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Good decision. Have you seen In A Lonely Place yet? Hits Criterion May 10. Can't wait.
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Deuces Wild (Scott Kalvert, 2002)
Coming Back Home (Greg Carson, 2002)
It's in the Blood (Scooter Downey, 2012)
A Foreign Affair (Billy Wilder, 1948)
After WWII in Berlin, American congresswoman Jean Arthur and cabaret torch singer Marlene Dietrich, a Nazi collaborator, compete for the same soldier (John Lund).
Hal Ashby: A Man Out of Time (Greg Carson, 2002)
The Beast with a Million Eyes (David Kramarsky & Roger Corman, 1955) -
Sometimes They Come Back (Tom McLoughlin, 1991)
The Beguiled (Donald Siegel, 1971) -
In this gothic horror western set during the Civil War, an injured Union soldier (Clint Eastwood) finds himself recuperating in a Southern all-girl school. Here he meets Pamelyn Ferdin, the youngest female there.
At War with the Army (Hal Walker, 1950)
Abbott and Costello in Hollywood (S. Sylvan Simon, 1945) +
Chilling Visions: 5 States of Fear (5 Directors, 2014)
Blotto (James Parrott, 1930) -
During Prohibition, Laurel & Hardy are having a great time at a club drinking some booze Stan stole from his bossy wife (Anita Garvin) who, unbeknownst to them, knows everything they’re doing.
The Ghost of Dragstrip Hollow (William Hole, 1959) -
Elegance (Virpi Suutari, 2016)
Tarzan and the Valley of Gold (Robert Day, 1966) +
Seven Days in May (John Frankenheimer, 1964)
Four-star General Burt Lancaster appears before the Senate Committee on the Armed Forces to tell them the President (Fredric March) is acting irresponsibly for signing a nuclear disarmament treaty with the Soviets.
Man in the Shadow (Jack Arnold, 1957) +
Madhouse (Jim Clark, 1974) -
The Second Jungle Book: Mowgli & Baloo (Duncan McLachlan, 2007)
The Naked Gun 2½: The Smell of Fear (David Zucker, 1991)
Police Squad’s chief moron Leslie Nielsen rekindles his affair with former flame Priscilla Presley.
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It's what you learn after you know it all that counts. - John Wooden
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I can't either.
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Iro's Top 100 Movies v3.0
I really just want you all angry and confused the whole time.
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Bluelion had me fooled for a minute. 
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April
Giovanni’s Island (2014)
No Man’s Land (2001)
Spellbound (1945) +
Dead Man Walking (1995)
Adaptation. (2002) +
The Descendants (2001) +
Silver Linings Playbook (2012)
The Best Years of Our Lives (1946)
Time Lapse (2014) -
Quantum of Solace (2008)
The Girl with a Dragon Tattoo (2011) -
Skyfall (2012)
Spectre (2015)
The Defiant Ones (1958)
Beasts of the Southern Wild (2012)
Thunderball (1965) +
You Only Live Twice (1967)
On Her Majesty’s Secret Service (1969) +
Month Count 18/0
Year Count 80/4
Year Count 80/4
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Michael Clayton (Tony Gilroy, 2007) -
The Beautiful Country (Hans Petter Moland, 2004)
Youth in Revolt (Miguel Arteta) -
The Beautiful Country (Hans Petter Moland, 2004)
Youth in Revolt (Miguel Arteta) -
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I'm still processing the crushing disappointment that Mark didn't actually give Blackhat a -.
I don't really have time to write little reviews for everything I see, anymore, but here are some general thoughts about what I have seen theatrically, thus far in 2016. Including this past weekend, I have seen Jane Got a Gun, Hail, Caesar!, Deadpool, Whiskey Tango Foxtrot, The Witch, Zootopia, Knight of Cups, Demolition, Hello My Name is Doris, Midnight Special, Everybody Wants Some, Miles Ahead, Born to Be Blue, The Jungle Book, Green Room, Sing Street, Elvis & Nixon, The Meddler, Keanu, and Captain America: Civil War.
