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Chappie doesn't like the real world
The acting was very good. However, I though that the whole plot and writing felt a bit too transparent for me. Thus, the film failed to be effective: instead of feeling anything I was thinking about the intentions of the writer/director.

Competent acting is a necessary but not sufficient condition for a good movie.
There are other good things. The beginning was incredibly tense and shot extremely well. I also appreciate Bayona's examination of the strength of the family bond. He also did this well in The Orphanage which was superb and I like better, but overall I quite like Bayona's sensibilities and style and I hope he makes another movie soon.



Bright light. Bright light. Uh oh.
Redemption Road (Mario Van Peebles, 2010)

Absentia (Mike Flanagan, 2011)
+
The Bat (Crane Wilbur, 1959)

Atom Age Vampire (Anton Giulio Majano, 1960)
-

Last Woman on Earth (Roger Corman, 1960)

Face the Music (Carol Wiseman, 1993)

Hick (Derick Martini, 2012)

Tokyo Drifter (Seijun Suzuki, 1966)
+ Cult Rating:


The Skulls (Rob Cohen, 2000)

God's Country and the Woman (William Keighley, 1937)

About Adam (Gerard Stembridge, 2000)

Moontide (Archie Mayo, 1942)


Tango & Cash (Andrey Konchalavskiy, 1989)

Air Force One (Wolfgang Petersen, 1997)
+
The Pilot’s Wife (Robert Markowitz, 2002)

Zero Hour! (Hall Bartlett, 1957)
– source for Airplane!

The Sunshine Boys (Herbert Ross, 1975)
-
The Goodbye Girl (Herbert Ross, 1977)
-
California Suite (Herbert Ross, 1978)

Wings of the Morning (Harold D. Schuster, 1937)

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page



Sorry if I'm rude but I'm right
Tokyo Drifter (Seijun Suzuki, 1966)
+ Cult Rating:
I rate it
. It's got great cinematography and style, but I didn't find the story interesting.
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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.



A system of cells interlinked
Safety Not Guaranteed (Trevorrow, 2012)



A small, character driven time-travel flick. Not too bad for a lil indie flick! Plaza was decent in the lead, but her range limits cropped up here and there.

__________________
“It takes considerable knowledge just to realize the extent of your own ignorance.” ― Thomas Sowell



* = Rewatch

Fanny and Alexander (Ingmar Bergman, 1982)

Captures the intricacies of family, fantasy and the universality of the human experience in vivid detail the likes of which few films I've seen come close to, and is flawlessly designed and stunningly beautiful to look at. It is true for most films, I think, that multiple viewings are needed to really process it but that is particularly true here.



The King of Comedy (Martin Scorsese, 1982)
+
Fascinating, superbly performed and darkly funny look at obsession, mental illness and the cult of celebrity.



American Graffiti (George Lucas, 1973)

Sharply observed teen comedy/drama that evokes the era quite brilliantly. There are flashes of genius here.

Yes Man* (Peyton Reed, 2008)
-
For those predisposed to Jim Carrey this is a good laugh.

All About Eve (Joseph L. Mankiewicz, 1950)

Very well acted and written but I didn't find myself drawn to it on an emotional level. Loved that final shot that suggests so brilliantly the nature of fame.

Close Encounters of the Third Kind (Steven Spielberg, 1977)

More pure entertainment from Spielberg.

Black Narcissus (Emeric Powell & Michael Pressburger, 1947)
-
A little bland, if I'm honest but it does pick up considerably as it moves along to a good finale, plus the Technicolor looks excellent.



Sorry if I'm rude but I'm right


L'Atalante -
- synchronised spasms of loneliness and diving in the search of soul - I am certain I'll rewatch it sometime and then bump the rating, but as for now it's OK.

Breathless -
- stylish and revolutionary, but slightly worse than the other two I've seen. Whets apetite for more Godard.

Funny Games -
- disturbing paradoxical satire against violence, where the violence itself is but a beginning and incentive to enter Haneke's game.

This Transient Life -
- an insight into incest relations between siblings, sexuality of a man, death and life, Hell and Heaven and for those not keen on ambitious cinema - kinky but restrained sex scenes.

Le révélateur -
- mesmerizing, breathtaking, fascinating! A jolt of pure cinematographical art hitting harder than a bunch of Technicolor ex-boxer wannabies. God, what am I talking about? Anyway, it's glorious.



* = Rewatch

Fanny and Alexander (Ingmar Bergman, 1982)
-
Captures the intricacies of family, fantasy and the universality of the human experience in vivid detail the likes of which few films I've seen come close to, and is flawlessly designed and stunningly beautiful to look at. It is true for most films, I think, that multiple viewings are needed to really process it but that is particularly true here.

