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I liked Lords of Salem and I'm glad you did too. For my taste though, it's not in the same league as The Devil's Rejects.
Swiss Army Man sounds very interesting.
Swiss Army Man sounds very interesting.
Iro's Film Diary
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I liked Lords of Salem and I'm glad you did too. For my taste though, it's not in the same league as The Devil's Rejects.
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Same here and i'm pretty surprised that Lords of Salem seems to be liked more here. Not that any of his films are anything special but i've always thought Rejects was the most fun/interesting.
I don't believe my eyes. Iro actually watched a good movie and gave it a good rating...
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Iro's Top 100 Movies v3.0
I really just want you all angry and confused the whole time.
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#273 - Fast & Furious 6
Justin Lin, 2013
In order to catch a team of international terrorists, a government agent recruits a gang of car thieves to help him.
I wouldn't say that the sixth Fast film improves on its predecessor, but it does a decent job of maintaining a similar level of quality. Setting up a rival team for our heroes to go up against is a rather inspired choice, especially as having one of them be an amnesiac former hero makes for some solid character-based drama along the way. As with the fifth film, the emphasis on "family" carries an ensemble-based narrative that not only features the usual levels of banter (I'm honestly astounded at how much Tyrese has grown on me in these movies) but trades in the straightforward heist plot for some straight-up Mission: Impossible shenanigans (which, on further reflection, is actually a pretty apt franchise to compare against this one for both better and worse). The resulting emphasis on intense set-pieces does invite both questions and laughter at some of the more implausible developments, but the many different strands of both plot and action (especially the focus on many different characters within a given action sequence) are juggled adeptly enough so that things don't become incoherent and make for a fairly fun (if slightly bloated) time.
Justin Lin, 2013
In order to catch a team of international terrorists, a government agent recruits a gang of car thieves to help him.
I wouldn't say that the sixth Fast film improves on its predecessor, but it does a decent job of maintaining a similar level of quality. Setting up a rival team for our heroes to go up against is a rather inspired choice, especially as having one of them be an amnesiac former hero makes for some solid character-based drama along the way. As with the fifth film, the emphasis on "family" carries an ensemble-based narrative that not only features the usual levels of banter (I'm honestly astounded at how much Tyrese has grown on me in these movies) but trades in the straightforward heist plot for some straight-up Mission: Impossible shenanigans (which, on further reflection, is actually a pretty apt franchise to compare against this one for both better and worse). The resulting emphasis on intense set-pieces does invite both questions and laughter at some of the more implausible developments, but the many different strands of both plot and action (especially the focus on many different characters within a given action sequence) are juggled adeptly enough so that things don't become incoherent and make for a fairly fun (if slightly bloated) time.
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#274 - Furious 7
James Wan, 2015
After defeating an international terrorist, a gang of car thieves are targeted for revenge by the terrorist's brother.
Though the franchise didn't really need any serious innovation at this point, substituting bulk-of-the-series director Justin Lin for first-timer James Wan proves to be surprisingly inspired as a new level of visual inventiveness is added to the proceedings (especially during the hand-to-hand sequences). The serial escalation of the film's implausible but nevertheless entertaining action sequences is still in effect, though I'd say the film does suffer by not saving its best moments for last (though that's to be expected given the film's rather troubled production). The focus on the core ensemble as a family gets played up to as laughable a point as anything else (to the point where a character even mentioning the word "family" automatically gets a laugh), but it's played with a sincerity that's difficult to fully deny, especially in light of how it treats the untimely death of Paul Walker with some distractingly uncanny effects work that nevertheless seem fairly inconsequential. The Fast series has had a rough road to get where it needs to go, but now that it's managed to get there I feel like I need to give it at least some credit for being good at what it does.
James Wan, 2015
After defeating an international terrorist, a gang of car thieves are targeted for revenge by the terrorist's brother.
