Movie Tab II

What is Spielberg available on Mark?

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Letterboxd

HBO. I got a month free through Hulu. Knowing me, I was leaning to most of the way.

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

CEASAR!!!

Hadn't heard of it, I am sure it will get a DVD release.

Did I see you say you were going to watch Detroit a while back?

Shin Godzilla (Hideaki Anno, 2016) -

A Godzilla movie that's almost entirely made up of the scenes where officials argue back and forth about how to deal with the monster attack is an intriguing idea in theory, but it gets a little tiresome before too long.

2036: Nexus Dawn (Luke Scott, 2017) -

Decided to watch the various Blade Runner 2049 shorts before seeing the film proper. This one is pretty useless, though - it plays like the kind of deleted scene that wouldn't even make it into the director's cut.

2048: Nowhere to Run (Luke Scott, 2017) -

Better than the previous short, if only because it focuses on Dave Bautista playing such a good character.

Black Out 2022 (Shinichiro Watanabe, 2017) -

Definitely the best of the 2049 shorts as it sees the creator of Cowboy Bebop deliver the goods in terms of action and drama with this fill-in-the-gap exercise. It certainly does quite a bit in the space of about 15 minutes - enough to make me wish for a feature-length version, anyway.

Blade Runner 2049 (Denis Villeneuve, 2017) -

I'm going to try doing a review at some point, but for now I'll say that I did like it quite a bit and will probably go see it in theatres a second time.

Dracula (Tod Browning, 1931) -

I've already seen a good few Dracula adaptations and more or less liked all of them (my favourite would be Herzog's Nosferatu) so I'm pleased to report that this one wasn't any different. I appreciate that it keeps things appreciably tight with a 70-minute running time that concisely hits all the story's beats while also providing some appropriately melodramatic early-talkie performances and a considerable amount of atmosphere.

A Nightmare on Elm Street (Wes Craven, 1984) -

The concept's alright and I guess it does give you some freaky visuals from time to time, but I still just find it boring (which I feel is true of a lot of the slashers I watch - seems like the only ones I genuinely like are Halloween and TCSM). I'll probably give this another shot at some point, but certainly not anytime soon.

Death Race (Paul W.S. Anderson, 2008) -

I liked Death Race 2000 and I like Paul W.S. Anderson, but I wasn't particularly fond of this combination of the two. I can understand not even trying to outdo the source in terms of camp (because, really, how could you?), but this mishmash of The Running Man and your average Fast and Furious movie blends quite a few bad trends (desaturated orange-and-teal palette, jitter-cam, already-dated 2000s action aesthetics) with extremely intermittent moments of entertainment. The part where Ian McShane breaks the fourth wall really was a hint at the kind of movie I wanted, but I guess I'm okay with what I got.

The Mouth Agape (Maurice Pialat, 1974) -

I guess if We Won't Grow Old Together played like a far less tolerable Scenes from a Marriage, then this is like a far less tolerable Cries and Whispers. Still trying to decide how much I really want to soldier on with the rest of the Pialat films that have shown up on MUBI - maybe the one that won the Palme d'Or, I guess.

Train to Busan (Yeon Sang-ho, 2016) -

Gotta admit that this one lives up to the hype reasonably well. It's not doing anything too novel on a fundamental level, but it does an admirable job of filling in the blanks with a solid cast of characters, a Last of Us-style twist on the zombies that lends itself well to constructing tight set-pieces, and its own variation on Romero-style commentary (and boy this film is not subtle in its indictment of capitalistic power structures and their effect on the citizenry).

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Iro's Top 100 Movies v3.0

This was on TV the other night while my 85 yr old mom was over for dinner. I made her watch my favorite part, when poor Glenn falls asleep and gets sucked into bed, followed by a lovely fountain of blood . I laughed all the way through it and my mom just looked confused. I remember seeing this movie as a teen in the theatre and even though it can be pretty cheesy, I have good memories of seeing it with my friends.

Stray Dog



Still struggling with Kurosawa's characterizations. Couple of great scenes though. Seems like this may be a dissenting opinion but Shimura>Mifune everyday of the week. Mifune's overacting really bugs me.

Whatever Works



Allen and David seemed like the perfect combination for me but this one just didn't work. Allen isn't exactly known for his subtlety but sometimes his worse impulses shine through too much. I would like to see David do something else though. Funny guy.

