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I just saw citizen kane for our movie class it was a 10/10 theeen I recently watched spiderman no way home on our nearest theater, another 10/10 for me hehe
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I just saw citizen kane for our movie class it was a 10/10 theeen I recently watched spiderman no way home on our nearest theater, another 10/10 for me hehe
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Kind of have the same feeling I did after finally watching Strangers on a Train...why did I wait so long to watch it? Might have been a case of right type of movie for the mood I was in but I thought this was very good. Two guys kill their classmate, stick him in a trunk then serve refreshments off the trunk at the evening dinner party. It's a shorter movie, dialogue heavy and very play like which is what I was in the mood for. Solid
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Censor -
This is an unsettling little horror movie that explores the nature of the genre. Enid, a lonely Englishwoman who holds the titular profession, is assigned a movie, the fictional Don’t Go Into the Church, that really should have been given to someone else. This is because it reopens an old wound involving her sister, Nina, who has been missing since childhood. It rekindles her desire to find out what happened to her, and the more she searches for her whereabouts and thinks about Church, the more she loses touch with reality.
Setting the movie during the Thatcher years is an apt choice for how the PM's scapegoats for the U.K.'s problems mirror those who do the same for the era’s extreme horror flicks like Don’t Go Into the Church, commonly referred to as "video nasties." It helps that the production design and touches like changing the aspect ratio to one found in such movies captures the '80s so well. The touch-tone phones and boxy TVs are definitely my favorite touches. I also like the many ways the movie asks if horror is to blame for the country's crime wave or if it's merely a reflection of it. The highlight is a subplot involving a murderer whose method of killing resembles one in another movie Enid watched. Speaking of Enid, Niamh Algar does a great job at capturing her understandable coldness and unwillingness to connect with others, but it's Michael Smiley's turn as a sleazy producer who gave my favorite performance. It also goes along with another theme the movie explores for both laughs and cringe: how patriarchal and full of mansplainers the industry is.
Is this movie just a vehicle for a bunch of commentary? Definitely not. It's just as unsettling as it is mind-bending for how it makes you question what's real and what's imaginary as much as Enid does. I've seen several movies about people who makes discoveries in their jobs that throw their lives into chaos from Blow Out to The Final Cut and this one is neither the best nor does anything that novel with the formula. I still highly recommend it, especially if the last season of The Crown didn’t get every last bit of Thatcher hatewatching out of your system.
This is an unsettling little horror movie that explores the nature of the genre. Enid, a lonely Englishwoman who holds the titular profession, is assigned a movie, the fictional Don’t Go Into the Church, that really should have been given to someone else. This is because it reopens an old wound involving her sister, Nina, who has been missing since childhood. It rekindles her desire to find out what happened to her, and the more she searches for her whereabouts and thinks about Church, the more she loses touch with reality.
Setting the movie during the Thatcher years is an apt choice for how the PM's scapegoats for the U.K.'s problems mirror those who do the same for the era’s extreme horror flicks like Don’t Go Into the Church, commonly referred to as "video nasties." It helps that the production design and touches like changing the aspect ratio to one found in such movies captures the '80s so well. The touch-tone phones and boxy TVs are definitely my favorite touches. I also like the many ways the movie asks if horror is to blame for the country's crime wave or if it's merely a reflection of it. The highlight is a subplot involving a murderer whose method of killing resembles one in another movie Enid watched. Speaking of Enid, Niamh Algar does a great job at capturing her understandable coldness and unwillingness to connect with others, but it's Michael Smiley's turn as a sleazy producer who gave my favorite performance. It also goes along with another theme the movie explores for both laughs and cringe: how patriarchal and full of mansplainers the industry is.
Is this movie just a vehicle for a bunch of commentary? Definitely not. It's just as unsettling as it is mind-bending for how it makes you question what's real and what's imaginary as much as Enid does. I've seen several movies about people who makes discoveries in their jobs that throw their lives into chaos from Blow Out to The Final Cut and this one is neither the best nor does anything that novel with the formula. I still highly recommend it, especially if the last season of The Crown didn’t get every last bit of Thatcher hatewatching out of your system.