After four full months, my favorite movie thus far is Midnight Special. Jeff Nichols has become one of my favorite filmmakers in recent years (Take Shelter, Mud, Shotgun Stories), and his foray into the Sci-Fi genre is a triumph. Starring Michael Shannon, no surprise, as the father of a boy with mysterious powers who he tries to spirit away from the religious cult that has grown around his abilities, while being pursued by both the cult members and the authorities. It's kind of Starman and ultimately Tommorwland mixed together, but with Nichols' eye for character and at a more subdued tone than this kind of thriller material is usually is played at, which for me made it much more engrossing and the bursts of noise and action, when they came, jarring and effective.
I liked both of the competing legendary Jazz trumpeter biopics, being Miles Ahead with Don Cheadle as Miles Davis and Born to Be Blue with Ethan Hawke as Chet Baker. I thought Miles Ahead, which Cheadle also directed, was the stronger of the two, but Miles was a much more extreme and outrageous character so that sort of makes sense. Neither film was a masterpiece or anything, and for me Eastwood's Bird (1988) with Forest Whitaker as Charlie Parker remains the benchmark for narrative Jazz biopics, but I liked them both. I have not had a chance to catch the Hank Williams biopic I Saw the Light.
I am not generally a Horror guy, but The Witch was very effective and Green Room was a frickin' blast! I may have to go see Green Room again, take an unsuspecting victim, I mean audience member, with me.
About 180 degrees from the carnage the band in Green Room faces is Sing Street. It's another winner from writer/director John Carney, who's Once and Begin Again are two of the very best movies about musicians. This one is a period piece coming-of-ager about dorky teens in early '80s Dublin who form a band and start writing music. Lovely fable about love and the power of music, great original tunes. I don't like it quite as much as Once or Begin Again, but it is wonderful. Another '80s coming-of-age movie, this one from Richard Linklater, is Everybody Wants Some. A sort of unofficial companion piece to his Dazed & Confused, this time moving from the '70s and suburban High School to the '80s and mid-level college. I generally like Linklater, but frankly I have never gotten what the big fat hairy deal about Dazed & Confused is, and I feel much the same about Everybody Wants Some. Great eye for detail of the period, some amusing scenes, but overall....meh. And I am usually a sucker for coming-of age flicks.
Michael Shannon is one of my favorite actors, I find him compelling even when he's in junk or only has a handful of small scenes, as in last year's The Night Before where he is hysterical as a mysterious drug dealer. He is in all of Jeff Nichols' movies to date, so as I said he was terrific in Midnight Special. But if you know him and his on-screen persona, he probably wouldn't be on your short list of working actors to play Elvis Aron Presley. But that's exactly what director Liza Johnson did for Elvis & Nixon. And though he really looks nothing like The King, even the early-'70s version of the man portrayed here, his quiet intensity and bemused presence really work for the by-then weary rock & roll icon who hadn't quite slipped into the overweight recluse who would be dead six years later. This slight but amusing movie imagines what transpired during the real-life White House meeting of these two figures, which took place just before Tricky Dick started recording everything that went on in the Oval Office. That gives the script leeway to imagine, and Kevin Spacey is excellent trading in his fictional President from Netflix to play Nixon as a gruff, paranoid, petty, and yet still charming man. Lots to like about this one.
If not for having a niece and nephew who are still prime viewing age for such things, I probably wouldn't have seen Zootopia in the theaters, but I'm glad I did because it was clever and fun. Given some of the talent involved I likely would have gotten around to The Jungle Book eventually, but because of my niece and nephew I saw it opening weekend and almost couldn't believe how much damn fun it was. Bill Murray just about steals the whole thing as Baloo, of course, but every voice was well cast, the kid playing Mowgli (Neel Sethi) is fantastic, and Jon Favreau managed to craft a fun and funny adventure film that follows the basic plotline of the Disney cartoon, pays homage to it perfectly, while also diverting slightly. And since I hadn't paid attention to who was doing the voices beyond the big stars in the main roles, I was pleasantly surprised to hear the recently departed Garry Shandling as one of the first animal voices in the flick!
