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Hellloooo Cindy - Scary Movie (2000)


Thor: Ragnarok 3D
@doubledenim is absolutely correct -- he is NO Doug!!
Gonna echo a lot of what has already been said, laughed a lot and it was great to see Thor in his world AND to have Hulk back on scene again. Cate Blanchett was excellent (as if she could be anything less) as Hella and to have scenes that were apropos for "The Immigrant Song" ESPECIALLY the second one put a HUGE grin on my face.




(MULITPLE REWATCHES) 13th Warrior
Want to thank @Larry for creating a thread to talk about this movie and get me wanting to see it again. A really great sword/action film with great characters and a solid story line.
No need to thank me Ed. I’m just an ordinary guy, the real heroes are the doctors, scientists, public servants and the characters in the 13th warrior. They deserve the recognition and your thanks.



Women will be your undoing, Pépé
No need to thank me Ed. I’m just an ordinary guy, the real heroes are the doctors, scientists, public servants and the characters in the 13th warrior. They deserve the recognition and your thanks.

I frickin LOVE that response!!!



Originally Posted by edarsenal
Suspect is correct about the sexual tension, but it does add to the movie and to those scenes that only hint at it. Though it is done very well, I think.
And as I've said, there's also additional training where he takes her out on hits in a small montage added to the one where they show their day to day.
I have that DVD and I think it is much better, but lest anyone think otherwise, I think the sexual tension comes from Portman crushing hard on Jean Reno, and nothing from him other than an awkwardness realizing that's what she's doing and not knowing how to deal with it. Do you have the same take on it? I mean, he is her savior in this and she was growing up in that sleazy family where she had to have seen and heard things that a girl her age shouldn't. So of course she's going to love him and say inappropriate things. Just MHO. Love this movie. And the scenes with her getting extra "on-his-job" training were golden. I keep holding out hope for a years-later sequel where Portman is a hit woman and gets her jobs and money from Danny Aiello (I know he's in his early 80's, but I think he could do it, he's still making movies). It seems like such an obvious film, but I guess it's all up to Luc Besson.

Originally Posted by Gangland
The American remake of M (1951) was not nearly as bad as I thought it would be. It's definitely B noir, and lacks any of the deep philosophical or visual merits of its source material. What I thought would torpedo this movie from the start would be the time and setting. The original M (1931), taking place during the crumbling last years of the Weimar Republic, is a criticism of the inefficiency of the German police, with the only cop shown on screen is the inept and gluttonous Inspector Karl “Fatty” Lohmann (Otto Wernicke). Faced with mounting police raids, the criminal underworld, the Ringvereine criminal syndicates, of Berlin take it upon themselves to catch the killer. The American version of M takes place in San Francisco in the 1950s. Law enforcement is painted in a completely different picture, rather as inefficient, detectives are assigned the impossible task of finding the child killer. The Mafia gets involved because of police raids, but also for positive press with an upcoming grand jury indictment hanging over the underworld. The title, premise, and ending are what these two films share. The American remake is more of a race between the mob and the cops of finding this killer, since the cops are doing actual police work. The way the killers are portrayed are also completely different. Peter Lorre's Hans Beckert is a monster and has more of a demonic presence in the original, while David Wayne's Martin W. Harrow is more of a tortured soul who doesn't want to kill, but thinks the world is soo evil, that dispatching kids from their mortal coil is sparing them from the trappings of the world (because he saw a dead bird when he was a kid or something). Overall, the film isn't a total waste of time,but the original M has more in common with The Godfather (1972) than its American remake.
Wow, I didn't even know there was a remake of the original. Thanks for reviewing this, Gangland! I might need to seek it out just out of curiosity. I just can't see David Wayne playing a child killer.
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Knights of the Teutonic Order (1960)

I was blown away by this film. Left in shock and awe. I dreamed but never dared to hope of seeing a movie like this, and now that I have it is almost an otherworldly experience.




“I was cured, all right!”


Knights of the Teutonic Order (1960)

I was blown away by this film. Left in shock and awe. I dreamed but never dared to hope of seeing a movie like this, and now that I have it is almost an otherworldly experience.

I was searching for something like this!!
it looks stunning! I'll check it out!





Knights of the Teutonic Order (1960)

I was blown away by this film. Left in shock and awe. I dreamed but never dared to hope of seeing a movie like this, and now that I have it is almost an otherworldly experience.

