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Post by theycallmemrfish on Apr 21, 2021 23:58:31 GMT
Stonehearst Asylum - Such a strong cast in such a boring movie. A true "what if the patients ran the asylum" movie that lacks and true madness or horror. Ben Kingsley knocks it out of the park here but some scenes felt completely out of place (for instance, the Sturgess/Thewlis fight scene almost played out like it could have been in a Bridget Jones movie) and I couldn't bring myself to like it. Then it does the double twist at the end, which was odd. Still, it's better than Shutter Island.
Unhinged - Road Rage: The Movie. This wasn't as bad as I thought it would be but it's definitely not good. Russell Crowe goes all out, but this is a car chase with the tire blown out, engine's leaking oil, and the cup holder broke by the end.
Polaroid - This was not good. This was very bad. Bad and stupid... and bad. It's bad.
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Post by Mattsby on Apr 22, 2021 1:43:59 GMT
Herzog run continues! Both 7.5/10 or 8ish. Woyzeck (1979) rewatch One of Klaus Kinski's very best perfs where he's unusually sensitive - like the sped opening and the doom-slowed ending, as well as in the dialogue ("a good person has no courage - an idiot has courage!") and the details (an academic horse!), everything is made to feel a little off, a little absurd. It all plays as a sort of conspiracy against Woyzeck who is used and wronged and made to feel like a problem. Even his wife jolts at his touch. Kinski makes the humiliation and softness lost, as his eyes drift, his obeying shifts... and in the refocus he falls someplace itself wrong. Herzog puts to great use the dryness of static shots, contrasting the unseen zigzag of Woyzeck. Wolfgang Reichmann as the Captain is hilarious, as he was in Herzog's debut Signs of Life. Cobra Verde (1987) first watch Very interesting to see after Woyzeck which is smaller and shapelier by comparison. If some compare Woyzeck to Othello, then this might follow as Herzog's The Tempest. It's an inspired and extremely striking movie, a little hard to grasp, but very populated and very involved with African culture and tribal ritual (one of the rare movies to shoot in Ghana). With a devastated Kinski perf who was over 60y/o at the time, I was shocked at some of the physical conditions of the role. Herzog puts Kinski's presence to great use, especially the first act that plays almost like a Western - there's no better way to intro Kinski than a tight close up on those overwhelming "hunted eyes" (to steal a Woyzeck line). As the camera zooms out, we see only decay... His dominating of the frame, now futile. Yet when he walks into town, they scatter scared. Idk if I've seen a movie quite like this, it's very disturbing at times... but in a sidelong, gradual way. There is a lot going on... African slave trade, the complex legend of Cobra Verde himself sort of enslaved, betrayals and bouts of madness (King / Kinski) offset by the sadness and strength of the local people. With a great poetic ending, as usual with Herzog.... Kinski, who moved ships over mountains, can't budge a little boat, a rampant man now impotent, stranded, struggling... watched only by someone who knows, really, what struggle is.
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Post by wilcinema on Apr 22, 2021 9:26:22 GMT
Le Pont Du Nord: I'm not exactly sure of what I just saw, but I loved it. I have to watch Celine et Julie before Mubi pulls it tomorrow.
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Post by Johnny_Hellzapoppin on Apr 22, 2021 17:21:22 GMT
A violent double header.
Becky (2020)
I guess this was fun, and occasionally funny. It was also a bit of a chore though. Becky herself is obviously a few sandwiches short of a picnic, but she's knocking off nazis so big whoop right. Who knows what the Key of MacGuffin was for, but I suppose who cares. The family drama was about as interesting as watching a salmon swim downstream and the performances were pretty dry uninspiring. Overall though, is was some splattery nonsense and I dug it, just about.
For the Sake of Vicious (2021)
This one was more interestingly done. Again we have home invasion of sorts, like with Becky, but this was much more raw and claustrophobic. The plot could be written on half a post-it and you could still fit your shopping list on with it, but this was actually to its benefit. Trying to complicate this would have just made it fifteen minutes longer and probably sucked all the tension out of it, and that would be bad, as this was tense as hell.
When the second half kicks in and the blood really starts flowing, it's actually mightily well done. The fights were brutal, and seemed real. You had people trying to beat and butcher each other to death, who didn't look like they'd been through years of fight training. You had a man shooting at people, who actually missed, or didn't hit them with a deadly shot...imagine that, someone in a film who isn't a deadly marksman. The practical effects were also very well done considering this film probably has a budget of about fifty quid.