Terrence Malick's movies are must-sees on the big screen, and Knight of Cups is beautiful to look at. But like To the Wonder it feels like a meditative first draft and not as compelling, thoughtful, or stunning as his best works are, to me. Still glad I saw it,as Emmanuel Lubezki's cinematography and Hanan Townshend's score aiding Malick's vision is what cinema is all about, Man. Knight of Cups is disappointing compared to his own filmography, and that is very much how I felt about Ethan & Joel Coen's Hail, Ceasar!, which had so many elements I loved and a perfect cast, but I felt didn't do anything especially well. For me it is far, far short of their masterpieces, but as with Malick, even a "bad" Coen Brothers film is a damn sight better than 90% of the stuff out there. I did like it a little better the second time I saw it, and I would watch it in a loop for a week solid before suffering through Ride Along 2 or Dirty Grandpa, but by that low bar just about everything clears.
Two from my list of have-seens that had decent promotion and recognizable stars but faded before much of anyone got to see them are Whiskey Tango Foxtrot and Demolition. Tina Fey and company were all quite strong in WTF, and the movie is more of a drama than the trailer and ads might have led one to believe. There is nothing particularly "new" in this story of a reporter thrown in over her head in a warzone, but it is all done very well, and compared to last year's Bill Murray vehicle Rock the Kasbah which had a similar milieu and hoped to stake out dark comedy territory, Whiskey Tango Foxtrot is much, much more successful, even if nobody there, including Fey, is as mighty a presence nor as funny as Billy Murray. Jake Gyllenhaal is magnetic as ever in Demoiltion, but judging by the box office returns nobody gave it a chance. Too bad, and again maybe it was sold too much on its comic elements? The story of a young man who's wife dies in a car crash in the opening scene and then slowly and oddly comes to terms with his grief was excellent. It reminds me of Peter Weir's Fearless with Jeff Bridges in many ways, and again while not startling original material, the performances and care taken elevate it. Two good movies, maybe a little tough to market them, some mixed reviews, minor box office ripples, but both are worth tracking down when you can stream/rent/buy them.
Now for the indie comedies. Hello, My Name is Doris starring Sally Field and directed and co-written by Michael Showalter. Showalter you may know in front of the camera from "The State", "Stella", Wet Hot American Summer, or any number of comedy projects, and he starred in and directed The Baxter. Here he stays behind the camera, and Sally Field has a ball playing the title character, an oddball office drone who has a crush on a new, much younger co-worker (Max Greenfield, Schmidt from "New Girl). It has been decades since Sally, now sixty-nine, has gotten to headline a movie, and the two-time Oscar winner can still charm and make you feel for her character. Less successful, though no fault of its star, is The Meddler with Susan Sarandon as a widow who focuses too much on her daughter and then, after her daughter bolts from the smothering saved by a work commitment, a series of needy strangers who become the recipients of her misplaced time, affection, and money. Meanders a bit much for my taste, but the romantic subplot with J.K. Simmons is nice, would have liked a whole movie just about them, more. I really loved Lorene Scafaria's debut, the high-concept Seeking a Friend for the End of the World, but with less ambitious material here I found it somehow also less emotionally involving. The Meddler is not a bad movie, just not very a memorable one, and it doesn't have the charms of Hello, My Name is Doris.
I did not get to see Sasha Baron Cohen's The Brothers Grimsby because it disappeared from theaters too quickly, which is too bad because I do like action comedies. But happily I did get to see Key & Peele's Keanu, which was a laught riot. So much fun, glad to see they were able to take their talent from their sketch show and find a viable feature-length vehicle for their sensibilities and comic mayhem, which is often a difficult transition to make, when you look at examples from the fairly recent past like the teams from "Tenacious D", "Mr. Show with Bob and David" and even going back to "The Kids in the Hall", all of whom made feature films that were decent and had moments of inspired brilliance but all disappointed compared to the sketch form. Jordan Peele and Keegan-Michael Key pulled it off!
