Rate The Last Movie You Saw

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Bright light. Bright light. Uh oh.

The Turn Out (Pearl Gluck, 2018)
+ 5/10
Our Relations (Harry Lachman, 1936)
6/10
Wolf Call (George Waggner, 1939)
5/10
A Classic Horror Story (Roberto De Feo & Paolo Strippoli, 2021)
6-/10

Unlikable characters caught up in a "fairy tale" which turns horrific. Hint - not a spoiler.
Fire in My Belly (Ayo Akingbade, 2021)
5/10
City That Never Sleeps (John H. Auer, 1956)
6/10
Mamma + Mamma (Karole Di Tommaso, 2018)
+ 5/10
White Vertigo (Giorgio Ferron, 1956)
6.5/10

Colorful, poetically-photographed-and-edited saga of the 1956 Olympic Games in Cortina d'Ampezzo, Italy.
The Prostitutes of Lyon Speak (Carole Roussopoulos, 1975)
6/10
Lethal Love (Avi Federgreen, 2021)
5/10
XIVth Olympiad: The Glory of Sport (Castleton Knight, 1948)
+ 6/10
Spider-Man (Sam Raimi, 2002)
7+/10

NYC high school nerd Tobey Maguire is bitten by a spider and becomes a super hero.
Lorelei (Sabrina Doyle, 2020)
5.5/10
Air Conditioner (Fradique, 2020)
6/10
The Forever Purge (Everardo Gout, 2021)
5.5/10
Pig (Michael Sarnoski, 2021)
- 6.5/10

When she's stolen, Nic Cage searches for his truffle-hunting pig all over Oregon in a low-key, surprising mystery-thriller/character study.
Midnight in the Switchgrass (Randall Emmett, 2021)
6/10
Deep (5 Directors, 2021)
+ 5/10
The Guide to the Perfect Family (Ricardo Trogi, 2021)
+ 6/10
How It Ends (Daryl Wein & Zoe Lister-Jones, 2021)
5.5/10

On the last day of the Earth, Zoe Lister-Jones and her younger self (Cailee Spaeny) plan out their last day.
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Total Recall (Verhoeven, '90)



Get ready for the ride of your life.

WARNING: spoilers below
Whether fairly or not, Action movies are often stereotypically thought of as one of the least-thought provoking film genres out there, which is a stark contrast to the way Science-Fiction is typically perceived, with its speculative tales about what science, technology, and the future in general may hold in store for the human species and experience, serving as a sort of "escapism" that is nonetheless still rooted solidly in our day-to-day reality. However, in 1990, Paul Verhoeven built on his previous moviemaking experience to make the two seemingly polar opposites meet in fairly spectacular fashion with Total Recall, having his cake and eating it too by getting to indulge in tons of gratuitous, non-stop bloody action, while still also finding time to intellectually stimulate us with its intriguing "real or false?" reality narrative, with the film, to paraphrase Tom Breihan, getting to blow up characters' heads AND viewers' minds at the same time.

Set in the year 2084, it tells the story of Douglas Quaid, an Earthbound construction worker who has recurring dreams/nightmares of visiting Mars, which inspires him to make that dream a reality (sort of) by visiting Rekall, a company that specializes in implanting memories in people's minds, in order to get the escape from his mundane daily life he so desperately pines for. However, the procedure goes unexpectedly haywire, causing Quaid to seemingly uncover an interplanetary espionage conspiracy in the process, and forcing him to get his "ass to Mars" for real, all the while dodging bullets, traitorous wives, and the tantalizing possiblity that none of it is even happening for real, as if everything else wasn't enough to deal with as it is.

Of course, even without that final detail, Recall would still be memorable for a number of other aspects, such as its unique, endlessly imaginative vision of the future, with a new detail coming pretty much every moment to help further build its futuristic world, whether it be the robotic taxicab drivers, holographic decoy emitters, or massive X-Ray walls, with the latter rendered with then-groundbreaking CGI effects, which is balanced out by the film's non-stop showcasing of practical models, prosthetics, and animatronics otherwise, which give Rob Bottin's various creations a much-needed tactility, and help to render a surprisingly vivid sense of body horror here in the process as well (which is also partly due to David Cronenberg(!) and Alien screenwriter Dan O'Bannon's contributions to the screenplay), to the point that people apparently approached Marshall Bell for years afterward, and non-jokingly asked him to lift his shirt so they could see "Kuato" for themselves.

