Rate The Last Movie You Saw


Bushwick (2017)

Bushwick has its heart in the right place, informing what could be mindless action fodder with political intent, but the showy, video game-esque shooting style only serves to undercut the severity the material should hold. Maybe it's a calculated Trojan Horse meant to ferry a purposeful message to the widest audience with the most base interest in cinema. The nature of its ending suggest otherwise. Regardless, it doesn't portray the hell of war or the violent maintenance of freedom any better than a cut scene in the latest Call of Duty can.

Addendum: Somebody let Aesop Rock score their horror movie.
Letterboxd | ReverseShot | SlantMagazine

I've always depended on the kindness of strangers
Roast of Trump

Everyone was mentioning him running for President in 2011 for the following year. The show is vulgar, because they aren't clever.

I prefer the Dean Martin Celebrity Roast -- Ralph Nader

Manchester by the Sea (2016) (Dir. Kenneth Lonergan)

I'd heard about the havoc this movie would wreck on me emotionally, but nobody told me it so readily found humor in the pain. It's not at the expense of the emotions, but in the interest of authenticity regarding a people's culture, specifically Irish Catholics, and the blunt manner in which they respond to the world. It cuts through the decorum and ritual of death as exemplified by the scene at the funeral home. It's not reserved to playing one somber note instead focusing on the arrhythmia and intermittent cacophony of grieving. Despite the score occasionally approaching obnoxious, Lonergan shows impeccable taste and awareness for his characters and their troubles.

Welcome to the human race...
Do you mean Gosling?
If only there was a metaphor that could be used to signify the concept of two entities that share superficial similarities but are fundamentally opposed to one another underneath those similarities...

Loveless -

I wonder if I've ever actually seen a Russian film that wasn't miserable.
Way too much stupid talk on the forum. Iroquois, Iím thinking about you.

You can't win an argument just by being right!

Didnt like it the first time and I think I fell asleep. Much better for me on a rewatch but what the hell is with the skin suit, and what was the scene where she was getting out of it then seconds later she was back in it.

Back to bromance. I love the young aussie actress, Angourie Rice

Triple 9 (2016)

Actually pretty decent. It was good being able to understand Casey Affleck for a change although I couldn't buy Kate Winslet's character.

I had a dream about that movie the night after I saw it. Bizarrely, it merged with Black Rain. Wtf...?

Rewatch after many years:

or 3. Can't decide.

Still a charming little horror (complete with that incredible character stupidity only horror movies seem to have) but the makeup didn't age well at all.

Colossal (2017)

Are you gonna bark all day, little doggy?
I finally took the time to watch this classic:

As an avid superhero fan I give it a 7.5/10.

It's a ridiculously stupid movie in some aspects, but also very fun at the same time.

Reeve is great in this film. He pulls off the transformation between Clark and Kal El very well.

Margot Kidder's line delivery is rather inconsistent and I found her narration rather lacking.

Setsuko Hara is my co-pilot
A Woman in the Typhoon Area (1948)

Watched it! SPOILER (although you most probably won't find the movie anyway) Basically, it's Setsuko Hara as an ex-nurse, ex-prostitute, now-gangster moll pirate (?!) in a soppy melodrama glorifying... meteorologists?! At times it feels more like a dream of a Setsuko Hara maniac who watched The Letter before he went asleep than an actual film. Once I had a dream about a POV noir film that takes place on a Louisiana steambot. This film gave me a very similar feel. Along with its ludicrously melodramatic ending, it also had some Floating Clouds feel to it. After finishing it I finally understood watching a movie solely for an actor. Setsuko was a little bit out of character here and it may not be her best damaged goods lady performance (Kurosawa was a much more skillful director and knew how to lead his actors - she was outstanding in The Idiot), but I mean, this has a scene of an attempted rape on Hara, another one of her kissing a man, all these scenes of her hair in the wind (it becomes crazy in one particular take not seen in the GIFs above), the nicely shadowed typhoon takes and, well, Hara herself. Not a great film, but Hara is great.

47 Meters Down

Two sisters vacationing in Mexico are trapped in a shark cage at the bottom of the ocean

This was okay, it might of been better if they had not tried to fill every moment with dialogue; one of the actresses delivery sounded more like a recording taken in a sound booth off a script she had never laid eyes on before rather than genuine reaction to what is happening around her.. The Shallows was much better despite one IMDb reviewer saying this blows The Shallows out of the water lol idiot

The World's End (2013)

The weakest of the Cornetto Trilogy but still pretty good
I agree. I watched this thrice and every time I felt like it kept me at arm's length. Just didn't seem to have the heart of the previous two. It was written sharply and packed to the hilt with gags, but it wasn;t enough. Maybe it's like wine, who knows?

You can't win an argument just by being right!
I want to see this. I love an idiotic stalker shark movie.

Good solid fun.

The Funhouse (1981) Dir: Tobe Hooper

Really, really takes it time building up, but not a bad time waster, and I can almost see some of the style Hooper was allotted into Poltergeist, even though that film was essentially a Spielberg project. The anamorphic lensed squeezing blue beams of light mixed with the prose-like crane shots of the little boy with baseball cap were like the little boy having scary tree and clown nightmares in Poltergeist. Also, there is a visual style that really takes advantage of the theme park surroundings...chromatic color tonalities like orange, red, purple and pink lighted areas massaged with darkened vignettes and black space around each exhibition make the atmosphere really pop. Plus, the ending was orchestrated in a way that called back to The Texas Chainsaw Massacre. This film is the epitome of Tobe Hooper style. If you were ever confused, like I was, about what kind of signature style Tobe Hooper had as a director, this is your front row ticket to witness him firing up the engines. It's true that some of the acting was flat, and not all sound aspects were defined in the tech department, but there was some structure, some characterization, and some creepy moments littered with humor, and according to rumor, this film was the reason Spielberg wanted Hooper to direct Poltergeist for him. Makes sense to me.