Haha yeah. The bloody hallway might be my favourite action setpiece this year.
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Movies You've Seen Recently | June 2018
- Thread starter Divius
- Start date
They spared no expense for fake-blood budget.Haha yeah. The bloody hallway might be my favourite action setpiece this year.
Oh no I didn't take it in a bad way! I'm a rare ardent defender of mumblecore. And The House of the Devil is fantastic. I was just interested as to where you saw mumblecore in Hereditary. some already have codified a whole spinoff genre of mumblegore that includes Ti West's work and Baghead and others so it wouldn't be out of the question. What I consider the hallmarks of mumblecore though—improvised and/or naturalistic dialogue, focus on listless 20 and 30 somethings, handheld shooting in largely natural light—I dont see in Hereditary.
Also what's Lady Bug? This?
Edit: wait Lady Bird?
The Great Silence: I'm not convinced it's a particularly clever film, but it is certainly bold, and either way the ending feels like getting stabbed by something every bit as miraculously cold as the film's desolate setting.
The gimmick of protagonist Silence's muteness feels a little too cute and hamhanded if one were to read into the political subtext (or is it just text in a film this unsubtle?), but Morricone's impeccable score —among his best— and Klaus Kinski's gaudy and cruel bounty killin' villain speak enough to cover the defecit.
It's got style in spades, a memorable snowy setting, and delivers enough of a subversive kick in the gut to keep this as one of the better, and certainly more memorable, non-Leone spaghetti westerns out there.
The gimmick of protagonist Silence's muteness feels a little too cute and hamhanded if one were to read into the political subtext (or is it just text in a film this unsubtle?), but Morricone's impeccable score —among his best— and Klaus Kinski's gaudy and cruel bounty killin' villain speak enough to cover the defecit.
It's got style in spades, a memorable snowy setting, and delivers enough of a subversive kick in the gut to keep this as one of the better, and certainly more memorable, non-Leone spaghetti westerns out there.
Just as I was getting into the searing, splitting cinematography and Bergman-ish vibes of L'amant Double (dir. Francois Ozon), the plot rears its ugly head and it turns into a evil twin plotline that's right out of Simpsons. There's an amazing sex scene that has to be seen with its twin-on-twin action that begs the question if it was CGI or really good doubles. It gets so ridiculous by the last act though that I couldn't suspend my disbelief. The performances and striking visuals disguise that this is a really B-grade erotic thriller with no depth. Somehow it's just Paul Verhoeven who can elevate that kind of material like with Elle. Still, looking at a French actress with a pixie cut for nearly two hours doesn't hurt.
Ryde: Terrible, but strangely watchable? If that makes any sense, then you too have experienced the strange sensation of watching something that's clearly not good, but ekes by with being competent enough to follow it through to its conclusion. Here, the filmmakers have a patented RIPPED FROM THE HEADLINES idea for a story that involves an Uber dr- a Ryde driver with something more on his mind that paying off his college loans. Truth be told, the problems start there, as taxi driving killers are hardly a novel concept already, so the film already has a steep mountain to climb to mine something, anything from material that's been done to death for at least 30 years. Those problems get further compounded by the fact that the filmmakers are also out of their depth in terms of how to approach the filmmaking process itself, as I can hardly remember the last time I've seen any film where every scene feels so stiff, stilted and awkward. It's competently shot, if low budget, but shots go on forever for no reason at all and the actors all come across as waiting for someone off camera to yell out their cues with the long pauses that occur between rounds of dialogue, a fact not helped out at all by the amateur-league acting, with the main psycho coming off as the beggar's version of Chris Pine who took acting lessons from Lucas Lee (yet, somehow, not even the worst of the lot). The awkwardness continues on in little scenes, like the first potential victim of the killer winding up calling him to drive down the block 30 feet (no, seriously), or a killing that finds our villain accidentally batting away most of the fake head that he was wailing on but still playing the scene as if it was there (really, this happens!), and, in a scene that has no hope of ever making sense, the killer showing mercy towards a would-be victim by tucking her into her own bed, despite having just got done killing her other friends. And that's just the stuff that you expected to be halfway interesting, with the big subplot revolving around a woman and her odious boyfriend who acts like a complete jerk for no other reason than to ensure that our heroine winds up in the car for the fated showdown. And then, the film kinda just ends, with a completely unsatisfying climax and a 2 minute denouement stretched out to at least twice the length to arrive at the final twist that could only have been surprising to someone that's missing a brain. And yet, for all the badness and stupidity that the film puts forth from beginning to end, including a potential wraparound that gets not one but two completely botched attempts at completing it, there is that sense that it's just professional enough and meager in its ambition to not offend to any egregious degree, and as unfair as it may seem, the awkwardness becomes endearing to the point of amusement, making this a film that's easy enough to laugh at and being prime material for drunk watching, should the mood hit you. It's not like being sober made any of this make any kind of sense, so why not knock a few cold ones back to enhance the experience?
