Movie Tab II

This is a fantastic exercise in paranoia which creates a really creepy atmosphere. And there are a few elements which combine to create this atmosphere. There's the impressive and foreboding cinematography which includes great use of shadows. There's some wonderful and creppy sound effects work, and a spooky score. It also benefits greatly from the performances of its nteresting and rather quirky cast – Donald Sutherland, Jeff Goldblum, Leonard Nimoy etc. It's a film which also infuses little touches of humour throughout, including some that go down quite a weird road such as Robert Duvall's priest on a swing in a children's playground, and the amazing man-dog hybrid that is mistakenly created by the pods. While a lot of people will argue that Don Siegel's 1956 original is the superior film of the two (and I am a fan of that as well) I just find this so much more enjoyable a ride. Oh and it has a wonderful twist ending which floored me the first time I saw it, and continues to enthral me. Just a great slice of sci-fi.




A really quite fascinating watch this one. After recently struggling through the unpleasantness of Cronenberg's Dead Ringers I was relived to find this one was nowhere near as dark as I was expecting; well at least for a large portion of the time before things really go belly up. I found it to be rather funny and surprisingly quite romantic/sexy. The make-up and effects in the film are spectacular, creating some fantastic and vivid images which really grab the nastiness of the situation. Although perhaps I'm just a little twisted but I found some of the initial transformations darkly humorous, particularly when his ears comes off in his hand. As the unfortunate individual the transformation happens to Jeff Goldblum is excellent; a truly inspired piece of casting. His unique, quirky style and mannerisms are a perfect fit for the initially eccentric scientist, and then to portray the freakish developments and changes that begin to befall him. I can't believe that Goldblum didn't receive even an Oscar nomination for his performance. Surely the only explanation can be the Academy's aversion to genre flicks like this. And Geena Davis is excellent as the reporter who is dragged into the situation as she finds herself falling for Goldblum's charms before it all goes to hell. And when it does go to hell it moves into full on tragedy territory. Due in large part to the natural and sensitive performances I came to really care for the characters and as a result found the conclusion really quite upsetting and downright sad. Oh and one final note, I loved the design of the pods themselves. Instead of being shiny chrome and sleek lines in design as many people would likely have them, I loved the really clunks brutal look they had. Felt like something you'd have seen in The Matrix.





After the decent enough High Anxiety that I reviewed last time this is a much stronger effort from Mel Brooks. It has a great script full of cracking moments and lines, and of course some fantastic songs; the whole Springtime for Hitler production is wonderful. Gene Wilder is fantastic as the nervous and neurotic Leo Bloom, a role which nabbed him a Best Supporting Actor Oscar. I was initially a little turned off by Zero Mostel's mugging but warmed to him as the film progressed. And it's their double act and the repartee that they share that is really what carries the film along. Mostel and Wilder are given some great support from Kenneth Mars as the Nazi creator of Springtime for Hitler, and Dick Shawn as L.S.D.; the mercurial actor who brings Hitler to life on the stage.






This is a deliciously dark comedy. Ripping in to the idiotic views of conservaties as well as the liberals who are so self righteous that they can justify murder it places itself safely in the middle While there are a few entertaining turns the star of the show for me would definitely have to be big Ron Perlman, his uber-conservative talk show host certainly evoking the likes of Rush Limbaugh and Glenn Beck. With a framework of one dinner after the other the film does threaten to get bogged down and repetitive, but with a running time of less than 90 minutes it makes the smart move to get out of there before crossing that line. And while I saw the ending coming from a long way out it was still a satisfying and entertaining conclusion. Good dark fun that flies in the face of political correctness.






Another very enjoyable vehicle for Jack Lemmon based on a script from Neil Simon. It's quite a simple, straightforward film with a standard A to B kind of storyline but is lifted way above its level by the immense talents of Lemmon. Of the 'classic' movie stars I'd probably have him as my favourite and he's on great form again here in the kind of role that suits him down to the ground, that of an uptight neurotic. For a while it seemed like the producers of the film could have saved a decent amount of money by hiring a brick wall to play Lemmon's wife as opposed to Sandy Dennis. She really did seem to be there purely for the purpose of giving Lemmon someone to bounce off of. However as the film progresses and the problems for the couple mount, and her frustration grows, she emerges as an entertaining presence in her own right.






