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Women will be your undoing, Pépé
An excellent opening gambit, CR. I was seriously considering going with this one as well.
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The trick is not minding
Aniara

We begin with an earth in peril. That shortly becomes a space ship in peril. A spaceship delivering hundreds of passengers to another planet, disaster strikes when space debris drives it off course. The film follows it in short order.

This film is all over the place. What begins as a disaster flick, veers into philosophical look into the breakdown of essentially a society as the passengers are forced to live out their live son the large ship forever floating in space.

As the years go by, despair takes hold on many, hope clings to a few, and cults form all while the main star, Mimarobe, tries to adjust to her new life. She had nothing waiting for her, after all. Along the way she has to deal with a Captain with tyrannical tendencies.

All of this would have have been fine had we actually gotten to see more insight on these characters instead of brief glimpses that explain nothing.
The same goes for certain scenes. We’re not given proper time to consider the implications of the important ones before the director jumps to the next scene. The whole thing feels slightly rushed. For a philosophical film, we should be given time to consider and even see how the crew members various actions and decision throughout the film impact those around them.

Instead, we get a film full of promise but fails to deliver. What we have is a fairly predictable film, a near miss. The special effects are great, but that’s really it.



It looks like some people have already submitted their first review. I might need to speed up a bit (I should have my first review out by today or tomorrow).
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It looks like some people have already submitted their first review. I might need to speed up a bit (I should have my first review out by today or tomorrow).
I always like to start watching the films right off the start. For me it's more fun that way and it's easier too, as I don't end up having a lot of movies to watch at the end. Actually I usually finish early, though people can go at their own speed of course.



I'll read your write up once I've seen the movie. I'm looking forward to Aniara as I've never seen a Swedish sci-fi, and I do love sci-fi. I found the movie, but I haven't looked for subs yet. I hope that's not going to be hard to find.



The trick is not minding
I'll read your write up once I've seen the movie. I'm looking forward to Aniara as I've never seen a Swedish sci-fi, and I do love sci-fi. I found the movie, but I haven't looked for subs yet. I hope that's not going to be hard to find.
I do the same thing. If I haven’t seen the movie yet, I’ll avoid the reviews until afterwards.



I’m aware, it was more of a joke really, though the tone didn’t carry over via post.
Must work on that......
Gotcha. I mean, I was genuinely surprised to find out how involved the WWE was in film production, so it seemed natural that others might be a bit surprised by it.



The Whisperers: Wish I had more to say in my first write-up for a HOF in a a hot minute. Pretty straight up story. I like the theme of the terrible way we treat the poor and elderly. At times I think maybe that was layed on a little thick though. Many of the elements lacked context as well. At first I thought that might be a way to show the leads dementia. I don't think it was though, can't even be sure they were going for that.

Not all bad by any means. I mostly enjoyed following this poor lady, and the film drew out a lot of sympathy from me. Most of tge elements here are fine, which just made it an average watch for me unfortunately.
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Aniara (2018) -


For all the MoFo regulars here, I'm a pretty big science fiction fan. It's been my favorite genre for a while as I always like checking them out, so I'm happy to start off this list with a science fiction film. As far as this film goes though, I wasn't too impressed by it.

The ideas for a great film are certainly here. A group of people attempting to form a society in a spaceship after they have no hope of making it back to civilization which is set against their deteriorating mental states is definitely an interesting concept. I mainly enjoyed seeing the various ways the passengers coped with this, such as cults or sex orgies popping up, or the Mima being heavily relied on by the passengers as a way to keep calm. I appreciated the undercurrents of escapism in these scenes and I responded the most to them. In that sense, the film is at its best when one views these scenes in a vacuum for their stylistic and sensory merits.

Skimming through some critical reviews, I noticed that a lot of people liked the production design. I enjoyed some elements of it such as the exterior shots of the ship or the framing of the Mima. Overall though, I wasn't a fan of it. While I didn't mind that the interior of the ship didn't look futuristic, I wish that more work would've been put into it as it felt like the film was mostly shot in a shopping center and a hotel. To a degree, this distracted me as I could feel its low budget.