Blade Runner 2049



Another blockbuster this year that more than hits the mark. Maybe my favorite sequel ever. Builds perfectly on the first and couldn't possibly look better. The sound is not being over hyped either. Really adds to the experience.

The Exterminating Angel



Really wasn't expecting Bunuel to be for me but three films in and I am really digging him. This was a really interesting way to make a social commentary and I enjoyed every minute.

Cool that Bunuel works for you Sean. He doesn't so far for me.

Grave Halloween (Steven R. Monroe, 2013)

Heebie Jeebies (Thomas L. Calloway, 2013)

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Cradle 2 the Grave (Andrzej Bartkowiak, 2003)

Blade Runner [Final Cut] (Ridley Scott, 1982)

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Los Angeles, 2019. Wow – a lot’s going to happen in two years.
The Courtship of the Newt (Roy Rowland, 1938)

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Death Race 2050 (G.J. Echternkamp, 2017)

General Report (Pere Portabello, 1977)

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The Driller Killer (Abel Ferrara, 1979)

Angry painter Abel Ferrara goes really mad when he gets his hands on a power drill.
Destination Moon (Irving Pichel, 1950)

Night of the Wild (Eric Red, 2015)

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Coldwater (Vincent Grashaw, 2013)

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Unlocking the Cage (Chris Hegedus & D A Pennabaker, 2016)

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Whether you think it’s important or silly, this chronicle of the Nonhuman Rights Project trying to have specific chimpanzees declared a “person” (not a human) for legal rights reasons is highly watchable.
General Report II. The New Abduction of Europe (Pere Portabello, 2016)

The Snake Woman (Sidney J. Furie, 1961)

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One Floor Below (Radu Montean, 2015)

American Made (Doug Liman, 2017)

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TWA pilot Barry Seal (Tom Cruise) checks out his new plane and learns his latest job is running guns to the Contras for the CIA.
Down the Stretch (William Clemens, 1936)

The Puppetoon Movie (Arnold Leibovit [& George Pal], 1987)

Phantasm: Ravager (David Hartman, 2016)

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Spider-Man: Homecoming (Jon Watts, 2017)

Peter Parker (Tom Holland) must climb up the Washington Monument to try to save his high school decathlon team from an elevator disaster.

Seen in October, Pt. 1




Ralph is a very funny and insightful Youtuber, so I was excited to see another short film by him.

The actors sound as if they’re just reading the script for the first time, probably because they made it in 48 hours (That's pretty impressive). The sound quality is pretty eh, but what are you gonna do, it’s a student film. I understand it’s trying to go for a comedic tone but the final shot went on for too long. I also REALLY want pasta after seeing this, I guess that’s good! I”m not sure if it’s as good as Brothers Paradise (his previous film). Brothers Paradise was more interesting and had a brilliant ending.

But I think we can all agree it was hilarious when Ralph yelled: “Bitch, you da sauce!”



My first time seeing this story, and it certainly wasn’t a disappointment. The acting was perfect, especially from Benedict Cumberbatch, I nearly teared up during his monologues. The effects and direction are great also. It was an experience I was glad to experience.



Orson Welles certainly has an art for his narration, his black suit, big beard and attire really draw your attention to him. He takes what would be an average TV documentary and keeps it interesting with the fast paced editing and monologues. It was interesting to hear about the forgeries and Welles’ experience in Ireland. There is some quite beautiful imagery. Orson Welles monologues about art are extremely beautiful.



Absolutely hilarious. Wilder delivers his always funny performance, and Zero is very funny too. Probably my favourite Mel Brooks film. If your one of those memelords who makes Hitler jokes on Reddit and Youtube you’ll probably love this movie.



Beautiful. The music combined with the visuals makes me feel extremely nostalgic. Farnsworth, Spacek and Stanton’s performances are amazing. Ironically my favourite Lynch film now.



A nice fun little film.The introduction really sets the mood well. Brynner does a great job at being a threatening villain. Apart from that there are so many stupid things in this film I can’t even talk about them all.



This cut certainly improves the film. It updates the visuals and effects for a new age while still having that rusty 80’s feel. The film does a great job of establishing its world. The music is great.It’s a bit too slow though.

