The Expendables 2 (Simon West, 2012) -
Figures that the big-name throwback to '80s action movies would get a sequel, right? I suppose it's a slight improvement on the original, but it's still riddled with plot holes, weak attempts at suspension of disbelief and of course way too many winks at the audience (especially involving some of its more world-famous cast members).
Intolerable Cruelty (Joel Coen and Ethan Coen, 2004) -
Obviously my sole motivation for watching this was because I wanted to finish watching the Coen movies I hadn't seen yet (as of writing, this leaves just
The Hudsucker Proxy and
The Ladykillers). So it's a sort of homage to old-school screwball comedies with a variety of wacky characters bouncing off one another in a fairly complex plot revolving around divorce lawyers and, though it wasn't completely unwatchable, still felt like too much of a chore despite its brief running time and quick pace. Part of me feels like the Coens only made this film because they either lost a bet or were trying to win one. In any case, I definitely lost.
Gangster Squad (Ruben Fleischer, 2013) -
I watched this at a friend's recommendation, supposedly because it was superior to
The Untouchables. Obviously, it wasn't (and it's not like
Untouchables is a...well, untouchable classic). More or less the exact same plot - hard-boiled honest detective puts together a crew of vigilante cops dedicated to taking down the local crime kingpin by any means necessary - but set against a neon-soaked L.A. backdrop. Some good visuals prop up a fundamentally utilitarian plot, serviceable performances and a distinct lack of excitement (or logical consistency).
Reality Bites (Ben Stiller, 1994) -
Has anyone coined the term "Gen-X-ploitation" yet? If not, I'd like to. An appropriately shiftless film about a handful of Generation X kids trying to navigate life after high school, often by butting heads against acceptable targets such as yuppies, corporations, selling-out mentalities, etc. Despite its supposed cynical edge, it comes across as a fundamentally naive film full of lacklustre performances, some entry-level satire (look, the cheerful talk-show host is actually a cold-hearted bastard behind the scenes!) and not as much self-awareness as they'd like to acknowledge (basically the whole subplot involving Winona Ryder's slice-of-life documentary about her friends).
The Hustler (Robert Rossen, 1961) -
Moody little black-and-white drama about Paul Newman's pool-hall hustler getting effortlessly ruined by Jackie Gleason's pro and ending up living a life on the edge, assisted only by a toxic relationship with Piper Laurie and only really saved by an alliance with George C. Scott's slimy bookmaker. Appropriately stark monochromatic photography accentuates the bitter melodrama that does sort of drag the film out a bit, but the performances are strong and believable. I guess you could say it's European.
Red State (Kevin Smith, 2011) -
Back when I was still in what I'd consider a Kevin Smith phase I'd found the idea of
Red State rather interesting. Now that I've long since left said phase and finally got around to renting
Red State, I do have to admit it's very...different. Though the tale of an extremist religious cult alternately luring in human sacrifices and having sieges with the government can be legitimately disturbing and surprising at turns but it's hard not to think the whole thing is ultimately a little anticlimatic, especially once I read up on the original ending that got vetoed due to insufficient funds. Still alright, though.
Cop Out (Kevin Smith, 2010) -
Were it not for the sheer awfulness of
Zack and Miri Make a Porno, I'd probably consider this Smith's worst movie. An extremely generic R-rated buddy cop comedy that's largely void of laughs (though that's most likely because Smith didn't write it) and riddled with clichés.
The X-Files: Fight the Future (Rob Bowman, 1998) -
Decent but not amazing feature-length episode of the show. Better production values don't quite make up for a plot that plays into the usual developments from the average episode that continues the show's overarching story.
Iron Man 3 (Shane Black, 2013) -
Going through the post-
Avengers MCU movies because why the hell not, I've got to keep up with people who do care about them. A definite improvement over the second film but still fraught with gaps in logic and the whole "superhero movie where the superhero spends most of the film without his powers" plotline has been done better before. Not much else to recommend about it.
Thor: The Dark World (Alan Taylor, 2013) -
Much like the last standalone Thor film, I feel conflicted because while they're both visually stunning they tend to have some relatively weak plots and the comical elements never quite pay off. At least there are some decent actors in the mix.