This is one of those films where I have no good reason as to why it has taken me so long to watch it. I've been aware of it and been interested in it for years, I like culty sci-fi kind of films and I like Mel Gibson. And yet I've only just finally gotten around to it. Anyway on to the film. Eh...it's a bit s**t! The plot and dialogue certainly won't be getting taught in screenwriting classes anytime soon, and some of the acting really isn't the greatest. It's also pretty dated and extremely camp. However I can't deny that it has a certain rough and raw charm to it, largely down to its obviously meagre budget. It has some great stunt work when it comes to the chases and crashes on the road. And while the gang may be camp and their acting dodgy, they certainly make a memorable impact. I think I liked it just enough to want to watch the sequel, especially as that is held in higher regard.





I know there are quite a few people on here who love this film and while there's no doubt that this is a highly impressive film technically, I struggled to really form any great attachment to it. It just felt quite a cold and detached film to me, with a bunch of characters I didn't really care about. And I found it a bit of a slog to get through. While there were a few thrilling moments to punctuate it throughout, for the most part I found it to be kind of dull. And way, way too long. Though I discovered afterwards that what I had watched was the extended special edition so perhaps the theatrical cut is a tighter affair. On the positive side the effects are tremendous and there are a few good performances, most notably from the almost always excellent Ed Harris. Certainly not one I can envisage me being desperate to revisit anytime soon.

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These Are The Movies I've Seen Recently



1.Halloween (1978) It was anything different, I felt nothing through the entire movie. Michael Myers is just a slasher with no qualities that make him a interesting character.

2.Eight Legged Freaks (2003)



A very funny but stupid B-Movie. The story went too fast, the actors were terrible and it was soo poorly written it was funny to watch.

3.Friday The 13th: Part VI Jason Lives (1986)

Jason Voorhees, the man who just butchers everyone. No Friday The 13th is different besides the one where goes to the City. Same plot, same bad acting and a yet predictable ending.



4.Seven Psychopaths (2012)

The movie was 10 stars. I laughed until my lungs hurt and the hilarious dialogue kept you captured into watching the screen. I consider this movie to anyone with a sense of humor.

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no one else is dealing with your demons friend - tyler joseph.

If Halloween and Friday 6 do nothing for you, I'd advise you stay away from slashers. That said, if you wish to dip your toe one more time, may I recommend the original A Nightmare On Elm Street or the wonderful Scream.

JD, I'm pleased to see you found a copy of The Last Supper and that you liked it.

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5-time MoFo Award winner.

is Friday XIII 6 the one where they dig Jason's corpse up and stab him in the chest with a metal rod in the middle of a lightning storm, thereby resurrecting him?

Yeah, Tommy from Jason 5 goes there with a pal for some, uh closure and they accidentally revive him, IIRC.

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#31 on SC's Top 100 Mofos list!!

one of my favorite bad horror movie moments. another is when jason sticks a flare in that authentic greaser's mouth (might be in one of the other movies). "ratta tatta tootie, a rah tah tah dah judy."

It's been so long since I watched any Friday The 13th! I really should have a marathon.

Me too. I thought I'd seen all of them, but I don't remember the greaser death scene. Sounds fun.

I can actually remember the greaser murder scene, and the hot date showing her breasts in the mirror inside the cafe(?) while getting ready for the date. I hadn't scene part 5 since my betatape childhood, too good a memory perhaps? I prefer the motorcycle death scene myself, I didn't like that guy.

As a younger, my favorite had always been the 3rd.

Take This Waltz
(directed by Sarah Polley, 2011)



Take This Waltz is a pretty good film about a slut who falls in love with the man across the street and ends up breaking up her marriage. The slut is played by Michelle Williams, of course. This movie was a blind buy for me -- Seth Rogen plays Michelle Williams' husband and the back of the Blu-ray case promised strong sexual content and graphic nudity, so I was hoping to either see Seth Rogen totally naked or Luke Kirby, who plays the man across the street, but alas, we only get full frontal nudity, lots of it, from Michelle Williams, Sarah Silverman and lots of older, fat women in a locker room shower scene.

