About Kevin (Ramsay)- Dissapointed in this one, a hard to get used to narrative, and without Swinton, this would be absolutely worthless. Predictable and unexplained 2.5-

http://img2-1.timeinc.net/ew/dynamic/imgs/080324/Villains/Blue-Velvet-Hopper_l.jpg

[Daniel M]

It would be interesting to note how many of the films you've rated 5/5 are also considered "classics". The extent to which expectation plays a part in how you experience a movie it intriguing to me. Not that I'm questioning the honesty of your reviews, of course. Chinatown is bloody fantastic and I'm fully aware of Badlands and Kane's reputation.

It always pleases me to see the less conventional films that people rate very highly and especially their reasons for loving them so much. One may not share other's love of the likes of Psycho or Apocalypse Now but the reasons are usually obvious, when you see something like TMNT (http://www.movieforums.com/community/showthread.php?p=739809) or Charlie's Angels (http://www.movieforums.com/community/showthread.php?p=798243) pop up on a list the reasons are often personal and fascinating - and give a real insight into what that person might be like (a breath of fresh air on the mostly anonymous Interwebs).

I think my max ratings say a lot about my general disposition toward movies and otherwise. Not that that's for me to judge, of course. (If you're curious they're my top 10 plus Almost Famous, The Truman Show, The Lion King, Leon, The Green Mile, There Will Be Blood and The Graduate.

^Just a few ramblings. It it makes any sense I'll be surprised.

Yeh I certainly agree, I try not to give classics such high marks but when I enjoy them and appreciate them as much as I do I find them difficult not to, perhaps if I went on enjoyment they'd be a 4 or 4.5 but what normally gives them more is appreciation for the craft involved.

Looking on my list now I'd say these 5/5 are the ones others might disagree with most:

Borat
Inglourious Basterds
Rango
Boyz n the Hood

But the first three are mainly for my pure enjoyment of the film, BNTH I've pretty much explained my reasoning in my review thread I thught it was great and it's directed in a way that it feels real, no fake shots etc.

The other ones whilst some will disagree with I could justify easier, like most would give from 3.5-4.5 I reckon. I don't know why but when I look at giving a rating 3.5/5 seems a good rating where as 7/10 for a really good film seems a little harsh so I end up putting it to 4 to make it 8/10 which would be my level for 'very good film' I reckon, perhaps I'm a bit too soft with the films.

Anyway thanks for the comments, will end up watching more diverse films in the future so you'll hopefully see a range of different ratings :D

[Mysticalunicornfart]

http://www.filmjunk.com/images/weblog/2011/04/2011_insidious_006.jpg
Insidious
5.5/10

Insidious contained a sort of reserved eerie factor about it in the first half, and even contained a legitimately creepy but brief scene.

But once the family began to understand why they're being haunted by these spirits the film began to spin into a more over-the-top nature, and as scary as a demon with an infatuation with Tiny Tim sounds he immediately lost his spook-factor when he lost his ambiguity.

[JayDee]

Also some others have questioned how kindly I rate films, maybe I'm a bit too kind but I seem to enjoy most films that the majority do

I wasn't really greatly questioning or criticising your ratings, was just curious. And I'd say I'm in the same boat in terms of liking most films (a lot probably down to being a good judge of what I'll like) and it being rare that I really dislike a film.

[TylerDurden99]

A bit of what I've watched over the last month:

Little Johnny: The Movie (2011) 2

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Virtuosity (1995) 3.5+

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Days Of Thunder (1990) 4.5

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Species (1995) 3.5

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Beverly Hills Cop III (1994) 3+

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Play Misty For Me (1971) 3.5+

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Showgirls (1995) 1

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No Retreat, No Surrender (1986) 3

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Universal Soldier: Regeneration (2009) 2.5

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Machete (2009) 3.5+

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Universal Soldier: The Return (1992) 2

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Striptease (1996) 4

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Beverly Hills Cop II (1987) 4

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[TheUsualSuspect]

You give Showgirls crap and praise Striptease

Am I sensing that this is based on who you think is hotter? hahaha

[Monkeypunch]

Dark Shadows - third or fourth re watch...Still awesome. Love the weirdness, the overwrought melodrama, and love Johnny Depp's creepy and kooky vampire hero. This should have been a huge hit. Maybe if it's been released for Halloween instead of up against The Avengers...

[TylerDurden99]

You give Showgirls crap and praise Striptease

Am I sensing that this is based on who you think is hotter? hahaha

None of the women in Showgirls are attractive to me. Demi, on the other hand, is sexy as hell in Striptease. There is a scene in that film where she dances around her apartment to Annie Lennox, wearing just a towel and I found it incredibly attractive.

So the answer to your question is yes (although I thought Striptease worked really well as a comedy).

[honeykid]

You give Showgirls crap and praise Striptease

Am I sensing that this is based on who you think is hotter? hahaha
^^This^^

Demi, on the other hand, is sexy as hell in Striptease.
Whaa? :eek:

[Daniel M]

High NoonHigh Noon (1952)

Will Kane (Gary Cooper) is left to defend a town on his own after failure to garner support from the locals as he awaits the arrival of an old enemy Frank Miller on the noon train, with three men of his old gang riding in to town ready to greet him.

Gary Cooper's character is a strong man, a man with principles and morals that mean that he feels compelled to defend the town despite stepping down as Marshal following his marriage. His courage to defend himself despite having the opportunity to run is a strong message at the heart of the film. Gary Cooper deservedly won an Academy Award for best leader actor for his powerful role in this memorable Western.

The tension but up for the majority of the film is great, we are constantly reminded that the clock is ticking as we await noon, we see how the return of Frank creates division amongst the town people and how they are affected by it. Other performances are strong such as Grace Kelly and Katy Jurado, two women with differing opinions, each having different relationships with Gary Cooper's character. The filmmaking is great, the tension built is is superb and makes for a dramatic albeit pretty tidy ending.

