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Post by mhynson27 on May 23, 2023 5:53:22 GMT
Men in Black II
Comfortable step down from the first one, but at least Rosario and Lara were FOINE.
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Post by Tommen_Saperstein on May 25, 2023 17:04:12 GMT
From Here to Eternity (rewatch) Don't know what was going on when I watched this some years ago and didn't gel with it at all, because with fresh eyes and a few more years of movie-watching under my belt my feelings on the film have done a complete 180. Now I love the tragic romantic melodrama of it all. Beautifully written, scored, and edited. Clift, gorgeous and terrific as the brooding lone wolf enlisted man who paradoxically doesn't fit in but is willing to give up his whole life to the Army. Lancaster is really interesting too as a kind of blase underachiever who stumbles into a love affair and just seems to passively coasts through life on the Army base. But Reed and Kerr (especially Kerr, oh my GOD) are the MVPs. Love the tragedy of Reed's story. She's got big plans to live a normal life with her mom back home and is just putting in her time to get there when Clift stumbles into her life and upends it all, but Kerr is just devastating as a picture of loneliness. It's hardened her and made her bitter until Lancaster comes and breaks through her shell, even though she knows letting down her defenses just means she'll get hurt. I've seen a lot of wonderful Kerr performances over the years but this one ranks among the best. And I think I knew that even when I didn't like the film on first viewing. Kerr is undeniable.
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Post by Brother Fease on May 25, 2023 18:53:38 GMT
Till (2022) - Good, not Great. Deadwyler’s performance was good. Not sure if she was truly snubbed.
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Post by theycallmemrfish on May 30, 2023 19:01:30 GMT
Same format as the last time:
Bold with * - Fish's seal of approval... aka watch it, fools. Bold - I liked it. Standard - Meh. Italics - Didn't like, but didn't hate. Red - Hated it. Bold Red - Absolutely fucking hated it.
An Intrusion Sleepwalker - probably deserves a red, but it was at least somewhat interesting. Deadware - I was actually really into this until that fucking bullshit ending. Rubberneck Across the Hall - when you have to reach this hard for a twist ending, then you've fucked it up. Hum - almost a bold, but it's really interesting premise just STOPS suddenly and the movie ends. I had to rewind the last bit to see if I missed anything. I did not. The Barn Oops! You're A Vampire - super low budget horror comedy that is devoid of either element. Prey for the Devil - SPOILER: This is the first of about 12 exorcism movies I watched. Sam Was Here - fuck your stupid "I was the bad guy all along" trope. This was also the first of many that I watched. The Burial Lexi - basically if Paranormal Activity were a faux-documentary. Some genuine scares found here. Happy Hunting - good ending keeps this from being a red. Neverlake - this one is so dumb and no one's ever going to watch it anyway, so it turns out that the children this girl finds in the forest are actually her siblings (which made the "will they/won't they" between her and the older kid a bit... offputting) and the reason for each of their deformities is that the father is harvesting their organs to keep... ANOTHER SECRET SIBLING alive!!! I... I just can't. Shifted - if this had a proper budget and capable actors, this would have gotten a *. Soft & Quiet - Already bitched about it... which is exactly what you're going to be getting for 90 minutes. Last Sentinel - could have used more horror. Beneath the Trees The Stay ReBroken Blood - I really should stop watching movies with kids as main characters. House of Inequity Rabbit - basically a modern day Mengele experiment. Mean Spirited You’re Killing Me Bedeviled Banshee Chapter Silhouette Mara - titled something else on Justwatch, but it's this on Prime. I usually hate dubbed movies but this had such a creepy trailer I had to watch it. Turns out, it showed all the truly creepy stuff. Not giving a red because of the nudity. Mara - different movie with Olga Kurlenko. I know people freak out about sleep paralysis, but there have been far better movies touching the subject. The Crucifixion - exorcism movie #2. The Bay - could have been really good, but falls short more often than not. The Divide - I've seen Lifetime movies with less melodrama. The Evil Within - this movie's script/premise feels like some producer's 12 year old wrote a story that got read outloud in class and decided to make it a film. SO BAD. Gatlopp: Hell of a Game - I actually had a fun time watching this. Cliche as fuck, but fun.
