Movie Tab II

Tools    





Great Expectations (1998)

Pretty, though the cameraman went a little tilt-crazy. Some nice unintentionally silly bits too.

Vernanda (1988)

A traveler tries to rid himself of a bomb in an eccentric town. Seems like I would’ve enjoyed it much more if it weren’t for the marred audio quality on youtube.

Svengali (1931)

The droopy expressionistic sets are cool, the lead is fantastic, and the story stays odd, surprising, and uninhibited. The comedy seems token though. Anyone expecting a horror flick would probably be surprised by the adventurous drama that inserts itself, and the heavy note that it ends on.

Russkaya simfoniya (1994)

Made pretty much in the same style as Lopushanskiy’s Visitor Of A Museum. Only this has a pinch of dark comedy and Shakespearean histrionics that give it much more character. The lighting is somehow even redder, and the environment still seems soaked in kerosene. It’s set during a society’s crumbling (rather than after) so the environment is more violent and active, while still maintaining Lopushanskiy’s bleakness.




__________________




Bright light. Bright light. Uh oh.

Girls Trip (Malcolm D. Lee, 2017)

Black Butterfly (Brian Goodman, 2017)

My Pal Gus (Robert Parrish, 1952)

Cinema Through the Eye of Magnum (Sophie Bessaler, 2017)
+

Magnum Photos took some of the most iconic photos of filmmakers on the set and in their personal lives.
Electro-Pythagorus: A Portraut of Martin Bartlett (Luke Fowler, 2017)

Hocus Pocus (Danny Ortega, 1993)

The Longest Ride (George Tillman Jr., 2015)

Casino (Martin Scorsese, 1995)


Violent wacko Joe Pesci goes after casino manager Don Rickles.
Gasoloons (Arthur Ripley, 1936)

Arizona Legion (David Howard, 1939)

The Marsh (Jordan Barker, 2006)

The Devil’s Candy (Sean Byrne, 2016)


A family moves into a house with a deadly history, and the painter father (Ethan Embry) seems to become possessed, but that’s not the family’s biggest problem.
Ingrid Goes West (Matt Spicer, 2017)
+
Balalaika (Reinhold Schunzel, 1939)
+
Night Mail (Basil Wright & Harry Watt, 1938)

Cars 3 (Brian Fee, 2017)


Lightning McQueen (voice of Owen Wilson) again tries to prove he’s the greatest race car in the business.
British Agent (Michael Curtiz, 1934)

Advantage Satan (Sean Byrne, 2007)

Bandit Ranger (Lesley Selander, 1942)

Two Guys from Trxas (David Butler, 1948)


Song-and-dance men Dennis Morgan and Jack Carson briefly turn into Loony Tunes (and Jack meets up with Bugs Bunny.)
__________________
It's what you learn after you know it all that counts. - John Wooden
My IMDb page



Seen in October, Pt.2



I guess these are my favourite type of trillers, as I thought this was really great. The script is amazing. The special effects are very good. Patrick Stewart does a brilliant performance. I haven’t seen a thriller like this in a while, and I’m glad I got to see it.



Enjoyable. The performances were good. The fight scenes were very entertaining. While the ending was great and emotional I REALLY wanted it to end on the ‘I am Spartacus’ scene, it seemed so appropriate. The (what I believed to be) matte paintings were very good looking. Strange to see it was directed by Kubrick since it isn’t edited and shot liked a Kubrick film.



A very enjoyable horror film. The performances were good. Great cinematography. The camera did that thing where it zooms in on things that will be used later in the plot, I hate that with a passion. Also the ending was kinda silly. That didn't take away too much from my enjoyment of the film though.


. Possibly

Portman does a fantastic performance, her crying face and eyebrows are the best. The handheld camerawork works great for the film, feels very akin to Downfall. This was John Hurts last film before he died, and he does a fine performance aswell. I loved when the camera quality went grainy whenever they were showing a film clip filmed in real life, it worked really well. The costumes and colour pallet were very pleasing to the eye. The way the assassination scene was done made it very emotional. I liked the little subtleties aswell, like the children owning a blackface doll.

Definitely one of the best films of 2016.



The visuals of the mountains combined with the music is beautiful, possibly more so than The Straight Story. But unlike The Straight Story is doesn’t have much else to offer, I liked Jake and Heath’s on-screen chemistry tough.