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Phil Ochs: There But For Fortune - 8/10
Always loved his songs, but he was just as interesting. Only wish there were more interviews of him. I HIGHLY recommend this.
Always loved his songs, but he was just as interesting. Only wish there were more interviews of him. I HIGHLY recommend this.
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The War Below (2021)
This is the story about normal guys dragged into duty in the 1st WW to tunnel to the opponents strongholds when the war was looking like a stalemate. It's very effective and the actors all do well, particularly Sam Hazeldine as the "gaffer/chargehand". Had a few glassy eyed moments at this.....
This is the story about normal guys dragged into duty in the 1st WW to tunnel to the opponents strongholds when the war was looking like a stalemate. It's very effective and the actors all do well, particularly Sam Hazeldine as the "gaffer/chargehand". Had a few glassy eyed moments at this.....
One of the best films of the 21st Century:
The Father
It’s hard to recall in many years ever having been so taken by a film. It’s production brought together heavyweights in each aspect of movie making: writer, director, actors, cinematographer, editor, and composer. Their collaboration resulted in an astonishing and unique portrayal of an old man’s descent into dementia, his daughter’s journey in living with him, and its outcome.
Anthony Hopkins, in one of his greatest performances, introduces us into the mind of a gentleman who does not quite realize that his mind is failing, or what his circumstances are. He shows us every emotion-- sometimes overtly, others with nuance. The story disguises itself by presenting his awareness from several points of view, although the audience does not realize it at first, which introduces a feel of mystery and mild surrealism. Each perception melds together in the end, leading to a moving but sympathetic conclusion.
So too does Olivia Colman --as the daughter-- let out all the stops. Her large limpid eyes express her innermost thoughts, and lead us through sadness, irony, and determination. She is the perfect accompaniment to her father’s befuddlement and confabulation. Olivia Williams shines as a compassionate nurse, and Imogene Poots impresses as an in-home care worker. The veteran Rufus Sewell is believable as the daughter’s mate who tries to convince her to put her father in a home.
Reportedly French writer/director Florian Zeller had Anthony Hopkins directly in mind as Zeller was writing the screenplay-- so much so that he stated that if Hopkins did not accept the role, Zeller would have made the film in the French language. We are grateful that Hopkins accepted. There simply was not a better acting performance that year, and he certainly deserved the Best Actor Oscar win.
The production was instantly absorbing, and drew me in with concentration to the point that when it ended I felt as if I came to. Everything and everybody came together perfectly in this film, and it will be one for the ages.
Rating: 10/10
It’s hard to recall in many years ever having been so taken by a film. It’s production brought together heavyweights in each aspect of movie making: writer, director, actors, cinematographer, editor, and composer. Their collaboration resulted in an astonishing and unique portrayal of an old man’s descent into dementia, his daughter’s journey in living with him, and its outcome.
Anthony Hopkins, in one of his greatest performances, introduces us into the mind of a gentleman who does not quite realize that his mind is failing, or what his circumstances are. He shows us every emotion-- sometimes overtly, others with nuance. The story disguises itself by presenting his awareness from several points of view, although the audience does not realize it at first, which introduces a feel of mystery and mild surrealism. Each perception melds together in the end, leading to a moving but sympathetic conclusion.
So too does Olivia Colman --as the daughter-- let out all the stops. Her large limpid eyes express her innermost thoughts, and lead us through sadness, irony, and determination. She is the perfect accompaniment to her father’s befuddlement and confabulation. Olivia Williams shines as a compassionate nurse, and Imogene Poots impresses as an in-home care worker. The veteran Rufus Sewell is believable as the daughter’s mate who tries to convince her to put her father in a home.
Reportedly French writer/director Florian Zeller had Anthony Hopkins directly in mind as Zeller was writing the screenplay-- so much so that he stated that if Hopkins did not accept the role, Zeller would have made the film in the French language. We are grateful that Hopkins accepted. There simply was not a better acting performance that year, and he certainly deserved the Best Actor Oscar win.