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Post by Mattsby on Apr 22, 2021 17:21:39 GMT
The Great Indian Kitchen (2021) New fav movie of the year. It's on Prime, only like 95 min. S/o Drish - I hadn't heard about it before your post. It's very well made, especially in the editing and cross-cutting, there's a lot of texture and tension generated just from the routine of cooking. How the readying of the food becomes like little jabbing reminders of her far-from-equal treatment. Nimisha Sajayan in the lead is remarkable, an immediate-feeling, knotting, active perf. Reminded me of the clever Chilean poem, some of it.... “God, the truth, the passage of time Absolutely. But first, who does the dishes?”
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avnermoriarti
Badass
Friends say I’ve changed. They’re right.
Posts: 2,389
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Post by avnermoriarti on Apr 22, 2021 17:36:42 GMT
Pinocchio (2019) which should win the makeup/hairstyle Oscar in a heartbeat Was curious to find if Garrone would keep his peculiar style in a children's film. Well, I think it was a match made in... heaven ? Freaky land, maybe. Anyways, I like how he plays with expectation, throws a bit of a bad taste in the middle of enchanting visuals, inserts humor and brutality in unusual places and keeps a vignette-like narrative that sort of echoes classic neo-realism, this approach in particular subverts the way many of crucial moments in Pinocchio's life unfold, the magic has a realism edge, and for the most part is carefully observed highlighting the kid's increasing awareness of the world. The scenes with Cat and Fox are wonderful in that way, Pinocchio's naivete and then how he learns his lesson are beautifully build and there's not much dialogue going on. The matter-of-fact and freaky nature on display can rasie eye-brows, ( the bizarre gorilla judge scene ) but entails a worldview not far from our own in which you just learn how to play your cards... Refreshing to see a new take on an old tale that simply doesn't go obviously "darker" so to speak, and dares to explore different possibilities.
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Post by theycallmemrfish on Apr 22, 2021 17:39:46 GMT
Truth or Dare - Yet another Saw clone. I honestly only put this on because I saw Guillermo from What We Do in the Shadows in the Netflix preview... wasn't bottom tier, but not in my "decent" category. It was more shock value than it was horror (as are most Saw rip-offs). There were so many other ways to "outsmart" the game that these people didn't realize.
The Signal - The last act of this movie ruins the whole damn thing. I was into it for the first hour and then it just went Twilight Zone with very little explanation to what just occurred. I don't mean to say that you have to answer every little question, but I like to think "why?" is something that should be addressed.
Would You Rather - Man, this is another movie where you flat out HATTTTTEEEEE the killers. I actually liked it. How far would you go to save someone you love? Better message than most of these horror movies that like to think that they have something important to say.
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Post by stephen on Apr 22, 2021 17:43:57 GMT
Would You Rather - Man, this is another movie where you flat out HATTTTTEEEEE the killers. I actually liked it. How far would you go to save someone you love? Better message than most of these horror movies that like to think that they have something important to say. I really, really dug this movie. Granted, I was pretty baked and it was at 2:30 a.m. when I watched it, but I really was into it. Ready or Not does it better, though.
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Post by theycallmemrfish on Apr 22, 2021 17:48:40 GMT
Would You Rather - Man, this is another movie where you flat out HATTTTTEEEEE the killers. I actually liked it. How far would you go to save someone you love? Better message than most of these horror movies that like to think that they have something important to say. I really, really dug this movie. Granted, I was pretty baked and it was at 2:30 a.m. when I watched it, but I really was into it. Ready or Not does it better, though. Yeah, I liked it. I wasn't expecting that. With Ready or Not, I'll be checking it out as soon as I see it on one of my streaming services.
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Post by stephen on Apr 22, 2021 21:31:57 GMT
Quo Vadis, Aida?: Look, I'm utterly thrilled that Thomas Vinterberg is about to win an Oscar, but goddamn, this film hits like a sledgehammer to the gut and I'd be hard-pressed not to want to root for it to win the International Feature award this year. Jasmila Žbanić's direction feels intimate while also feeling grander in scope than one might expect, and Jasna Đuričić's performance as its title character is astounding in its composure, in how her poise slowly but surely breaks down as the situation gets worse. It's the sort of measured work that Isabelle Huppert has made her bread and butter; AMARA voters better not overlook her work this year.