Though the franchise didn't really need any serious innovation at this point, substituting bulk-of-the-series director Justin Lin for first-timer James Wan proves to be surprisingly inspired as a new level of visual inventiveness is added to the proceedings (especially during the hand-to-hand sequences). The serial escalation of the film's implausible but nevertheless entertaining action sequences is still in effect, though I'd say the film does suffer by not saving its best moments for last (though that's to be expected given the film's rather troubled production). The focus on the core ensemble as a family gets played up to as laughable a point as anything else (to the point where a character even mentioning the word "family" automatically gets a laugh), but it's played with a sincerity that's difficult to fully deny, especially in light of how it treats the untimely death of Paul Walker with some distractingly uncanny effects work that nevertheless seem fairly inconsequential. The Fast series has had a rough road to get where it needs to go, but now that it's managed to get there I feel like I need to give it at least some credit for being good at what it does.
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#275 - I Killed My Mother
Xavier Dolan, 2009
A teenage boy deals with numerous everyday problems, most prominently his incredibly strained relationship with his mother.
I do have to give some consideration to the fact that I Killed My Mother is the feature-length filmmaking debut of a then-20-year-old Dolan, who manages to not only direct and write but also star as the protagonist. The issue then becomes whether or not the film can find the right balance between rendering its two lead characters not just with complexity but also make them both equally compelling and/or sympathetic. It is that regard where I Killed My Mother lives and dies, and for my money I'm leaning more towards "dies" as you're subjected to an entire feature's worth of dysfunctional arguments between mother and son that are just as likely to be alienating as they are relatable as both sides' valid points give way to belaboured (albeit decently-acted) histrionics. I'm willing to give Dolan another chance but I can't say that I Killed My Mother has created an especially favourable first impression with this relatively ambitious but ultimately numbing debut.
Xavier Dolan, 2009
A teenage boy deals with numerous everyday problems, most prominently his incredibly strained relationship with his mother.
I do have to give some consideration to the fact that I Killed My Mother is the feature-length filmmaking debut of a then-20-year-old Dolan, who manages to not only direct and write but also star as the protagonist. The issue then becomes whether or not the film can find the right balance between rendering its two lead characters not just with complexity but also make them both equally compelling and/or sympathetic. It is that regard where I Killed My Mother lives and dies, and for my money I'm leaning more towards "dies" as you're subjected to an entire feature's worth of dysfunctional arguments between mother and son that are just as likely to be alienating as they are relatable as both sides' valid points give way to belaboured (albeit decently-acted) histrionics. I'm willing to give Dolan another chance but I can't say that I Killed My Mother has created an especially favourable first impression with this relatively ambitious but ultimately numbing debut.
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#276 - Tango & Cash
Albert Magnoli and Andrei Konchalovsky, 1989
Two rival police detectives are forced to work together when they are both framed for the murder of a federal agent.
I have some admittedly nebulous standards for what makes a good piece of '80s action cinema and exactly which ones manage to rise above the genre's most apparent limitations. Tango & Cash is not a particularly great one, but it's not like it lacks for entertainment value. Sylvester Stallone and Kurt Russell join up to play a fairly decent take on the Shane Black odd-couple and power through a decent enough story of wrongful imprisonment that sees a cavalcade of that-guys and B-movie pyrotechnics over the course of a hundred minutes. It's enjoyable, sure, but I wouldn't recommend to people who weren't already interested in films of this caliber.
Albert Magnoli and Andrei Konchalovsky, 1989
Two rival police detectives are forced to work together when they are both framed for the murder of a federal agent.
I have some admittedly nebulous standards for what makes a good piece of '80s action cinema and exactly which ones manage to rise above the genre's most apparent limitations. Tango & Cash is not a particularly great one, but it's not like it lacks for entertainment value. Sylvester Stallone and Kurt Russell join up to play a fairly decent take on the Shane Black odd-couple and power through a decent enough story of wrongful imprisonment that sees a cavalcade of that-guys and B-movie pyrotechnics over the course of a hundred minutes. It's enjoyable, sure, but I wouldn't recommend to people who weren't already interested in films of this caliber.
