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A Quiet Place (2018)
I thought this was a neat directorial exercise from Krasinski. For that same reason, that he’s clearly just looking to test some things out for potential future endeavors, this isn’t really made with longevity in mind. But I think he succeeded in what he set out to do. He can build tension, the use of sound design is excellent in most places (duh), good presentation of geography and the performances are all good. But it all really climaxes at the second act. Then you’re left about 20 more minutes that don’t have the same level enthusiasm and you feel it. Oh, well.
Oh, about the performances, and I’m putting a big disclaimer but also... not so much; I thought that aside from this being like a kid getting to play with new toys, it was also, curiously, like Krasinski and Blunt were working out baby jitters.
But that last part is all speculation on the lives of others and me probably giving the film a lot of benefit of doubt, logic-wise.
Note #2:
7/10
I thought this was a neat directorial exercise from Krasinski. For that same reason, that he’s clearly just looking to test some things out for potential future endeavors, this isn’t really made with longevity in mind. But I think he succeeded in what he set out to do. He can build tension, the use of sound design is excellent in most places (duh), good presentation of geography and the performances are all good. But it all really climaxes at the second act. Then you’re left about 20 more minutes that don’t have the same level enthusiasm and you feel it. Oh, well.
Oh, about the performances, and I’m putting a big disclaimer but also... not so much; I thought that aside from this being like a kid getting to play with new toys, it was also, curiously, like Krasinski and Blunt were working out baby jitters.
WARNING: spoilers below
Particularly the former, who might have externalized his doubts with his character by making him kind of a f**k-up.
But that last part is all speculation on the lives of others and me probably giving the film a lot of benefit of doubt, logic-wise.
Note #2:
WARNING: spoilers below
I also found out this was almost a Cloverfield movie. That makes sense. It’s a lot like 10 Cloverfield Lane. The ending is almost beat for beat.
7/10
A Quiet Place -
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Sisters of the Gion (1936) by Kenji Mizoguchi +
Winter Sleep (2014) by Nuri Bilge Ceylan
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My favourite of his shorts so far, it was his second (directed) as well!
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Ultra, thanks for the review on One Week! I just watched it and boy, was that funny! His physicality was second-to-none in cinema. Loved the whole movie but the bit that really got me laughing was when he was straddling the cars and he accidentally got aboard that motorcycle. From then on, it was non-stop! 
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Jonestown: The Life and Death of Peoples Temple (2006)
Such a bleak and tragic film. Some of the shots at the end are just so harrowing and hearing how the 'Kool-Aid' was administered was gut-wrenching. As thought-provoking a documentary as I've seen.
Hedwig and the Angry Inch (2001)
Quality film. Music was excellent and performances just as good. Real surprise package, excuse the pun.
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Favorite Movies
The first three films by Terrence Malick (I watched each one twice):
★★★
A look into the eyes of evil with a little indifference. The cinematography was the best aspect of Badlands, Tak Fujimoto (Star Wars, The Sixth Sense, The Silence of the Lambs) never disappoints, the guy is a wizard. Always capturing in a minimalist (this is the magic) the desolate landscapes around the characters.
The story is cliche, but I think that was not the most important, the motivations were the most important. At first glance, I could not understand many of the main characters' attitudes, they were puzzles to me. It did not make sense. Reviewing the film, I began to understand the real reason, the indifference, the nature of the evil already stagnant in their veins. Definitely a cursed journey from the beginning. Unfortunately it did not captivate me, the characters did not captivate me, the look of evil left me with an empty taste. And the humor, I could't get into it.
★★★
Oh yeah, Ennio Morricone! He was the main reason I was curious with this one. And he didn't disappointed me. A work full of subtleties, which accompanies very well the delicacy of the feelings of the characters on screen. This was the first time I saw Richard Gere without his white hair. I was surprised how the director decided to transpose the feelings in a silent way, without actions or dialogues that could explain to the viewer what they are feeling. I had to be taken along by the stream below to fully understand them. For good or bad, the film seemed to follow the same structure as Badlands, and it also left the same taste of emptiness in my mouth. Even the beautiful pictures and Malick's interesting way of filming could not save this movie from being a Ferris wheel, a story without destiny, at least one that is not totally predictable and forgettable.