As a Western I'd compare this most to "Rio Bravo", it tackles a similar issue of law, justice and morals, where principles mean that characters will not simply lie down and allow what they know would be wrong. The film also saw the first appearance in a Western from the great Lee Van Cleef, a man who would go on to become one of the greatest characters associated with the genre thanks to the work of Sergio Leone.

My Rating: 4

Boogie NightsBoogie Nights (1997)

By first ever viewing of Paul Thomas Anderson and what an enjoyable one it was. Although 155 minutes in length it constantly felt alive and kept me engaged with my screen with its highly enjoyable style that can be compared to the work of Quentin Tarantino.

I've seen this film compared to "Goodfellas" before and that comparison certainly seems fitting for both the film's visual style and overall quality. Anderson sets this film in the world of the Porn Industry, the 'golden era' of the 1970s and the transition to the 1980s, he manages to portray such a world in a way that keeps it likeable and interesting to viewers. Like "Goodfellas" where people may not choose to watch it because dislike gansgters, this may also be the case for this film where people may have turned away from a viewing due to its pornographic setting, however despite this setting Anderson creates a world that is filled with an enjoyable and colourful visual style and richly detailed characters, each one with their own unique personalities and roles.

Mark Wahlberg is the lead actor and is superb in his role as his career rises and then falls, but there are many other equally superb performances in what is a strong cast consisting of a variety of different style actors from the usually strong dramatic actor Philip Seymour Hoffman to the usually comedic actor in John C. Reilly. Each character's own individual stories play a part in the film, such as Julianne Moore's role as a woman wanting to be a mother and Don Cheadle's role as a pornographic actor wanting to set up his own music equipment store.

Then there's the delightful score filled with a number of great songs that fit the atmosphere perfectly, the fantastic blend of colours to fit in with the nightclub style and the great camera work with some delightful transitions, swoops and close up shots with craftsmanship that can also be compared to the likes of greats such as Scorsese and Kubrick.

Boogie Nights is a bold and powerful film, a fast-paced, highly enjoyable film that has brings a great balance of visual style and acting. An extremely watchable film with the great quality of keeping such a long film so lively and engaging.

My Rating: 4.5

[TylerDurden99]

Whaa? :eek:

The woman has a nice pair on her and her routines on stage (and off) were wonderful.

[Skepsis93]

Boogie Nights (1997)
My Rating: 4.5

This is my obligatory recommendation of the rest of PTA's filmography, including Sydney and his short Cigarettes & Coffee. Boogie Nights is probably my fourth favorite of his features (still waiting to see The Master) but I still adore it. My favorite director.

Nice review. :up:

[donniedarko]

What I've watched since last post

Looper (2012)
It's a popcorn movie, nothing to make you think, its all laid out for you. It really
tried to pay attention to detail, but it missed a few 2.5

Charlotte et Son Jules
A short film by Godard, quirky and I smiled at the end, but it wasn't anything beyond the norm 2.5

Rashomon
I will have to rewatch this before I could properly evaluate and review it 3

Cries and Whispers
Superb film, full review in "Ingmar Bergman" thread. So gruesome yet delicate, truly touching, and the performance for angus was terrific 4.5

Synecdoche, New York
Didn't get this at all, completely lost, and I could care less
1

Hunger (2008)
Prisoners who like to yell, and guards who love to abuse. it was so stupid but regarded as a modern day classic, bleh 1

Battleship Potemkin
Best Cinemetography I've ever seen in my life, the Odessa Steps scenes were epic, Eisenstien created an early classic 3.5

And just a side note, for my top ten movies I've decided make it "art house" only. Therefore only the top six movies are what I'd call five stars. Movies I love like Donnie Darko, Duck Soup, and Brothers, have been dropped down to 4.5s in my book, and are on a separate list

[Skepsis93]

Snow White and the Huntsman (Sanders, 2012) 2
About as terrible as I was expecting, and about an hour too long. Gets two popcorn boxes instead of one because I must admit it does look rather sensational at times.

The Avengers (Whedon, 2012) 3.5-
I certainly didn't need nearly two and a half hours of colorful costumed fun, but as far as superhero movies go it's pretty entertaining.

Pi (Aronofsky, 1998) 3.5+
$60k is an astonishing budget when you see what Aronofsky did with this subtly layered, intensely thought-provoking and claustrophobic thriller.

Y Tu Mamá También (Cuarón, 2001) 3.5
Vivid, thorough, unabashedly erotic character study.

http://listverse.files.wordpress.com/2008/06/pi-movie.jpg

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[Deadite]

And Your Mother Too was great, so real. The narrative was a bit distracting for me but I guess it was meant to add layers to the whole life & death theme. The ending completely changed my viewpoint on the preceding film, a real jaw-dropper.

[JayDee]

* indicates a repeat viewing

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Ed Wood (1994, d. Tim Burton) *

4.5 ++

Is this the ultimate love letter in the history of cinema? Tim Burton's ode to Edward Wood, aka the worst director of all time, is a beautiful and touching bit of hero worship. It's been a favourite of mine for a long time now. On my top 100 list I posted here I placed it at exactly #100 but at the time I hadn't seen it for a few years. Revisiting it now confirms that it should be a lot higher.

The film's greatest achievement is in turning Ed Wood from the laughing stock and worst director of all time that he was, into someone to root for and admire. Yes his ambitions may have far outweighed his talent. And yes his films perhaps weren't that good; awful even! But how can you not admire a man with such a love for film, and such a desire to create magic up on the screen. A man who poured all his heart into his films. How much more preferential is that to the numerous directors since then and who are still around today that produce one soulless film after another, seemingly designed purely to make as much profit at the box office as possible. Michael Bay – I'm looking at you!