But Oh My God, that ‘Tears of Rain’ scene, whoever wrote that deserves a Nobel Literature Prize. Hauer delivers it so beautifully.



A great film. Feels very similar to Bringing Up Baby, with the two leads exchanging banter. A lot of the comedy doesn’t really stick though, maybe I was just watching it in a bad mood. The scene in the church was fantastic, I couldn’t stop smiling.

But how did they get the word ‘sex’ past the censors?!



A great film, feels very different from most Hollywood blockbusters. I was very excited when I heard this film would be directed by Dneis Villeneuve, same director as Prisoners. His direction in this film is great, it feels very refined. The special effects aren’t major but Sean Young’s CGI’ed face looks amazing, considering how obvious it looked in Rogue One less than a year ago. The performances from Gosling, Ford and Leto are great.

My only real gripe with the film was the length, I was getting a little tired in some parts.

My favourite element of the film though is the cinematography. The yellow lights that saturate the screen in certain scenes is beautiful.



Very great film. The performances from everyone are amazing. The cinematography and visuals are very good. The camerawork is really damn creative! If I ever decide to make a no-budget film, I’ll certainly take hints from this film.

Hauer himself did. Hauer found the original monologue inadequate and pompous, so he "put a knife in it". He claimed that these final lines showed that Batty wanted to "make his mark on existence ... the replicant in the final scene, by dying, shows Deckard what a real man is made of."

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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.

Amazing.

Ink (2009) –
The sound and score are poorly mixed together, the music is sappy and ill-fitting much of the time, the dialogue/acting/costumes are super cheesy, and the editor went a little overboard flexing his effects muscle, but it seems like the imagination tying this together did craft it with care. I feel kinda guilty picking it apart, but the faults are too distracting not to. It also spawns a lot of seemingly unintentional humor, but it’s presented in a surreal fashion that sort of welcomes it. I can admire some of it despite issues, but I didn’t really enjoy it.

Killer Klowns from Outer Space (1988) –
I’m not totally sure why I didn’t enjoy this more the first time I saw it. Maybe it was trying a little too hard to be stupid? Fortunately, I was in the mood for stupid this time around.

Great Expectations (1946) –
The comments in the 40s thread sparked a dormant interest in me. I found it so much more appealing than I thought it’d be. Very pretty, and unexpectedly dark & thrilling.

The Devil Commands (1941) –
The cheesy sci-fi paraphernalia is cool, but everything else seems so phoned in and dispassionate (even Karloff ).

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A Nightmare on Elm Street Part 2: Freddy's Revenge (Jack Sholder, 1985) -

I guess if I wasn't crazy about the first one then there was no hope for the immediate follow-up. People certainly weren't joking about how homoerotic the whole things ends up being as it cranks the camp to some serious levels at times, but that only ends up making me question whether or not this movie's really trying to scare or amuse. The odd spot of appreciable '80s aesthetic isn't enough to make me think of it as anything but a thankfully brief waste of time.

Next Friday (Steve Carr, 2000) -

The original Friday is a low-key favourite and has enough residual charm to help prop up this otherwise lacklustre sequel that sees Ice Cube go from the 'hood to the 'burbs and meeting a whole new cast of characters that don't manage to match the original for memorability. At least I got a few laughs out of it, but they are few and far between compared to the much tighter original.

A Nightmare on Elm Street 3: Dream Warriors (Chuck Russell, 1987) -

I guess if you're like me and don't find the core concept of Nightmare on Elm Street all that scary in the first place, then you might very well gravitate to the ways in which it expands upon said concept in colourful and inventive new ways. Dream Warriors certainly has a solid premise - these teens discover the power to fight back against Freddy - and has the effects work to back it up, plus it expands the mythos in a manner that's actually more compelling than expected. It's not quite at a level where I'd say I out-and-out liked it, but it definitely made decent use of its potential more often than not.