Pretty exciting noir. I loved how the non-linear storyline was used to show each others jobs in the heist. The scene with the suitcase at the end made me make an audible “OOH!” noise, which even the most shocking movies haven’t made me go. The kitchen scene with all the cigarette smoke looked really cool.



A very interesting documentary about a damn good director. It was nice to see everyone he knew personally say good things about him, you don’t see that a lot with famous people.



Pretty brilliant. The scenes at the start and middle inside the control rooms were a little slow but the scenes in the plane were brilliant. Every character felt like a real person, it makes for a really emotional experience.
WARNING: spoilers below
The ending definitely had an effect on me. I expected the plane to land as I had never heard about this incident before in reference to 9/11.It's very similar to Buried’s ending in a way. Camera shaking violently, gets extremely emotional out of nowhere, you can’t comprehend what the characters are saying but you can feel their emotions etc.


A pretty average beginning, but an absolutely fantastic middle and end.


Technical level:


Entertainment level:


I don’t know why this is labelled as a horror film, it’s a thriller.

Let’s get the good stuff out of the way first. The tension in this film is the best thing about this, I was on the edge of my seat a lot of the time. Stephen Lang’s performance is brilliant, he looks very threatening. The Jumpscares were used very effectively and didn’t have that obnoxious “shing” noise.

Now let’s get the bad stuff out of the way:

You know that stock sound effect,

yes that one. It was used in one scene. It was absolutely cringe-worthy. The camera also did that stupid thing where it zooms in on things that will become important to the story later. There’s a handful of plot holes, ask me if you want me to discuss them.There’s a few scenes that could be removed from the film and it wouldn’t change one nanometre.The ladybird plot line made me want to punch the screenwriters. The exposition is a little too on the nose.

Not exactly a complaint,but during the scene where the blind guy turns off the lights, I thought they were gonna go for that ‘Wait Until Dark” thing where the film’s in complete darkness for a few minutes, but instead this film was done with night vision. A little disappointing, but it was still an entertaining scene.



Nice visuals, great soundtrack. Don’t know what else to say.



Spring (Aaron Moorhead and Justin Benson, 2014) -


Though I had been led to believe that this qualified as a body horror, the body horror elements of it are downplayed within a narrative that is more of a supernatural romance than anything else as a gormless American backpacker meets a mysterious Italian woman and sparks fly. It's halfway-functional in that regard but I'm not especially taken with it as a romantic drama or (perhaps more importantly) as a body horror. Oh, well.
I like this film alot. You're right that the body horror is..blah. Think i'm a sucker for Before Trilogy like walking around beautiful european cities while falling in love films. Maybe i was just swept up because i'm such a big fan of the Before films and this was absolutely not what i was expecting, whatever it was the romance worked alot for me.



A Ghost Story



Really expected to like this much more than I did. I thought it was good and despite the pacing I was never bored. Just didn't haunt me or stick with me the way I was wishing for. Also went a different direction than I was expecting but I am pretty sure
WARNING: "Ghost" spoilers below
I prefer my time folding with water planets and Matt Damon.


Harold And Maude



Saw this once back in college but it was wit about five friends including my future wife. I wasn't paying much attention to the movie. I really loved it this time. Couldn't stop thinking about Wes Anderson. Very funny film that you will probably see pop up on my tab posts a couple more times over the next year or so.

Badlands



The more Malick I see, the more I love. Beautiful film that I am probably still under rating. This was my second time with Badlands. Hopefully will be doing a second watch of all his movies over the next few months.

Ain't Them Bodies Saints



This popped up on Netflix and it was the perfect week for it having just watched Ghost Story and Badlands. I really liked this and would like to see it again to engage with it better as it wasn't quite the film I thought I had heard about. Much more of a straight forward crime story even if it still has a meandering mood quality. Very solid film.

France Ha



In a Baumbach mood and Netflix is scratching that itch. My third time watching it and it just keeps getting funnier, more engaging, and just plain better. Love it after a very so-so first viewing.

Suburbicon



Ugh, what a disaster. By far the worst part of a very good viewing week. A social satire that feels about 50 years late. Not being funny is the main problem. Clooney wants to be the Coen brothers so bad.
__________________
Letterboxd




Suburbicon



Ugh, what a disaster. By far the worst part of a very good viewing week. A social satire that feels about 50 years late. Not being funny is the main problem. Clooney wants to be the Coen brothers so bad.
Damn, is this really that bad? I know the critics have been trashing it but I was still looking forward to it because the cast looked great and the Coens haven't made a bad film from what I've seen, so this looks like a huge disappointment.
__________________
Letterboxd

Originally Posted by Iroquois
To be fair, you have to have a fairly high IQ to understand MovieForums.com.