As for the superhero movies, I don't think you need my words to hear about them, but Deadpool was the kick-ass, bloody, profanity-fueled ride I hoped it would be, and Captain America is a good, fun blockbuster much closer to the highs of Winter Soldier than the too-much-going on of Avengers: Age of Ultron. And no, I didn't forget to list Batman vs. Superman vs. the Audience in my list, as I didn't bother to see the damn thing. I have such little respect for Zack Snyder, and from every professional and non-professional review I have bothered to pay attention to, sounds like Dawn of Justice fails to do exactly what Civil War does seemingly effortlessly, which is juggle a bunch of characters, inhabit the same world as the previous films, and keep expanding it while throwing in fun action sequences and sprinkling with humor.
And that only leaves Jane Got a Gun from my first four months of 2016. You guys know I love Westerns, and there were a bunch of good ones last year, but despite having Natalie Portman in a non-Thor role (she hasn't had many since winning the Oscar for Black Swan), the material is tired and obvious and honestly as much as I like Ewan McGregor he is miscast and pretty lousy as the heavy.
I also enjoyed some revivals in the past few months on the big screen, including Blade Runner, McCabe & Mrs. Miller, Chimes at Midnight, Hausu, The Treasure of the Sierra Madre, The Maltese Falcon, The Good the Bad and the Ugly, Raiders of the Lost Ark, and probably something else I am forgetting. The newly remastered RAN hasn't made its way here yet, but I can hardly wait!
Of those new movies, my favorites so far...
1. Midnight Special
2. Sing Street
3. Deadpool
4. Green Room
5. Demolition
And I don't do those popcorn box ratings, so just deal.
Eight months of 2016 to go!
After four full months, my favorite movie thus far is Midnight Special. Jeff Nichols has become one of my favorite filmmakers in recent years (Take Shelter, Mud, Shotgun Stories), and his foray into the Sci-Fi genre is a triumph. Starring Michael Shannon, no surprise, as the father of a boy with mysterious powers who he tries to spirit away from the religious cult that has grown around his abilities, while being pursued by both the cult members and the authorities. It's kind of Starman and ultimately Tommorwland mixed together, but with Nichols' eye for character and at a more subdued tone than this kind of thriller material is usually is played at, which for me made it much more engrossing and the bursts of noise and action, when they came, jarring and effective.
I liked both of the competing legendary Jazz trumpeter biopics, being Miles Ahead with Don Cheadle as Miles Davis and Born to Be Blue with Ethan Hawke as Chet Baker. I thought Miles Ahead, which Cheadle also directed, was the stronger of the two, but Miles was a much more extreme and outrageous character so that sort of makes sense. Neither film was a masterpiece or anything, and for me Eastwood's Bird (1988) with Forest Whitaker as Charlie Parker remains the benchmark for narrative Jazz biopics, but I liked them both. I have not had a chance to catch the Hank Williams biopic I Saw the Light.
I am not generally a Horror guy, but The Witch was very effective and Green Room was a frickin' blast! I may have to go see Green Room again, take an unsuspecting victim, I mean audience member, with me.
About 180 degrees from the carnage the band in Green Room faces is Sing Street. It's another winner from writer/director John Carney, who's Once and Begin Again are two of the very best movies about musicians. This one is a period piece coming-of-ager about dorky teens in early '80s Dublin who form a band and start writing music. Lovely fable about love and the power of music, great original tunes. I don't like it quite as much as Once or Begin Again, but it is wonderful. Another '80s coming-of-age movie, this one from Richard Linklater, is Everybody Wants Some. A sort of unofficial companion piece to his Dazed & Confused, this time moving from the '70s and suburban High School to the '80s and mid-level college. I generally like Linklater, but frankly I have never gotten what the big fat hairy deal about Dazed & Confused is, and I feel much the same about Everybody Wants Some. Great eye for detail of the period, some amusing scenes, but overall....meh. And I am usually a sucker for coming-of age flicks.