Night of the Living Dead (Tom Savini, 1990) -

I'm not sure which title card made me more worried, "George A. Romero Present" (sic) or "A Menahem Golan Production". This remake didn't do too much to assuage my fears as it commits to a largely scene-by-scene remake of the seminal original that barely seems to be taking advantage of the potential to change things up (it certainly made me appreciate the liberties taken with the Dawn of the Dead remake). It seems ironic that a film directed by legendary makeup artist Savini somehow seems about as tame as the original in terms of violence, though I suppose the actual zombie effects are solid. Fortunately, it does make at least one major adaptational change that improves the situation considerably - namely, changing the character of Barbara from a catatonic liability to a proactive heroine. It certainly lends a considerable amount of personality to what is otherwise an extremely dry rehash.

Afflicted (Derek Lee and Clif Prowse, 2013) -

I don't make a habit of watching found-footage movies (especially of the horror variety), and Afflicted somehow manages to alternately confirm and deny the reasons why I don't do that. I went in knowing as little as possible - all I knew was that it was about two best friends going traveling only to encounter some horrible infection - but before too long it turns out that the infection is vampirism and the movie starts to play out like a more graphic version of Chronicle. That's not to say that it doesn't have its moments of creepy atmosphere or technical competence (especially when it escalates into a series of first-person action scenes towards the end), but it is very much a movie that, much like its protagonist, is cursed to live in perpetual shadow.

An Affair to Remember (Leo McCarey, 1957) -

Unremarkable but pleasant enough little romance movie.

Olympus Has Fallen (Antoine Fuqua, 2013) -

Even without White House Down showing it up completely in practically every department that matters, this is still an action movie that manages to achieve a most undesirable combination of dull and unpleasant. Even so, there is something weirdly watchable about Gerard Butler in these sorts of movies - I can't tell if he deserves to be in better movies or if he needs to be in movies like this to have any effect.

Gerald's Game (Mike Flanagan, 2017) -

I guess there's always something that's vaguely disappointing about a film turning out exactly how you expected. I'd already been pleasantly surprised by last year's Hush so seeing Flanagan offer another variation on the trapped-at-home set-up mainly feels like more of the same (and its central gimmick feels like a feature-length version of one particular scene from Hush anyway, to say nothing of how much it plays on a similar thematic level to M. Night Shyamalan's Split). It's just as well that it's buoyed by a pair of capable leads in Carla Gugino and Bruce Greenwood who get to exhibit quite a lot of range as the narrative twists and turns within the protagonist's psyche. It's enough to make me think that this is closer to a psychological thriller than a straight horror, but that certainly doesn't make it any less unsettling.

Mr. Brooks (Bruce A. Evans, 2007) -

If nothing else, this certainly is a curious and off-kilter excuse for a psychological thriller. No wonder the A.V. Club added it to their New Cult Canon a while back, but even so...it's not very good.

All My Friends Are Leaving Brisbane (Louisa Alston, 2007) -

The cultural cringe is (sometimes deliberately) strong with this tale of a bunch of twenty-somethings dealing with a combination of relationship drama and the neurosis that comes with being attached to the eponymous city. Feels like if you mixed together Annie Hall, Human Traffic, and the first half of Birdemic (so, in other words, oof).

レイプゾンビ LUST OF THE DEAD 2 [Lust of the Dead 2] (2013) -




Not enough rapes! And believe me, this is a totally valid criticism with a movie like this! The first one had many zombie rapes and this one did not have enough. Also it had too many jokes about otaku! @Guaporense & @jal90 don't watch this, if you don't want to get hurt! The movie was enjoyable, but had no Asami this time. I also increased Zombie Ass: Toilet of the Dead's & Dead Sushi's ratings to , even if just for fun & the sake of it. The first one became a sort of a meme and I cite it constantly making fun of various things. It's one of the truly sh**y films out there, too. The second one quotes Tampopo in the craziest way possible and I mean... Rina Takeda versus Tunaman and flying sushi is something you just GOTTA respect.

Deep End (1970) -



Wonderful! This or Barrier is my favourite Skolimowski, although I still have to see The Shout, Hands up! and Walkover. The film has such an impeccable flow to it. Feels very fresh and new even today. I don't really know what it's trying to say, probably just a humorous take on first infatuation and sexual awakening. I have a hard time agreeing with one of my movie buff acquaintances that it is about "a mad (true) feeling (meaning love) amongst porno-crazies", but maybe I just don't understand love, or my definition of love is exceedingly idealistic.