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Post by stephen on May 30, 2023 19:05:28 GMT
Same format as the last time: Bold with * - Fish's seal of approval... aka watch it, fools. Bold - I liked it. Standard - Meh. Italics - Didn't like, but didn't hate. Red - Hated it. Bold Red - Absolutely fucking hated it. An Intrusion Sleepwalker - probably deserves a red, but it was at least somewhat interesting. Deadware - I was actually really into this until that fucking bullshit ending. Rubberneck Across the Hall - when you have to reach this hard for a twist ending, then you've fucked it up. Hum - almost a bold, but it's really interesting premise just STOPS suddenly and the movie ends. I had to rewind the last bit to see if I missed anything. I did not. The Barn Oops! You're A Vampire - super low budget horror comedy that is devoid of either element. Prey for the Devil - SPOILER: This is the first of about 12 exorcism movies I watched. Sam Was Here - fuck your stupid "I was the bad guy all along" trope. This was also the first of many that I watched. The Burial Lexi - basically if Paranormal Activity were a faux-documentary. Some genuine scares found here. Happy Hunting - good ending keeps this from being a red. Neverlake - this one is so dumb and no one's ever going to watch it anyway, so it turns out that the children this girl finds in the forest are actually her siblings (which made the "will they/won't they" between her and the older kid a bit... offputting) and the reason for each of their deformities is that the father is harvesting their organs to keep... ANOTHER SECRET SIBLING alive!!! I... I just can't. Shifted - if this had a proper budget and capable actors, this would have gotten a *. Soft & Quiet - Already bitched about it... which is exactly what you're going to be getting for 90 minutes. Last Sentinel - could have used more horror. Beneath the Trees The Stay ReBroken Blood - I really should stop watching movies with kids as main characters. House of Inequity Rabbit - basically a modern day Mengele experiment. Mean Spirited You’re Killing Me BedeviledBanshee Chapter SilhouetteMara - titled something else on Justwatch, but it's this on Prime. I usually hate dubbed movies but this had such a creepy trailer I had to watch it. Turns out, it showed all the truly creepy stuff. Not giving a red because of the nudity. Mara - different movie with Olga Kurlenko. I know people freak out about sleep paralysis, but there have been far better movies touching the subject. The Crucifixion - exorcism movie #2. The Bay - could have been really good, but falls short more often than not. The Divide - I've seen Lifetime movies with less melodrama. The Evil Within - this movie's script/premise feels like some producer's 12 year old wrote a story that got read outloud in class and decided to make it a film. SO BAD. Gatlopp: Hell of a Game - I actually had a fun time watching this. Cliche as fuck, but fun. Why do you do this to yourself?
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Post by Pittsnogle_Goggins on May 30, 2023 19:34:27 GMT
Big Time Gambling Boss (1968). Really enjoyed this. Nice political chess games and power struggles in the world on 1930’s Yakuza.