But of course, the most fascinating aspect of Recall is due to the involvement of the ultimate mind-*ucking Sci-Fi scribe himself, Phillip K. Dick, whose 1966 story "We Can Remember It For You Wholesale" provides the basic skeleton onto which the meaty, Arnie-signature thrills are laid on top of here, nicely balancing all the mindless action out with a relentless, conspiracy-laden plot and a rich abundance of ideas, with the many narrative rug pulls never feeling unnecessarily convoluted, even as the bursts of exposition come at us as rapid-fire as the automatic weapons do at Quaid. It's the kind of movie where it's possible to read pretty much every detail one way or the other, making for endless possibilities, which results in a nice meta-commentary on the very nature of film itself, since, why does it matter if everything is really happening here or not, since we don't care if every other movie ever made is technically a false reality of its own?

Add onto that a profane, nastily fun sense of humor (can you say, midget prostitutes with knives?), and a strong influence on similar films since, with its reality-warping narrative and surprisingly progressive, egalitarian gender dynamics between Schwarzenegger and the female lead setting the stage for multiple genre-redefining actioners, whether they be the "what is real?" Sci-Fi plot of The Matrix, or the now iconic post-apocalyptic partnership between Max & Furiosa in Fury Road, and Total Recall will definitely give you the "ride of your life", and then some.


Final Score: 8



I like how they include that small tagline, From the makers of "American Graffiti" ...

Which of course undercuts what they were going for with, "Terror you won't want to remember - In a film you won't be able to forget."


I do have to watch that though.
Honestly, it's just one of those movies that's better than it should be.



Honestly, it's just one of those movies that's better than it should be.
I'm gonna make time for it.

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"Somewhere in a lonely hotel room there's a guy starting to realize that eternal fate has turned it's back on him. It's 2am."



Welcome to the human race...
Old -


he don't miss
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I really just want you all angry and confused the whole time.



The Dry 2020 Robert Connolly


G´day Mates!
Small town murder mystery movie set in Australia.
Multiple timelines and mysteries intertwined make this a solid and engaging thriller.



Another Round 2020 ‘Druk’ Thomas Vinterberg


The anomaly Nic Cage still holds the best performance in a drunk role imo but Mads Mikkelsen is not far behind.
Great film about men in a midlife crisis and their poor attempt to solve their issues through alcohol. Winner of the arthouse cinema award 2020.

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By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=47796219

Mia Madre - (2015) - (aka : My Mother)

Margherita is having a difficult time digesting her mother's illness, and the fact that her death is imminent. Complicating things is her job - directing a film with a big name actor from the United States causing a headache for all involved. A touching tribute to the heartache and psychological damage of losing a precious loved one. John Turturro kind of threatens to steal the movie at certain points, but it remains centered and grounded.

7/10


By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=15642629

Plunkett & Macleane - (1999)

A very 1990s film set in the 18th Century, with Robert Carlyle and Jonny Lee Miller as Plunkett and Macleane respectively. Based on real-life highway robbers, but in no way resembling real life. I disliked it the first time I watched it, but felt it deserved a second chance and I did enjoy it much more the second time. I get the feeling that the producers expected sequels - but the film was a box office bomb, only going on later to accrue a cult following. Really interesting and enjoyable Tiger Lillies songs force themselves to the fore giving it an unusual touch.

5/10


By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=52361700

Goon : The Last of the Enforcers - (2017)

I did not realise that this was actually the sequel to Goon - mostly because this film is also titled Goon. Numbering sequels is very outdated these days. I thought the humour, while pretty lowbrow, wasn't too bad. Maybe I would have liked this less if I'd seen the original. Maybe I would have like it less if I was expecting a better movie. As it was my last selection, I expected nothing, and got at least something.

5/10




Loved this movie.
It wasn't too bad. It's gone up a point or two in my estimation, just hearing that.





