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''Zombieland by Ruben Fleischer''



Funny as hell ! omg this movie is very nice and the casting with Woody Harrelson and Jesse Eisenberg make a very dynamic duo !

8/10
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Sorry if I'm rude but I'm right
Only 3 stars? You made Karina cry.

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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.



The Comedy (2012)


The idea was absolutely fantastic - BUT it was structured in the worst way possible. The dialogue kept it going, but it was ultimately a disappointment.

NOTE: Tim Heidecker's performance in this movie easily ranks among the ten greatest performances ever in film. And I do not say that lightly.

"Oh Liza, Liza..."



Only God Forgives


I thought Kristin Scott Thomas was great in this, but maybe it's just that she was the only one who said anything. It's as if instead of hiring real actors, they just invited Bangkok's school for the mute down to the set, and filmed them without their knowledge. And if you liked Ryan Gosling in Drive, then you're in for a real treat here. With no dialogue, they were able to just digitally insert his confused, constipated face in to every scene he was needed in. I hope the director lost his passport and is stuck in Thailand, because he is an azzhole.



The Bib-iest of Nickels

Cape Fear
is a 1991 American psychological thriller film directed by Martin Scorsese and is a remake of the 1962 film of the same name that was directed by J. Lee Thompson. I'll be honest with you, I had absolutely no interest whatsoever going into this movie, I remember discovering it for very cheap about two or three years ago, but I never actually took the time to watch it. I knew that it received positive reception, and I knew that I was being unfair toward the movie, but I didn't care. I knew that I would watch the movie eventually, but I was ready to stubbornly ignore the movie for as long as conceivably possible. I suppose that a lot of the reason that I decided to watch this movie is because having seen The Departed and The Aviator, a lot of me has taught me that I should always be willing to give Martin Scorsese a chance. I have also had this newly found interest in pursuing more work from Robert De Niro.

The film tells the story of a convicted rapist who seeks revenge against a former public defender that he blames for his fourteen year imprisonment for purposefully faulty defense tactics during his trial. Basically, the character really did do a crime, but there was a loophole that could have been seized for him to have gotten off on a technicality, but the lawyer decided against it. He decides to extract his revenge through various form of psychological torment, utilizing his opportunistic intelligence and manipulation to make the man's life a living hell. The special-effects in this movie are immediately something that I found myself inadvertently noticing from the beginning. There is always this saying about an older movie with tremendous special-effects, saying that it still holds up today, but this is the kind-of movie that doesn't have special-effects that hold up well at all whatsoever. A lot of it is because they felt completely unneeded, I disliked the filters that were occasionally used because they brought back flashbacks of things that I could make with Windows Movie Maker. They aren't by any means something that deserves to be held too tightly against the film, but they are something that I noticed, and therefore, I decided to acknowledge them.

The movie stands out predominantly for emphasizing one key-element from Martin Scorsese's capabilities, this being the amount of depth that he manages to make his characters carry, and how good he is at building a rivalry between two characters. While it is absolutely amazing in The Departed, Cape Fear isn't a slouch in that department by any means. Robert De Niro's character is absolutely amazing in this movie, with so many bizarre character traits and features that by the time that the movie ends, you truly begin to appreciate how unique of a performance that you have witnessed. I found myself applauding him, hating him, and all while loving the performance that sparked it all. However, another performance that is less likely to get applauded is Nick Nolte's performance as the lawyer. They position it in such a way that he comes across as an *******, but then, there are more and more layers of development behind him. He feels realistic in his performance, and I can actually sense the desperation that he carries with him in his dialogue.