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so does anyone know what's happening with terry malick's radegund? my man announced it in like 2016 and i haven't heard a peep about it other than that one still..and it's supposed to come out this year....and we're almost in July
maybe i missed something
maybe i missed something
In theatres I saw Incredibles 2 and it was at the very least as amazing as the original. Impressive how well they pulled off having it start directly after the first.
Bought Prometheus, Saving Private Ryan, Forrest Gump, Interstellar and Inception on 4K Blu Ray and actually watched them all today haha. Love every single one of them. About to pop Super 8 in as I also just got that on Blu Ray.
Bought Prometheus, Saving Private Ryan, Forrest Gump, Interstellar and Inception on 4K Blu Ray and actually watched them all today haha. Love every single one of them. About to pop Super 8 in as I also just got that on Blu Ray.
Hah gotcha. Well that doesn't totally clear things up for me because I'm not seeing the link from Hereditary to Lady Bird, but you certainly have me imagining a very strange double feature of the two.
Planning on watching Journeys End tonight. Mark Kermode highly recommended it and it went under the radar.
After that gonna watch for the first time: You Were Never Really Here and Enemy.
Recently watched Killing of a Sacred Deer. I understand what its about and what Yorgos was trying to achieve but i didnt enjoy it. I loved The Lobster as well.
After that gonna watch for the first time: You Were Never Really Here and Enemy.
Recently watched Killing of a Sacred Deer. I understand what its about and what Yorgos was trying to achieve but i didnt enjoy it. I loved The Lobster as well.
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Since I almost forgot to write up on it at all!
Pom Poko:
What I expected: a cute romp featuring tanuki of all shapes and sizes as they brush up against modern society.
What I got: an oral history of the tragedy of the Tama tanuki and their efforts to push back against mankind's impact on the environment, filtered through lenses that are as diverse as training montages, Japanese ghost stories, ribald sex comedies, political debates, assassination plots, epic battle sequences and pretty much everything else in history, wrapped up with a poignant and bittersweet ending with an all too relevant ending in this or any other age. It's all over the place tonally and the very nature of the storytelling here means that there's very little in the way of characterization, so it works actively against anyone expecting this to be more like a Miyazaki film, but for my first exposure to Takahata, I definitely want more of this kind of messy ambition and heart.
Pom Poko:
What I expected: a cute romp featuring tanuki of all shapes and sizes as they brush up against modern society.
What I got: an oral history of the tragedy of the Tama tanuki and their efforts to push back against mankind's impact on the environment, filtered through lenses that are as diverse as training montages, Japanese ghost stories, ribald sex comedies, political debates, assassination plots, epic battle sequences and pretty much everything else in history, wrapped up with a poignant and bittersweet ending with an all too relevant ending in this or any other age. It's all over the place tonally and the very nature of the storytelling here means that there's very little in the way of characterization, so it works actively against anyone expecting this to be more like a Miyazaki film, but for my first exposure to Takahata, I definitely want more of this kind of messy ambition and heart.
The mere fact that you didn't mention giant inflated raccoon testicles once in this review means you are lying and didn't watch the film.