Read the full Ed Wood review here (http://www.movieforums.com/community/showthread.php?p=850633)

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Invasion of the Body Snatchers (1978, d. Philip Kaufman) *

4 +

This is a fantastic exercise in paranoia which creates a really creepy atmosphere. And there are a few elements which combine to create this atmosphere. There's the impressive and foreboding cinematography which includes great use of shadows. There's some wonderful and creppy sound effects work, and a spooky score. It also benefits greatly from the performances of its nteresting and rather quirky cast – Donald Sutherland, Jeff Goldblum, Leonard Nimoy etc. It's a film which also infuses little touches of humour throughout, including some that go down quite a weird road such as Robert Duvall's priest on a swing in a children's playground, and the amazing man-dog hybrid that is mistakenly created by the pods. While a lot of people will argue that Don Siegel's 1956 original is the superior film of the two (and I am a fan of that as well) I just find this so much more enjoyable a ride. Oh and it has a wonderful twist ending which floored me the first time I saw it, and continues to enthral me. Just a great slice of sci-fi.

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The Fly (1986, d. David Cronenberg)

4 +

A really quite fascinating watch this one. After recently struggling through the unpleasantness of Cronenberg's Dead Ringers I was relived to find this one was nowhere near as dark as I was expecting; well at least for a large portion of the time before things really go belly up. I found it to be rather funny and surprisingly quite romantic/sexy. The make-up and effects in the film are spectacular, creating some fantastic and vivid images which really grab the nastiness of the situation. Although perhaps I'm just a little twisted but I found some of the initial transformations darkly humorous, particularly when his ears comes off in his hand. As the unfortunate individual the transformation happens to Jeff Goldblum is excellent; a truly inspired piece of casting. His unique, quirky style and mannerisms are a perfect fit for the initially eccentric scientist, and then to portray the freakish developments and changes that begin to befall him. I can't believe that Goldblum didn't receive even an Oscar nomination for his performance. Surely the only explanation can be the Academy's aversion to genre flicks like this. And Geena Davis is excellent as the reporter who is dragged into the situation as she finds herself falling for Goldblum's charms before it all goes to hell. And when it does go to hell it moves into full on tragedy territory. Due in large part to the natural and sensitive performances I came to really care for the characters and as a result found the conclusion really quite upsetting and downright sad. Oh and one final note, I loved the design of the pods themselves. Instead of being shiny chrome and sleek lines in design as many people would likely have them, I loved the really clunks brutal look they had. Felt like something you'd have seen in The Matrix.

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The Producers (1968, d. Mel Brooks)

4 -

After the decent enough High Anxiety that I reviewed last time this is a much stronger effort from Mel Brooks. It has a great script full of cracking moments and lines, and of course some fantastic songs; the whole Springtime for Hitler production is wonderful. Gene Wilder is fantastic as the nervous and neurotic Leo Bloom, a role which nabbed him a Best Supporting Actor Oscar. I was initially a little turned off by Zero Mostel's mugging but warmed to him as the film progressed. And it's their double act and the repartee that they share that is really what carries the film along. Mostel and Wilder are given some great support from Kenneth Mars as the Nazi creator of Springtime for Hitler, and Dick Shawn as L.S.D.; the mercurial actor who brings Hitler to life on the stage.


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The Last Supper (1995, d. Stacy Title)

3.5 ++

This is a deliciously dark comedy. Ripping in to the idiotic views of conservaties as well as the liberals who are so self righteous that they can justify murder it places itself safely in the middle While there are a few entertaining turns the star of the show for me would definitely have to be big Ron Perlman, his uber-conservative talk show host certainly evoking the likes of Rush Limbaugh and Glenn Beck. With a framework of one dinner after the other the film does threaten to get bogged down and repetitive, but with a running time of less than 90 minutes it makes the smart move to get out of there before crossing that line. And while I saw the ending coming from a long way out it was still a satisfying and entertaining conclusion. Good dark fun that flies in the face of political correctness.


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The Out-of-Towners (1970, d. Arthur Hiller)

3.5 +

Another very enjoyable vehicle for Jack Lemmon based on a script from Neil Simon. It's quite a simple, straightforward film with a standard A to B kind of storyline but is lifted way above its level by the immense talents of Lemmon. Of the 'classic' movie stars I'd probably have him as my favourite and he's on great form again here in the kind of role that suits him down to the ground, that of an uptight neurotic. For a while it seemed like the producers of the film could have saved a decent amount of money by hiring a brick wall to play Lemmon's wife as opposed to Sandy Dennis. She really did seem to be there purely for the purpose of giving Lemmon someone to bounce off of. However as the film progresses and the problems for the couple mount, and her frustration grows, she emerges as an entertaining presence in her own right.


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Mad Max (1979, d. George Miller)

3

This is one of those films where I have no good reason as to why it has taken me so long to watch it. I've been aware of it and been interested in it for years, I like culty sci-fi kind of films and I like Mel Gibson. And yet I've only just finally gotten around to it. Anyway on to the film. Eh...it's a bit s**t! :D The plot and dialogue certainly won't be getting taught in screenwriting classes anytime soon, and some of the acting really isn't the greatest. It's also pretty dated and extremely camp. However I can't deny that it has a certain rough and raw charm to it, largely down to its obviously meagre budget. It has some great stunt work when it comes to the chases and crashes on the road. And while the gang may be camp and their acting dodgy, they certainly make a memorable impact. I think I liked it just enough to want to watch the sequel, especially as that is held in higher regard.

