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Post by Martin Stett on Nov 18, 2019 23:26:46 GMT
Blindspotting (2018) -- Its heart is in the right place, but there is no room for subtlety here. The comedy is cringily in your face, the dramatic aspects are shoved down your throat even more. This movie wants to tell you how to see, instead of letting you discover blind spots for yourself. 4/10
The Aviator's Wife (1981) -- French people act like robotic art movie treatises on "love" for 100 minutes and I spend the whole time wanting to cut my wrists. 3/10
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Post by Pittsnogle_Goggins on Nov 18, 2019 23:59:03 GMT
Lots of plane movies and whatever’s been on cable in my hotel room.
Booksmart
Men in Black: International
Spider-Man: Far From Home
Cold Pursuit
Dolemite is my Name
50/50
Speed
Last Action Hero
Fast and Furious
The Avengers
Couples Retreat
G.I. Joe Retaliation
Terminator 2: Judgement Day
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Post by mhynson27 on Nov 19, 2019 0:47:19 GMT
The Irishman
Watchmen
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Post by Tommen_Saperstein on Nov 19, 2019 1:11:35 GMT
Far from the Madding Crowd (1967) - 7.5/10
Seduced and Abandoned (1964) - 6/10
The Go-Between (1971) - 8.5/10
Travels with My Aunt (1972) - 7/10
Henry V (1989) - 7.5/10
A Touch of Class (1973) - 5/10
Get Out Your Handkerchiefs (1978) - 7/10
Secret Ceremony (1968) - no fucking clue what Losey was going for here. 4/10
The Hill (1965) - Harry Andrews...my god. I need more Harry Andrews in my life. 8/10
Providence (1977) - 6/10
Freud: The Secret Passion (1962) - 8/10
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Film Socialism
Based
99.9999% of rock is crap
Posts: 2,557 
Likes: 1,389
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Post by Film Socialism on Nov 19, 2019 1:25:12 GMT
some stuff but i really fucking loved Luce which is probs my favorite film of '19 so far and quite liked The Strawberry Blonde and wanna peep more of walsh's stuff soon
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Post by therealcomicman117 on Nov 19, 2019 6:00:19 GMT
Half Baked - 7 / 10
The Best Man - 7 / 10
That's Life - 6 / 10
Babe: Pig in The City - 7.5 / 10
Joe Versus The Volcano - 7 / 10
Outland - 8 / 10
Shakedown - 5 / 10
The Sting - 10 / 10
Parasite - 8.5 / 10
Devil in a Blue Dress - 7.5 / 10
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Post by TerryMontana on Nov 19, 2019 16:37:58 GMT
The Book of Eli (R)
Heat (R)
The Irishman
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Deleted
Deleted Member
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Post by Deleted on Nov 19, 2019 17:38:51 GMT
John Wick 3- Fine action and funny dialog, it gets an 8/10.
Five Feet Apart- Well acted, it gets a 7/10.
Glass- Well acted, but the pacing was weak. 5/10
The Nun- Boring but the effects were fine. 6/10
Avengers Infinity War- 7/10. Overall story connectivity was insufferable.
Death Wish- Was too violent for my taste. I preferred John Wick. 7/10
Searching- 6/10
The Imitation Game- 7.5/10
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Post by JangoB on Nov 20, 2019 0:46:23 GMT
Passion Fish - Mary McDonnell and Alfre Woodard are truly great in this terrific character piece from John Sayles. The dialogue here is simply superb and I felt that I could spend even more time with those people. A small gem.
A Night to Remember - For 1958, this is genuinely impressive in terms of how it doesn't shy away from the tragedy of Titanic and how it strives towards honesty in its depiction of that horrific event. There's even barely any score used here. The film recognizes that the drama of the ship is enough without any additional character stories and such, and while I absolutely don't intend to mock Cameron's approach, this more sober depiction of the events is also very impressive.
Little Shop of Horrors - How great it is to see a comedy that remains a comedy all the way through. No shifts towards drama, no sappy third act, no attempts to turn serious - just pure dark comedy. And it's so much damn fun. Couldn't help but tap my toes to the terrific tunes by the great team of Alan Menken/Howard Ashman and those Audrey II effects (mainly practical) were amazing.
The Long Voyage Home - I believe John Ford considered this one of his best and was particularly proud that Eugene O'Neill, whose plays this is based upon, really loved and constantly watched it. I can't say that I share that same enthusiasm but the film is certainly quite good. Episodic and lacking a certain coherence but still good. And the individual episodes are all strong with some of them being very moving. It's also great to look at, courtesy of the legend Gregg Toland. John Wayne playing a Swedish guy was pretty silly though.