Acéphale (1969) -



A Zanzbiar Group film. Another Zanzibar Group film, Le Révélateur, is one of my all-time favourites, so I was going into this one with really high expectations. A solid experimental film! No conventional narrative. Only some people reading weird stuff. Did not really feel it, but it was okayish and pretty short, so no time to be bored.

Watchmen (2009) -



Ultimate Cut. Wooh! Now that's how you make a superhero movie, Marvel! Unrelenting! It has sex and blood! When the villain is punched in the face, his teeth fly out! The comic book film-within-a-film was an amazing Poe-inspired story, too! When the intro started I already knew this is going to be awesome! Dylan song and famous events of the 20th century rearranged so that they featured superheroes - as crazy, or lame it sounds, as awesome the final outcome. Dr. Manhattan was my favourite character. He was so OP you would think, he would be the most boring one, but his inner dilemma and soothing voice won me over. Rorschach is the second favourite. And the Comedian - holy cow - he felt more like a villain than a hero. And not only him. No shiny good heroes to be found here! I love how this film mixed so many genres, e.g. Rorschach's narration was 100% (neo-)noir. Yeah, it's still a superhero film (what did you expect?), but it's by far the best one I've ever seen (although Evil Brain From Outer Space (1965) and 東方三俠 [The Heroic Trio] (1993) come close). I meant to say more about it, but I forgot what it was... May be a 4.5 film.

Sharknado 5: Global Swarming (2017) -



As bad as I expected, which is good, meaning it was an enjoyable schlock of mediocrity mixed with insanity. The number of x-nado they come up with and different names for these is simply astounding. Now I'm only waiting for Crapnado and Zombie Ass will finally have a worthy opponent in the race for the title of the shi**est film ever.

The Pink Panther (1963) -



Dunno, really, it's like a three star movie, but the hiding sequence was top notch. it made me laugh and Cardinale is the saving grace once again (she, or rather her cleavage was the reason I rated The Professionals 4 stars). Sellers is okay, but his character's clumsiness isn't really that funny.

Les vacances de Monsieur Hulot [Mr. Hulot's Holiday] (1953) -



Delightful! Genius sound design. Enjoyed this way more than both Mon Oncle and Playtime, that although superior technically did not feel as subtle as this one. I still can't say Tati is among my favourite French directors, but he decidedly grew in my eyes with this film.

Feldobott kő [The Upthrown Stone] (1969) -



Sándor Sára's first feature length film. I saw his earlier documentary shorts and they were pretty good, but this movie is even better! It's really interesting how all these Hungarian New Wave debut features were so personal (Szabó - Apa, Gaál - Sodrásban etc.). This one is no different, recalling director's youth.

Méditerranée (1963) -



Bassae, a sort of an outtake from Méditerranée was better! This one is still quite enjoyable as an essay film and it has some nice colours and your usual French intellectualism narration. Not the best out there, but I'm a sucker for this kind of flicks, so I really enjoyed it.

A Shot in the Dark (1964) -



I heard only great things about it. Namely that it is better than the first part. But I'm not too sure about it. Still feels like a three star movie I bumped by half a star for some reason or another. Sellers resumes his hulking role and he once again is okay. The nudist bath, though! And Elke Sommer.

Blade Runner 2049 (2017) -



At times felt sterile and overcalculated. I also thought the colour palette was a little bit too bleak, but it gave me something to think about and read about, rehashing original film's ideas as well as introducing new ones. The ending was much less powerful than the original movie's and the film has nothing on Scott's masterpiece, but Villeneuve made it with a lot of respect for it, so he deserves respect as well.

A halhatatlanság halála [Death of Immortality] (1976) -



Crazy Hungarian TV sci-fi. Has its moments, but in the end it's super-boring.

Αλέξης Ζορμπάς [Zorba the Greek] (1964) -



Can't believe I haven't seen this until now! Outstanding cinematography and shocking lynch scene. Some people complain the movie praises sexism and hedonism and although I can't say I agree with Zorba's quotes on women, I can understand why he is the way he is after what he went through. People seem to confuse movie character's faults with movie's faults.

In weiter Ferne, so nah! [Faraway, so Close!] (1993) -



Wim Wenders has to be my favourite German director. No. He is my favourite German director. Period. Sorry Herzog, Murnau, Lang and the company. This is a more than worthy follow-up to the glorious Wings of Desire. The reason the angel becomes a human in this is even better than in the first film. Then it turns into a heist film. Holy cow. May be a five star film.