Also, after finishing the film, I couldn't shake the feeling that, in spite of all its craft and ideas, it had ultimately failed to connect with me. For one, I wasn't a big fan of the pacing. The film operated at a high pace, leading to a handful of segments and some various scenes being glossed over, as if the film was always in a hurry to get to the next scene. This style of pacing clashed poorly with how mundane and uneventful life on the ship was, making it hard to get on the character's wavelengths. While I don't think that every film should represent sculpting in time, displaying such felt especially necessary for this film concerning its tone. I also felt like the pacing harmed a few character motivations since there wasn't enough breathing room to flesh the ideas out in them fully, like the Astronomer's or Isagel's final scenes in the film.

Overall, I wasn't too impressed by this film. The groundwork for a great film is certainly here and the film managed to work a couple wonders out of its script, but ultimately, I don't think the film delivered on its promising setup and it ultimately left me cold.

Next up: Antwone Fisher



The Deer Hunter

I'm glad I have a good reason to watch this again because it's one of my favorite Best Picture winners. It's been said that the best movies are about something and that they're about something else. In addition to capturing the disillusionment and dearth of patriotism found in America during and after the Vietnam War, it depicts adult bonding and friendship in a sweeping, near-operatic and indelibly affecting way. There is a lot to praise here from the sudden and jarring transition to the war and its harrowing imagery to he performance of Christopher Walken - which is iconic for how good it is, of course, and unique for how closely he makes Nick's transition parallel the country's during this era - to a scene that always seems to be a point of contention: the wedding. Naysayers point out how long and/or boring it is, but I believe that it is the movie's secret weapon. To be fair, I'm a proponent of strong first acts in general, but I think the impact of the movie's most impactful moments would be much duller if the movie only showed us the wedding's highlights and/or gave us a montage. I've talked about how affecting and intense the movie is, but it also deserves credit for its comedy, the best of which comes from the male bonding moments. I still laugh at and, well, ponder the meaning of the line "this is this. This ain't something else. This is this." This is not my favorite movie about the Vietnam War - that would be Apocalypse Now or Full Metal Jacket - but it is one of the best, not to mention one of the most honest portrayals of the Vietnam war or any other war at home. Oh, and how sad is it to watch John Cazale in this movie, which featured his final performance? He does his best, but he could only do so much to conceal his deteriorating state.



The trick is not minding
Aniara (2018) -


For all the MoFo regulars here, I'm a pretty big science fiction fan. It's been my favorite genre for a while as I always like checking them out, so I'm happy to start off this list with a science fiction film. As far as this film goes though, I wasn't too impressed by it.

The ideas for a great film are certainly here. A group of people attempting to form a society in a spaceship after they have no hope of making it back to civilization which is set against their deteriorating mental states is definitely an interesting concept. I mainly enjoyed seeing the various ways the passengers coped with this, such as cults or sex orgies popping up, or the Mima being heavily relied on by the passengers as a way to keep calm. I appreciated the undercurrents of escapism in these scenes and I responded the most to them. In that sense, the film is at its best when one views these scenes in a vacuum for their stylistic and sensory merits.

Skimming through some critical reviews, I noticed that a lot of people liked the production design. I enjoyed some elements of it such as the exterior shots of the ship or the framing of the Mima. Overall though, I wasn't a fan of it. While I didn't mind that the interior of the ship didn't look futuristic, I wish that more work would've been put into it as it felt like the film was mostly shot in a shopping center and a hotel. To a degree, this distracted me as I could feel its low budget.

Also, after finishing the film, I couldn't shake the feeling that, in spite of all its craft and ideas, it had ultimately failed to connect with me. For one, I wasn't a big fan of the pacing. The film operated at a high pace, leading to a handful of segments and some various scenes being glossed over, as if the film was always in a hurry to get to the next scene. This style of pacing clashed poorly with how mundane and uneventful life on the ship was, making it hard to get on the character's wavelengths. While I don't think that every film should represent sculpting in time, displaying such felt especially necessary for this film concerning its tone. I also felt like the pacing harmed a few character motivations since there wasn't enough breathing room to flesh the ideas out in them fully, like the Astronomer's or Isagel's final scenes in the film.