The production was instantly absorbing, and drew me in with concentration to the point that when it ended I felt as if I came to. Everything and everybody came together perfectly in this film, and it will be one for the ages.
Rating: 10/10
Agree with everything you've said here...this film was amazing and so was Hopkins.
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The hand of god https://www.imdb.com/title/tt12680684/
It was oke 6.5/10 the half point is cause of a hilarious scene on the boot ...
It was oke 6.5/10 the half point is cause of a hilarious scene on the boot ...
Umpteenth Re-watch...What can I Say? It was rebroadcast on ABC last night and I couldn't help but watch. I found myself just as enraptured by this film as I was the first time I saw it at the age of seven. Of course, seeing it now, I see a lot more going on here than the magic that is Julie Andrews. Robert Wise's direction is on the money and the Oscar he won for it is richly deserved. Watch the first scene at the captain's dinner table or when the Baroness manipulates Maria into leaving after the party or the scene where the Captain informs the children he's going to marry the governess...there's a solid directorial touch to those scenes. And speaking of the Baroness, I think Eleanor Parker was totally robbed of a Best Supporting Actress Oscar nomination for her icy performance as the Baroness. Parker's performance is perfection...you just want to punch her in the face when she tells Maria she'll make a very fine nun. On the other hand, I think Charmain Carr is dreadful as Leisl, a performance akin to nails on the chalkboard. The film lost a couple of points years later when I learned that the singing voices of Christopher Plummer, Peggy Wood, Anna Lee, and the Von Trapp children were all dubbed (I always thought that was a lot of sound coming out of seven children). The film does still provide solid entertainment and it's no accident that it was the largest grossing musical in box office history until Grease.
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I saw Spider-Man: No Way Home today. (no spoilers) It was pretty terrific. It was fast paced, fun, and entertaining, with lots of humour and heart. A very satisfying film that delivers. I would say that Spider-Man: No Way Home is the best of all the Spiderman movies and one of the top 10 superpeople movies ever. I would rank it as the 8th best film of the year and rate it a
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Umpteenth Re-watch...What can I Say? It was rebroadcast on ABC last night and I couldn't help but watch. I found myself just as enraptured by this film as I was the first time I saw it at the age of seven.
I saw Spider-Man: No Way Home today. (no spoilers) It was pretty terrific. It was fast paced, fun, and entertaining, with lots of humour and heart. A very satisfying film that delivers. I would say that Spider-Man: No Way Home is the best of all the Spiderman movies and one of the top 10 superpeople movies ever. I would rank it as the 8th best film of the year and rate it a
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I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.
They Drive By Night - This is a 1940 melodrama directed by the legendary Raoul Walsh and starring George Raft and Humphrey Bogart as truck driving brothers Joe and Paul Fabrini. Raft is the actual lead with Bogart in a supporting role. The brothers are trying their hand at being independent truckers after years of working for several companies. They're living hand to mouth though and working dangerously long hours. Numerous creditors are constantly hounding them and threatening to take their rig.
This being a melodrama the plot sets up the notion that it's the kiss of death if you pay off your truck. One of the Fabrini's friends is burned alive after crashing his rig and no sooner does Joe (Raft) pay off the debt on their truck does Paul (Bogart) fall asleep and total it, losing an arm in the process. Enter old friend Ed Carlsen (Alan Hale), former driver and now owner of a successful trucking business. He's married to the dissatisfied and profligate Lana (Ida Lupino), who has the major hots for Joe. She talks her husband into hiring him on and Joe turns out to have a knack for streamlining and modernizing the company.
But since this isn't a Postman Always Rings Twice kind of movie the Joe/Lana illicit romance subplot is not to be. Joe instead has taken up with tough talking waitress Cassie Hartley (Ann Sheridan). This leads to even more melodrama with the obsessed Lana refusing to take no for an answer. Bogart is more or less relegated to the sidelines with his own domestic problems.
It's a succint 95 minutes with Walsh creating a convincing milieu of truck stops and hard driving men and fast talking women with some romantic intrigue thrown in for good measure. It's worth watching for fans of Raft, Lupino, Bogart and Walsh.