Fanny and Alexander!! So glad you loved it. I totally agree with you on Black Narcissus as well.
__________________
"Puns are the highest form of literature." -Alfred Hitchcock





Room 237 (Rodney Ascher, 2012) - - An interesting take on Kubrick's classic, although some of the ideas (namely that Kubrick filmed the moon landing) are a little too flamboyant for my liking. It definitely makes me want to watch The Shining again, and I'm sure I will always look at it differently because of this.

Man of Steel (Zack Snyder, 2013) - I've yet to see a good Zack Snyder film, and this one is no different. Boring action sequences and a lot of desperate messages on hope and optimism, which sort of makes the film hypocritical, considering we're being given death and destruction for entertainment purposes.

Kick-Ass (Matthew Vaughn, 2010) - - Kick-Ass is violence's answer to kiddie porn.

Batman Begins (Christopher Nolan, 2005) - - The follow-up to this film was so much better, which is probably why I didn't enjoy revisiting this.

Last Year at Marienbad (Alain Resnais, 1961) - - For all its notoriety, this masterpiece among masterpieces has never really received its due.



Kick-Ass (Matthew Vaughn, 2010) - - Kick-Ass is violence's answer to kiddie porn.
I think the Dark Knight is way more violent than Kick-Ass.



Really? What makes you say that?
For me, the level of violence I can handle does not come down to the amount of gore or the body count, instead it comes down to the tone of the film. I always have two quotes that pretty much sum up my opinion on this subject, one of these quotes ironically comes from Matthew Vaughn.

"Films can imply some pretty horrible violence without showing it. I think ‘The Dark Knight’ was darker and more violent than ‘Kick-Ass’ in a psychological sense. When the Joker started playing with his knife, it made you look away from the screen. In ‘Kick-Ass,’ you’re laughing at the violence and enjoying it for its silliness. You’re not thinking ‘Eeww! That’s disgusting!"
-Matthew Vaughn

"Gangsta comes in many forms. You can watch a movie like Die Hard, which is full of violence that’s in your face. But if you watch a movie like The Godfather, the violence is subtle - it’s in a word, a nod, a gesture. I think you walk out of Die Hard and leave something in the theater. With Godfather, you walk out with something put in you."
-The RZA



Rewatch: Eraserhead (1977, Lynch)

As I turn on Eraserhead my heart immediately starts thumping, I last watched this two years ago with a buddy of mine and was practically muted once it was done. For awhile I proclaimed it as my favorite movie (it's still close) and practically followed it as a religion. I believe subconsciously I was putting off this watch out of the pure terror I was in when I first watched it. This time it was far scarier, watching it alone, shivering from the opening moment. This is the greatest horror film ever created, since even the most regular moments terrify me. This is pure surrealism, the greatest accomplishment in David Lynch's filmography, and he has plenty of gems in there.

Every scene is memorable whether it's the chickens or the earser head it self. Like many of Lynch's works people spend time and energy figuring out what it all means. Apparently this is inspired by one line in the bible, but I doubt even Lynch knew what he was trying to say in some scenes. I'm almost positive this film has to do with the sexual revolution, though. Here are some of my many theories: the chicken scene represent the defloweration of a woman, the scary rashed up reapearing man is the baby grown up all mistreated, the woman of the dreams represents contraception as she squashes sperm cells. I have more ideas on what this all means but those are the main ones that I am stuck on.

Perhaps more important than Lynch was Jack Nance as Henry. He comes back in many later Lynch films like Blue Velvet and Lost Highway, but his centered performance here is unforgettable. He has an incredibly creepy vibe to him, he's a highly awkward man, but perhaps the most normal character. That is if you take out his mutualism. We really only see him upset once, when his neighbor brings back another man to her house. Which in my opinion is another representation of the sexual revolution, as it shows casual sex becoming the norm. Indeed even Henry was part of this trend, sleeping with Mary not thinking a baby was even possible. But the older generation still insists he marries her.

Each scene in this film seems like it happened hours ago once the next one starts playing. I don't know why I feel this way but it just feels like so much time elapsed between the scenes. The film is in no way elongated though, it's a film that I wouldn't care if it lasted twice the running time. But at the same time the 90 minutes was more than efficient, even though when the movie credits begin rolling, it feels as if I just sat down. This is a highly disturbing, metaphorical, and intense horror. It is the most frightening of works. The images stay I'm your head and the mood remains in your surroundings.