Michael Shannon is one of my favorite actors, I find him compelling even when he's in junk or only has a handful of small scenes, as in last year's The Night Before where he is hysterical as a mysterious drug dealer. He is in all of Jeff Nichols' movies to date, so as I said he was terrific in Midnight Special. But if you know him and his on-screen persona, he probably wouldn't be on your short list of working actors to play Elvis Aron Presley. But that's exactly what director Liza Johnson did for Elvis & Nixon. And though he really looks nothing like The King, even the early-'70s version of the man portrayed here, his quiet intensity and bemused presence really work for the by-then weary rock & roll icon who hadn't quite slipped into the overweight recluse who would be dead six years later. This slight but amusing movie imagines what transpired during the real-life White House meeting of these two figures, which took place just before Tricky Dick started recording everything that went on in the Oval Office. That gives the script leeway to imagine, and Kevin Spacey is excellent trading in his fictional President from Netflix to play Nixon as a gruff, paranoid, petty, and yet still charming man. Lots to like about this one.
If not for having a niece and nephew who are still prime viewing age for such things, I probably wouldn't have seen Zootopia in the theaters, but I'm glad I did because it was clever and fun. Given some of the talent involved I likely would have gotten around to The Jungle Book eventually, but because of my niece and nephew I saw it opening weekend and almost couldn't believe how much damn fun it was. Bill Murray just about steals the whole thing as Baloo, of course, but every voice was well cast, the kid playing Mowgli (Neel Sethi) is fantastic, and Jon Favreau managed to craft a fun and funny adventure film that follows the basic plotline of the Disney cartoon, pays homage to it perfectly, while also diverting slightly. And since I hadn't paid attention to who was doing the voices beyond the big stars in the main roles, I was pleasantly surprised to hear the recently departed Garry Shandling as one of the first animal voices in the flick!
Terrence Malick's movies are must-sees on the big screen, and Knight of Cups is beautiful to look at. But like To the Wonder it feels like a meditative first draft and not as compelling, thoughtful, or stunning as his best works are, to me. Still glad I saw it,as Emmanuel Lubezki's cinematography and Hanan Townshend's score aiding Malick's vision is what cinema is all about, Man. Knight of Cups is disappointing compared to his own filmography, and that is very much how I felt about Ethan & Joel Coen's Hail, Ceasar!, which had so many elements I loved and a perfect cast, but I felt didn't do anything especially well. For me it is far, far short of their masterpieces, but as with Malick, even a "bad" Coen Brothers film is a damn sight better than 90% of the stuff out there. I did like it a little better the second time I saw it, and I would watch it in a loop for a week solid before suffering through Ride Along 2 or Dirty Grandpa, but by that low bar just about everything clears.
Two from my list of have-seens that had decent promotion and recognizable stars but faded before much of anyone got to see them are Whiskey Tango Foxtrot and Demolition. Tina Fey and company were all quite strong in WTF, and the movie is more of a drama than the trailer and ads might have led one to believe. There is nothing particularly "new" in this story of a reporter thrown in over her head in a warzone, but it is all done very well, and compared to last year's Bill Murray vehicle Rock the Kasbah which had a similar milieu and hoped to stake out dark comedy territory, Whiskey Tango Foxtrot is much, much more successful, even if nobody there, including Fey, is as mighty a presence nor as funny as Billy Murray. Jake Gyllenhaal is magnetic as ever in Demoiltion, but judging by the box office returns nobody gave it a chance. Too bad, and again maybe it was sold too much on its comic elements? The story of a young man who's wife dies in a car crash in the opening scene and then slowly and oddly comes to terms with his grief was excellent. It reminds me of Peter Weir's Fearless with Jeff Bridges in many ways, and again while not startling original material, the performances and care taken elevate it. Two good movies, maybe a little tough to market them, some mixed reviews, minor box office ripples, but both are worth tracking down when you can stream/rent/buy them.