The movie isn't absolutely perfect, I found for Juliette Lewis' performance to be annoying, which is interesting considering that she was nominated for Academy Award for her performance, but that doesn't change how I felt. It felt as if she was over-the-top and disproportionate the movie itself, which is over-the-top but in such a way that she doesn't mesh very well with it. "She's annoying," is what I am trying to say. The film is also very long, lasting over two-hours which is admittedly refreshing for a film such as this, still has the tendency to drag itself. There are also times where it falls back more into nonsensical horror-territory more than a psychological thriller, especially in the final half. In an effort to keep it simple, I'll conclude by saying that while it certainly isn't the best movie that I have seen from Martin Scorsese, the movie has a tremendous performance from Robert De Niro, as well as a solid performance from Nick Nolte. There are a lot of elements for suspense, a lot of wit and prowess to be discovered with the cleverness behind the plot, and while the movie might have been a little excessive in length, that didn't stop me from enjoying it a lot.



Women will be your undoing, Pépé


Curse of The Golden Flower (2006) A VERY large portion of the rating is on the sheer visual beauty of this film, followed by some very solid acting and a shakesperian-esque twisted family that is the royal family in this movie



Jerry and Tome (1998) though a bit predictable, it still didn't take away from the enjoyment from watching this dark comedy about a hitman who takes on a prodigy only to lose the taste for the job



Venus (2009)
peter o'toole is utterly effin charming (as if he could be otherwise) in this endearing movie of a dirty old thespian to takes a young actress under his groping wing




Pat Garrett & Billy the Kid
(Sam Peckinpah, 1973)

[Rating: 4.5 out of 5]

From the very first scene--- a sepia-tinged "flash-forward" that reveals the fates of both title characters--- the inevitability of death hangs in the air like "a long, black cloud coming down." The characters know it, but they have no need to acknowledge it or try to avoid it. Due to their lifestyle and the times in which they live, death is always waiting around the corner. One second you're laughing in the bed with a prostitute, the next second you're bleeding on the floor with a bullet in your chest. The most remarkable thing to me, however, is the way in which these characters stare death in the face and then go on about their business. Nobody begs or cries or questions why. They've all accepted their fates. They don't want to die, but if it happens, it happens. There's a deep sadness to it on the surface, but if you stop and think about it, there's something oddly comforting and reassuring about it all. The film was almost like watching a two-hour death march disguised as a revisionist western, yet it's more beautiful than depressing, more poetic than somber. It's the cinematic version of a drowning man who ends his futile thrashing and instead allows himself to drift deeper and deeper into the abyss, embracing the inevitable with a calm, inviting smile on his face.

My only quibble with the film is the casting of thirty-six-year-old Kris Kristofferson to play twenty-one-year-old Billy the Kid. I admire Kristofferson as a singer/songwriter, but his limited acting range is better suited for supporting roles, like in Scorsese's criminally underrated Alice Doesn't Live Here Anymore, or in bit roles, such as his minor, but important part in Peckinpah's phenomenal Bring Me the Head of Alfredo Garcia. Kristofferson's version of Billy the Kid is jovial and fun, the kind of guy with whom I'd love to share a beer, but he lacks the aura that turned the Kid into a legend and caused so many people to gravitate toward him.

Personally, I got a big kick out of Bob Dylan's performance. He's not much of an actor, but his lines are minimal. (When asked, "Who are you?" he responds, "That's a good question.") He also provides the music for the film, including the oft-covered "Knockin' On Heaven's Door," and his songs are the perfect companion to the film's wide-open, dusty settings. In my favorite scene, Pat Garrett (played by James Coburn) orders Bob Dylan's character to read aloud the cans on the shelves while he interrogates two other men about the whereabouts of Billy the Kid. As the tension mounts and we wait to see which man is going to pull his gun first, Bob Dylan's trademark voice and diction can be heard in the background, going, "Beans . . . Baked beans . . . Salmon . . . Lima beans . . . Beans . . . Succotash . . . Quality beans . . ." It's kind of hilarious.

The film isn't quite as strong as the other Peckinpah movies I've seen (The Wild Bunch, Straw Dogs and Bring Me the Head of Alfredo Garcia, although it is light-years better than Convoy). However, it's still a great movie, and I look forward to re-visiting it in the future. It turns out that Peckinpah is a director that really appeals to me, and I look forward to exploring the rest of his filmography.



the samoan lawyer's Avatar
Unregistered User

Bullitt -

Such a smart, brilliantly acted film, i cant believe its took me so long to get round to watching this. McQueen is awesome.