★★★★★
I'm going against the flood with this one.
The actors in "The Thin Red Line" are making one movie, and the director is making another. This leads to an almost hallucinatory sense of displacement, as the actors struggle for realism, and the movie's point of view hovers above them like a high school kid all filled with big questions." This is part of Roger Ebert's review for The Thin Red Line, and I have to agree with him, the actors really looked displaced during some sequences, but you know what? I loved it! This created a line between the real and the imaginary. Many of the soldiers were there, but at the same time they were not. Their minds have been constantly dominated by fear or by the world beyond those hills. The film offers a contemplation in turns of the nature and of the human being, and in no moment one of the questions is answered. Usually we accompany the American soldiers, and their enemies are constantly approached as mere "enemies", and when they are Japanese, they attack like crazy samurai, conformed by their own death. The Thin Red Line does not use this argument. The Japanese feel fear, they cry, they attack with terror in their eyes, just as Americans constantly feel the same fear during an attack. The taking of the Japanese village is one of my favorite sequences, the terror seemed so real, so scary. So much suffering, for nothing!
"Many faces, little time on screen." I read a lot of negative reviews saying that this is bad, once again I disagree, I think the fact that many familiar faces appear on the screen and be killed in the blink of an eye or just leave the scene and do not come back fascinating. This creates an unpredictability in the script. Anyone can die, no matter if he is a famous actor or not, I feared for everyone.
The way Malick positions a camera next to the soldiers, crawling with them in woods, the cinematography of John Toll, the music of Hans Zimmer... I loved. The second time I watched, the film was even more exciting.
I'm not ashamed to say that I cried, I cried when I realized how much I enjoyed this movie, and I cried with the raised questions. The imperfections of The Thin Red Line are one of the best mistakes I've ever seen in the seventh art.
★★★
A look into the eyes of evil with a little indifference. The cinematography was the best aspect of Badlands, Tak Fujimoto (Star Wars, The Sixth Sense, The Silence of the Lambs) never disappoints, the guy is a wizard. Always capturing in a minimalist (this is the magic) the desolate landscapes around the characters.
The story is cliche, but I think that was not the most important, the motivations were the most important. At first glance, I could not understand many of the main characters' attitudes, they were puzzles to me. It did not make sense. Reviewing the film, I began to understand the real reason, the indifference, the nature of the evil already stagnant in their veins. Definitely a cursed journey from the beginning. Unfortunately it did not captivate me, the characters did not captivate me, the look of evil left me with an empty taste. And the humor, I could't get into it.
★★★
Oh yeah, Ennio Morricone! He was the main reason I was curious with this one. And he didn't disappointed me. A work full of subtleties, which accompanies very well the delicacy of the feelings of the characters on screen. This was the first time I saw Richard Gere without his white hair. I was surprised how the director decided to transpose the feelings in a silent way, without actions or dialogues that could explain to the viewer what they are feeling. I had to be taken along by the stream below to fully understand them. For good or bad, the film seemed to follow the same structure as Badlands, and it also left the same taste of emptiness in my mouth. Even the beautiful pictures and Malick's interesting way of filming could not save this movie from being a Ferris wheel, a story without destiny, at least one that is not totally predictable and forgettable.
★★★★★
I'm going against the flood with this one.
The actors in "The Thin Red Line" are making one movie, and the director is making another. This leads to an almost hallucinatory sense of displacement, as the actors struggle for realism, and the movie's point of view hovers above them like a high school kid all filled with big questions." This is part of Roger Ebert's review for The Thin Red Line, and I have to agree with him, the actors really looked displaced during some sequences, but you know what? I loved it! This created a line between the real and the imaginary. Many of the soldiers were there, but at the same time they were not. Their minds have been constantly dominated by fear or by the world beyond those hills. The film offers a contemplation in turns of the nature and of the human being, and in no moment one of the questions is answered. Usually we accompany the American soldiers, and their enemies are constantly approached as mere "enemies", and when they are Japanese, they attack like crazy samurai, conformed by their own death. The Thin Red Line does not use this argument. The Japanese feel fear, they cry, they attack with terror in their eyes, just as Americans constantly feel the same fear during an attack. The taking of the Japanese village is one of my favorite sequences, the terror seemed so real, so scary. So much suffering, for nothing!