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#277 - Once
John Carney, 2007
An Irish street-busker and a Czech flower-seller bond over their shared passion for making music.
Given its low budget and simplistic narrative, Once is a film that definitely needs to bring some serious substance to fill in the gaps and fortunately it does deliver. The naturalistic performances are a given, but it's just as well that the film can put together some good songs to accentuate its low-key but engaging musical drama. This may be a short write-up, but I think that suits such an understated film.
John Carney, 2007
An Irish street-busker and a Czech flower-seller bond over their shared passion for making music.
Given its low budget and simplistic narrative, Once is a film that definitely needs to bring some serious substance to fill in the gaps and fortunately it does deliver. The naturalistic performances are a given, but it's just as well that the film can put together some good songs to accentuate its low-key but engaging musical drama. This may be a short write-up, but I think that suits such an understated film.
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#278 - Sing Street
John Carney, 2016
In 1985 Dublin, a schooboy forms a band in order to impress a girl.
Watching this almost immediately after Once did make it easy to spot the ways in which Carney repeated the same combination of comedy, drama, and musical with superficial tweaks involving a period setting and a coming-of-age narrative. It's still got a bittersweet nostalgic vibe that results in a generally agreeable air that doesn't disrupt the familiar narrative too wildly (especially in the case of the actors turning in performances that are decent and not annoying). The various original numbers not only sound good (I still have "The Riddle of the Model" stuck in my head, for whatever that's worth) but the accompanying sequences have enough visual verve to make them consistently entertaining (especially as Carney changes up his documentarian style by adding music-video homages). Much like the teenagers at the heart of the film, Sing Street may not be all that great at crafting something especially original but they still manage to craft something that's at least somewhat effective and resonates in the face of cold logic.
John Carney, 2016
In 1985 Dublin, a schooboy forms a band in order to impress a girl.
Watching this almost immediately after Once did make it easy to spot the ways in which Carney repeated the same combination of comedy, drama, and musical with superficial tweaks involving a period setting and a coming-of-age narrative. It's still got a bittersweet nostalgic vibe that results in a generally agreeable air that doesn't disrupt the familiar narrative too wildly (especially in the case of the actors turning in performances that are decent and not annoying). The various original numbers not only sound good (I still have "The Riddle of the Model" stuck in my head, for whatever that's worth) but the accompanying sequences have enough visual verve to make them consistently entertaining (especially as Carney changes up his documentarian style by adding music-video homages). Much like the teenagers at the heart of the film, Sing Street may not be all that great at crafting something especially original but they still manage to craft something that's at least somewhat effective and resonates in the face of cold logic.
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#280 - 1492: Conquest of Paradise
Ridley Scott, 1992
Based on Genoan explorer Christopher Columbus and how his attempted voyage to India led him to discover America.
So this is a film that depicts Christopher Columbus as a heroic figure whose passion for exploring is threatened by selfish rivals and myopic superiors. Right. Even if you can separate the art and the politics, it still falls prey to what I might very well call Ridley Scott Syndrome in that the director's capacity for technical mastery (especially in regards to period pieces) is frequently shown-up by the sheer dullness of a given narrative. 1492 may have the odd high point in it (there's something to be said for Michael Wincott's gravel-voiced antagonist or the odd moment of action or even sections of Vangelis' score) but for the most part it is definitely an example of bottom-tier Scott and may just be a new contender for the man's worst film.
Ridley Scott, 1992
Based on Genoan explorer Christopher Columbus and how his attempted voyage to India led him to discover America.
So this is a film that depicts Christopher Columbus as a heroic figure whose passion for exploring is threatened by selfish rivals and myopic superiors. Right. Even if you can separate the art and the politics, it still falls prey to what I might very well call Ridley Scott Syndrome in that the director's capacity for technical mastery (especially in regards to period pieces) is frequently shown-up by the sheer dullness of a given narrative. 1492 may have the odd high point in it (there's something to be said for Michael Wincott's gravel-voiced antagonist or the odd moment of action or even sections of Vangelis' score) but for the most part it is definitely an example of bottom-tier Scott and may just be a new contender for the man's worst film.