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Post by theycallmemrfish on May 30, 2023 19:37:50 GMT
Same format as the last time: Bold with * - Fish's seal of approval... aka watch it, fools. Bold - I liked it. Standard - Meh. Italics - Didn't like, but didn't hate. Red - Hated it. Bold Red - Absolutely fucking hated it. An Intrusion Sleepwalker - probably deserves a red, but it was at least somewhat interesting. Deadware - I was actually really into this until that fucking bullshit ending. Rubberneck Across the Hall - when you have to reach this hard for a twist ending, then you've fucked it up. Hum - almost a bold, but it's really interesting premise just STOPS suddenly and the movie ends. I had to rewind the last bit to see if I missed anything. I did not. The Barn Oops! You're A Vampire - super low budget horror comedy that is devoid of either element. Prey for the Devil - SPOILER: This is the first of about 12 exorcism movies I watched. Sam Was Here - fuck your stupid "I was the bad guy all along" trope. This was also the first of many that I watched. The Burial Lexi - basically if Paranormal Activity were a faux-documentary. Some genuine scares found here. Happy Hunting - good ending keeps this from being a red. Neverlake - this one is so dumb and no one's ever going to watch it anyway, so it turns out that the children this girl finds in the forest are actually her siblings (which made the "will they/won't they" between her and the older kid a bit... offputting) and the reason for each of their deformities is that the father is harvesting their organs to keep... ANOTHER SECRET SIBLING alive!!! I... I just can't. Shifted - if this had a proper budget and capable actors, this would have gotten a *. Soft & Quiet - Already bitched about it... which is exactly what you're going to be getting for 90 minutes. Last Sentinel - could have used more horror. Beneath the Trees The Stay ReBroken Blood - I really should stop watching movies with kids as main characters. House of Inequity Rabbit - basically a modern day Mengele experiment. Mean Spirited You’re Killing Me BedeviledBanshee Chapter SilhouetteMara - titled something else on Justwatch, but it's this on Prime. I usually hate dubbed movies but this had such a creepy trailer I had to watch it. Turns out, it showed all the truly creepy stuff. Not giving a red because of the nudity. Mara - different movie with Olga Kurlenko. I know people freak out about sleep paralysis, but there have been far better movies touching the subject. The Crucifixion - exorcism movie #2. The Bay - could have been really good, but falls short more often than not. The Divide - I've seen Lifetime movies with less melodrama. The Evil Within - this movie's script/premise feels like some producer's 12 year old wrote a story that got read outloud in class and decided to make it a film. SO BAD. Gatlopp: Hell of a Game - I actually had a fun time watching this. Cliche as fuck, but fun. Why do you do this to yourself? It's almost an addiction at this point.
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Post by stephen on May 30, 2023 19:43:32 GMT
Why do you do this to yourself? It's almost an addiction at this point. People at Asylum Studios: Why are we making these movies? No one will watch them. "Executive" at Asylum Studios: I know a man . . .
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Post by Martin Stett on May 31, 2023 0:18:54 GMT
2011 Scavenger Hunt #3
Life Without Principle (Director: Johnnie To) "Greed is human nature." This quote from Johnnie To's procedural about the 2008 stock market crash is direct and blunt, but the movie is surprisingly lightfooted and incisive in its portrayal of normal, principled people ditching it all when their livelihoods are on the line. By zeroing in on normal salary workers, we get to see how desperation forms, pushing them to make back their losses by any means necessary. A banker begins selling investments predatorily to confused clients so she can keep her job (there's a scene that plays like the Bob Parr insurance scene from The Incredibles if Bob was a horrible monster gouging out bits of his humanity to swindle the old lady). A gangster who believes in "blood brothers" and "the Code" above all else finds himself battling the cynicism of his fellow gangsters, who have realized that honor isn't worth shit if you can't pay for food and lodging. A woman wants to buy a flat with her husband who seems uninterested in this "great investment opportunity," (as the realtor tries to spin it, not catching on that these people actually want to live here, unlike her other clients) and decides to take matters into her own hands. Interweaving threads of "good people" who slowly succumb to greed because they need to. To quote J.C. Chandor's Margin Call, their actions are so "we can survive." And it is that desperation that turns this from "just another movie about the Crash of '08" to a humane drama about people and what they will do when placed in positions that test their morals.
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Post by Pittsnogle_Goggins on May 31, 2023 1:41:58 GMT
Heaven’s Gate (1980). First watch. Man, Cimino really loves his drawn out dance sequences. Anyways, this was kinda a mess but I still liked a lot of it.
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Post by Pittsnogle_Goggins on May 31, 2023 19:25:00 GMT
They Live (1988). Fun movie
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Post by Ryan_MYeah on May 31, 2023 21:22:11 GMT
theycallmemrfish, go see something at the multiplex. There has to be SOMETHING better than all that. For the love of god, stop abusing yourself!
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Post by theycallmemrfish on May 31, 2023 23:59:13 GMT
theycallmemrfish , go see something at the multiplex. There has to be SOMETHING better than all that. For the love of god, stop abusing yourself! I still have another 40+ that I've watched and haven't posted yet.