80/100
Last edited by WHITBISSELL!; 12-20-21 at 08:01 PM.
The Brass Bottle (1964)
This was a blast! Tony Randal buys an antique brass bottle and when he opens it smoke pours out that then turns into a genie (Burl Ives). Yes this comedy movie did indeed inspire the TV series I Dream of Jeannie and Barbara Eden is even in this movie...but get this, she's not the genie, nor is she a ditzy bubble head. She plays the smart fiancé of Tony Randal who is a ditz. A fun and funny movie.
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Censor -
This is an unsettling little horror movie that explores the nature of the genre. Enid, a lonely Englishwoman who holds the titular profession, is assigned a movie, the fictional Don’t Go Into the Church, that really should have been given to someone else. This is because it reopens an old wound involving her sister, Nina, who has been missing since childhood. It rekindles her desire to find out what happened to her, and the more she searches for her whereabouts and thinks about Church, the more she loses touch with reality.
Setting the movie during the Thatcher years is an apt choice for how the PM's scapegoats for the U.K.'s problems mirror those who do the same for the era’s extreme horror flicks like Don’t Go Into the Church, commonly referred to as "video nasties." It helps that the production design and touches like changing the aspect ratio to one found in such movies captures the '80s so well. The touch-tone phones and boxy TVs are definitely my favorite touches. I also like the many ways the movie asks if horror is to blame for the country's crime wave or if it's merely a reflection of it. The highlight is a subplot involving a murderer whose method of killing resembles one in another movie Enid watched. Speaking of Enid, Niamh Algar does a great job at capturing her understandable coldness and unwillingness to connect with others, but it's Michael Smiley's turn as a sleazy producer who gave my favorite performance. It also goes along with another theme the movie explores for both laughs and cringe: how patriarchal and full of mansplainers the industry is.
Is this movie just a vehicle for a bunch of commentary? Definitely not. It's just as unsettling as it is mind-bending for how it makes you question what's real and what's imaginary as much as Enid does. I've seen several movies about people who makes discoveries in their jobs that throw their lives into chaos from Blow Out to The Final Cut and this one is neither the best nor does anything that novel with the formula. I still highly recommend it, especially if the last season of The Crown didn’t get every last bit of Thatcher hatewatching out of your system.
This is an unsettling little horror movie that explores the nature of the genre. Enid, a lonely Englishwoman who holds the titular profession, is assigned a movie, the fictional Don’t Go Into the Church, that really should have been given to someone else. This is because it reopens an old wound involving her sister, Nina, who has been missing since childhood. It rekindles her desire to find out what happened to her, and the more she searches for her whereabouts and thinks about Church, the more she loses touch with reality.
Setting the movie during the Thatcher years is an apt choice for how the PM's scapegoats for the U.K.'s problems mirror those who do the same for the era’s extreme horror flicks like Don’t Go Into the Church, commonly referred to as "video nasties." It helps that the production design and touches like changing the aspect ratio to one found in such movies captures the '80s so well. The touch-tone phones and boxy TVs are definitely my favorite touches. I also like the many ways the movie asks if horror is to blame for the country's crime wave or if it's merely a reflection of it. The highlight is a subplot involving a murderer whose method of killing resembles one in another movie Enid watched. Speaking of Enid, Niamh Algar does a great job at capturing her understandable coldness and unwillingness to connect with others, but it's Michael Smiley's turn as a sleazy producer who gave my favorite performance. It also goes along with another theme the movie explores for both laughs and cringe: how patriarchal and full of mansplainers the industry is.
Is this movie just a vehicle for a bunch of commentary? Definitely not. It's just as unsettling as it is mind-bending for how it makes you question what's real and what's imaginary as much as Enid does. I've seen several movies about people who makes discoveries in their jobs that throw their lives into chaos from Blow Out to The Final Cut and this one is neither the best nor does anything that novel with the formula. I still highly recommend it, especially if the last season of The Crown didn’t get every last bit of Thatcher hatewatching out of your system.