The movie begins on a business trip for Margot (Williams) where she meets Daniel (Kirby). There's some sort of reenactment of ancient times going on and Daniel encourages Margot to put her back into some whipping that she does on a guy playing an adulterer. Next, he sees her at the airport being pushed in a wheelchair, though she is not handicapped. They board a plane together and strike up a conversation, where Margot reveals that she's afraid of connecting flights and missing her next plane. After landing, they take a taxi together and then realize that they live across the street from each other.

Because the film began with some whipping, and because I had no idea of what the general course of this movie was gonna be, I was hoping that maybe it was going to be a 50 Shades of Grey kind of movie, with Michelle Williams turning out to be a dominatrix who whips Luke Kirby. This didn't happen. Instead the movie is filled with encounters between Margot and Daniel. He is an artist who is afraid to show his work but he also gives rides to people around town on a rickshaw. Margot's husband, Lou (Rogen) writes chicken cookbooks. Lou is the sweetest guy you could possibly meet and Margot and Lou seem to shower each other with too many "I love you's." But of course, darkly handsome Daniel is the one who makes her laugh so much that she pees in a public pool when she finds him stalking her at her swimming pool Pilates class.

The film is about two hours long. There were times I thought the movie was going to be nothing but crap, but in the end I felt that mostly everything was paid off. This is a positive and hopeful look at marriages and relationships that fall apart. A more uplifting tale of screwing up and evolving into something many people would perceive as ugly. The slut doesn't totally get away with her feelings leading her towards a socially unacceptable path, but nor does she end up looking like a complete witch, outcast or monstrous villain. The film is neutral, though it does come closer to being a "Isn't divorce lovely and nice?!" fest. Seth Rogen's character is ultimately left in the dust, and in real life he should be more outraged and angry. I suppose Take This Waltz just wants to send a message that emotion rules over logic. Michelle Williams' character Margot is simply being drawn to a new person. Is this natural? Is marriage more of a restraint or a state of being permanently frozen? Take This Waltz allows the tradition to thaw - and it never gets very smutty about it, either. There are no sex scenes between Michelle Williams and Luke Kirby until the very end. I realize I may be giving up too much of the plot, but it's a simple story, though one that I think is filmed well.

My biggest complaint about the movie, though, has to be Michelle Williams' character. Margot is irritatingly childlike and seems like she's borderline mentally retarded. This may not be apparent to many, but that's how I feel after seeing her for two hours. She seems like she's stuck at age 11 or something. I suppose it's good to witness someone like this do something wicked like fool around behind her husband's back, but she got on my nerves at times. But at least, thank god, Sarah Silverman played the supporting role and not the lead. She bugs me more.

A weird mix of films make up my latest viewings:

War Horse (2011)

"War Horse" is pretty much everything you would expect for an adaptation of the novel from Steven Spielberg. When the film is based around the life of a horse and his relationship with his owner (Albert) then you should be watching the film knowing exactly what you are going to get - a film that focusses on your emotion and is filled with lots of predictable and and cheesy scenes. This is a film aimed towards a more mainstream audience and can not be compared to Spielberg's more thrilling works such as Jaws and Minority Report which are totally different. In this film you get the usual Spielberg touch that makes him such a well known director, although many people will rate others above him if you asked a person who is not so interested in film to name a director then he is likely to be a common choice. Like "E. T." he creates a loveable family film.

The cinematography is predictably strong, with some great lighting to create an interesting and warm feel, the action scenes in the film are very good for the little time they have as well. Personally I enjoyed some of the earlier scenes the most, where we see the old English farm life. It was also great to see Niels Arestrup again, an actor who I had only previously seen in the French film "A Prophet" where I thought he was excellent.

My Rating:

The Man Who Shot Liberty Valance (1962)

John Wayne and James Stewart team up for the first time in one of the great John Ford's final Westerns. I'm a massive fan of "The Searchers", one of my favourite Westerns as well as "The Grapes of Wrath", a film focussed on the American Great Depression. Instead of being focussed on the more stylistic violent and mythical elements of the usual Westerns this film is a more thought provoking sensible film that deals with the political duel of law against violence.