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Post by finniussnrub on Apr 22, 2021 21:36:11 GMT
Quo Vadis, Aida?: Look, I'm utterly thrilled that Thomas Vinterberg is about to win an Oscar, but goddamn, this film hits like a sledgehammer to the gut and I'd be hard-pressed not to want to root for it to win the International Feature award this year. Jasmila Žbanić's direction feels intimate while also feeling grander in scope than one might expect, and Jasna Đuričić's performance as its title character is astounding in its composure, in how her poise slowly but surely breaks down as the situation gets worse. It's the sort of measured work that Isabelle Huppert has made her bread and butter; AMARA voters better not overlook her work this year. Shouldn't it be for next year?
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Post by stephen on Apr 22, 2021 21:51:01 GMT
Quo Vadis, Aida?: Look, I'm utterly thrilled that Thomas Vinterberg is about to win an Oscar, but goddamn, this film hits like a sledgehammer to the gut and I'd be hard-pressed not to want to root for it to win the International Feature award this year. Jasmila Žbanić's direction feels intimate while also feeling grander in scope than one might expect, and Jasna Đuričić's performance as its title character is astounding in its composure, in how her poise slowly but surely breaks down as the situation gets worse. It's the sort of measured work that Isabelle Huppert has made her bread and butter; AMARA voters better not overlook her work this year. Shouldn't it be for next year? Goddamn this confusing-ass season.
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Post by Sharbs on Apr 22, 2021 22:10:38 GMT
Quo Vadis, Aida?: Look, I'm utterly thrilled that Thomas Vinterberg is about to win an Oscar, but goddamn, this film hits like a sledgehammer to the gut and I'd be hard-pressed not to want to root for it to win the International Feature award this year. Jasmila Žbanić's direction feels intimate while also feeling grander in scope than one might expect, and Jasna Đuričić's performance as its title character is astounding in its composure, in how her poise slowly but surely breaks down as the situation gets worse. It's the sort of measured work that Isabelle Huppert has made her bread and butter; AMARA voters better not overlook her work this year. Đuričić was indeed terrific. She was the last name I whittled out of my Lead Actress in this very deep field that was 2020. Fantastic performance, from the physicality of running around everywhere to the intense stares of disapproval towards her authority figures.
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Post by mhynson27 on Apr 23, 2021 5:53:59 GMT
Boyhood (re-watch)
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speeders
Based
Posts: 4,093
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Post by speeders on Apr 23, 2021 13:19:46 GMT
Quo Vadis, Aida?: Look, I'm utterly thrilled that Thomas Vinterberg is about to win an Oscar, but goddamn, this film hits like a sledgehammer to the gut and I'd be hard-pressed not to want to root for it to win the International Feature award this year. Jasmila Žbanić's direction feels intimate while also feeling grander in scope than one might expect, and Jasna Đuričić's performance as its title character is astounding in its composure, in how her poise slowly but surely breaks down as the situation gets worse. It's the sort of measured work that Isabelle Huppert has made her bread and butter; AMARA voters better not overlook her work this year. Agreed with everything. It was a captivating, haunting film and I prefer it slightly to Another Round too and would definitely prefer to see it win. Vinterberg should've won his for The Hunt. Jasmila Žbanić's direction was indeed great and Jasna Đuričić makes my line-up this year. Glad to see people are catching onto this.
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Post by theycallmemrfish on Apr 23, 2021 16:07:26 GMT
Stowaway - Brand new on Netflix! Also about as good as getting a brand of the Dallas Cowboys star on my asshole. What is it with space-set horror/thrillers to have the world's dumbest astronauts? This is like the anti-Gravity of movies and it's SLOWWWWWW. Plus once the plot gets set in motion, you know IMMEDIATELY what's going to transpire as to the fate of a certain crew member. But the worst part of this whole thing is that the stowaway makes no god damned sense! He's apparently an engineer who is somehow SEALED into the life support panel and yet knows NOTHING about the part of the ship he was apparently working on... and everyone seems to be okay with this. Like, WHAT?! And the subject is never brought up again. That's just the spoiler free "what the hell are they doing" moment in the movie which carries many. MANY.