Damn, is this really that bad? I know the critics have been trashing it but I was still looking forward to it because the cast looked great and the Coens haven't made a bad film from what I've seen, so this looks like a huge disappointment.
Yeah, it's Coen knock off for sure. I felt the same way so I will be surprised if you like it. I know Coen name is on the script but I think it was one of those touch up deals. If not then it is by far their worst.



Russkaya simfoniya (1994)

Made pretty much in the same style as Lopushanskiy’s Visitor Of A Museum. Only this has a pinch of dark comedy and Shakespearean histrionics that give it much more character. The lighting is somehow even redder, and the environment still seems soaked in kerosene. It’s set during a society’s crumbling (rather than after) so the environment is more violent and active, while still maintaining Lopushanskiy’s bleakness.




Yeah, I can see why you posted the stills. They are no joke. These coupled with the review you wrote...well...I'm sold.



Bright light. Bright light. Uh oh.
Song of the South (Harve Foster & Wilfred Jackson, 1946)



I'm going to put up parts of the film to let it speak for itself. First off, there are no slaves in this film. This is set during the Reconstruction, but if you honestly believe that all the former slaves were participating in a social uprising something along the lines of the 1950s/60s Civil Rights Movement, go ahead and produce your facts. If you think Disney was whitewashing the reality of the post-Civil War South by showing that some ex-slaves stayed on at the only homes they knew and actually liked the people they worked for, once again produce your evidence. I feel sick even mentioning crap like this because this film has NOTHING to do with the evils of slavery. I bet many people understand the concept of "Stockholm Syndrome", yes? Once again, this film is about how people of different colors and backgrounds actually care about and love each other. Too bad that's considered subversively racist now.
&feature=related
If anything, the white characters are shown in a far more derogtory light than Uncle Remus, Aunt Tempy and Toby. People bring to the table what they take away from the table. Since I'm bringing no racism to the table, I'm going to stop trying to defend the film. The wonderful thing about Song of the South is that it will make you cry by the humanity it shows. Yet, it also makes you laugh by the humanity it shows through the "tales of the critters" because, as Uncle Remus says, if you can't learn from tales 'bout critters, you can't learn.

Part 1 is above [not anymore] and Part 2 below. This is my fave cartoon episode, the one about the Tarbaby. Now, although I said I'd shut up about racism, I've read tons of crap on the internet about how this film promotes the concept of tarbabies as a derogatory term about African-Americans. This is one of the most blatant examples of how people attack this film with NO KNOWLEDGE whatsoever. The Tarbaby is made of tar. His entire purpose is to incapacitate Br'er Rabbit by getting all four of his limbs stuck. The fact that tar is black has nothing to do with racism. Just watch the clip. This is a FUNNY film, but I guess some people have no sense of humor. I hope you laugh. I roar at Br'er Fox and Br'er Bear in these two episodes. James Baskett (Uncle Remus) was a kind genius and well-deserving of his special Oscar. Baskett also contributes the voice of Br'er Fox.

This is the continuation of my fave scene. I love when Br'er Fox realizes that the Briar Patch might be the most evil way to kill Br'er Rabbit. This film is a wonderful example of how comedy and tears mix when done correctly.
&feature=related
I can add nothing to the beauty of this scene, from about 2:25-8:45.
&feature=related
Uncle Remus and Grandma are by far the wisest characters in the film, so if anybody thinks Uncle Remus is an Uncle Tom, you should back it up with your non-existent evidence.

I'm not sure anybody is actually going to check out all the links. I think the entire film is probably on You Tube if you paste it together. I don't have to do that. I have a copy off the Japanese Laserdisc. The funny thing is that during most of the songs, there are Japanese subtitles, but everything else is clear during the dialogue. I've put up about 25 minutes of the 94 minute movie. I hope you enjoy it.

P.S. According to the Internet, Cabin in the Sky is a blatantly racist film. Check it out, if you don't believe me. I don't think it is, but trust me. Every film ever made is racist and sexist to somebody. I'm sorry about that because I don't believe it myself.