爛頭何 [Dirty Ho] (1979) -



Something that at first escaped my notice was the wonderful fight choreography! A striking mix of action and comedy that never feels boring or forced. The wheelchair scenes wowed me! Yet another (great) Shaw production.

オルガン [Organ] (1996) -



Directed by Kei Fujiwara. Also starring her! She was the cinematographer for Tetsuo: The Iron Man and also starred in it, so you if you've seen it, you more or less know what to expect. Or do you? Organ's camera movement is quite similar (same lady, right?) and the industrial soundtrack is just as pumping as Tetsuo's, but whereas Tsukamoto's masterpiece was a cyberpunk industrial cinema with hints of body horror, Organ is an almost-surreal Cronenberg-worshipping body horror! At one point in the movie one of the actors even blatantly calls out Cronenberg's The Fly. I still can't understand why I love these Japanese Cronenberg-inspired flicks way more than Cronenberg's work itself.

黒い下着の女　雷魚 [Woman with Black Underwear: Snake-Headed Fish] (1997) -



My first Takahisa Zeze. He was Hisayasu Satô's assistant and then started making his own films! This has only three brief sex scenes that don't even seem least titillating and feels more like a psychological drama than pinku eiga. That being said it's one of the bleakest and most nihilistic pinkus I've ever seen. That was my 99th pinku eiga film! I'm planning to watch Dabide no hoshi Bishoujo-gari as my 100th! I heard it's one of the most outraging in the whole genre, so I'm in for a real treat.

Duel (1971) -



A 90 minutes thrill ride that never lets go even for a second! Super enjoyable to watch with great editing and interesting camera shots. Doesn't really waste time for much backstory, just throws you right on the road. At first after the wife phone call scene I thought this is supposed to be read as some commentary on masculinity, or lack thereof, but then this theme was never picked up again and in the end this turned out to be just an exercise in tension.

Steelyard Blues (Alan Myerson, 1973)

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Indestructible Man (Jack Pollexfen, 1956)

Sauce (Ralph Sepe Jr., 2017)

How Strange to Be Named Federico (Ettore Scola, 2013)

Director Federico Fellini (or his stand-in) poetically recreates what he often did while making many of his films.
Ah! La barbe! (Segundo de Chomón, 1906)

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The Sandman (Peter Sullivan, 2017)

Blacula (William Crain, 1972)

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The Meyerowitz Stories (New and Selected) (Noah Baumbach, 2017)

Half-brothers Adam Sandler and Ben Stiller fight over who got more messed up by their father (Dustin Hoffman) who’s in the hospital.
Scream Blacula Scream (Bob Kelljan, 1973)

Laramie Mountains (Ray Nazarro, 1952)

Vampires: Los Muertos (Tommy Lee Wallace, 2002)

Atomic Blonde (David Leitch, 2017)

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Sexy Cold War spy Charlize Theron participates in plenty of action, often in long shots with various enemies - and one friendly one.
Neverknock (Sheldon Wilson, 2017)

Rainy Dog (Takashi Miike, 1997)

Wasteland No.1 - Ardent, Verdant (Jodie Mack, 2017)

Swastika (Philippe Mora, 1974)

While depicting the atrocities his regime caused, this documentary desires to show that he was not a devil but a human being so that posterity will be aware when another one arrives. This particular scene is from Eva Braun’s home movies.
Marvin & Tige (Eric Weston, 1983)

War Between the Planets (Anthony Dawson [Antonio Margareti], 1966)

Jubilee (Derek Jarman, 1978)

Chuck aka The Bleeder (Philippe Falardeau, 2017)

Outside of Planet Hollywood, Chuck Wepner (Live Schreiber), the “real Rocky Balboa” poses with a statue of Stallone, who earlier tried to give him a job in Rocky II

@Mr Minio I love your write ups! You bring such a interesting mix of films and your passion for film really shows. Keep it up!

Did you get the inspiration to watch it from me?

Sure did - you posted it.

Link to "Swastika" -

P.S. - Marvin & Tige is a pretty underrated movie.... doesn't hurt to have John Cassavetes star, but the movie itself is really good, the only thing I saw on Amazon Prime.