"Many faces, little time on screen." I read a lot of negative reviews saying that this is bad, once again I disagree, I think the fact that many familiar faces appear on the screen and be killed in the blink of an eye or just leave the scene and do not come back fascinating. This creates an unpredictability in the script. Anyone can die, no matter if he is a famous actor or not, I feared for everyone.
The way Malick positions a camera next to the soldiers, crawling with them in woods, the cinematography of John Toll, the music of Hans Zimmer... I loved. The second time I watched, the film was even more exciting.
I'm not ashamed to say that I cried, I cried when I realized how much I enjoyed this movie, and I cried with the raised questions. The imperfections of The Thin Red Line are one of the best mistakes I've ever seen in the seventh art.
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Winter Sleep (2014) by Nuri Bilge Ceylan
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"A film has to be a dialogue, not a monologue — a dialogue to provoke in the viewer his own thoughts, his own feelings. And if a film is a dialogue, then it’s a good film; if it’s not a dialogue, it’s a bad film."
"A film has to be a dialogue, not a monologue — a dialogue to provoke in the viewer his own thoughts, his own feelings. And if a film is a dialogue, then it’s a good film; if it’s not a dialogue, it’s a bad film."
- Michael "Gloomy Old Fart" Haneke
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After many many years, I FINALLY got around to watching Lawrence of Arabia, in it's entirety. I thought this would have to be a two-day endeavor, but I enjoyed some unexpected free time yesterday and was able to watch all 3 hrs 48 mins on a Sunday afternoon.
As for the film itself, let me start off by saying that it's possibly the most beautifully shot film of all time. AMAZING cinematography. The other thing that stands out was the acting of Peter O'Toole, which stands the test of time as one of cinema's greatest acting performances. A brilliant character study, it was fascinating to watch the transformation of a meek, passive idealist transform into an almost ruthless at times war commander.
Definitely the most intelligent of all the epics, I found that it certainly lived up to its hype as one of greatest films of all time. As far as David Lean films go, I still prefer Bridge on the River Kwai, simply because it's more digestible, less complex, and no less brilliant and beautifully, but LOA was certainly well worth the long watch, and at no point did I feel like I was wasting my time. I'll have to amend my 1960s film list, because Lawrence of Arabia certainly belongs in the top 10, if not top 5.
9.5/10
As for the film itself, let me start off by saying that it's possibly the most beautifully shot film of all time. AMAZING cinematography. The other thing that stands out was the acting of Peter O'Toole, which stands the test of time as one of cinema's greatest acting performances. A brilliant character study, it was fascinating to watch the transformation of a meek, passive idealist transform into an almost ruthless at times war commander.
Definitely the most intelligent of all the epics, I found that it certainly lived up to its hype as one of greatest films of all time. As far as David Lean films go, I still prefer Bridge on the River Kwai, simply because it's more digestible, less complex, and no less brilliant and beautifully, but LOA was certainly well worth the long watch, and at no point did I feel like I was wasting my time. I'll have to amend my 1960s film list, because Lawrence of Arabia certainly belongs in the top 10, if not top 5.
9.5/10
Last edited by DocHoliday; 04-16-18 at 11:50 AM.
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I couldn’t get over how much Ansel Elgort looks like one of Donald Duck’s nephews.
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The first three films by Terrence Malick (I watched each one twice):
★★★
A look into the eyes of evil with a little indifference. The cinematography was the best aspect of Badlands, Tak Fujimoto (Star Wars, The Sixth Sense, The Silence of the Lambs) never disappoints, the guy is a wizard. Always capturing in a minimalist (this is the magic) the desolate landscapes around the characters.