Have you seen the movie Burnt? I hated Burnt, and the reason I hated Burnt is the reason I loved Pig. Pig is a tale of a sensitive man who had enough. Many individuals want to be artists, and they do things, like, caring about what others think, and they shouldn't. Then, there are those that don't have any other choice, they have to create and they put everything they have into what they do, it doesn't matter if is painting, writing, cooking. The problem with this art form is a cultural problem. Meals were thought to be shared and the one who cooks them expects a feedback, just like your mother: Do you like it? Isn't the turkey a little bit dry? This man eventually noticed how people have this mentality embedded into their being, how they think just because they paid a meal they can tell the chef what they thought about it, but they didn't knew how much of himself he putted into each dish. The way this sensitive man looks after the truffle pig is also very meaningful, it's a metaphor. Truffle pigs look for truffle they won't eat. The people eating the truffles don't care about the pig. The people cooking the truffles don't care about the pig, this sensitive man cared about the tree that gives him the fruit he cooks, cares about the ground the holds the truffle he takes, a very sensitive man. This is a tale of how out of touch people are, how everything is cheap and disposable and no one takes the time to notice, because money bought, and money buys. I've always said: if you had made the chair you're sitting in, you'd give it value every time you looked at it before you sit down.





No Sudden Move (2021)

Steven Soderbergh is a great director, a man that has always loved the film noir No Sudden Move is a peak neo-noir. Telling the story of a crime gone wrong this winding tale. If I could best describe this film is it's a movie with eight endings..some perfect some not so perfect but the exercise is what makes this a special film. You have an ambiguous aspect to the film but it never feels cheap.

What I love about Soderbergh is he never hits you over the head with issues of race, class and gender. Don Cheadle and Benicio Del Toro are both revelations in this, two great actors who have been phoning it in for years but now has inspiration. The rest of the cast is filled with inspired stunt and returnee casts.






American Horror Storiesrive In

Episode 3 of AMSrive In was a step ahead of the RubberWoman double feature. The idea behind the story is that in the 1980's a film came out that was so horrifying that it caused the audience to kill each other. Years later the print gets a re-release.

My feelings about Ryan Murphy's work is always complicated. The major subplot of the story is about teenage sexuality a boy is trying to lose his virginity to a girl. But the story can't just be about a Drive-In massacre you then needed a very queer best friend which was tacked on. And then we get a climax that, is a genre flop in my eyes. Taking character to a second location which felt really out of place.

But even though it's not a great episode it's still a very good one. Adrienne Barbeau has a nice small meaty part that really should have played throughout the episode. John Carroll Lynch is also in this and he sells the hell out of Murphy's flawed character. Still I didn't find the kids annoying and I liked the middle part of the episode.




The Loveless -


I went in to this movie thinking it would be a slice of life in southern small-town America and what happens when a biker gang visits. The description fits, but I also didn't think it would be such a masterclass of suspense. From observing the grip that the constantly sweaty and flustered gas man Tarver has on the place to the bikers' knife-throwing game to of course the centerpiece drama of Vance's (Willem Dafoe) dalliance with local heartbreaker Telena (Marin Kanter), you just know the gang's little stop won't end well. The artful editing has a lot to do with this for how pretty much every cut builds tension. There's also the several moments where what we see says more than words ever could, whether it's Davis stabbing the diner seat to the footage of real or staged violence on the television. What anchors everything, though, is Dafoe's performance, whose facial expressions pretty much tell the entire story. Story, however, does not seem to be what directors Kathryn Bigelow (in her debut) and Monty Montgomery are wholly interested in. This is hardly a fault, though, because in addition to all the suspense, it works very well as a mood piece, namely of the ennui, idleness and the resentment of neglected youth found in small town America, which they apparently have much more of than charm. All in all, it's an impressive debut for Bigelow to a career that has had very few missteps.
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Last Great Movie Seen
Blow Out (De Palma, 1981)





Chris Rock's "serious" face is more frightining than anything this movie had to offer.
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AMERICAN ME
(1992, Olmos)
A film with the word "America" in its title



"Coming to terms with the lessons one learns through the choices one makes is not easy."

American Me follows Montoya Santana (Edward James Olmos) as he goes from troublesome teenager to head of the Mexican Mafia within the American prison system. When we meet Santana, he's a middle age man in prison, reminiscing of the past as the film flashes back to how he grew up and ended up in prison in the first place.

The above quote is said pretty early in the film by Montoya himself, and seems to be a kind of mantra for the character as he learns to accept whatever comes his way, whether through fate or personal choice. Montoya is not a good guy, but it's certainly a man that's trying to figure out the world and how to survive in it, and Olmos manages to create a complex, layered character, instilling him with the necessary mixture of poise and menace in order to make you feel some empathy for him while still acknowledging the errors in his ways.

Grade:



Full review on my Movie Loot
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