James Stewart is a law man and finds himself become part of the town Shinebone after being held up by the infamous gang leader Liberty Valance. Stewart is reluctant to use a gun and attempts to persuade the town Marshal to deal with Valance using the legal system, his suggestions are viewed as ludicrous and impossible by the local people. James Stewart is a favourite actor of mine and brings a more innocent character to the film than the usually composed John Wayne that we know, like in "Vertigo" we feel sorry for him, he is an unfair victim of the circumstances.

The battle between the people of Shinbone and Liberty Valance takes place as a result of the film's main issue, politics. The people want Stateship and Stewart to become the US Senate, Valance has other plans. The character portrayed by John Wayne creates another sub plot for the film as we see his relationship with James Stewart and their mutual (girl) friend, portrayed by Vera Miles. This sub plot becomes more prominent in the film's final scenes in which we see the true characters of both Wayne and Stewart, the final lines, "Anything for the man who shot Liberty Valance" creates a memorable end, extremely fitting for what we have just seen.

My Rating:

This Is Spinal Tap (1984)

It would be difficult to write a lengthy review of this film, not because it is bad but because the film's strength lies almost entirely with it's dialogue. You can not judge it on effects or anything else, it is just a simple documentary style film in which the genius lies in the lines spoken by the band's members. Marty DeBirgi (Rob Reiner, who directs the actual film) is a fan of the legendary British rock band Spinal Tap and accompanies them on their 1982 tour of America, directing a documentary of them. What we get to see is a look at the most stupid rock band in the world and their endeavours.

This is an intelligent comedy, it's not in your face and I definitely feel I need a second viewing to truly appreciate the subtle dialogue that is filled with some great comedy and in that way I would compare it to "The Big Lebowski" which I found myself appreciating a whole lot more after another viewing and I would now see it as one of the most easily quotable films around. Some of the film's best scenes include various conversations regarding the band's 'Smell the Glove' album and their Stonehenge gig, I can not really talk about the great lines though without you watching it first. A unique, intelligent and thoroughly enjoyable film that I am looking forward to watching again.

My Rating:

Full Metal Jacket (1987)

"Full Metal Jacket" is a film of two segments, the first focusses on the training or a marine core platoon, in particular the treatment of Pvt. Pyle. I can not really have many complaints about the first segment, we see the eccentric Sergeant Hartman, a 'harsh but fair' man who leads the marines training. His character is memorable in the way that Cpt. Kilgore is in "Apocalypse Now", his character is crazy and we see him fire a number of some of the greatest insults heard.

The great thing about Kubrick is that his films aren't really connected in any way and in terms of content don't really have similar any similar style or feeling to connect them to the same man. But what is consistent is his high quality visuals on display, the picture we see is visually stunning and unlike some of his other works like "The Shining", "Dr. Strangelove" and "2001" this film is set in a number of brighter, outdoor locations instead of spending most of the time inside more claustrophobic and dark settings.

I wanted to give this film a higher rating than I have, it was almost a great film but the second part left me slightly disappointed and underwhelmed. First of all I did not really care at all about the characters who died, second of all and more importantly is the strange messages we get in the second part. Both of the film's parts have powerful endings, however unlike the first part where the ending is in fitting with what we have been watching, the film's final scenes seem out of place. Apart from the scene where Joker is questioned over his choice to wear both a helmet reading 'Born to Kill' and a peace symbol we are not really posed with many moral questions in the second part although the film does sometimes question the whole point of America fighting in Vietnam.

My Rating:

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The Tall Man - 4/5
Ok, I saw this movie on a random Netflix viewing, and I give it high marks because of how it totally enveloped and engaged me. I mean, really - even now, weeks after seeing it, Im still taken aback, and I want to know what you guys and gals thought of it. Someone PLEASE tell me that there was a deeper social meaning than that ridiculous plot. If you've seen the movie, read on. If not, then watch it, and let me know (but dont read on).