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The Abyss (1989, d. James Cameron)

2.5

I know there are quite a few people on here who love this film and while there's no doubt that this is a highly impressive film technically, I struggled to really form any great attachment to it. It just felt quite a cold and detached film to me, with a bunch of characters I didn't really care about. And I found it a bit of a slog to get through. While there were a few thrilling moments to punctuate it throughout, for the most part I found it to be kind of dull. And way, way too long. Though I discovered afterwards that what I had watched was the extended special edition so perhaps the theatrical cut is a tighter affair. On the positive side the effects are tremendous and there are a few good performances, most notably from the almost always excellent Ed Harris. Certainly not one I can envisage me being desperate to revisit anytime soon.

[ManOf1000Faces]

These Are The Movies I've Seen Recently

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1.Halloween (1978) It was anything different, I felt nothing through the entire movie. Michael Myers is just a slasher with no qualities that make him a interesting character.

2.Eight Legged Freaks (2003)

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A very funny but stupid B-Movie. The story went too fast, the actors were terrible and it was soo poorly written it was funny to watch.

3.Friday The 13th: Part VI Jason Lives (1986)

Jason Voorhees, the man who just butchers everyone. No Friday The 13th is different besides the one where goes to the City. Same plot, same bad acting and a yet predictable ending.

http://upload.wikimedia.org/wikipedia/en/1/16/Friday6.jpg

4.Seven Psychopaths (2012)

The movie was 10 stars. I laughed until my lungs hurt and the hilarious dialogue kept you captured into watching the screen. I consider this movie to anyone with a sense of humor.


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[honeykid]

If Halloween and Friday 6 do nothing for you, I'd advise you stay away from slashers. That said, if you wish to dip your toe one more time, may I recommend the original A Nightmare On Elm Street or the wonderful Scream.

JD, I'm pleased to see you found a copy of The Last Supper and that you liked it. :)

[linespalsy]

is Friday XIII 6 the one where they dig Jason's corpse up and stab him in the chest with a metal rod in the middle of a lightning storm, thereby resurrecting him?

[Deadite]

Yeah, Tommy from Jason 5 goes there with a pal for some, uh closure and they accidentally revive him, IIRC. :)

[linespalsy]

one of my favorite bad horror movie moments. another is when jason sticks a flare in that authentic greaser's mouth (might be in one of the other movies). "ratta tatta tootie, a rah tah tah dah judy."

[Deadite]

It's been so long since I watched any Friday The 13th! I really should have a marathon. :yup:

[Godoggo]

Me too. I thought I'd seen all of them, but I don't remember the greaser death scene. Sounds fun.

[Exist]

I can actually remember the greaser murder scene, and the hot date showing her breasts in the mirror inside the cafe(?) while getting ready for the date. I hadn't scene part 5 since my betatape childhood, too good a memory perhaps? I prefer the motorcycle death scene myself, I didn't like that guy.

As a younger, my favorite had always been the 3rd.

[Sexy Celebrity]

Take This Waltz
(directed by Sarah Polley, 2011)

http://static.guim.co.uk/sys-images/Observer/Pix/pictures/2012/8/15/1345048933548/Take-This-Waltz-008.jpg

Take This Waltz is a pretty good film about a slut who falls in love with the man across the street and ends up breaking up her marriage. The slut is played by Michelle Williams, of course. This movie was a blind buy for me -- Seth Rogen plays Michelle Williams' husband and the back of the Blu-ray case promised strong sexual content and graphic nudity, so I was hoping to either see Seth Rogen totally naked or Luke Kirby, who plays the man across the street, but alas, we only get full frontal nudity, lots of it, from Michelle Williams, Sarah Silverman and lots of older, fat women in a locker room shower scene.

The movie begins on a business trip for Margot (Williams) where she meets Daniel (Kirby). There's some sort of reenactment of ancient times going on and Daniel encourages Margot to put her back into some whipping that she does on a guy playing an adulterer. Next, he sees her at the airport being pushed in a wheelchair, though she is not handicapped. They board a plane together and strike up a conversation, where Margot reveals that she's afraid of connecting flights and missing her next plane. After landing, they take a taxi together and then realize that they live across the street from each other.

Because the film began with some whipping, and because I had no idea of what the general course of this movie was gonna be, I was hoping that maybe it was going to be a 50 Shades of Grey kind of movie, with Michelle Williams turning out to be a dominatrix who whips Luke Kirby. This didn't happen. Instead the movie is filled with encounters between Margot and Daniel. He is an artist who is afraid to show his work but he also gives rides to people around town on a rickshaw. Margot's husband, Lou (Rogen) writes chicken cookbooks. Lou is the sweetest guy you could possibly meet and Margot and Lou seem to shower each other with too many "I love you's." But of course, darkly handsome Daniel is the one who makes her laugh so much that she pees in a public pool when she finds him stalking her at her swimming pool Pilates class.

The film is about two hours long. There were times I thought the movie was going to be nothing but crap, but in the end I felt that mostly everything was paid off. This is a positive and hopeful look at marriages and relationships that fall apart. A more uplifting tale of screwing up and evolving into something many people would perceive as ugly. The slut doesn't totally get away with her feelings leading her towards a socially unacceptable path, but nor does she end up looking like a complete witch, outcast or monstrous villain. The film is neutral, though it does come closer to being a "Isn't divorce lovely and nice?!" fest. Seth Rogen's character is ultimately left in the dust, and in real life he should be more outraged and angry. I suppose Take This Waltz just wants to send a message that emotion rules over logic. Michelle Williams' character Margot is simply being drawn to a new person. Is this natural? Is marriage more of a restraint or a state of being permanently frozen? Take This Waltz allows the tradition to thaw - and it never gets very smutty about it, either. There are no sex scenes between Michelle Williams and Luke Kirby until the very end. I realize I may be giving up too much of the plot, but it's a simple story, though one that I think is filmed well.

My biggest complaint about the movie, though, has to be Michelle Williams' character. Margot is irritatingly childlike and seems like she's borderline mentally retarded. This may not be apparent to many, but that's how I feel after seeing her for two hours. She seems like she's stuck at age 11 or something. I suppose it's good to witness someone like this do something wicked like fool around behind her husband's back, but she got on my nerves at times. But at least, thank god, Sarah Silverman played the supporting role and not the lead. She bugs me more.