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Post by mikediastavrone96 on Jun 1, 2023 0:31:22 GMT
theycallmemrfish , go see something at the multiplex. There has to be SOMETHING better than all that. For the love of god, stop abusing yourself! I still have another 40+ that I've watched and haven't posted yet. Fish watching these movies:
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Post by Pittsnogle_Goggins on Jun 1, 2023 1:59:27 GMT
Master Gardener (2023) Very restrained film. Really liked most of it outside of few issues. Ending felt a bit disappointing.
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Javi
Badass
Posts: 1,547
Likes: 1,629
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Post by Javi on Jun 1, 2023 18:51:34 GMT
There Will Be Blood (2007, rewatch) - Well... the more I (re)watch PTA, the less I like him. The first hour of this has real power and magnetism, and in the virtuoso sequence of the oil baptism the film achieves true grandeur. Suddenly, the very imagery we associate with the Western goes elemental, apocalyptic: oil and fire fill the air and Old Testament poetry meets Expressionism. This makes the rest of the movie look like wan leftovers. There are two movies at war here—metaphysical epic and psychodrama—and, sadly for us, psychodrama wins out.
The first sign of something amiss might be the introduction to Paul Dano’s character. When it comes to all matters religious, Paul Thomas Anderson is a clown on helium, and this ridiculous character is an assault almost from the get-go. The second suspect passage is the Freudian arc with Plainview’s false brother, in which you may realize Anderson’s little psychological insights aren’t adding up to much. Then there is Plainview’s hysterical baptism scene, at which point the movie is irretrievably lost. (It gets worse from there).
The most amazing thing about the movie is its willingness to turn itself into a joke, an effect it achieves utterly and convincingly by the end. Does Anderson think he’s some kind of Samuel Beckett when he pits satanic Plainview against depraved Eli in the “absurdist” last scene? Who could possibly care who is the phoniest of the false prophets? What’s left to do but chuckle when Plainview bludgeons Eli to death? A director with no center bounces off the walls, and maybe this non-ending is what the movie deserves. He seems to me to be the kind of director who knows exactly what he wants from a given scene without having a grip on the whole.
This movie, ostensibly the Last American Masterpiece, is dedicated to the memory of Robert Altman, and I can’t think of a more anti-Altman film than this. In his obsession with turning every little insignificant scene into a polished masterpiece, in his handling of actors, in his heavy-handed sarcasm, Anderson couldn’t be further away from Altman if he tried. If anything, he’s closer to Kubrick, whose narcissistic nihilism hovers over the film. (And even Kubrick would have rejected much of Anderson’s material as hysterical).
Back in the 60s and 70s, Peckinpah and PTA's hero Altman made modern Westerns that celebrated what was true and original about traditional Westerns while rejecting the phoniness, the intransigence, the static heroism. It would be wrong to call them anti-Westerns: they were very much authentically Western, all of one piece. And the Whitmanesque poetry of the pioneer, with all his follies, his drunkenness and corruption, was celebrated and placed front and center. TWBB is something new in this sense. It says that the pioneering American spirit is a demonic force. It welcomes the faceless, capitalist opportunists who follow in the wake of Daniel Plainview. They couldn’t possibly be any worse than he is, and at least we won’t have to deal with personalities. And this spirit of total nihilism is indeed anti-Western. It’s also a dramatic bore, because what is there to do but surrender to it?
A bolder artist might have taken Plainview’s side against God and nature and given us a glimpse into the other side. But Anderson is a cautious provocateur, and he is devastatingly obvious. In a time when even Americans hate America, the idea that the country itself is a satanic emanation is a juicy one. And he endows materialism (and by extension, capitalism) with demonic grandeur. And though Anderson doesn’t know what to do with religion, he adores the aura of religion and saturates the film with religious portent. He couldn’t care less about God being dead or Eli being a false prophet, but he knows the audience is thirsty for demons; in Daniel Plainview he has found an American Satan, and he methodically sucks him dry for us. (Daniel Day-Lewis puts one hell of a show, though exactly how great he is is up for debate IMO).
There isn’t an atom of Whitmanesque or Altmanesque joy to be found in this Last American Masterpiece. The happy epilogue to all this is that in the very same year (2007), the Coens directed the actual Last American Masterpiece, an absurdist winner and neo-Western without a trace of the hysteria and infantilism that runs through this work. Luckily, not everything goes according to plan....