The Hunger Games - 2.5/5
I hate that I have to give this one low marks, but here's the deal: I watched it for the first time last night, and I was really really underwhelmed. I totally get that its a teenage cult classic - we had those back in our day as well. You know the films - the "fight back against the bad adults" films? Yeah we had those, and they were and still are fond memories in the hearts of all in my age group. But I can admit that that's all they are. Before watching this film - and after hearing all the hype - I had high expectations. However, while viewing it - I kept waiting for the "pizazz" to happen - and it never did. It made me realize that certain feelings and mantras of life really are age-specific, and this movie was no exception. At 33 years of age, I found it bland, banal and somewhat unrealistic. And, I think the film fell into the trap of living down to 2012 movie expectations - you know those: hopeful, optimistic, happy, and happy endings. How you can face certain death with a shrug of your shoulders and spend the last night of your life with a guy and only kiss him - is beside me. Way way way too light for such a serious subject. And I get that the censure is that the society was taking the death of the children to lightly, so it made sense in a certain setting, the incongruity - however, for the Tribute scenes, the movie shouldve had a much darker grittier tone.

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something witty goes here......

Ed Wood
7/10

JayDee inspired me to give this one another try. Shockingly, Danny Elfman didn't do the score



The Kill List 6/10

The best way to watch this film would be to go in without any prior knowledge of it at all.


Tales From The Crypt: Demon Knight
6/10

A relatively fun movie. Billy Zane was the best thing about it... you know what I mean, ladies.


The Thing
7/10

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Let's talk some jive.

Except that both Hawks and Wayne loathed the film. In fact High Noon has been criticized for violating the traditional sense of 'machismo' for a Western protagonist, and hated by many (with the exception of AFI followers) because the "hero" actually expresses fear while the townspeople just are cowardly. Whereas Rio Bravo, of course, is a profound masterpiece about community, cameraderie, human frailty, professionalism, masculinity, etc. I feel sorry for Zinnemann because he had to go to great lengths to defend his film. There is absolutely nothing wrong with a hero dealing with normal human feelings such as fear.

I would say you'd underrated this. However, seeing as you gave The Thing the same score, I'm going to go with you rating greatness a lesser score than I do.


You may be right about that. I went in with no knowledge and I still can't decide whether I saw something special or wasted my time.

Really?! Get a load of me influencing people!

Though obviously I'm definitely with HK about it being deserving of a higher score. Still, glad you enjoyed it even if you didn't completely love it.

Saw this yesterday. Didn't love it as much as you did, but it was a good introduction to Malick (fell asleep within the first 10 minutes of Tree of Life and still haven't gone back to it), and I enjoyed the performances and the music a great deal.

What you said about Spacek's character is interesting. Kit is surely a sociopath, but a lot of people see Holly in the same light, perhaps because the woman she is based on most certainly was, but the film is such a loose interpretation that I think it's wrong to assume. Caril Ann Fugate allegedly calmly made sandwiches whilst aware of Charles Starkweather stabbing and strangling her baby sister upstairs, and served 17 years in jail, whereas Holly got off lightly and wasn't directly involved in any of the murders (i.e. pulled the trigger). She most certainly has some sociopathic tendencies, but the way I saw it she was a victim of infatuation more than anything else, in a very vulnerable and impressionable time in her life - not a very popular opinion, from what I've read. I wonder if you feel the same way?

Yeh I think I agree here.

It's clear that she is at an extremely vulnerable and impressionable time in her life, she is younger than the guy and sees him as a way of escaping the reality of a life she hates under the ruling of her strict father. He is older, and good looking like James Dean, to her he is like a fantasy figure that she'll do anything for because he others her a rebellious escape that she enjoys and doesn't have to think about anyone or anything else.

It's because she views herself as special and admires everything he's created for her that she's willing to comply with his violent ways and be a part of the killings, she doesn't care and when she's with him she's willing to sacrifice anything else as she's never really had anything or been able to do something on her own. Some of the strange quotes from her show how she has created this surreal, the way she speaks the dialogue in such a consistent yet haunting voice shows the dreamlike world she has created for herself.

As emotionally provoking a film as I have ever seen, The Bicycle Thieves is a simple story, but one that feels very fresh.

^ I really feel like I under rated it when I watched it like four months back, truly an epic film, and I'd call it an essential ten to watch before you die

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