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#281 - Blues Brothers 2000
John Landis, 1998
When a blues musician is released from prison, he sets about reuniting his old band.
Hoo, boy. I haven't seen Blues Brothers 2000 in well over a decade by this point and, while I remember liking it at first, revisiting it now has really made the cracks show. It almost plays like a deliberate exercise in making an unnecessary sequel where every thing that goes right - an impressive roster of renowned blues musicians here, a record-breaking pile-up of cars there - is cancelled out by a dozen things that go incredibly wrong. The songs and the associated numbers tend to be incredibly lacklustre, if not downright dull and drawn-out affairs (the exceptions being the finale and the "Ghost Riders in the Sky" sequence). The fact that Elwood (Dan Aykroyd) chooses to drive away instead of listening to a Blues Traveler song that still gets played in its entirety anyway is as succinct a statement about the worth of this film as anything. Not only does it fail to deliver in terms of comedy (with many scenes attempting to offer fresh spins on jokes from the original) but it doesn't even have a good through-line for giving the proceedings any underlying substance. Without the urgency of a "save the orphanage" plot, Elwood's quest to reunite the band is a listless one that carries with it an unintentional air of existential dread as a man out of time goes through the motions for lack of anything else to do and his verbose monologues are less inspiring than depressing. While I don't think that I can bring myself to hate Blues Brothers 2000, I honestly can't give it a good rating either - if anything, one-and-a-half popcorn boxes feels like I'm overrating it a little.
John Landis, 1998
When a blues musician is released from prison, he sets about reuniting his old band.
Hoo, boy. I haven't seen Blues Brothers 2000 in well over a decade by this point and, while I remember liking it at first, revisiting it now has really made the cracks show. It almost plays like a deliberate exercise in making an unnecessary sequel where every thing that goes right - an impressive roster of renowned blues musicians here, a record-breaking pile-up of cars there - is cancelled out by a dozen things that go incredibly wrong. The songs and the associated numbers tend to be incredibly lacklustre, if not downright dull and drawn-out affairs (the exceptions being the finale and the "Ghost Riders in the Sky" sequence). The fact that Elwood (Dan Aykroyd) chooses to drive away instead of listening to a Blues Traveler song that still gets played in its entirety anyway is as succinct a statement about the worth of this film as anything. Not only does it fail to deliver in terms of comedy (with many scenes attempting to offer fresh spins on jokes from the original) but it doesn't even have a good through-line for giving the proceedings any underlying substance. Without the urgency of a "save the orphanage" plot, Elwood's quest to reunite the band is a listless one that carries with it an unintentional air of existential dread as a man out of time goes through the motions for lack of anything else to do and his verbose monologues are less inspiring than depressing. While I don't think that I can bring myself to hate Blues Brothers 2000, I honestly can't give it a good rating either - if anything, one-and-a-half popcorn boxes feels like I'm overrating it a little.
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Does Goodman replace Belushi's character, or is he a new character?
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Well, at least there's that.................... I guess............................
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Glad to see you flow well in the lane of the Fast films. As mentioned earlier, Seven is the most confident this franchise has ever been in what it has been creating. In the past they seemed hold themselves back for ever going full throttle with it, now they pretty much transformed into a 90s action movie soap opera type of deal. It's awesome.
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No, it's not awesome. You've been fooled by the preposterous sequences, which only show a diminishing interest in logical storytelling. Fast Five is my fav, but I haven't seen the 6th one yet.
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Yeah, I am pleased that the series actually does jump in quality with the fifth one, though I still feel like I'm enjoying them at a remove anyway and can't imagine going back to re-watch them in the lead-up to the eighth one or whatever. I guess time will tell on that front.
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