Umpteenth Re-watch...What can I Say? It was rebroadcast on ABC last night and I couldn't help but watch. I found myself just as enraptured by this film as I was the first time I saw it at the age of seven. Of course, seeing it now, I see a lot more going on here than the magic that is Julie Andrews. Robert Wise's direction is on the money and the Oscar he won for it is richly deserved. Watch the first scene at the captain's dinner table or when the Baroness manipulates Maria into leaving after the party or the scene where the Captain informs the children he's going to marry the governess...there's a solid directorial touch to those scenes. And speaking of the Baroness, I think Eleanor Parker was totally robbed of a Best Supporting Actress Oscar nomination for her icy performance as the Baroness. Parker's performance is perfection...you just want to punch her in the face when she tells Maria she'll make a very fine nun. On the other hand, I think Charmain Carr is dreadful as Leisl, a performance akin to nails on the chalkboard. The film lost a couple of points years later when I learned that the singing voices of Christopher Plummer, Peggy Wood, Anna Lee, and the Von Trapp children were all dubbed (I always thought that was a lot of sound coming out of seven children). The film does still provide solid entertainment and it's no accident that it was the largest grossing musical in box office history until Grease.
But the court of public opinion says I'm wrong so maybe it's time for me to give it another spin so I'm not missing out on something great.
The Night Fighters (1960)
aka A Terrible Beauty
Directed by Tay Garnett
A somewhat offbeat sort of a story has Robert Mitchum playing an Irishman who casually joins up with the IRA during WW2, the leaders of which exhibit some Nazi sympathies and connections. Relationships with some family and friends are affected by the decision, and after a couple of raids against British forces begins reconsidering the validity of the cause. Mitchum does a good job as you might expect, and a good supporting cast delivers an engaging level of Irish flair and dialogue. Otherwise the film seemed a bit lackluster in parts, certain scenes feeling somewhat empty or incomplete, and probably didn't realise its full potential. Decent viewing nonetheless.
6/10
The Last Son (Tim Sutton, 2021) 5/10
Sabotage (Alfred Hitchcock, 1936) 6/10
An Intrusion (Nicholas Holland, 2021) 5/10
Sugar Daddy (Wendy Morgan, 2020) 6/10
Kelly McCormack has to decide whether to follow her dream of a musical career or date older men for money to make ends meet.
The Robe (Henry Koster, 1953) - 6.5/10
Anapeson (Francesco Dongiovanni, 2015) 6/10
She Paradise (Maya Cozier, 2020) + 4.5/10
Timerider: The Adventure of Lyle Swann (William Dear, 1982) 6/10
Riding in the Baja 1000, motorbike rider Fred Ward, unbeknownst to him, gets transported to the Old West by an experiment where he encounters well-accomplished Belinda Bauer.
Swan Song (Benjamin Cleary, 2021) + 6/10
Devil's Triangle (Brendan Petrizzo, 2021) 4/10
India Sweets and Spices (Geeta Malik, 2021) 6/10
Black Christmas (Bob Clark, 1974) 6.5/10
Perhaps ultimately absurd, this holiday thriller delivers the horror goods.
Freeland (Mario Furloni & Kate McLean, 2020) 6/10
Deadlock (Jared Cohn, 2021) 5/10
Tropic of Cancer (Joseph Strick, 1970) 6/10
The Unbearable Lightness of Being (Philip Kaufman, 1988) 6.5/10
Epic about horny brain surgeon Daniel Day-Lewis and his photographer wife Juliette Binoche dealing with what happened in tumultuous 1960s Czechoslovakia and occasionally interacting with extremely-open but non-committal Lena Olin.
L'amour braque AKA Mad Love (Andrzej Zulawski, 1985) 5.5/10
A Night at the Opera (Sergey Loznitsa, 2020) 6/10
Bobbikins (Robert Day, 1959) 5.5/10
The Black Swan (Henry King, 1942) - 7/10
Fast-paced pirate action, humor and romance where Maureen O'Hara and Tyrone Power battle for supremacy, along with George Sanders' Capt. Billy Leech and Laird Cregar's Capt. Henry Morgan.
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