4

[Daniel M]

A weird mix of films make up my latest viewings:

War HorseWar Horse (2011)

"War Horse" is pretty much everything you would expect for an adaptation of the novel from Steven Spielberg. When the film is based around the life of a horse and his relationship with his owner (Albert) then you should be watching the film knowing exactly what you are going to get - a film that focusses on your emotion and is filled with lots of predictable and and cheesy scenes. This is a film aimed towards a more mainstream audience and can not be compared to Spielberg's more thrilling works such as Jaws and Minority Report which are totally different. In this film you get the usual Spielberg touch that makes him such a well known director, although many people will rate others above him if you asked a person who is not so interested in film to name a director then he is likely to be a common choice. Like "E. T." he creates a loveable family film.

The cinematography is predictably strong, with some great lighting to create an interesting and warm feel, the action scenes in the film are very good for the little time they have as well. Personally I enjoyed some of the earlier scenes the most, where we see the old English farm life. It was also great to see Niels Arestrup again, an actor who I had only previously seen in the French film "A Prophet" where I thought he was excellent.

My Rating: 3.5

The Man Who Shot Liberty ValanceThe Man Who Shot Liberty Valance (1962)

John Wayne and James Stewart team up for the first time in one of the great John Ford's final Westerns. I'm a massive fan of "The Searchers", one of my favourite Westerns as well as "The Grapes of Wrath", a film focussed on the American Great Depression. Instead of being focussed on the more stylistic violent and mythical elements of the usual Westerns this film is a more thought provoking sensible film that deals with the political duel of law against violence.

James Stewart is a law man and finds himself become part of the town Shinebone after being held up by the infamous gang leader Liberty Valance. Stewart is reluctant to use a gun and attempts to persuade the town Marshal to deal with Valance using the legal system, his suggestions are viewed as ludicrous and impossible by the local people. James Stewart is a favourite actor of mine and brings a more innocent character to the film than the usually composed John Wayne that we know, like in "Vertigo" we feel sorry for him, he is an unfair victim of the circumstances.

The battle between the people of Shinbone and Liberty Valance takes place as a result of the film's main issue, politics. The people want Stateship and Stewart to become the US Senate, Valance has other plans. The character portrayed by John Wayne creates another sub plot for the film as we see his relationship with James Stewart and their mutual (girl) friend, portrayed by Vera Miles. This sub plot becomes more prominent in the film's final scenes in which we see the true characters of both Wayne and Stewart, the final lines, "Anything for the man who shot Liberty Valance" creates a memorable end, extremely fitting for what we have just seen.

My Rating: 4.5

This Is Spinal TapThis Is Spinal Tap (1984)

It would be difficult to write a lengthy review of this film, not because it is bad but because the film's strength lies almost entirely with it's dialogue. You can not judge it on effects or anything else, it is just a simple documentary style film in which the genius lies in the lines spoken by the band's members. Marty DeBirgi (Rob Reiner, who directs the actual film) is a fan of the legendary British rock band Spinal Tap and accompanies them on their 1982 tour of America, directing a documentary of them. What we get to see is a look at the most stupid rock band in the world and their endeavours.

This is an intelligent comedy, it's not in your face and I definitely feel I need a second viewing to truly appreciate the subtle dialogue that is filled with some great comedy and in that way I would compare it to "The Big Lebowski" which I found myself appreciating a whole lot more after another viewing and I would now see it as one of the most easily quotable films around. Some of the film's best scenes include various conversations regarding the band's 'Smell the Glove' album and their Stonehenge gig, I can not really talk about the great lines though without you watching it first. A unique, intelligent and thoroughly enjoyable film that I am looking forward to watching again.

My Rating: 4

Full Metal JacketFull Metal Jacket (1987)

"Full Metal Jacket" is a film of two segments, the first focusses on the training or a marine core platoon, in particular the treatment of Pvt. Pyle. I can not really have many complaints about the first segment, we see the eccentric Sergeant Hartman, a 'harsh but fair' man who leads the marines training. His character is memorable in the way that Cpt. Kilgore is in "Apocalypse Now", his character is crazy and we see him fire a number of some of the greatest insults heard.

The great thing about Kubrick is that his films aren't really connected in any way and in terms of content don't really have similar any similar style or feeling to connect them to the same man. But what is consistent is his high quality visuals on display, the picture we see is visually stunning and unlike some of his other works like "The Shining", "Dr. Strangelove" and "2001" this film is set in a number of brighter, outdoor locations instead of spending most of the time inside more claustrophobic and dark settings.

I wanted to give this film a higher rating than I have, it was almost a great film but the second part left me slightly disappointed and underwhelmed. First of all I did not really care at all about the characters who died, second of all and more importantly is the strange messages we get in the second part. Both of the film's parts have powerful endings, however unlike the first part where the ending is in fitting with what we have been watching, the film's final scenes seem out of place. Apart from the scene where Joker is questioned over his choice to wear both a helmet reading 'Born to Kill' and a peace symbol we are not really posed with many moral questions in the second part although the film does sometimes question the whole point of America fighting in Vietnam.