Now for the indie comedies. Hello, My Name is Doris starring Sally Field and directed and co-written by Michael Showalter. Showalter you may know in front of the camera from "The State", "Stella", Wet Hot American Summer, or any number of comedy projects, and he starred in and directed The Baxter. Here he stays behind the camera, and Sally Field has a ball playing the title character, an oddball office drone who has a crush on a new, much younger co-worker (Max Greenfield, Schmidt from "New Girl). It has been decades since Sally, now sixty-nine, has gotten to headline a movie, and the two-time Oscar winner can still charm and make you feel for her character. Less successful, though no fault of its star, is The Meddler with Susan Sarandon as a widow who focuses too much on her daughter and then, after her daughter bolts from the smothering saved by a work commitment, a series of needy strangers who become the recipients of her misplaced time, affection, and money. Meanders a bit much for my taste, but the romantic subplot with J.K. Simmons is nice, would have liked a whole movie just about them, more. I really loved Lorene Scafaria's debut, the high-concept Seeking a Friend for the End of the World, but with less ambitious material here I found it somehow also less emotionally involving. The Meddler is not a bad movie, just not very a memorable one, and it doesn't have the charms of Hello, My Name is Doris.
I did not get to see Sasha Baron Cohen's The Brothers Grimsby because it disappeared from theaters too quickly, which is too bad because I do like action comedies. But happily I did get to see Key & Peele's Keanu, which was a laught riot. So much fun, glad to see they were able to take their talent from their sketch show and find a viable feature-length vehicle for their sensibilities and comic mayhem, which is often a difficult transition to make, when you look at examples from the fairly recent past like the teams from "Tenacious D", "Mr. Show with Bob and David" and even going back to "The Kids in the Hall", all of whom made feature films that were decent and had moments of inspired brilliance but all disappointed compared to the sketch form. Jordan Peele and Keegan-Michael Key pulled it off!
As for the superhero movies, I don't think you need my words to hear about them, but Deadpool was the kick-ass, bloody, profanity-fueled ride I hoped it would be, and Captain America is a good, fun blockbuster much closer to the highs of Winter Soldier than the too-much-going on of Avengers: Age of Ultron. And no, I didn't forget to list Batman vs. Superman vs. the Audience in my list, as I didn't bother to see the damn thing. I have such little respect for Zack Snyder, and from every professional and non-professional review I have bothered to pay attention to, sounds like Dawn of Justice fails to do exactly what Civil War does seemingly effortlessly, which is juggle a bunch of characters, inhabit the same world as the previous films, and keep expanding it while throwing in fun action sequences and sprinkling with humor.
And that only leaves Jane Got a Gun from my first four months of 2016. You guys know I love Westerns, and there were a bunch of good ones last year, but despite having Natalie Portman in a non-Thor role (she hasn't had many since winning the Oscar for Black Swan), the material is tired and obvious and honestly as much as I like Ewan McGregor he is miscast and pretty lousy as the heavy.
I also enjoyed some revivals in the past few months on the big screen, including Blade Runner, McCabe & Mrs. Miller, Chimes at Midnight, Hausu, The Treasure of the Sierra Madre, The Maltese Falcon, The Good the Bad and the Ugly, Raiders of the Lost Ark, and probably something else I am forgetting. The newly remastered RAN hasn't made its way here yet, but I can hardly wait!
Of those new movies, my favorites so far...
1. Midnight Special
2. Sing Street
3. Deadpool
4. Green Room
5. Demolition
And I don't do those popcorn box ratings, so just deal.
Eight months of 2016 to go!
__________________
"Film is a disease. When it infects your bloodstream it takes over as the number one hormone. It bosses the enzymes, directs the pineal gland, plays Iago to your psyche. As with heroin, the antidote to Film is more Film." - Frank Capra
"Film is a disease. When it infects your bloodstream it takes over as the number one hormone. It bosses the enzymes, directs the pineal gland, plays Iago to your psyche. As with heroin, the antidote to Film is more Film." - Frank Capra
Last edited by Holden Pike; 05-09-16 at 01:04 PM.