Welcome to the human race...
The Only Living Boy in New York (Marc Webb, 2017) -


Definitely a testament to the idea that a bad movie can never be too short, this aggressively slight tale of a young intellectual attempting to deal with various personal crises against the backdrop of an ultra-gentrified New York City is a chore-and-a-half that doesn't have to work hard in order to leave a negative impression.

Under the Sun of Satan (Maurice Pialat, 1987) -


Time to wrap up my attempts at watching Pialat with his Palme d'Or-winning film about a psychologically-tormented priest, which may well be my favourite of all his films so far (if only because the subject matter is of more general interest to me). Still nothing I'd really want to write home about, but I didn't hate it.

Thor (Kenneth Branagh, 2011) -


Decided to try revisiting the first two Thor flicks in anticipation of Ragnarok to see how they hold up (or don't). This one did alright - the origin-story beats are there, the fish-out-of-water comedy's not too bad, and the high-fantasy elements are decent.

Thor: The Dark World (Alan Taylor, 2013) -


I was hoping that this one would hold up a lot better than its reputation as one of the weakest MCU installments would suggest, but it was not to be. There are at least a couple of decent set-pieces involved (gotta respect a well-done portal set-piece) and there are quite a few solid core characters, but otherwise it's either playing like a retread of the original or an extremely rough draft for the average MCU sequel (to say nothing of how its capacity for visual invention is let down by a generally dull approach).

Asylum (Roy Ward Baker, 1972) -


This horror anthology can't help but feel a little weak in the wake of the similar but superior Tales From the Crypt, though it does have an intriguing framing story where the asylum administrator challenges the new doctor to identify which of the patients used to be the doctor he's replacing. I've observed before how these anthology films can be judged by the relative strength of both their framing stories and their main stories (especially in how the former compares to the latter), and they are fairly hit-and-miss - the best segment is the one about Peter Cushing's mysterious man requiring a bizarre tailoring job. It does go in an admittedly unexpected direction towards the end, but it's still ultimately passable.

Captain America: The First Avenger (Joe Johnston, 2011) -


Decided to revisit this one while still on that Thor kick and I think I liked it more than I did originally, if only because it's also a straightforward and agreeable adventure that thankfully doesn't rush headlong into uncritical jingoism (in ways that would arguably be refined with its immediate sequels) and has some decent alternate-history blockbuster action thrown into the mix.

Army of Darkness (Sam Raimi, 1992) -


It was this viewing (don't know the exact number, but for some reason the number 12 sounds about right) that admittedly made me knock it down from the full five. It probably doesn't help that I'm used to the noticeably tighter theatrical cut and that this was a director's cut viewing, though considering how much they have in common already I am starting to think that maybe I'm getting just a tiny bit tired of these campy shenanigans (that also mean that this barely counts as a horror film anyway, but how many horror films don't lose their shock value after a dozen-plus viewings?). Obviously, it's not enough to ruin the film for me completely, but it was enough to make me question its top-tier status.

Legally Blonde (Robert Luketic, 2001) -


Still wonder if this rating is being a little too generous, but whatever, this is still a surprisingly serviceable high-concept legal comedy underneath its extremely basic turn-of-the-millennium exterior.

The Texas Chain Saw Massacre (Tobe Hooper, 1974) -


Full review found here.

Lifeforce (Tobe Hooper, 1985) -


Notorious schlock factory Cannon Films dropped some serious coin on this ludicrous tale of space vampires who are let loose on Earth and it shows through some charmingly competent mid-'80s effects work. That being said, I still have trouble thinking of it as that much of a horror movie - it plays more like a throw-back to '50s sci-fi like The War of the Worlds than anything else so it seems a bit too silly (and, more importantly, too familiar) to be truly scary. Still, at least it's an entertaining little movie even if it doesn't quite reach the face-melting levels I'd been hoping to encounter.
__________________
I really just want you all angry and confused the whole time.
Iro's Top 100 Movies v3.0



Bright light. Bright light. Uh oh.