The story is cliche, but I think that was not the most important, the motivations were the most important. At first glance, I could not understand many of the main characters' attitudes, they were puzzles to me. It did not make sense. Reviewing the film, I began to understand the real reason, the indifference, the nature of the evil already stagnant in their veins. Definitely a cursed journey from the beginning. Unfortunately it did not captivate me, the characters did not captivate me, the look of evil left me with an empty taste. And the humor, I could't get into it.
★★★
Oh yeah, Ennio Morricone! He was the main reason I was curious with this one. And he didn't disappointed me. A work full of subtleties, which accompanies very well the delicacy of the feelings of the characters on screen. This was the first time I saw Richard Gere without his white hair. I was surprised how the director decided to transpose the feelings in a silent way, without actions or dialogues that could explain to the viewer what they are feeling. I had to be taken along by the stream below to fully understand them. For good or bad, the film seemed to follow the same structure as Badlands, and it also left the same taste of emptiness in my mouth. Even the beautiful pictures and Malick's interesting way of filming could not save this movie from being a Ferris wheel, a story without destiny, at least one that is not totally predictable and forgettable.
★★★★★
I'm going against the flood with this one.
The actors in "The Thin Red Line" are making one movie, and the director is making another. This leads to an almost hallucinatory sense of displacement, as the actors struggle for realism, and the movie's point of view hovers above them like a high school kid all filled with big questions." This is part of Roger Ebert's review for The Thin Red Line, and I have to agree with him, the actors really looked displaced during some sequences, but you know what? I loved it! This created a line between the real and the imaginary. Many of the soldiers were there, but at the same time they were not. Their minds have been constantly dominated by fear or by the world beyond those hills. The film offers a contemplation in turns of the nature and of the human being, and in no moment one of the questions is answered. Usually we accompany the American soldiers, and their enemies are constantly approached as mere "enemies", and when they are Japanese, they attack like crazy samurai, conformed by their own death. The Thin Red Line does not use this argument. The Japanese feel fear, they cry, they attack with terror in their eyes, just as Americans constantly feel the same fear during an attack. The taking of the Japanese village is one of my favorite sequences, the terror seemed so real, so scary. So much suffering, for nothing!
"Many faces, little time on screen." I read a lot of negative reviews saying that this is bad, once again I disagree, I think the fact that many familiar faces appear on the screen and be killed in the blink of an eye or just leave the scene and do not come back fascinating. This creates an unpredictability in the script. Anyone can die, no matter if he is a famous actor or not, I feared for everyone.
The way Malick positions a camera next to the soldiers, crawling with them in woods, the cinematography of John Toll, the music of Hans Zimmer... I loved. The second time I watched, the film was even more exciting.
I'm not ashamed to say that I cried, I cried when I realized how much I enjoyed this movie, and I cried with the raised questions. The imperfections of The Thin Red Line are one of the best mistakes I've ever seen in the seventh art.
★★★
A look into the eyes of evil with a little indifference. The cinematography was the best aspect of Badlands, Tak Fujimoto (Star Wars, The Sixth Sense, The Silence of the Lambs) never disappoints, the guy is a wizard. Always capturing in a minimalist (this is the magic) the desolate landscapes around the characters.
The story is cliche, but I think that was not the most important, the motivations were the most important. At first glance, I could not understand many of the main characters' attitudes, they were puzzles to me. It did not make sense. Reviewing the film, I began to understand the real reason, the indifference, the nature of the evil already stagnant in their veins. Definitely a cursed journey from the beginning. Unfortunately it did not captivate me, the characters did not captivate me, the look of evil left me with an empty taste. And the humor, I could't get into it.
★★★
Oh yeah, Ennio Morricone! He was the main reason I was curious with this one. And he didn't disappointed me. A work full of subtleties, which accompanies very well the delicacy of the feelings of the characters on screen. This was the first time I saw Richard Gere without his white hair. I was surprised how the director decided to transpose the feelings in a silent way, without actions or dialogues that could explain to the viewer what they are feeling. I had to be taken along by the stream below to fully understand them. For good or bad, the film seemed to follow the same structure as Badlands, and it also left the same taste of emptiness in my mouth. Even the beautiful pictures and Malick's interesting way of filming could not save this movie from being a Ferris wheel, a story without destiny, at least one that is not totally predictable and forgettable.
