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Post by Martin Stett on Apr 1, 2024 14:30:05 GMT
Late Night with the Devil (2023) - Wacky fun horror, with a vein of dread keeping things tense underneath. I don't think the "behind the scenes" bit work very well - there should have been some other workaround to keep us in the artificial world of the talk show - but there's a lot of creepiness all the same. Also has the best delivery of "oh, fuck" I can remember seeing in a movie.  7/10The Old Oak (2023) - Loach, I love you. It's a shame that this is a sappy mess. 5/10The Horse Thief (1986) - 4 minutes of narrative and 80 minutes of gawking at these "lesser" people. 2/10Pinky and the Brain (Season 1) - Hit and miss, as all sitcoms are... but there are some ingenious episodes in here ( The Third Man and Samson and Delilah spoofs had me rolling) and some very funny lines. 7/10Perfect Days (2023) - Sweet enough at first, but Hirayama is a blank slate of a character and the only way Wenders had around that was to stuff loads of *drama* into the back half. Hirayama still remains a blank slate, but I guess Wenders thought he had some sort of narrative momentum from all the soap opera nonsense. 5/10Sonatine (1993) - A hangout movie about a depressed guy beginning to see a way out of his hellish life for a bit. I liked the hangout parts, didn't like the gangster parts. 6/10The Zone of Interest (2023) - An intriguing character study of evil people realizing that they live in Hell and doubling down on their evil because it is all they know how to do. Overlong, the sound design is trying too hard, the night vision bits are stupid... but there's an unsettling nature to seeing these characters fail to convince themselves that they live in normality. 6/10
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Post by Pittsnogle_Goggins on Apr 1, 2024 15:08:36 GMT
The Hunger Games: The Ballad of Songbirds and Snakes (2023)
Godzilla x Kong: The New Empire (2024)
Lisa Frankenstein (2024)
The Marsh King’s Daughter (2023)
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bigmilko
New Member
Posts: 148
Likes: 34
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Post by bigmilko on Apr 1, 2024 15:08:42 GMT
The Wicker Man (1973) - 7/10: While not as freaky as other 70s horror films ive seen, nut still a pretty fun and enjoyable movie regardless. Lot more song and dance numbers than I anticipated
RW Indiana Jones and the Last Crusade (1989) - 9/10: I don't know if its the Best of the series, but it has some of the best shenanigans, mostly coming from Connery's disappointed reaction to watching Indy having too much fun killing other people
RW The Devils (1971) - 10/10: Don't think I'll find a movie like this one for quite a while, definitely a new favorite of mine
The Toxic Avenger Part II (1989) - 5/10: Its got its fun bits, and classic TROMA gore gags, but the movie itself doesn't quite stand as strongly as the first
RW Ratatouille (2007) - 9/10: After all the DreamWorks movies I've been watching, rewatching this for the first time since its release, it feels fucking great watching a kids movie that doesnt make me wanna die
The Box (2009) - 4/10: Love how Richard Kelly will throw an insane idea and build it up even more so, during the movie. But what I dont love about Richard Kelly is that it never feels like he even understands what the fuck he's doing. I'd love to see him out of director jail, just so I can watch and see if he can actually make a good movie, with these big illuminati-ish ideas he likes to pull
The Last Temptation of Christ (1988) - 7/10: I really enjoyed how they chose to explore Jesus, but as a guy with regular thoughts and emotions. It makes it more interesting seeing him try and show off how hes the Messiah and then almost have second thoughts about being crucified, rather than the usual portrayal
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Post by Joaquim on Apr 1, 2024 15:20:03 GMT
The Peasant Women of Ryazan (1927): 6/10
Sexy Beast (2000): 7/10
Fear and Desire (1952): 5/10
The Killers (1964): 6/10
Mad Max (1979): 6/10
The Blair Witch Project (1999): 5/10
The Incredible Shrinking Man (1957): 7/10
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Post by pacinoyes on Apr 1, 2024 15:31:56 GMT
2 first times watches....not great but a sort of great-ish Sean Penn - particularly in an end of film scene in a hoodie......the kind of films that you'll remember scenes from while forgetting the whole thing....... Asphalt City (2023 / 2024) - Penn is the show.............but the show is dour, unpleasant and subtle as a flying hammer..........his best performance in some time though Mother's Instinct (2024) - Lesser remake of the French film but with a fine Chastain and Hathaway .......the film doesn't build, it just goes on.......and on.....has its moments but they are earlier and strain credibily and the OG had a lot more tension in the same preposterous plot  |
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Post by Tommen_Saperstein on Apr 1, 2024 16:09:57 GMT
Pal Joey (1957) - 4/10
a random viewing of Kong: Skull Island (2017) -- pretty fun 7/10
and a few more 2023s
The Taste of Things - 8
The Promised Land - 8
The Peasants - 7.5
Saltburn rewatch - 8 (entertaining as hell)
only need to see The Settlers and Teachers' Lounge before I call it quits on '23.