Overall, I wasn't too impressed by this film. The groundwork for a great film is certainly here and the film managed to work a couple wonders out of its script, but ultimately, I don't think the film delivered on its promising setup and it ultimately left me cold.

Next up: Antwone Fisher
I share these sentiments. And, like you, am a big Sci Fi fan.



I share these sentiments. And, like you, am a big Sci Fi fan.
I read your review of this film earlier today, and I agree with your points as well.

And yay, another sci-fi fan!



The trick is not minding
I read your review of this film earlier today, and I agree with your points as well.

And yay, another sci-fi fan!
Oh yeah. I grew up on that during the 80’s.

There is still a lot of recent ones I have to see. Interstellar comes to mind.*
And then there’s the independent ones I’ve missed out on such as Cube. I need to get back on that



Oh yeah. I grew up on that during the 80’s.

There is still a lot of recent ones I have to see. Interstellar comes to mind.*
And then there’s the independent ones I’ve missed out on such as Cube. I need to get back on that
I think Interstellar is alright. It has its strengths, but I also think it acts as a showcase for Nolan's biggest weaknesses. It's worth watching, but I probably won't watch it again.

Cube is a solid sci-fi/horror film.



Women will be your undoing, Pépé



Hard Times (1975)

Speed: Chaney, I'd like you to meet my old friend Poe. He'll fix up your cuts, bruises - all sorts of good things.
Poe: I have two years of medical school to recommend me.
Chaney: Two years doesn't make a doctor.
Poe: Well, in my third year of studies a small black cloud appeared on campus; I left under it.
Speed: What he's trying to say is that he's a dyed-in-wool hophead.

Poe: I have a weakness for opium.
Chaney: That's a habit that's hard to quit.
Poe: Some are born to fail, others have it thrust upon them. Could I see your hands?


Charles f@ckin Bronson (Chaney) - f@ckin James Coburn (Speedy) -
and, holy f@ck, Batman! Strother mutha f@ckin Martin (Poe)!?
We, my friends, have a trifecta!

For me, this is a helluva, excellent start for this HoF.
I was in eighth grade (1978) when I last saw this on Night at the Movies on Local TV. Everything I enjoyed back then was even more so now.
Adding to that, an appreciation for the camera work. A few scenes, in particular, had a tip of the hat to old-time Noir that I loved. Sadly, I was unable to locate some photographic examples. But, you all may see them when you view it, yourself.

Set during The Depression, penniless, and content to be, Bronson comes across an illegal bare-knuckle fight where Coburn is the top Manager/Money Man.
Coming to an understanding, they head down to New Orleans, to earn cash, playing the odds; Bronson takin out everyone he comes against. Climbing their way to the biggest game with the most dangerous players. Things go, as they should - askew, due to Coburn's gambling addiction digging an ever-widening hole for everyone. While Bronson does what Bronson does d@mn f@cking good at. Talking calmly and kick th' livin sh#t out of anyone fool enough to give a reason.

An exceedingly common premise. BUT, it is played with absolute, sweet finesse by masters, across the board. So, for me, this very familiar song - rocked.

Oh, and how is the fighting in this??
THAT I quite easily found an example of:



Hard Times (1975)

Oh, and how is the fighting in this??
THAT I quite easily found an example of:
Glad to see another fan! I'm not a boxing expert, but I believed the fighting looked well. I mean damn it must be hard for the actors to choreography that. And damn! that big baldie looked pretty darn tough to me.



Women will be your undoing, Pépé
Glad to see another fan! I'm not a boxing expert, but I believed the fighting looked well. I mean damn it must be hard for the actors to choreography that. And damn! that big baldie looked pretty darn tough to me.
Robert Tessler. I best remember him playing the "I broke his f@ckin neck" guy in The Longest Yard .
But yeah, the lawless boxing was pretty d@mn good.