The Organizer - Damn, European cinema was so much further ahead than American in the 60s. This film is yet another proof of that, not just in terms of its ideas but in the way it's made and in the quality of the performances. None of that studio-bound stiffness. There's actual life on the screen, poignancy, realism merged with lyricism. An excellent picture.
Sissi - Romy Schneider's breakout role which also became one of her most popular, and all for good reason - she's quite luminous in it. It's not the most challenging or complex role but she just exudes joy and light, making it impossible not to fall a bit in love with her. The movie is a fine costume picture, surprisingly comedic and very light in tone, nice to look at. It is the first of a trilogy and feels like such, ending somewhat abruptly, but overall it's decent entertainment.
Mortal Engines - Total garbage with some pretty good production design. No idea what Peter Jackson saw in this but hey, at least it bombing so hard means that he won't be wasting his time on writing and producing the sequels.
The King - Dull, stiff, visually tiring. There are decent scenes here and there, Joel Edgerton's Falstaff is quite engaging too. Yet the movie is just too flat. I don't know how one decides to tell a story like this in such a detached manner - this shit should be rousing and involving.
The Naked Island - A rather impressive experimental film by Kaneto Shindō in which there's absolutely no dialogue although it's not a silent film. It's just a depiction of everyday life of the dweller family of a small island where they grow crops and lead a quiet existence. While it may be challenging to watch due to its lack of drama, I found the experience to be quite moving and involving. When some dramatic stuff actually kicks in, I was even kinda unsure how to think about it because I'd much rather have the entire movie without any kind of 'big' moments at all. But that still provided some strong material. An interesting one.
Married to the Mob - This could've become another run-of-the-mill 80s comedy but Jonathan Demme's excellent direction truly elevated it - the POV shots, the character emphasis, the work with actors, the energy of it. I had a great time watching the film, and I feel that this is one of Pfeiffer's best performances. And just how hilarious are Mercedes Ruehl and Dean Stockwell here!
Crooklyn - I love when directors do these autobiographical films well, they really give the audience a chance to gain somebody else's memories for two hours in a most vivid way. This one sure did. I miss the Spike Lee who experimented and tried all sorts of different shit stylistically.
Private Benjamin - The first half of it is decent even it's kinda sitcom-y and not too hilarious. It's consistently amusing though and rather endearing. But I don't know why the whole film couldn't be about the boot camp - once they leave it, the story loses its track and never quite recovers. Especially dull is the Armand Assante romance. This had much more potential than it ended up delivering.
Harlem Nights - For quite some time I've been curious to check out Eddie Murphy's first and only directorial effort. It's fascinating to me that at the peak of his youthful success he chose a stylish gangster movie as his debut which he also wrote, produced and starred in. Of course the movie media of the time went batshit nasty on him for it as they liked to do back in the day when unexpected people attempted ambitious projects but I don't think the movie deserves all that negativity. It's not the greatest film but I found it to be pretty satisfying. The central storyline about battling night club owners is pretty worn-out standard stuff but Murphy's peculiar blend of gangster cliches and humor kinda worked for me. The movie's not a parody of the genre - it just is a pretty weird example of it. But I enjoyed the thing. Loved the Oscar-nominated costumes and the production design - the visual world of the flick is very eye-pleasing.
Mondays in the Sun - A story about the day-to-day experiences of a small group of unemployed men who go through life in their own way and spend their evenings together at a bar owned by one of their former co-workers who managed to overcome his loss of a job. A small but very good picture with an amazing performance by Javier Bardem.
Appaloosa - I like the cast enormously, I like the premise, I like the idea of all these people making a western...But I wish the end result was more exciting. With such a pedigree behind it the movie ends up being a pretty middle-of-the-road western which just chugs along and never truly takes full flight.