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Post by Martin Stett on Jun 1, 2023 19:15:51 GMT
There Will Be Blood (2007, rewatch) - Well... the more I (re)watch PTA, the less I like him. The first hour of this has real power and magnetism, and in the virtuoso sequence of the oil baptism the film achieves true grandeur. Suddenly, the very imagery we associate with the Western goes elemental, apocalyptic: oil and fire fill the air and Old Testament poetry meets Expressionism. This makes the rest of the movie look like wan leftovers. There are two movies at war here—metaphysical epic and psychodrama—and, sadly for us, psychodrama wins out. The first sign of something amiss might be the introduction to Paul Dano’s character. When it comes to all matters religious, Paul Thomas Anderson is a clown on helium, and this ridiculous character is an assault almost from the get-go. The second suspect passage is the Freudian arc with Plainview’s false brother, in which you may realize Anderson’s little psychological insights aren’t adding up to much. Then there is Plainview’s hysterical baptism scene, at which point the movie is irretrievably lost. (It gets worse from there). The most amazing thing about the movie is its willingness to turn itself into a joke, an effect it achieves utterly and convincingly by the end. Does Anderson think he’s some kind of Samuel Beckett when he pits satanic Plainview against depraved Eli in the “absurdist” last scene? Who could possibly care who is the phoniest of the false prophets? What’s left to do but chuckle when Plainview bludgeons Eli to death? A director with no center bounces off the walls, and maybe this non-ending is what the movie deserves. He seems to me to be the kind of director who knows exactly what he wants from a given scene without having a grip on the whole. This movie, ostensibly the Last American Masterpiece, is dedicated to the memory of Robert Altman, and I can’t think of a more anti-Altman film than this. In his obsession with turning every little insignificant scene into a polished masterpiece, in his handling of actors, in his heavy-handed sarcasm, Anderson couldn’t be further away from Altman if he tried. If anything, he’s closer to Kubrick, whose narcissistic nihilism hovers over the film. (And even Kubrick would have rejected much of Anderson’s material as hysterical). Back in the 60s and 70s, Peckinpah and PTA's hero Altman made modern Westerns that celebrated what was true and original about traditional Westerns while rejecting the phoniness, the intransigence, the static heroism. It would be wrong to call them anti-Westerns: they were very much authentically Western, all of one piece. And the Whitmanesque poetry of the pioneer, with all his follies, his drunkenness and corruption, was celebrated and placed front and center. TWBB is something new in this sense. It says that the pioneering American spirit is a demonic force. It welcomes the faceless, capitalist opportunists who follow in the wake of Daniel Plainview. They couldn’t possibly be any worse than he is, and at least we won’t have to deal with personalities. And this spirit of total nihilism is indeed anti-Western. It’s also a dramatic bore, because what is there to do but surrender to it? A bolder artist might have taken Plainview’s side against God and nature and given us a glimpse into the other side. But Anderson is a cautious provocateur, and he is devastatingly obvious. In a time when even Americans hate America, the idea that the country itself is a satanic emanation is a juicy one. And he endows materialism (and by extension, capitalism) with demonic grandeur. And though Anderson doesn’t know what to do with religion, he adores the aura of religion and saturates the film with religious portent. He couldn’t care less about God being dead or Eli being a false prophet, but he knows the audience is thirsty for demons; in Daniel Plainview he has found an American Satan, and he methodically sucks him dry for us. (Daniel Day-Lewis puts one hell of a show, though exactly how great he is is up for debate IMO). There isn’t an atom of Whitmanesque or Altmanesque joy to be found in this Last American Masterpiece. The happy epilogue to all this is that in the very same year (2007), the Coens directed the actual Last American Masterpiece, an absurdist winner and neo-Western without a trace of the hysteria and infantilism that runs through this work. Luckily, not everything goes according to plan.... Javi would like you all to know that he enjoys his life very much and is not at all suicidal and keeps himself very safe around sharp objects and heavy machinery
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Post by urbanpatrician on Jun 1, 2023 20:33:21 GMT