I've seen a clip of this. It looks absolutely stunning considering it was made nearly 60 years ago. Some scenes almost look like a "tilt shift" camera technique.



The special effects are so well done, like the way they use cuts and camera angles to have bloody effects and make people realistically getting stabbed, it has gritty battle scenes. They have wide landscape shots and you can see the armies of literrally hundreds of extras marching up the hill through the fog and mist. It's breathtaking.



I'm not sure if it was origionally shot in black and white. Check out this scene of peasant footsoldiers charging into the battle.




The Belko Experiment (2016)

+


You've got 80 employees in a big ass office building who are suddenly trapped inside when a voice comes on the intercom telling them if they want to survive, they must kill a certain amount of their fellow employees. It was marketed as Office Space meets Battle Royale so you get the idea. Nothing really felt new here but there's plenty of violence and I was entertained.



The Roaring Twenties (Raoul Walsh, 1939)

Pretty good even if most of them were actually in their thirties and forties



Rebellious Daughters (Jean Yarbrough, 1938)
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Are there any other kind??



Sorry Harmonica.......I got to stay here.
The Fast and the Furious (Original) 2001





Undercover cop infiltrates a ring of car racers

Watched this on Netflix after a long time.....I know this is a huge crazy franchise, but as a standalone movie, this first one's actually pretty good. I can't really put my finger on what makes it stand out, as it could've just as easily turned out a horrible cheese-bomb. Great car porn, action, pretty cast, halfway decent plot. Somehow it works. Solidly entertaining.

4.3 bottles-of-NOS out of 5
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Scarface (1932) (Dir. Howard Hawks)

The Gold Rush (1925) (Dir. Charlie Chaplin)


I Am a Fugititve from a Chain Gang (1932) (Dir. Mervyn LeRoy)



The Thirteenth Amendment forbids slavery and involuntary servitude, “except as punishment for crime whereof the party shall have been duly convicted.” If you were to visit Louisiana State Penitentiary today, you would see cotton fields being worked by black prisoners with guards on horseback carrying shotguns. I Am a Fugitive from a Chain Gang is proving to be a timeless critique of the US prison system which more than 2 million Americans are subjected to at any given time, the largest prison population on the planet accounting for a quarter of imprisoned peoples across the world.

Mervyn LeRoy's movie succeeded in drawing attention to some of the ills inherent to a punishment centered, instead of a rehabilitation centered, program, but the subsequent outlawing of leg irons was a superficial response at best. Likewise, the move away from corporal punishment like public whippings has done nothing but improved public relations. Instead of beatings, prisoners are locked in solitary until they experience psychosis. Instead of prisoners breaking rocks solely to punish them, now prisoners are exploited for labor from which private and public prisons alike can profit. Just recently, prisoners assisting in fighting California's massive wild fires as volunteer firemen were compensated with an hourly wage of $1. These men will not be allowed to take up the profession of firefighting when they are freed.

Some might be inclined to watch this movie in the context of a bygone era. That would be a mistake.

To The Wonder (2012) (Dir. Terrence Malick)



Malick is an auteur who uses symbolism moment to moment without ever entertaining extended metaphors which limit creative freedom. Denis Villeneuve's Enemy is the perfect example of a film with consistent rules which it plays by, limiting audience interpretations to a "correct" and "incorrect" state thus invalidating the experience of some and vindicating the experience of others. At a distance, To the Wonder is generally about crises of faith and the folly of looking for God in institutions or others instead inward. Beyond that, Malick uses his cast as representations of smaller ideas which exist in the moment are never intended to apply to the film as a whole.

Is Affleck the savior and the son as sick townsfolk flock to him? Is Affleck the indecipherable god distinct from its human extension in Jesus when he exerts his wrath and struggles to forgive? Surely you would contend that he can encapsulate both as the trinity, especially when his lover admits she can almost reach out and touch him even in his absence, but her story is reconciled in nature, not in the company of man. So is Affleck the golden calf, the false prophet who people mistakenly look to for answers? The answer is that Malick isn't interested in exploring one or a few ideas at the expense of exploring spirituality as a multi-faceted experience thus subjecting his serendipitous visual style to rigid, inorganic guidelines.

I've seen this movie 3 or 4 times now, and I'm still climbing the steps to its wonder. I don't have to wish I could experience this film for the first time again. It changes alongside me. Evergreen. Everflowing.
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