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Favorite Movies
Happy to see such high praise for Midnight Special. I'm a big Nichols fan as well, and am looking forward to it!
Primeval (Michael Katelman, 2007)
The Notorious Lone Wolf (D. Ross Lederman, 1946)
Venusia (Louise Carrin, 2015)
Dumbo (Ben Sharpsteen, 1941)
Dumbo is rocked to sleep by his Mom who’s locked up because she couldn’t take the other elephants making fun of his big ears.
The Samaritan (David Weaver, 2012)
In Her Skin (Simone North, 2009)
The Day Before the End (Lav Diaz, 2016) -
Mockery (Benjamin Christensen, 1927)
During the Russian Revolution, simple Siberian Lon Chaney helps and follows a beauty (Barbara Bedford) who turns out to be a countess wanted by the Reds.
Snow (Richard Dinter, 2016) +
Howl (Paul Hyett, 2015)
Can-Can (Walter Lang, 1960)
Poltergeist II: The Other Side (Brian Gibson, 1986) +
Demonic Preacher Kane (Julian Beck) still has his sights set on the Freeling’s daughter Carol Anne (Heather O’Rourke).
Young Billy Young (Burt Kennedy, 1969)
Gangster No. 1 (Paul McGuigan, 2000)
Bait (Kimble Rendall, 2012)
The Scarecrow (“Buster” Keaton & Eddie Cline, 1920)
Farmhand Buster Keaton gets chased by a dog (Luke) and eventually destroys his clothes which forces him to wear those of the farm’s scarecrow.
The Contractor (Joseph Rusnak, 2007) +
Six-Gun Gold (David Howard, 1941)
Lawless Valley (David Howard, 1938)
Nomad: The Warrior (Sergey Bodrov & Ivan Passer, 2005)
Kazakh wise man Jason Scott Lee wanders Mongolia looking for the child prophesied to unite his people just as Genghis Khan did before.
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That's higher than i thought you'd give Poltergeist 2 
. I don't care i love that film, which is mostly due to Kane terrifying me as a child.
. I don't care i love that film, which is mostly due to Kane terrifying me as a child.
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Favorite Movies
10 Cloverfield Lane
(Trachtenburg, 2016)
Excellent thriller that is sort of a spiritual successor to Cloverfield. John Goodman knocks it out of the park.
The Life of Pi
(Lee, 2012)
One of my favorite films of all time. An emotional journey at sea with Richard Parker the tiger. I had a couple friends that hadn't seen it, and it had been a while since I watched it, so it was time to pop it in, getting lost at sea, once again. I just adore this film in so many ways. I am always moved by certain scenes and the visuals are breathtaking and mesmerizing. Excellent sound design, as well. Love it!
__________________
“It takes considerable knowledge just to realize the extent of your own ignorance.” ― Thomas Sowell
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10 Cloverfield Lane
(Trachtenburg, 2016)
Excellent thriller that is sort of a spiritual successor to Cloverfield. John Goodman knocks it out of the park.
The Life of Pi
(Lee, 2012)
One of my favorite films of all time. An emotional journey at sea with Richard Parker the tiger. I had a couple friends that hadn't seen it, and it had been a while since I watched it, so it was time to pop it in, getting lost at sea, once again. I just adore this film in so many ways. I am always moved by certain scenes and the visuals are breathtaking and mesmerizing. Excellent sound design, as well. Love it!
__________________
''Haters are my favourite. I've built an empire with the bricks they've thrown at me... Keep On Hating''
- CM Punk
http://threemanbooth.files.wordpress...unkshrug02.gif
''Haters are my favourite. I've built an empire with the bricks they've thrown at me... Keep On Hating''
- CM Punk
http://threemanbooth.files.wordpress...unkshrug02.gif
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