My Rating: 3.5

[mack]

The Tall Man - 4/5
Ok, I saw this movie on a random Netflix viewing, and I give it high marks because of how it totally enveloped and engaged me. I mean, really - even now, weeks after seeing it, Im still taken aback, and I want to know what you guys and gals thought of it. Someone PLEASE tell me that there was a deeper social meaning than that ridiculous plot. If you've seen the movie, read on. If not, then watch it, and let me know (but dont read on). So the movie in a nutshell sells as a horror film set in a dystopian town whereby a mysterious "tall man" is kidnapping children - for what wicked purpose, we are left to imagine. The protagonist, Biel - is a nurse, whose much older husband - the town's doctor, was it's only source of hope when he was alive. He died, though. And when he died, hope died, and then the town died. Sound messianic yet? Over the top? A narcissistic sense of one's own self-worth? God-like self-aggrandizement? Yeah. That's all there. Anyhoo, once good old God/Doc was dead, children started going missing. Long story short: Doc isnt dead, he and his nurse wife, and their nanny are kidnapping the children out of the town, and selling them(?) to "better" parents/lives in other, more stable cities. There is a mystery there, and much like The Perfect Getaway, the movie leads you on a garden path making you think the protagonists are the victims, when in fact, they are the predators. This is the big reveal near the end of the film.

Im just jaw droppingly stunned that this entire movie even got made in the tone that it holds. Which tone, I promise you, was very VERY self-righteous, and not the least bit conflicted about stealing other people's children. Honestly. How in the world, when we live in a word where human trafficking is VERY REAL and very damaging to lives, are we trying to spin child kidnapping as ok? Nay - as "better" or "best" for the child? You stole that child because you knew, by god, that you could give them a better life than their poor parents. Yeah, their parents love them and all, but we all know money is better, and you'll love them, wont you? wont you? And that's undoubtedly what's best for the child. Undoubtedly. Where is the next logical conclusion for that argument? All custody battles end with the children going with the wealthiest parent - for the explicit reason that they are wealthier. And the next conclusion? All desirable children of impoverished, stupid or impossibly young parents are to be forcibly taken from them by the state and given to selected (wealthier) individuals deemed to be able to better provide for them. And if the state is dragging its feet in getting this done - go all vigilante on them and do it yourself!

Are you kidding me?

So anyway - rant aside, I will give them that they had the girl who "self-kidnapped" (why the term "self-euthanized" came to mind, im not sure), go on a monologue at the end and lightly brush over the right/wrong of what happened, and admit she missed her old life and occassionally wanted to run away. This infuriated me. Here's why: all children (of that age) deal with teenage angst and contemplate running away, so them having her admit to run away like they were willing to consider all points of view on this issue was weak, and minimized the real traumatizing experience of what happened to her. Also, her giving the vigilantes a pass on what they did her? Give me a break - that's like asking an abused child who loves the parent who abuses them to testify or takes sides against that parent.

And here they are - their final argument to absolve them of the guilt of child kidnapping is a child from an abusive home (who, incidentally, is/was so traumatized in her life that she was a self-made mute!) saying: "sometimes I want to run away and go home to my biological mother, but I know my new mother loves me."

And we accept her testimony as reasoned, sound, and of good judgment on the matter?

Uhm no - the kid needs therapy. Still.

The Hunger Games - 2.5/5
I hate that I have to give this one low marks, but here's the deal: I watched it for the first time last night, and I was really really underwhelmed. I totally get that its a teenage cult classic - we had those back in our day as well. You know the films - the "fight back against the bad adults" films? Yeah we had those, and they were and still are fond memories in the hearts of all in my age group. But I can admit that that's all they are. Before watching this film - and after hearing all the hype - I had high expectations. However, while viewing it - I kept waiting for the "pizazz" to happen - and it never did. It made me realize that certain feelings and mantras of life really are age-specific, and this movie was no exception. At 33 years of age, I found it bland, banal and somewhat unrealistic. And, I think the film fell into the trap of living down to 2012 movie expectations - you know those: hopeful, optimistic, happy, and happy endings. How you can face certain death with a shrug of your shoulders and spend the last night of your life with a guy and only kiss him - is beside me. Way way way too light for such a serious subject. And I get that the censure is that the society was taking the death of the children to lightly, so it made sense in a certain setting, the incongruity - however, for the Tribute scenes, the movie shouldve had a much darker grittier tone.

[Mysticalunicornfart]

http://cafeconfilm.com/wp-content/uploads/2012/05/ed-wood.png
Ed Wood
7/10

JayDee inspired me to give this one another try. Shockingly, Danny Elfman didn't do the score :eek:


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The Kill List 6/10

The best way to watch this film would be to go in without any prior knowledge of it at all.

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Tales From The Crypt: Demon Knight
6/10

A relatively fun movie. Billy Zane was the best thing about it... you know what I mean, ladies.

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The Thing
7/10

[Tyler1]

High Noon (1952)

As a Western I'd compare this most to "Rio Bravo", it tackles a similar issue of law, justice and morals, where principles mean that characters will not simply lie down and allow what they know would be wrong. The film also saw the first appearance in a Western from the great Lee Van Cleef, a man who would go on to become one of the greatest characters associated with the genre thanks to the work of Sergio Leone.



Except that both Hawks and Wayne loathed the film. In fact High Noon has been criticized for violating the traditional sense of 'machismo' for a Western protagonist, and hated by many (with the exception of AFI followers) because the "hero" actually expresses fear while the townspeople just are cowardly. Whereas Rio Bravo, of course, is a profound masterpiece about community, cameraderie, human frailty, professionalism, masculinity, etc. I feel sorry for Zinnemann because he had to go to great lengths to defend his film. There is absolutely nothing wrong with a hero dealing with normal human feelings such as fear.

[honeykid]

http://cafeconfilm.com/wp-content/uploads/2012/05/ed-wood.png
Ed Wood
7/10

JayDee inspired me to give this one another try. Shockingly, Danny Elfman didn't do the score :eek:
I would say you'd underrated this. However, seeing as you gave The Thing the same score, I'm going to go with you rating greatness a lesser score than I do.


http://agcrump.files.wordpress.com/2012/01/killlistmiddle.jpg
The Kill List 6/10

The best way to watch this film would be to go in without any prior knowledge of it at all.