There Will Be Blood (2007, rewatch) - Well... the more I (re)watch PTA, the less I like him. The first hour of this has real power and magnetism, and in the virtuoso sequence of the oil baptism the film achieves true grandeur. Suddenly, the very imagery we associate with the Western goes elemental, apocalyptic: oil and fire fill the air and Old Testament poetry meets Expressionism. This makes the rest of the movie look like wan leftovers. There are two movies at war here—metaphysical epic and psychodrama—and, sadly for us, psychodrama wins out. The first sign of something amiss might be the introduction to Paul Dano’s character. When it comes to all matters religious, Paul Thomas Anderson is a clown on helium, and this ridiculous character is an assault almost from the get-go. The second suspect passage is the Freudian arc with Plainview’s false brother, in which you may realize Anderson’s little psychological insights aren’t adding up to much. Then there is Plainview’s hysterical baptism scene, at which point the movie is irretrievably lost. (It gets worse from there). The most amazing thing about the movie is its willingness to turn itself into a joke, an effect it achieves utterly and convincingly by the end. Does Anderson think he’s some kind of Samuel Beckett when he pits satanic Plainview against depraved Eli in the “absurdist” last scene? Who could possibly care who is the phoniest of the false prophets? What’s left to do but chuckle when Plainview bludgeons Eli to death? A director with no center bounces off the walls, and maybe this non-ending is what the movie deserves. He seems to me to be the kind of director who knows exactly what he wants from a given scene without having a grip on the whole. This movie, ostensibly the Last American Masterpiece, is dedicated to the memory of Robert Altman, and I can’t think of a more anti-Altman film than this. In his obsession with turning every little insignificant scene into a polished masterpiece, in his handling of actors, in his heavy-handed sarcasm, Anderson couldn’t be further away from Altman if he tried. If anything, he’s closer to Kubrick, whose narcissistic nihilism hovers over the film. (And even Kubrick would have rejected much of Anderson’s material as hysterical). Back in the 60s and 70s, Peckinpah and PTA's hero Altman made modern Westerns that celebrated what was true and original about traditional Westerns while rejecting the phoniness, the intransigence, the static heroism. It would be wrong to call them anti-Westerns: they were very much authentically Western, all of one piece. And the Whitmanesque poetry of the pioneer, with all his follies, his drunkenness and corruption, was celebrated and placed front and center. TWBB is something new in this sense. It says that the pioneering American spirit is a demonic force. It welcomes the faceless, capitalist opportunists who follow in the wake of Daniel Plainview. They couldn’t possibly be any worse than he is, and at least we won’t have to deal with personalities. And this spirit of total nihilism is indeed anti-Western. It’s also a dramatic bore, because what is there to do but surrender to it? A bolder artist might have taken Plainview’s side against God and nature and given us a glimpse into the other side. But Anderson is a cautious provocateur, and he is devastatingly obvious. In a time when even Americans hate America, the idea that the country itself is a satanic emanation is a juicy one. And he endows materialism (and by extension, capitalism) with demonic grandeur. And though Anderson doesn’t know what to do with religion, he adores the aura of religion and saturates the film with religious portent. He couldn’t care less about God being dead or Eli being a false prophet, but he knows the audience is thirsty for demons; in Daniel Plainview he has found an American Satan, and he methodically sucks him dry for us. (Daniel Day-Lewis puts one hell of a show, though exactly how great he is is up for debate IMO). There isn’t an atom of Whitmanesque or Altmanesque joy to be found in this Last American Masterpiece. The happy epilogue to all this is that in the very same year (2007), the Coens directed the actual Last American Masterpiece, an absurdist winner and neo-Western without a trace of the hysteria and infantilism that runs through this work. Luckily, not everything goes according to plan.... Well dang. We need more scathing commentary like this. Every one is too nice here. Which is ok, but the days where scathing dialogue were common seems to long gone nowadays. I get some of what you're saying. I do think PTA tries to saturate the film's aura with artsy traits (as you say), but kinda comes off a little well.... off at times. I personally didn't care for Eli, really. I got it... he's a false prophet... ok. Just seems like it's trying to find some needless antagonism here. And Plainview's downfall started getting one-note at a point too. He's portrayed as contemptible of the human race - seems to react violently to every one. I guess I just didn't care... maybe there was some real human being there, but him being portrayed like that makes the film's last half dominated by the idea of this maniac's wrath, and that just made me feel meh. The Master remains PTA's most interesting movie. Punch Drunk Love too. More personal films instead of these 70s recapturings. And.... The Wolf of Wall Street is definitely a much better portrayal of capitalism collapsing a man's soul. Good stuff, anyways.