★★★★★
I'm going against the flood with this one.
The actors in "The Thin Red Line" are making one movie, and the director is making another. This leads to an almost hallucinatory sense of displacement, as the actors struggle for realism, and the movie's point of view hovers above them like a high school kid all filled with big questions." This is part of Roger Ebert's review for The Thin Red Line, and I have to agree with him, the actors really looked displaced during some sequences, but you know what? I loved it! This created a line between the real and the imaginary. Many of the soldiers were there, but at the same time they were not. Their minds have been constantly dominated by fear or by the world beyond those hills. The film offers a contemplation in turns of the nature and of the human being, and in no moment one of the questions is answered. Usually we accompany the American soldiers, and their enemies are constantly approached as mere "enemies", and when they are Japanese, they attack like crazy samurai, conformed by their own death. The Thin Red Line does not use this argument. The Japanese feel fear, they cry, they attack with terror in their eyes, just as Americans constantly feel the same fear during an attack. The taking of the Japanese village is one of my favorite sequences, the terror seemed so real, so scary. So much suffering, for nothing!
"Many faces, little time on screen." I read a lot of negative reviews saying that this is bad, once again I disagree, I think the fact that many familiar faces appear on the screen and be killed in the blink of an eye or just leave the scene and do not come back fascinating. This creates an unpredictability in the script. Anyone can die, no matter if he is a famous actor or not, I feared for everyone.
The way Malick positions a camera next to the soldiers, crawling with them in woods, the cinematography of John Toll, the music of Hans Zimmer... I loved. The second time I watched, the film was even more exciting.
I'm not ashamed to say that I cried, I cried when I realized how much I enjoyed this movie, and I cried with the raised questions. The imperfections of The Thin Red Line are one of the best mistakes I've ever seen in the seventh art.
I found Thin Red Line to be sleep inducing, and Badlands is horrible.
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Favorite Movies
Sweet Smell of Success (1957) hit me over the head with a 2x4 labeled "WHY HAVEN'T YOU SEEN ME BEFORE?!?" This movie, unfortunately, has flown under my radar for my 30 years of existence on this planet, with it only coming to me attention a few months ago. I noticed that it was playing at a local theater near me this past weekend, so I was originally going to go see it there, but we got some bad weather over the weekend, and frankly, it shouldn't be this cold in Louisiana at this time of year, so I stayed in bed and rented it instead.
I'm surprised this movie doesn't get more mainstream attention - especially for its script and score. Though released in 1957, Sweet Smell of Success feels both modern and timely. I'm still tossing over who's performance I am most in awe of: Burt Lancaster or Tony Curtis? While Lancaster's J.J. Hunsecker basically weaponizes the English language, the desperate sliminess of Tony Curtis' Sidney Falco just oozes on screen.
I can't recommend this film enough, seldom do you hear dialogue like you hear it in Sweet Smell of Success.
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Sorry, don't see it.
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"Miss Jean Louise, Mr. Arthur Radley."
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I'm surprised this movie doesn't get more mainstream attention - especially for its script and score. Though released in 1957, Sweet Smell of Success feels both modern and timely. I'm still tossing over who's performance I am most in awe of: Burt Lancaster or Tony Curtis? While Lancaster's J.J. Hunsecker basically weaponizes the English language, the desperate sliminess of Tony Curtis' Sidney Falco just oozes on screen.
I can't recommend this film enough, seldom do you hear dialogue like you hear it in Sweet Smell of Success.
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The Children (2008)
+
+
I came across this movie and thought it sounded interesting. I looked it up and saw 6 IMDb and 75% Rotten Tomatoes, pretty good for a horror movie. Right away I was disappointed because it looked like a Hallmark movie. I've seen many horrors with lower budgets that were poorly made, but they often have their charms. 5 adults and their children are spending Christmas at a nice secluded home, when the children become murderous. Killer kids are creepy and there were moments in the film that made me squirm. I just think it was sorely lacking any type of atmosphere, and some dark humor would have been very much appreciated.
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