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Post by ingmarhepburn on Apr 1, 2024 17:50:18 GMT
Sabrina (1954) 7.5/10
All that Breathes (2022) 7/10
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Post by therealcomicman117 on Apr 1, 2024 18:05:21 GMT
Ghostbusters: Frozen Empire - 5/ 10
Die Hard With a Vengeance - 9 / 10
Next Goal Wins - 4 / 10
Quiz Lady - 6 / 10
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hilderic
Junior Member
Posts: 308
Likes: 132
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Post by hilderic on Apr 2, 2024 0:05:49 GMT
The Lost One
The Railroad Man
Letter to a Pig
Pachyderme
A Passage to India
Peter Lorre may be no Charles Laughton, but his one attempt at directing is still something well worth a watch. Most of it involves a redeployment to a German context of the language (style, tropes, atmosphere) of American film noir at its very bleakest. It's skilled and sure-footed work. Things become less straightforward when the story veers into Jack the Ripper territory, then shifts again into the world of political intrigue. It's not that these segments are any weaker (they're arguably highlights), but they raise the question of how it all fits together. Admittedly, the political turn isn't entirely unheralded: the film has a very specific setting and the protagonist's tragedy is intrinsically linked to the "unusual times" in which he lives. And if the more sinister section might seem to undermine Lorre's stand against typecasting, it'd be difficult to deny that it also plays to his strengths. It's the part most reviewers have in mind when they speak of parallels to M.
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Post by mhynson27 on Apr 2, 2024 0:38:48 GMT
Star Wars Episode I: The Phantom Menace (re-watch)
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Post by JangoB on Apr 2, 2024 2:38:52 GMT
The Missouri Breaks - With all the discussion about the stars of today (Chalamet, Butler, Zendaya), I've recently started to revere classic actors and actresses in a way I haven't done before. So this film seemed almost sacred with its on-screen duo of Marlon Brando and Jack Nicholson. And they are indeed great. The movie around them isn't but it's still pretty good, especially in its total disregard for pacing which makes time itself dissolve into the ether when you watch it. Broadcast News - REWATCH. Haven't seen it in ages and forgot how excellent it was. Such a great script! Such sharp editing! And Holly Hunter, OH MY GOD. The Wizard of Oz - REWATCH. Not a masterpiece but definitely a great movie. Especially when perceived through the "weird" lenses. Lion is so annoying, though... The Postman - The biggest fiasco of Costner's career... I liked it. Now, I won't pretend like it's a misunderstood masterpiece or anything - the movie's got problems, quite a few of them (particularly the silliest Superman/Clark Kent-style "I don't recognize you" bit I think I have ever seen). But there's a lot of good stuff in these three hours. It's got ambition, it showcases a pretty unique vision of a post-apocalyptic world, it combines humor and earnestness in a way that feels genuine. And it has a fairly interesting lead character who's treated like a hero by everyone except Costner himself who's much more content with poking fun at him for most of the time. There's a lot in this bag so it's definitely mixed... but all in all the good prevails. Spartacus - REWATCH. I know this isn't regarded too highly in the Kubrick canon since he didn't have final cut and distanced himself from it as a result... but so what? It's still a damn great fucking movie. So it wasn't a 100% auteur project, who cares? I think we've got the best of two worlds here: 1) Kubrick making a giant historical epic 2) which stands out from the crowd because of the personal touches and intelligence he brings to it. It's fantastic. This Property Is Condemned - This came close to falling off the rails in its third act but I was still fairly entertained by all the melodrama and the hysterics. Natalie Wood impresses yet again, and I was very pleased to see Mary Badham here. What a talented youngster! The Electric Horseman - A capital MS Movie Star turn from Robert Redford. I don't think I've ever liked him as much as I did here, his performance is like a study in charisma. The movie is pretty good fun too. Bound - It's quite impressive how much directorial flair the Wachowskis are able to bring to something that is essentially a chamber piece. This is why we shouldn't accept cinematic laziness - real talent is making a lot out of practically nothing. The script is probably a little too genre-aware for the story and its stakes to feel genuine but all of that is so nicely compensated by the filmmaking that I can't complain all that much. Plus the hot bits are damn hot. Don't show this to Gen Z! The Godfather - REWATCH. Breaking news: it's utter perfection. Every frame a masterwork. Even the couple of them with Sonny's punch missing Carlo by about a mile. The fact that there's something (one thing, to be exact) so boringly and insignificantly imperfect about this movie makes the whole thing even more perfect. Jeremiah Johnson - Mostly excellent. I'm not too big on the last half-hour or so when the movie basically turns into a montage of Redford doing nothing but jumping around and killing injuns but the preceding 80 minutes are damn strong. Lots of "nothing much happening" in the best way possible. And very pretty to look at. The Milagro Beanfield War - Do we have any intel on how this managed to win the Oscar for Original Score? Was there some sort of a campaign specifically emphasizing Dave Grusin and his dueness? Because otherwise I don't quite get it. And I'm not even talking about the quality of the score itself - it's perfectly fine, pretty good even. But it was the only nomination for a film which was basically an instant no1curr when it came out, and it was up against far bigger contenders. I just can't imagine AMPAS voters making extra time to watch this particular film and then going "Yes, this is it, this is the score!" when they had easier paths to choose. Was Grusin's name really that big? I need to know! The Wild One - When I watch something old, I usually manage to adjust myself accordingly by putting on the "viewer of the olden days" glasses but even I have to admit that this movie plays rather clunkily because of how dated it is. Maybe that's its charm? I don't know. Wasn't a big fan. Aside from Brando, obviously.
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7/10