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Post by mhynson27 on Jun 4, 2023 11:24:19 GMT
Spider-Man: Across the Spider-Verse
I love cinema experiences that remind me why I love film in the first place.
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Post by Brother Fease on Jun 4, 2023 12:54:24 GMT
To Leslie - Thank you Netflix. I have been looking for the film. Andrea Riseborough was so great. Maybe my favorite out of the Best Actress category.
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Post by theycallmemrfish on Jun 4, 2023 17:40:56 GMT
I'm not doing another 40 movie dump here, but I may have found the straw that broke the camel's back...
Baby Ruby - (new on Hulu) Remember back in the 2000's when every horror movie was about zombies? Remember back in the 2010's when everything was all about vampires (horror or not)? Well it seems we've cracked a new age of horror with... pregnant/new moms. Some real spooky shit! Now don't get me wrong, I'd rather battle it out with Naomi Harris (okay, bad example since she's hawt) on the streets of London against the infected than have a baby, but at the same time the baby poses about as much of a threat as Linda Hunt against Mike Tyson. I mean hell, just drop it off at the hospital for "exams" and leave it there. What are they gonna do? Repo it?! HA! Joke's on them!
So back to the movie at hand, since I got a little side tracked there... so I watch movies with my earbuds in because it gives some sort of noise cancellation/surround sound element to what I'm watching and it really does make watching horror movies in the pitch black a whole lot better than it should be, ya know, when it's fucking good or scary! THIS IS NEITHER! for 90 minutes if I wasn't hearing a baby fucking screaming, I was listening to a French woman either hyperventilating or screaming herself! Not to mention that the plot is fucking awful and it all leads to a dumb fucking conclusion that tries to be deep but is about as thin as a condom! WHICH WOULD HAVE THWARTED ALL OF THIS! Oh you lose a bit of yourself when you have a child and you have to adapt? NO FUCKING SHIT! I was going to say at least the shadow effect was kind of cool, until I realized that's what it was going for... 90 minutes of this felt like an eternity. Dreadful.
I need to write my own horror film. Not because it will be good or ever get made, but just for some sort of closure. At least mine will have some semblance of plot and structure... and no fucking pregnant women or babies.
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Post by Pittsnogle_Goggins on Jun 7, 2023 14:57:50 GMT
In a Lonely Place (1950). Absolutely loved this. Probably the most I’ve ever liked Bogart as well
Big Trouble in Little China (1986). Lots of fun. I haven’t seen this in ages but felt it still holds up pretty good. Russell really leans into the role and his willingness to allow himself to look silly works so well here.
Reds (1981). First watch. Major blind spot for me but happy I was able to finally carve out the time to watch this. Keaton is easily the standout of the cast for me. Pretty wild that Beatty was allowed to makes this film at the time tbh.
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Post by mhynson27 on Jun 9, 2023 7:41:05 GMT
Asteroid City
I was never not going to like this tbh. Upon first viewing, I'm thinking my #4 from Wes. But above all else, I'm just happy I got to take my sister to her first SFF screening.
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Post by stephen on Jun 9, 2023 8:54:37 GMT
Spider-Man: Across the Spider-Verse: It kinda feels a bit too ADHD-y for its own good at times, and I can't lie, I laughed audibly when one of the key canon moments was that a captain had to die in each universe , but overall it was extremely well-crafted and had heart and soul for days. A worthy follow-up to the first film.
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Post by mikediastavrone96 on Jun 9, 2023 14:56:38 GMT
I laughed audibly when one of the key canon moments was that a captain had to die in each universe Yeah, that's something that is more of a big deal in the original comic run for what it portends, but I never thought of it as an essential moment for a Spider-Man incarnation.
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