Rate The Last Movie You Saw

By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=50235576

Loving - (2016)

What makes this true-life love story significant is that it's a love story that led to the Supreme Court invalidating all laws in the United States that banned mixed-race marriages. What makes it enjoyable is that it was directed by Jeff Nichols, under whom DP Adam Stone creates a visually pleasing poetry with most of the scenes. Joel Edgerton was nominated for a Golden Globe for his performance, while Ruth Negga was nominated for an Oscar. The score is also great, so when all added up this should have been a much talked-about film. Unfortunately it lags quite a bit during it's last act, where what should be the most compelling part of the narrative becomes a bit muddled. But overall, the good aspects outweigh the bad - so much so that this is my second viewing. Worth seeing.

7/10


By AwardsWatch, Fair use, https://en.wikipedia.org/w/index.php?curid=47764780

Our Brand is Crisis - (2015)

I've just learned that this film was based on a documentary - but I don't think it changes much about what I feel for it. I enjoyed Sandra Bullock's performance - more so in this than most other films, and Billy Bob Thornton oozes sleaze as fellow political consultant Pat Candy. I'm sure we're all very aware of the dirty tricks that are used in many election campaigns, and this film runs through the list of nearly all of them. Set during an election in Bolivia, it's a decent and entertaining film that doesn't quite know how to end.

6/10


Fair use, https://en.wikipedia.org/w/index.php?curid=15651921

Leatherheads - (2008)

Leatherheads commits that gravest of cinematic sins - being completely forgettable. Directed by George Clooney (at least he got a bit more experience behind the camera) and set during the mid-to-late 1920s, it's a period comedy about the birth of professional football. John Krasinski, Renée Zellweger and Clooney himself aren't given much to work with, and the film doesn't lose any momentum because it never has any to begin with. Ends with a historically boring football game played in mud - and when you choose something deliberately boring for a film like this I see it as some kind of seppuku. Completely wastes Jonathan Pryce in a supporting role.

5/10

__________________

Radius, 2017

Liam (Diego Klattenhoff) wakes up in the aftermath of a car accident with no memory of who he is or how he got there. As he stumbles on a series of recently dead people, he panics assuming that there is a deadly virus in the air. But the reality is much worse: Liam is somehow the center of a 50-foot circle, and any living thing that enters that zone immediately drops dead. But when a woman named Jane (Charlotte Sullivan) tracks him down--another victim of the same car accident and also without memory--it turns out that she is the only one who can survive being close to Liam. Further, her presence seems to negate the deadly force. But what is the cause of Liam's curse? And what is the connection between Liam and Jane?

I will admit that my reaction to the first 5 or 10 minutes was to assume that this was going to be some lame Carnival of Souls knockoff. It's not the other people who are dead, Liam, it's you! Oooooooh! TWIST! I hope it's not too spoiler-ish to say that this is not that kind of film, nor is it a case of "it's all a dream/in his head!" and for that I was incredibly grateful.

Instead the film ends up being a sort of horror/fantasy/sci-fi/mystery hash, with varying degrees of success in its different elements.

Klattenhoff is an engaging lead, as is Sullivan. The two have solid chemistry and play well with the idea of being shaken up by not knowing who they are, yet bonding over their shared circumstances. Their chemistry becomes vital in the final act, where the relationship and built up trust between the two characters becomes an essential ingredient to the plot and character arcs.

When it comes to the premise itself, thankfully the film doesn't try to get overly cutesy with the mechanics of it. Get too close to Liam and you're toast. Let Jane get too far away from Liam and you're toast. Bing bang boom. The film establishes the rules and then develops tension from watching well-intentioned but ignorant characters blunder into danger, despite Liam and Jane's best efforts.

Unfortunately, the premise itself doesn't evolve much as the film goes on. There are some nicely tense sequences, and the best moments are those where Liam and Jane must decide whether or not to use what they know about Liam's "powers".

In the final act, the movie does resolve the history between Jane and Liam, and it takes the film into a different kind of territory. On one hand, the relationship work between Liam and Jane gets some hefty emotional payoff. On the other hand, the film ends up raising a lot of questions that it then fails to answer. While I had mixed feelings about the content of the third act overall, I do have to give the film credit for bringing its story to a place of closure and for hitting on some good consistency with one of the characters.

This is by no means great, but I enjoyed it thanks to the solid lead performances and it's surprisingly coherent final moments.

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

Whiplash (2014)

8/10

I haven't been moved by a film as much as this in years. The quiet girl centres on young Cait played by Catherine Clinch who is a bit different, she gets on with barely anyone and even family don't pay her much attention. Her languid, uncouth parents are having another baby and send her off to her mum's cousin for the Summer. There, she not so much comes of age, but just seems to fit in. To say anything else would be a spoiler, but this has to be one of the best films of the year.

The direction by Colm Bairéad (his debut no less) is just fantastic, who adapted the screenplay from a novel. Sensitive and tender, it captures Cait's perspective and the rural natural environment around her. The music and cinematography are just as touching. I have not ugly cried as much as this .....ever. The audience is held to ransom at the end - as there is a character choice that is so important to the film. I'd urge everyone who enjoys good drama to seek it out.

9.3/10

NOPE (2022)


Although I haven't seen US I liked Peele's Get Out. He comes off as more of a modern day Rod Serling rather than an M. Night Shyamalan, which is a good thing.






8/10

__________________
A hundred percent death proof.

Tomato Necromancy - now with Vitamin R!
https://www.movieforums.com/communit...ad.php?t=65140

God, Fletcher is terrifying in that movie.

I'm looking forward to Nope. I thought US was alot better than Get Out.

Dang, Netflix doesn’t have this. Never heard of it, but SL gives such a good review.

__________________
I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.

Huge fan of Matt Damon. He made this movie for me.

I enjoyed it & I never once thought of Knox as I watched the movie. I felt it stood alone whether or not Tom McCarthy was influenced by her story.

Stillwater thread was closed down last year so let’s not revisit it.

Amazon, Curzon, Google Movies, iTunes, BFI Player if you can get those - are showing it. I rented it on BFI Player, but I think that is Geo locked.

I thought Us was a step down from Get Out, personally, but Nope was a pretty big step up.

__________________
IMDb
Letterboxd

Ah each to their own I guess. 'US' I thought was extremely clever, with all the layers, references, subtext etc. 'Get Out' was OK but far more linear (which isn't a bad thing). Peele appears to be growing as a filmmaker which is all you can ask. I'm looking forward to Nope.

Doesn’t seem to be available for streaming here. That’s okay.

I watched this last night. It felt like the little movie that could. It has the budget to pull off a fantasy action movie but just barely. The sets look shoddy sometimes and some of the early action could’ve used a little more rehearsal to really get those motions down but it all comes together to still make a for a good time.

I also don’t know who this movie is for. It’s got the sappiness that comes with fairy tales but it’s rated R and has gore. Is it for tween girls or old martial arts nerds? I guess both.

Greatest movie ever. Incredible theme song.

Yes, the footwear is significant but I have not yet decided what I think it means.

I think I'm agreeing with you. I mean, Nope was a big step up from Us. I don't know if anything is every gonna dislodge Get Out for me.