Captain America: The Winter Soldier (Joe Russo and Anthony Russo, 2014) -
I was actually pleasantly surprised by this due to its being a well-crafted homage to old-school conspiracy thrillers (I'm pretty sure that's the reason they cast Robert Redford in it). Sure, it's got as many plot holes as any other MCU movie in it but it was slick enough that I didn't mind. Still a little on the long side for this kind of movie, though.
The Fault in our Stars (Josh Boone, 2014) -
Cinematic adaptation of the bestselling YA novel about a teenage girl with cancer who meets a Manic Pixie Dream Guy at a support group and the unsurprisingly tragicomic romance that results. Surprisingly good considering the problems with the source material that did filter through to the film version anyway, but at the end of the day it's still a fairly average teen romance film. (Not sure how much I missed due to watching this on an airplane, though.)
The House of the Devil (Ti West, 2008) -
Lovingly crafted pastiche of old-school horror from the '70s and '80s (though it looks like a grainy 1980s American B-movie, it ultimately ends up feeling like something Dario Argento would've made at the peak of his ability). The plot about a female college student taking on an incredibly suspect house-sitting job during a lunar eclipse toys with audience expectations by drawing out the suspense maybe a little too long and thus making the film feel a little anticlimatic as a result, but the skill on display is impressive.
La femme Nikita (Luc Besson, 1990) -
An appropriately arty and French take on the reluctant assassin trope that's handled fairly well but doesn't quite make for a classic. Much like a certain Melville film, it seems less preoccupied with the tension generated by Nikita's various "assignments" and more so with the various difficulties it makes in her everyday life. Solid enough in that regard, but its ways of avoiding generic action movie tropes do render it a little empty (and what is up with that ending?). Also, Jean Reno is in the movie for about five minutes or so but he steals every scene in which he appears.
The Descent (Neil Marshall, 2005) -
Quite a decent little horror movie about a handful of women whose spelunking expedition takes a turn for the worse once it's revealed that one of their number not only took them to the wrong cave, but that it's home to a race of vicious half-human creatures intent on attacking them. Works the horror angle well enough with its claustrophobic setting, though the monsters do feel a little underwhelming compared to the tension generated between the members of the main cast (much like another horror film where a bunch of people of the same gender are stuck in an isolated location and being attacked by a disturbingly humanoid monster, but never mind that thing). It's also marred a little by the very choppy editing of the fight sequences.
Horse Feathers (Norman McCleod, 1932) -
I should really stop expecting every Marx Brothers film to be a timeless classic on par with
Duck Soup - that's the kind of thinking that led to me giving
A Night at the Opera a
when I first watched it ages back. Anyway,
Horse Feathers is alright as far as movies go. The plot's fairly typical Marx Brothers absurdity - Groucho's character becomes the dean of a college and focuses on improving the college's most important asset, the football team - complete with the usual Marx Brothers jokes. Harpo does something wacky involving props and physical comedy, there are musical numbers where Groucho remarks on how the audience can bail during them, the climax of the film becomes an anarchic free-for-all, etc. It's all here and it's all...alright.
Boyhood (Richard Linklater, 2014) -
I'm not sure when I first heard about
Boyhood - maybe back in 2007 or so when I was truly getting into Linklater's work - but now that it's finally here I'm glad it's lived up to the hype. The shot-over-twelve-years story of a boy (Ellar Coltrane) and his life between six and eighteen is surprisingly interesting given its relative lack of plot. There are the occasional plot points played for drama - mainly involving his mother (Patricia Arquette) and her various romantic relationships - that show how growing up isn't all of sunshine and rainbows, but otherwise the classic Linklater chill-out vibe makes the movie pass by just fine (assuming you don't need a bathroom break, of course). Currently my top pick for best movie of 2014.
Armour of God (Jackie Chan, 1986) -
A relatively weak entry in Jackie Chan's '80s output. Chan's character here is an Indiana Jones-style artifact-stealing mercenary who is blackmailed into recovering all the pieces of the titular suit of armour. Setting the film in Austria and having a predominantly white cast of actors is an interesting curveball, but it's still business as usual as there is a mix of quasi-romantic comedy of errors between the four heroic leads, various stunts (including the one that notoriously resulted in him fracturing his skull) and a fairly basic plot that doesn't even get a decent resolution (though I guess it does leave room for the sequel, I guess).
Reply to Topic