You may be right about that. I went in with no knowledge and I still can't decide whether I saw something special or wasted my time.

[JayDee]

http://cafeconfilm.com/wp-content/uploads/2012/05/ed-wood.png
Ed Wood
7/10

JayDee inspired me to give this one another try. Shockingly, Danny Elfman didn't do the score :eek:


Really?! Get a load of me influencing people! :D

Though obviously I'm definitely with HK about it being deserving of a higher score. Still, glad you enjoyed it even if you didn't completely love it.

[Skepsis93]

BadlandsBadlands (1973)

After watching "The Tree of Life" I was left with a mixture of thoughts over what I had just seen, the visual images created by Malick were superb, the message was strong although I didn't feel as connected as others were to it, although I felt that it was perhaps too long although that would have been down to by inability to connect with the film's centre and message that it was trying to get across.

"Badlands" is supposed to be based on a true story of a couple who went on a killing spree together. The story itself is far from spectacular and fairly straight forward, it is similar to that of "Bonnie and Clyde" and has inspired two Tarantino screenplays in "True Romance" and "Natural Born Killers". It's the way that Malick shows the story that makes the film so powerful and spectacular.

It is amazing to think that this was Malick's first feature film, an independent production starring Martin Sheen as a James Dean style character and Sissy Spacek as his younger partner. The two fall in love with each other and their relationship is resented by the girl's father who kills her pet dog after he discovers the two have been keeping their relationship secret behind his back.

The story does not glamorise the killings in any way, it gives us the tale without any prejudice, without taking any side and this is what makes Martin Sheen's character so fascinating. He is a good looking, young man who is calm and likeable (as seen in the final scenes) and shows no remorse or emotions towards any of his murders. The girl is similar although her fascination in her lover seem to play a big part in this, the dialogue is superb, almost comedic, we are hearing the voices of two people who are happy to murder others yet the talk in such a style that makes the pair seem to innocent and surreal.

Like "The Tree of Life", Malick is able to create fantastic visual images using the beautiful landscape of South Dakota, combining this and the use of music that is so fascinating yet creepy he creates a strange and memorable film that is quite scary and haunting, one of the greatest and most memorable I have ever seen.

My Rating

5

Saw this yesterday. Didn't love it as much as you did, but it was a good introduction to Malick (fell asleep within the first 10 minutes of Tree of Life and still haven't gone back to it), and I enjoyed the performances and the music a great deal.

What you said about Spacek's character is interesting. Kit is surely a sociopath, but a lot of people see Holly in the same light, perhaps because the woman she is based on most certainly was, but the film is such a loose interpretation that I think it's wrong to assume. Caril Ann Fugate allegedly calmly made sandwiches whilst aware of Charles Starkweather stabbing and strangling her baby sister upstairs, and served 17 years in jail, whereas Holly got off lightly and wasn't directly involved in any of the murders (i.e. pulled the trigger). She most certainly has some sociopathic tendencies, but the way I saw it she was a victim of infatuation more than anything else, in a very vulnerable and impressionable time in her life - not a very popular opinion, from what I've read. I wonder if you feel the same way?

[Daniel M]

What you said about Spacek's character is interesting. Kit is surely a sociopath, but a lot of people see Holly in the same light, perhaps because the woman she is based on most certainly was, but the film is such a loose interpretation that I think it's wrong to assume. Caril Ann Fugate allegedly calmly made sandwiches whilst aware of Charles Starkweather stabbing and strangling her baby sister upstairs, and served 17 years in jail, whereas Holly got off lightly and wasn't directly involved in any of the murders (i.e. pulled the trigger). She most certainly has some sociopathic tendencies, but the way I saw it she was a victim of infatuation more than anything else, in a very vulnerable and impressionable time in her life - not a very popular opinion, from what I've read. I wonder if you feel the same way?

Yeh I think I agree here.

It's clear that she is at an extremely vulnerable and impressionable time in her life, she is younger than the guy and sees him as a way of escaping the reality of a life she hates under the ruling of her strict father. He is older, and good looking like James Dean, to her he is like a fantasy figure that she'll do anything for because he others her a rebellious escape that she enjoys and doesn't have to think about anyone or anything else.

It's because she views herself as special and admires everything he's created for her that she's willing to comply with his violent ways and be a part of the killings, she doesn't care and when she's with him she's willing to sacrifice anything else as she's never really had anything or been able to do something on her own. Some of the strange quotes from her show how she has created this surreal, the way she speaks the dialogue in such a consistent yet haunting voice shows the dreamlike world she has created for herself.

[ThomasP]

The Bicycle Thieves http://www.movieforums.com/images/popcorn/5box.gif
http://upload.wikimedia.org/wikipedia/en/2/20/Ladri3.jpg As emotionally provoking a film as I have ever seen, The Bicycle Thieves is a simple story, but one that feels very fresh.

[donniedarko]

^ I really feel like I under rated it when I watched it like four months back, truly an epic film, and I'd call it an essential ten to watch before you die

[ThomasP]

^ I really feel like I under rated it when I watched it like four months back, truly an epic film, and I'd call it an essential ten to watch before you die

Don't worry my friend, I've done the same. Just glad you re-evaluated it. :)

Next up is The Leopard.

[TheGirlWhoHadAllTheLuck x]

Peeping Tom (1960) 5

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"Take me to your cinema".

Please don't read any critics before watching this film, otherwise they'll intellectualise it to death. This film is a haunting creepy beautiful look at perversion, directed by Michael Powell, one half of the Powell and Pressburger team. The critics were horrified that Powell could make such a nasty film after all those nice ones he did with Pressburger and it killed his career. The truth is that the critics back then did not fully appreciate this film, or indeed Powell's work with Pressburger. If they had done, they would have seen that it was a natural progression.