Dark Shadows -
- pretty awful.
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The Wolf of Wall Street - 10/10

Scorcese does it again



Klute - 7.5/10

Good movie, at this point it's in contention for my list not sure if it'll make it though. One thing i thought was odd about this movie, was how it was edited in such a way, that it seemed to cut short certain scenes in a very obvious way. Not sure if this was the case or i was just imagining things?



Little Big Man - 8.5/10

Great movie, will more than likely make my 70's list. I really liked the humour in this and all of the performances especially Hoffmans of course, i also loved the Older narrator Little Big Man who's voice kind of reminded me of Walter Huston in Treasure of the Sierre Madre. I'm quite surprised that this is not more popular/well known as i had never heard of it before joining this site.



Just completed watching "The Fifth Estate" - about Julian Assange and the WIkiLeaks website. The story that the film portrays is great. Very interesting and current - it is able to simplify quite an intricate story for the audience. Benedict Cumberbatch is great.

However, there is something about the film that does not make it excellent. Its direction feels wrong and it is very content heavy.

5 or 6 / 10
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Ghost In The Machine
Just watched Only Lovers Left Alive (2013)


Enjoyable little movie this, made all the better due to the inspired choice of location - an almost past the point of no return Detroit City. However, for me there were a few too many literary references - almost to the point of making me cringe. Still worth a visit to the cinema though. An angst ridden 7/10 from me.
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Finished here. It's been fun.
Memories of Murder



Maybe I'm just a sucker for well-made thrillers but this film blew me away. Taut,tense, and extremely well-made.



'' The Ring by Gore Verbinski ''



Scary as hell ! In my opinion pretty awesome story , the casting is nice and one of the most awesome horror movie of the 2000's .

8.5/10



Kakarot89: The Infamous Thread Killer
Memories of Murder


Maybe I'm just a sucker for well-made thrillers but this film blew me away. Taut,tense, and extremely well-made.
I adore that movie as well.



Only God Forgives


I thought Kristin Scott Thomas was great in this, but maybe it's just that she was the only one who said anything. It's as if instead of hiring real actors, they just invited Bangkok's school for the mute down to the set, and filmed them without their knowledge. And if you liked Ryan Gosling in Drive, then you're in for a real treat here. With no dialogue, they were able to just digitally insert his confused, constipated face in to every scene he was needed in. I hope the director lost his passport and is stuck in Thailand, because he is an azzhole.
Even though I was a big fan of Only God Forgives, your response to it made me laugh.

Have you seen the director's Pusher Trilogy? I highly recommend them, even if you're not a fan of Only God Forgives or Drive. The Pusher movies are much grittier and character-driven and rely less on style and polish than his most recent films.





Ride the High Country
(Sam Peckinpah, 1962)

[Rating: 3 out of 5]

Late in the movie, while sitting on a log and staring at the flames of a campfire, a young woman mentions how her father has always taught her that there's only right and wrong and good and evil--- nothing in between. When she asks, "It isn't that simple, is it?" she might as well be speaking directly to the audience. Peckinpah's films and characters tend to exist solely inside that gray, morally-conflicted 'in-between.' But this is early in his career--- 1962, and only his second feature film--- and Peckinpah's cinematic world is still more black and white than 'in-between.' Compared to his later films, the good guys in Ride the High Country are much more idealistic. They deviate from the path of righteousness, but only for a brief period of time. Meanwhile, the bad guys are your typical, murderous, sweaty villains. I imagine the movie is darker than most westerns from the early 60's, but I was a little disappointed in how old-fashioned it felt compared to The Wild Bunch and Pat Garrett & Billy the Kid. The ending is excellent, and there are some excellent lines of dialogue, but this is far from my favorite Peckinpah.