Rate The Last Movie You Saw

Maudie ++ It's been called a romantic love story for adults, inspiring and life affirming. . . and it is. I found it captivating, endearing and just all out beautiful. From the real life story of an arthritic Nova Scotia artist and the joy she put into her paintings.




Meet the Robinsons +++ While with the usual tropes, I still found this a fun and entertaining film with enjoyable characters and pleasant lesson: Keep Moving Forward.
Very nice.




God of War (China) ++ Seriously top-notched action/war/period piece set in the 1500's China with, not only amazing weapons and battles, but a solid cast of acting, with true strategic wit ruling the day on both sides of the field.
I highly recommend this to anyone who enjoys such films. Can't believe it took me so long to finally see this on Netflix.

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Set and filmed.. does not always mean the film is Australian. Have seen this on many occasions over the years. specially in the 50/60s when the Brits produced movies set and filmed here. With their actors in all leading roles.

Apparently Australia was one of the co-producers. They trotted out Jack Thompson & Bryan Brown, but my point was the fact that the British accents made no sense, especially that of the 4 year old child who most likely had never heard a British accent in her life.

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I'm curious what part of the film do you consider the "first story"?

"Catch up." (Heinz)

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That is odd. Will take a listen if I can find a copy. Bryan Brown speaking in a Pom accent I have to hear this. He would not even use a Yank one in any of his Stateside films.

I watched the promo. Clearly Brit accents from all actors. Is it an English family having settled in what looks like 1920s Australia? You said the child also speaks with an accent. That could happen if her parents were English surely. She had not been to school as yet as that is when the native language takes over I am told.

The Chekist (1992)

A hypnotic account of the bloody reforms following the Bolshevik Revolution. The film repeatedly details the expedited process of convicting and executing counter revolutionaries en masse. It explores the toll of this gruesome, dehumanizing process on its actors as well as the justifications they make to subsist in spilling blood. Soft lights and dirty windows lend a dream like quality to the ruinous remains of a liberated state. A maid toils endlessly to cleanse the grounds of filth, a Sysiphian task for the worker whose plight this tragedy was predicated upon.

A haunting testament to state violence which, despite conflicting with my socialist inclinations with weak jabs at Marx and collectivism, serves as a necessary reminder for what revolution means and why electoralism deserves the countless chances we give it. History has shown us just how bleak the alternatives are. Whatever the ends, they can never justify these means.

Confessions (2011)

A hyper-artistic revenge thriller with incomprehensible intentions, incoherent values, and unquestionable technical prowess on display. The narrative progresses through a series of memories captured in slow motion or under surreal lighting with a character narrating their experience being backed by a soundtrack serving as a pulse as we ricochet between past and present. The heightened aesthetic compliments the hyperbolic turbulence of youth at the heart of the story though doesn't persuade one to take the angst and pretension any more seriously because of it

The story itself is quite edgy and confounding, but within its patchwork are substantive themes to connect with like the way intent and perception/reception are so often incongruous in human interaction, a subject it examines by withholding information until the story is being told through the eyes of an appropriate character. There's so much to admire about Confessions thanks to Nakashima's uncompromising artistic vision but none of it involves emotions or appreciation for the actual points he tries to articulate, whatever they are. My fixation on the presentation was a cold admiration for something clearly intended to be visceral and stirring. As such, the film stands as a testament to the elevation of poor material.


Bullhead (2011)

A heartbreaking character study subverting the strong, silent archetype, Jacky Vanmarsenille is a tragic figure in the vein of Frankenstein or any number of other monsters who can't escape their fate. His anger isn't a super power to be cooly called upon and wielded, but an animalistic response driven by anxiety and confusion and ultimately the fear of further emasculation. His hulking mass is a layer of security to guard him from the world which hurt him so, but it comes with a price. Within the gentle giant is an anger that guarantees self destruction. It's a heartbreaking take on the expression: "hurt people hurt people".

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The Vincent/Mia outing.

The Lost World: Jurassic Park -

Never quite sure how to feel about re-reading my old reviews and seeing how off the mark they could be.

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Iro's Top 100 Movies v3.0

Little Caesar (Mervyn LeRoy, 1931)
Contains more 'big boy' than some pornographic fare

★★★★★
Still give me chills! Terrifying movie, terrifying acting and great soundtrack! I love every aspect of this movie!

In my last review, which was of the terrible teen romance film The Kissing Booth, I mentioned that a film in this genre can live or die by the chemistry of the romantic leads. The Kissing Booth did it wrong, Set It Up does it right. Zoey Deutch & Glen Powell, two actors I've come to like recently, team up here and they work well off each other. They both starred in the Linklater film Everybody Wants Some and were highlights of that. Now they play assistants to terrible bosses that overwork and underpay them. In an effort to get more free time for themselves, they decide to set their bosses up in a 'meet-cute' and hopefully that alleviates some of the pressure on themselves. In order to orchestrate this fake relationship, they need to spend more time together, maybe some sparks will fly between them instead of their bosses?

I know, I get it. It's another typical romantic comedy. This one is aimed for an audience that is a little older than Kissing Booth. It's a film that doesn't insult the audience. As I mentioned before, it's the chemistry that makes it work. Deutch and Powell are likeable by themselves, but together they bring a believable relationship that hits those 'cute' marks. They meet, they hit it off, bump in the road stalls everything, they make up in the end. These two characters are doormats for their bosses the entire film, until they manage to stand up for themselves and actually go after a dream or something that won't make them hate their lives. It ends on a more upbeat positive note.

Their bosses are Lucy Liu and Taye Diggs. Diggs seems to have a lot of fun in the role of the overly angry and dismissive rich guy who wants to do nothing but one-up his ex-wife. Liu is the hard working "I'm a bitch because I'm successful" business woman. Both are smaller roles, but they did well enough to make their degrading of their assistants funny. Diggs is a more over the top caricature, but it was fun.

This Netflix film is one that I recommend over tripe like Kissing Booth. It's smarter, more encouraging to women and has a talented cast. I fully expect to see more great things from the two leads (Deutch is Lea Thompson's daughter by the way). Check it out for some lighthearted fun.

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Suspect's Reviews

Great film. Don't know why people don't talk about it more often. Suspenseful, great acting from all involved, intriguing mystery. This film has it all.

Exactly what I think. Watched thousand times, and still suspenseful, I was at the edge of my seat the entiry film last night. The chase scenes are so good. Watched for the first time when I was around seven years old, so this is a child classic for me. It's one of that rare cases that even after 18 years of the first time I watched, the film still holds up.

Avengers: Infinity War (2017) -
Captain America: Civil War (2016) -
27: Gone Too Soon (2018) -
The Violaters (2015) -

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Rapture - 7/10