The Void - For a film that seemed to have a budget of a children's lemonade stand, this had surprisingly good creature and special effects. Bad acting aside, this was pretty decent... even though there was the 26983rd cult that I've seen in the past few months.
Into the Grizzly Maze - "Wait, what?! Billy Bob Thornton in a horror flick, sick!", said a very enthusiastic Fish sitting in his living room anticipating what could be a good horror film. However what Fish did not realize is that he would sit through what could be best described as a low-effort Jaws rip-off with bears instead of a shark. "This is shit", he muttered to himself throughout and when it finished he subjected himself to Youtube videos of Guy Fieri saying how the meal he just ate was bomb to wash away the bad taste the film had given him. It didn't work.
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Post by Mattsby on Apr 23, 2021 17:03:29 GMT
Quo Vadis, Aida?: Look, I'm utterly thrilled that Thomas Vinterberg is about to win an Oscar, but goddamn, this film hits like a sledgehammer to the gut and I'd be hard-pressed not to want to root for it to win the International Feature award this year. Jasmila Žbanić's direction feels intimate while also feeling grander in scope than one might expect, and Jasna Đuričić's performance as its title character is astounding in its composure, in how her poise slowly but surely breaks down as the situation gets worse. It's the sort of measured work that Isabelle Huppert has made her bread and butter; AMARA voters better not overlook her work this year. I didn't realize this has been up on Hulu for over a month! Great movie.... If counted as 2020 it'd make my Top 10. Reminded me of The Pianist a little. And that's a phenomenal perf from Đuričić... immediately and deeply felt. Fun fact, her husband in real life plays the Serbian General. Another Round seems very slight next to it. Can't imagine someone seeing those two and not voting Aida.
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Post by wilcinema on Apr 23, 2021 17:55:14 GMT
Céline And Julie Go Boating: For some reason, this movie gave me a profound sense of peace and lightness. I loved being in the company of these two women, and following them into their adventures and their fantasies.
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Post by Pittsnogle_Goggins on Apr 23, 2021 18:38:14 GMT
An American Werwolf in London. Holds up remarkably.
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Drish
Badass
Posts: 2,018
Likes: 1,753
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Post by Drish on Apr 24, 2021 3:02:17 GMT
The Great Indian Kitchen (2021) New fav movie of the year. It's on Prime, only like 95 min. S/o Drish - I hadn't heard about it before your post. It's very well made, especially in the editing and cross-cutting, there's a lot of texture and tension generated just from the routine of cooking. How the readying of the food becomes like little jabbing reminders of her far-from-equal treatment. Nimisha Sajayan in the lead is remarkable, an immediate-feeling, knotting, active perf. Reminded me of the clever Chilean poem, some of it.... “God, the truth, the passage of time Absolutely. But first, who does the dishes?” Omggg yesss! I'm so glad you watched it and liked it too. This movie resonated with me so much and the fact that it is still considered normal in most rural areas of the country is sad. Love how the movie slaps us with the causal sexism that's been happening time and again in the households and this makes it for such a harrowing watch. Had never heard of that poem before but damn that's so apt for this film. ❤️
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Post by cheesecake on Apr 24, 2021 3:34:23 GMT
Unhinged (2020). lol.
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Post by mhynson27 on Apr 24, 2021 12:24:37 GMT
Promising Young Woman (re-watch)
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Post by Pavan on Apr 24, 2021 13:27:08 GMT
The Father (2020)-
Hopkins is brilliant as the man who is "losing his leaves" to dementia. The movie puts us into the character's shoes by disorienting the happenings on screen. Its frustrating even to normal person and i can only imagine what that person has to through to even pass a day. Powerful film- 8/10
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Post by Pittsnogle_Goggins on Apr 24, 2021 14:57:01 GMT
Mortal Kombat (2021). Entertaining, dumb, gory fun. Exactly what I was looking for out of a MK adaptation.
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Post by stephen on Apr 24, 2021 14:59:49 GMT
Driveways: Sweet but stealthily poignant. Brian Dennehy's performance feels so real and lived-in that you'd think he was prepping for this role his entire life. Feels of a piece with the likes of Mahershala Ali's Juan and Paul Raci's Joe. Hong Chau gives a wonderful turn as a single mother, and young Lucas Jaye is a star in the making. (Also: Jerry Adler's performance as Rodger deserved an entire film; in his brief screentime he proved he could do something like The Father and do it well.)
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