I'll Be Home for Christmas (James Brolin, 2016)
-
Mimic 2 (Jean de Segonzac, 2001)

The Champagne Murders (Claude Chabrol, 1967)

Hook (Steven Spielberg, 1991)


Captain Hook (Dustin Hoffman) can’t believe the grown man (Robin Williams) before him is Peter Pan.
A Quiet Day During the End of War (Nikita Mikhalkov, 1970)

Silent Hill: Revelation (Michael J. Bassett, 2012)

The Trial (Orson Welles, 1962)

ParaNorman (Chris Butler & Sam Fell, 2012)


Norman can see dead people, including a pissed-off girl’s ghost.
A German Youth (Jean-Gabriel Périot, 2015)

The Nest of the Cuckoo Birds (Bert Williams, 1965)

Toy Story of Terror (Angus MacLane, 2013)
-
It (Andy Muschietti, 2017)
-

In 1980s Derry, Maine, Pennywise (Bill Skarsgård), or “It”, returns to take many of the town’s children.
Fantasy Sentences (Dane Komljen, 2017)
+
Raising Izzie (Roger M. Bobb, 2012)

Unfriended (Leo Gabriadze, 2015)

SE7EN (David Fincher, 1995)


”John Doe has the upper hand.”
Fear Strikes Out (Robert Mulligan, 1957)

Brad’s Status (Mike White, 2017)
+
Puppet Master 4 (Jeff Burr, 1993)

Doodlebug (Christopher Nolan, 1997)


Those damn doodlebugs.



October:


Alien (Ridley Scott, 1979)

+
The Thing (JohnCarpenter, 1982)


Scream (Wes Craven, 1996)

+
All Quiet On The Western Front (Lewis Milestone, 1930)
Dawn Of The Dead (George A. Romero, 1978)
Les Diaboliques aka Diabolique [The Fiends] (Henri-Georges Clouzot, 1955)
Poltergeist (Tobe Hooper, 1982)
Profondo Rosso [Deep Red aka The Hatchet Murders] (Dario Argento, 1975)
¿Quién puede matar a un niño? [Who Can Kill A Child?] (Narciso Ibáñez Serrador, 1976)
The Loved Ones (Sean Byrne, 2009)
The Ring (Gore Verbinski, 2002)


Drag Me To Hell (Sam Raimi, 2009)
Freaks (Tod Browning, 1932)
Holy Motors (Leos Carax, 2012)
Oculus (Mike Flanagan, 2013)
Ringu [The Ring] (Hideo Nakata, 1998)

+
Night Of The Living Dead (George A. Romero, 1968)
Scream 2 (Wes Craven, 1997)
Tucker And Dale vs Evil (Eli Craig, 2010)


Der Golem, wie er in die Welt kam [The Golem: How He Came Into The World] (Carl Boese & Paul Wegener, 1920)
Fury (David Ayer, 2014)
Kitty Foyle (Sam Wood, 1940)
Mauvais Sang [Bad Blood aka The Night Is Young] (Leos Carax, 1986)
Nosferatu The Vampyre (Werner Herzog, 1979)
Pillow Of Death (Wallace Fox, 1945)
Rammbock [Siege Of The Dead] (Marvin Kren, 2010)
Scream 3 (Wes Craven, 2000)
The Mist (Frank Darabont, 2007)

+
99 Homes (Ramin Bahrani, 2014)
About Time (Richard Curtis, 2013)
American Mary (Jen Soska & Sylvia Soska, 2012)
Crack In The World (Andrew Marton, 1965)
Day Of The Dead (George A. Romero, 1985)
Dead Birds (Alex Turner, 2004)
Inside Out (Pete Docter & Ronnie Del Carmen, 2015)
Scream 4 (Wes Craven, 2011)
Sunshine On Leith (Dexter Fletcher, 2013)
Suntan (Argyris Papadimitropoulos, 2016)
The Crazies (George A. Romero, 1973)
The King Of Comedy (Martin Scorsese, 1982)


Alice Sweet Alice aka Communion (Alfred Sole, 1976)
Dream House (Jim Sheridan, 2011)
I lunghi capelli della morte [The Long Hair Of Death] (Antonio Margheritit, 1964)
Nina Forever (Ben Blaine & Chris Blaine, 2015)

+
Horror Island (George Waggner, 1941)
Quella villa accanto al cimitero [The House By The Cemetery] (Lucio Fulci, 1981)
[•REC]² [aka Rec 2] (Jaume Balagueró & Paco Plaza, 2009)


À l'intérieur [Inside] (Alexandre Bustillo & Julien Maury, 2007)
Frankenstein Created Woman (Terence Fisher, 1967)
The Hole (Joe Dante, 2009)
Trilogy Of Terror (Dan Curtis, 1975)
Wrong Turn (Rob Schmidt, 2003)