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Yeah, there's no body mutilation in it



Great write up Donny, not seen it yet, been putting it off for some reason - not because I don't think it'll be great, because I really do think I'll love it. I think I might finally give it a long awaited watch tonight. I would recommend Twin Peaks to you by the way as a Lynch fan, that also has Jack Nance in a small role.

On the theme of sexual revolution I read an article once about the theme of sexuality in Blue Velvet, and how the film was itself a warning against sex, relationships etc. in the changing late 20th century, and also how it was to do with AIDS epidemic in the 1980s.
__________________



Great write up Donny, not seen it yet, been putting it off for some reason - not because I don't think it'll be great, because I really do think I'll love it. I think I might finally give it a long awaited watch tonight. I would recommend Twin Peaks to you by the way as a Lynch fan, that also has Jack Nance in a small role.

On the theme of sexual revolution I read an article once about the theme of sexuality in Blue Velvet, and how the film was itself a warning against sex, relationships etc. in the changing late 20th century, and also how it was to do with AIDS epidemic in the 1980s.
Thanks Daniel. I have Twin Peaks in my Netflix Queue, I might even start it tonight. Idk though that much Lynch in a row might lead to an overload

Anyone know where this gif is from btw?

I don't think I've read that specific theory on Blue Velvet. It might be the coolest P.S.A. Made though if it really is just a warning of the aids epidemic.



Thanks Daniel. I have Twin Peaks in my Netflix Queue, I might even start it tonight. Idk though that much Lynch in a row might lead to an overload

Anyone know where this gif is from btw?

I don't think I've read that specific theory on Blue Velvet. It might be the coolest P.S.A. Made though if it really is just a warning of the aids epidemic.
Sorry Donnie but what do you mean by PSA, I think I might be being stupid here

And I'm pretty sure that GIF is a famous scene from David Cronenberg's Scanners, I haven't seen the film, but I'm pretty sure.



^gif might be from Scanners. Not 100% sure though.
Thank you, and thank you Gunslinger for confirming

Sorry Donnie but what do you mean by PSA, I think I might be being stupid here
Public Service Announcment



Rewatch: Eraserhead (1977, Lynch)

As I turn on Eraserhead my heart immediately starts thumping, I last watched this two years ago with a buddy of mine and was practically muted once it was done. For awhile I proclaimed it as my favorite movie (it's still close) and practically followed it as a religion. I believe subconsciously I was putting off this watch out of the pure terror I was in when I first watched it. This time it was far scarier, watching it alone, shivering from the opening moment. This is the greatest horror film ever created, since even the most regular moments terrify me. This is pure surrealism, the greatest accomplishment in David Lynch's filmography, and he has plenty of gems in there.

Every scene is memorable whether it's the chickens or the earser head it self. Like many of Lynch's works people spend time and energy figuring out what it all means. Apparently this is inspired by one line in the bible, but I doubt even Lynch knew what he was trying to say in some scenes. I'm almost positive this film has to do with the sexual revolution, though. Here are some of my many theories: the chicken scene represent the defloweration of a woman, the scary rashed up reapearing man is the baby grown up all mistreated, the woman of the dreams represents contraception as she squashes sperm cells. I have more ideas on what this all means but those are the main ones that I am stuck on.

Perhaps more important than Lynch was Jack Nance as Henry. He comes back in many later Lynch films like Blue Velvet and Lost Highway, but his centered performance here is unforgettable. He has an incredibly creepy vibe to him, he's a highly awkward man, but perhaps the most normal character. That is if you take out his mutualism. We really only see him upset once, when his neighbor brings back another man to her house. Which in my opinion is another representation of the sexual revolution, as it shows casual sex becoming the norm. Indeed even Henry was part of this trend, sleeping with Mary not thinking a baby was even possible. But the older generation still insists he marries her.

Each scene in this film seems like it happened hours ago once the next one starts playing. I don't know why I feel this way but it just feels like so much time elapsed between the scenes. The film is in no way elongated though, it's a film that I wouldn't care if it lasted twice the running time. But at the same time the 90 minutes was more than efficient, even though when the movie credits begin rolling, it feels as if I just sat down. This is a highly disturbing, metaphorical, and intense horror. It is the most frightening of works. The images stay I'm your head and the mood remains in your surroundings.

Excellent review! I remember my first time watching Eraserhead. I had no idea what the hell was going on, but I knew it scared the crap out of me! And it still holds up after repeat viewings! I also love that Lynch's films are like little puzzles and he gives you just enough pieces to figure it out. Pretty much mandating repeat viewings. I love that!