Carl Boehm (a German) plays Mark Lewis (a Brit), a photographer who murders women and then films them watching their own deaths, in a creepy mise en abyme. Helen (Anna Massey), the young woman who befriends him, gets a glimpse into horrors that she can only imagine. The real monster in the film is the deceased father (seen in video footage and played by Michael Powell). Notably Powell's son plays the young Mark in these videos.

This is not a horror film but a film that provokes horror. That's what the critics couldn't understand. There's no moustache-twirling villain or spooky shadows. Mark is a pervert and a murderer but he is also adorable.The fact that Boehm is not British adds to the quality of alienation. He also has a lovely accent that is gentle and childlike but also sinister. Mark genuinely has no control over his psychosis.

This film naturally progresses from The Red Shoes in its depiction of an artist consumed by their art and is similar to Black Narcissus in its exploration of repression and mania. You'd expect horror films to be all dark and dingy with large splatterings of blood; Powell scares us in Technicolour (well, Eastman colour). The lurid colours look suitably seedy.

There's also a bit of humour and Moira Shearer does a dance number for Mark's camera. In some ways, it's a lovely film. then of course, in other ways it isn't. This contradiction is what makes Peeping Tom so fascinating and modern.

[JayDee]

JD, I'm pleased to see you found a copy of The Last Supper and that you liked it. :)

Yeah was very enjoyable. I actually watched it a couple of months back but forgot to post about it. Could perhaps have gotten a slightly higher rating but played a little safe as I tried to remember just how much I liked it.

Just to warn you however my next round-up of reviews will have a couple of ratings you won't be so happy with. :p

[Skepsis93]

Yeah was very enjoyable. I actually watched it a couple of months back but forgot to post about it. Could perhaps have gotten a slightly higher rating but played a little safe as I tried to remember just how much I liked it.

Just to warn you however my next round-up of reviews will have a couple of ratings you won't be so happy with. :p

Did you give a Drew Barrymore movie 1 star? Or a Whoopi one 5?

[TheGirlWhoHadAllTheLuck x]

Psycho 4

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"A boy's best friend is his mother"

Classic horror film. Quite a jolly jaunt until the eleventh hour when it becomes terrifying. I say jolly jaunt because Norman Bates (Anthony Perkins) is very much a type. We all know the Oedipus complex and this has Oedipal written all over it in big shiny letters. I'm pretty sure that Bates is meant to be gay too as we have all the cliches: mummy's boy, effeminate, hates women. The film's major slip-up is the psychiatrist at the end who spells out the blatantly obvious and clears up that whole "is he or isn't he gay thing?" just so the audience can understand. This seems to be something imposed on Hitchcock- luckily it's not the final scene, which really is creepy.

As for acting, everyone is pedestrian apart from Perkins, who is brilliant. That man who plays Marion's boyfriend is pretty hot, making up for his unimpressive acting.

Peeping Tom has been compared to this film a lot. Both came out in the same year and both deal with psychopaths with parental issues. Both films are good: Psycho is classic horror but I personally prefer the more cerebral and three-dimensional Peeping Tom.

This is one of those films that everyone must see- only, don't see it at night.

[honeykid]

I agree that Peeping Tom is the better film. I also think it's a lot more unnerving and frightening, which isn't difficult as I think Psycho is neither, but I have to be honest and say I love Psycho more.

[Skepsis93]

I also think it's a lot more unnerving and frightening, which isn't difficult as I think Psycho is neither

Wow, really? Even having seen the climactic scene with the mother beforehand, in the context of the film it still kinda freaked me out a little.

[Skepsis93]

Donnie Darko (Rewatch) (Kelly, 2001) 4.5+
I knew it was before but another viewing has confirmed it even more: this is a ridiculously good movie. Moves effortlessly between razor-sharp black humor, mind-boggling mystery and sheer tension and creepiness. Jake Gyllenhaal is mesmerizing, and the ending sent a shiver down my spine. Again.

Compliance (Zobel, 2012) 2
Fairly well-made, but utterly frustrating in that the events could have been easily avoided were it not for the participant's utter stupidity. Horribly on-the-nose and practically militant about its pretty obvious message, too.

Badlands (Malick, 1972) 3.5
Visually beautiful and thought-provoking. A great intro to Malick.

Sunset Boulevard (Wilder, 1950) 4
Sizzling, often hilarious dialogue, beautifully shot and well acted. Very, very cynical unlike the other Wilder movies I've seen and loved. He's becoming a favorite of mine.

Beasts of the Southern Wild (Zeitlin, 2012) 3.5
I so, so wanted to love this and there is a lot to like, most prominently the spectacular and surprising lead performance, and the gorgeous soundtrack. But, the various pieces didn't quite click and it didn't quite deliver the emotional impact it promised.

http://static.guim.co.uk/sys-images/Film/Pix/pictures/2012/10/17/1350487741795/Beasts-of-the-Southern-Wi-010.jpg

[TheGirlWhoHadAllTheLuck x]

Wow, really? Even having seen the climactic scene with the mother beforehand, in the context of the film it still kinda freaked me out a little.

Shower scene wasn't scary but the one you're talking about certainly terrified me.

It's a shame that Peeping Tom was released so close to Psycho. Both of them are good films but as Psycho was the more acceptable film, Peeping Tom was destroyed.

[meatwadsprite]

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcT5pAyRixnnu9rpeqWvkRSogM7gJLn128ZHTHDXRzfE_NSifCsW8A 4.5 https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTZgONEan0ZfI5rNsROlKidfc0zz4rH-RRVxSTExcF0bA1qUUaT 3.5 https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcS-udIb79AbWPMbyx00VSNt_n2aQKmKbPqb74xjBOlMcT1Rj0Z_tw 3.5 https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcTzQBrXfT2uQKXrRNYOfYDHdRN46zvN7i1dmZf-JJRCTDXnGghJrA 2.5