+
13 Ghosts (William Castle, 1960)


A Dark Song (Liam Gavin, 2016)


Everly (Joe Lynch, 2014)

+
The Wild Women Of Wongo (James L. Wolcott, 1958)



October Watches (Rewatch in Red):

The People Under The Stairs (Wes Craven, 1991)

The Cabin in the Woods (Drew Goddard, 2012)

The Beyond (Lucio Fulci, 1981)
+
The Funhouse (Tobe Hooper, 1981)

The Visit (M. Night Shyamalan, 2015)
+
Nosferatu (F.W.Murnau, 1922)

Zombie Flesh Eaters (Lucio Fulci, 1979)

Ghost In The Shell (Rupert Sanders, 2017)

Halloween III: Season of the Witch (Tommy Lee Wallace, 1982)
+
Tales From The Hood (Rusty Cundieff, 1995)

Amer (Hélène Cattet and Bruno Forzani, 2009)
+
Needful Things (Fraser C. Heston, 1993)

City of Ghosts (Matthew Heineman, 2017)

The New York Ripper (Lucio Fulci, 1982)

The Beguiled (Sofia Coppola, 2017)

Friday the 13th Part VI: Jason Lives (Tom McLoughlin, 1986)

The Tingler (William Castle, 1959)

Diabolique (Henri-Georges Clouzot, 1955)
-
The Sacrament (Ti West, 2013)
+
Dead of Night (Ealing Studios, 1945)

Deep Red (Dario Argento, 1975)
+
Dracula: Prince of Darkness (Terence Fisher, 1966)
+
Bride of Frankenstein (James Whale, 1935)

Possession (Andrzej Żuławski, 1981)
+
The House By The Cemetery (Lucio Fulci, 1981)

Audition (Takashi Miike, 1999)
+
Martin (George Romero, 1978)

In The Mouth of Madness (John Carpenter, 1994)
+
Inside (Julien Maury and Alexandre Bustillo, 2007)
-
Shadow of the Vampire (E. Elias Merhige, 2000)
-
The Host (Boon Jong-Ho, 2006)

Eyes Without a Face (Georges Franju, 1960)
+
Ghost Story (John Irvin, 1981)

IT (Andy Muschietti, 2017)
+
The Exorcist (William Friedkin, 1973)
+

October Watches: 35
2017 Watches: 258

Also all 31 films i watched for the Horror Challenge ranked - https://letterboxd.com/camarel/list/...llenge-ranked/



October, 2017 movies watched-

Le Corbeau (1943)
Excellent mystery film from director Henri-Georges Clouzot.

Vigilante (1983)
+ Enough fun to make it worth watching.

Lone Star (1996) Repeat viewing
- So well put together, but not a movie that stays with me.

La Grande Illusion (1937)
I can feel greatness with this movie, maybe it'll fully hit me next time.

Headhunters (2011)
+ Very entertaining.

Snuff 102 (2007)
Pretty decent for what it is, which is a sick extreme film from Argentina.

Sorcerer (1977) Repeat viewing
- One of my favorite thrillers.

Even Dwarfs Started Small (1970)
+ I normally enjoy anything with midgets.

The Hurricane (1999)
Hated it for a while but then Denzel Washington and the story won me over.

Eraserhead (1977) Repeat viewing
Nothing deep for me but it has a haunting quality that I enjoy.

A Ghost Story (2017)
A very interesting movie even if it didn't make a major impact on me.

Three Days of the Condor (1975) Repeat viewing
+ Flawed but very entertaining thriller.