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Post by themoviesinner on Nov 20, 2019 10:36:36 GMT
Mondays in the Sun - A story about the day-to-day experiences of a small group of unemployed men who go through life in their own way and spend their evenings together at a bar owned by one of their former co-workers who managed to overcome his loss of a job. A small but very good picture with an amazing performance by Javier Bardem.  So glad you liked this. I think it's probably the best spanish-language film of the 21st century for me. It's very well written, gripping and captures all the facets of unemployment perfectly. And to me this is Javier Bardem's career best performance. It's subtle and grounded in reality and he manages to convey all the thoughts and emotions of the character very effectively without any big dramatic moments. It's these subtle quiet performances that distinguish the very good actors from the great ones and Bardem establishes with this performance that he is among the best actors of the 21st century. This is probably the best performance of 2002 as well. Mortal Engines - Total garbage with some pretty good production design. No idea what Peter Jackson saw in this but hey, at least it bombing so hard means that he won't be wasting his time on writing and producing the sequels. I highly disagree with you on this. I found it awesome. The writing was definitely a bit corny, but it was imaginative and very extravagant, and those two aspects are what make for me a good blockbuster. And thus, I found it miles better than all the dull and unimaginative trash that Hollywood usually churns out these days. Probably my 2nd favourite blockbuster of the decade behind Warcraft. But, I understand it's all a matter of perspective. I remember when I persuaded my friends to come to a Warcraft screening with me, back when it first came out. I was enjoying myself immensely, while everyone else was like "wtf is this crap".  |
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Post by jimmalone on Nov 20, 2019 12:28:36 GMT
Mondays in the Sun - A story about the day-to-day experiences of a small group of unemployed men who go through life in their own way and spend their evenings together at a bar owned by one of their former co-workers who managed to overcome his loss of a job. A small but very good picture with an amazing performance by Javier Bardem. Like that film a lot. That script is really great and you can't help but deeply feel with the main characters and love their approach of their problems. And yes, Bardem is as well great as always. |
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Post by Johnny_Hellzapoppin on Nov 20, 2019 12:54:38 GMT
Only one again. I think I've only watched about three / four new films in the last month or so.
Little Monsters (2019) A whole bunch of fun, with a committed cast who gave it their all. 8/10
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Post by jimmalone on Nov 20, 2019 13:31:43 GMT
Had a few days off and was quite efficient in that regard.
First watches
Chce sie zyc (2013, Maciej Pieprzyca) - Touching and fun at the same time. 8/10
The Keep (1983, Michael Mann) - The story sadly is just nonsense, but you can still appreciate the visuals and atmosphere here, which show Michael Mann's touch. 5/10
Fahim (2019, Pierre-Francois Martin-Laval) - Fascinating story against the current issue of many people, who are forced to leave their countries. 7/10
Hallam Foe (2007, David Mackenzie) - Psychologically unconvincing to me, but has some funny scenes and integrates Edinburgh pretty well. 5.5/10
Au Nom de ma Fille (2016, Vincent Garenq) - Good story, but routine direction. 6/10
Ride Lonesome (1959, Budd Boetticher) - My third Boetticher western and my favourite so far. 7.5/10
Tui Shou (1991, Ang Lee) - Finally saw Lee's debut. He says so much about his characters without dialogues, just lets his pictures and scenes talk in a classic way. Great script. 8.5/10
Carmen (1983, Carlos Saura) - A bit prosaic, can't hide that it would probably fare better as a stage play. 6/10
Sap ji sang ciu (2012, Jackie Chan) - Just certifies what I knew already: Jackie Chan is far too old for his type of films. 3/10
Unleashed (2005, Louis Leterrier) - Never liked Jet Li as much as Jackie. He just doesn't have his charm and charisma and his movies lack creativity. But the action is top here. 5.5-6/10
Miss Sloane (2016, John Madden) - Witty screenplay. 7/10
Rewatches
Random Harvest (1942, Mervyn LeRoy) - One of the most romantic movies I've seen. And Greer Garson gives one of my Top 10 female performances of all time. 9/10
The Guns of Navarone (1961, J. Lee Thompson) - I don't care about Alistair Maclean as an author, but you can make good movies out of his stories. And while the characters are a bit stereoptypical this happened here. 7.5-8/10
Hugo (2011, Martin Scorsese) - One of the most beautiful hommages to cinema. It's still fascinating how this movie turns into a completely other direction than you would expect at the start. Also love the microcosm of the gare montparnasse Scorsese creates. One of his three best films probably. 9/10
The Yakuza (1974, Sydney Pollack) - Love the melancholy of this film and Robert Mitchum is exactly the right man to portray this. It's about two men, who beweep the past and feel themselves lost now. Of course there are memorable action scenes, but the dialogues about the different views of morals and honor as well as how the whole background of the story is slowly unfolded to me are as memorable as well if not more. 9/10
Amelie (2001, Jean-Pierre Jeunet) - Such a creative and magical film. Told in a wonderful, quite unique way and in a colouring scheme, which perfectly fits Jeunet's world. 10/10
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So glad you liked this. I think it's probably the best spanish-language film of the 21st century for me. It's very well written, gripping and captures all the facets of unemployment perfectly. And to me this is Javier Bardem's career best performance. It's subtle and grounded in reality and he manages to convey all the thoughts and emotions of the character very effectively without any big dramatic moments. It's these subtle quiet performances that distinguish the very good actors from the great ones and Bardem establishes with this performance that he is among the best actors of the 21st century. This is probably the best performance of 2002 as well.