Total October movies-12
Total 2017 movies-263



For some reason I decided I wasn't going to watch anything this month

Rewatches are in blue

6/10 - Full Metal Jacket (Stanley Kubrick; 1987) -

7/10 - Alien (Ridley Scott; 1979) -

7/10 - Blade Runner (Ridley Scott; 1982) -

7/10 - Eraserhead (David Lynch; 1977) -

8/10 - Blade Runner 2049 (Denis Villenueve; 2017) -

9/10 - The Warriors (Walter Hill; 1979) -

12/10 - The Sting (George Roy Hill; 1973) -

13/10 - Chinatown (Roman Polanski; 1974) -

15/10 - SE7EN (David Fincher; 1995) -

19/10 - Kill Bill: Vol. 1 (Quentin Tarantino; 2003) -

20/10 - Lawless (John Hillcoat; 2012) -

23/10 - Mommy (Xavier Dolan; 2014) -

24/10 - Kill Bill: Vol. 2 (Quentin Tarantino; 2004) -

27/10 - What's Up, Doc? (Peter Bogdanovich; 1972) -

30/10 - Empire of Passion (Nagisa Oshima; 1978) -

31/10 - Time of the Gypsies (Emir Kusturica; 1988) -


Oct '17 total: 16
2017 total: 201



Seen in October, Pt.3/3



If you thought the aspect ratio of the Grand Budapest Hotel being used to tell the story was genius, this film will blow your mind. The acting from everyone was almost perfect, the characters nearly felt like people I know in real life, this really helps the emotional experience of the film. The film is very nice looking aswell. The string soundtrack is quite beautiful. Also the songs used were great. After watching Don't Breathe (Which was about as subtle as a rocket launcher at a woman's basketball game), this film makes me feel so good. The subtlety is flawless, never have I seen a movie so not insulting to my intelligence. The exposition is perfect, the actors deliver it as if they were actual human beings. You'd swear you were actually watching real people having a conversation during some of the dialogue scenes.



A great little blockbuster. It felt very light-hearted, which was strange but an interesting choice. The special effects were really good, you could seriously imagine us like this in 50 years time. Damon's character is really the driving force of the film. The script was great. The first 5 minutes and a few scenes in Nasa towards the end were a little ‘eh’ but it didn’t detract from my experience.



Along with the original, it's one of the most badass movies ever. It’s a sequel that completely diverts from the original. The characters were extremely interesting. The action scenes, oh god the action scenes! They’re some of the most kick-ass and well choreographed action scenes I’ve ever seen, I want to jump out of my bed and do a martial arts kick just typing this!



I liked it. It felt fairly similar to the brilliant United 93 (Same director), though not nearly as good. The performances are great. The tension during the start of the film was great. The last 3rd of the film dips in quality though, as we have spent the entire middle act in the lifeboat, and we are still in it. The baseless threats by the pirates get exhausting as they don’t actually do anything. A great beginning and middle, but only a decent end.



Wan definitely knows what he’s doing. There’s one scene in the film that completely subverts the audience’s expectation’s on how it’s going to jumpscare them. My arm went into a spasm I was that subverted! The feeling of it being in the 70's with the 'true story' banner before the title card really adds to the atmosphere of the film, as it's a time when you feel like ghost investigators would mostly be active. The performances are great. It dips in quality in the middle but it is made up for with a brilliantly intense and scary ending.



Bright light. Bright light. Uh oh.

Puppet Master 5 (Jeff Burr, 1994)

The Last Dream (Noemie Nakai & Carmen Korayashi, 2017)

The Seasons in Quincy: Four Portraits of John Berger (Four Directors, 2016)
-
Hot Thrills and Warm Chills (Dale Berry, 1967)


In between having sex and “planning” a diamond heist, Lorna Maitland go-gos to Pérez Prado.
Curse of the Puppet Master (Victoria Sloan, 1998)

Retro Puppet Master (Joseph Tennent [David DeCoteau], 1999)
+
After the Storm (Hirokazu Kore-eda, 2016)
+
Dawn of the Planet of the Apes (Matt Reeves, 2014)


Caesar (Andy Serkis) leads the chimps’ protests against humans.
Puppet Master 8: The Legacy (Robert Talbot [Charles Band], 2003)

The Last American Hero (Lamont Johnson, 1973)

Beautiful Banff and Lake Louise (Benjamin D. Sharpe, 1935)

Jawbone (William Nepper, 2017)
+

Alcoholic, former youth boxing champion Johnny Harris gets one more shot in the ring.
Surrogates (Jonathan Mostow, 2009)
+
The Eyes of Annie Jones (Reginald Le Borg, 1964)

Evelyn (Bruce Beresford, 2002)

The Prince of Tides (Barbra Streisand, 1991)
+

In NYC to see his suicidal twin sister (Melinda Dillon), disturbed high school teacher Nick Nolte recalls better days with his siblings in South Carolina.
Rememory (Mark Palansky, 2017)

Molly (John Duigan, 1999)
+
Glimpses of Western Germany (James A. FitzPatrick, 1954)

The Remains of the Day (James Ivory, 1993)
-

Just before WWII, the servants (Emma Thompson & Anthony Hopkins) of a British nobleman (James Fox) share silence, regret and shame.