AHEM, they don't inflate their testicles, they inflate their scrotums.
Speaking of, I don't think there's a single family-oriented film that mentions scrotums as much as this one does.
Utøya - 22. juli (also known in the US as U - July 22)
Holy shit, this has to be one of the most harrowing, emotionally draining experiences ever in the cinema.
This film is about the devastating attack on the island Utøya on 22 July 2011 where Anders Breivik murdered 69 kids, which in itself is not a very happy premise, but the twist? The entire film is done as a one take, handheld, 'you are really there'-style film. Which means that when the characters run, the cameraman runs and when the characters hide, the cameraman hides. You're constantly looking over the shoulders of our main character Kaya as she runs around the camp and forest in complete bedazzlement, trying to find her sister and friends while in the distance you constantly hear Breivik firing his gun, sometimes far away, but other times frighteningly close. It reminded me a lot of Dunkirk in ways, with the threat always close and all the characters just scrambling for survival (the movie very deliberately chooses not to focus on characters other than Kaya, meaning that just like Kaya for most of the film you have no idea what became of her friends or the other people that you meet in the first 12 minutes).
There are some sections of the film I found less powerful, especially later on in the film where the style chosen for the film kind of works against itself (after all, not much to do and see when you're hiding under a rock) and it has some weirdly forced "Hollywood-esque" stuff that feels very out of place (and the characters are all fictional, so they can't really hide behind the 'but it's based on real events' excuse), but in general the film works really, really well and at times I felt I was actually holding my breath not to betray Kaya's position. I have big issues with the ending though, since to me it felt almost unneccessarily cruel for a film such as this. Anyway, I very much recommend this, but be aware that this is definitely not something to watch when you just feel like watching something, this requires some preparation.
3.5/5
Holy shit, this has to be one of the most harrowing, emotionally draining experiences ever in the cinema.
This film is about the devastating attack on the island Utøya on 22 July 2011 where Anders Breivik murdered 69 kids, which in itself is not a very happy premise, but the twist? The entire film is done as a one take, handheld, 'you are really there'-style film. Which means that when the characters run, the cameraman runs and when the characters hide, the cameraman hides. You're constantly looking over the shoulders of our main character Kaya as she runs around the camp and forest in complete bedazzlement, trying to find her sister and friends while in the distance you constantly hear Breivik firing his gun, sometimes far away, but other times frighteningly close. It reminded me a lot of Dunkirk in ways, with the threat always close and all the characters just scrambling for survival (the movie very deliberately chooses not to focus on characters other than Kaya, meaning that just like Kaya for most of the film you have no idea what became of her friends or the other people that you meet in the first 12 minutes).
There are some sections of the film I found less powerful, especially later on in the film where the style chosen for the film kind of works against itself (after all, not much to do and see when you're hiding under a rock) and it has some weirdly forced "Hollywood-esque" stuff that feels very out of place (and the characters are all fictional, so they can't really hide behind the 'but it's based on real events' excuse), but in general the film works really, really well and at times I felt I was actually holding my breath not to betray Kaya's position. I have big issues with the ending though, since to me it felt almost unneccessarily cruel for a film such as this. Anyway, I very much recommend this, but be aware that this is definitely not something to watch when you just feel like watching something, this requires some preparation.
3.5/5
Films I saw this week:
The Hurt Locker: Kathryn Bigelow really knows her manly action flicks, doesn't she? I do get the sense that she was going for a more mature direction here than something along the lines of Point Break. While it's fine for the most part, where are some rather goofy moments that are out of place in a story like this. Still, it's a serviceable war flick.
Up in the Air: I recently flew for the first time last month on a trip to Seattle. Had I watched this film prior, I think I would've been more comfortable flying from the start. It did bring me back to the environment of a big, busy airport for better or for worse. Other than that, George Clooney is a charmer as usual despite constantly firing people at work. Also shows how underappreciated Jason Reitman is as a filmmaker.
Panic Room: Even in his weaker films, I haven't seen a David Fincher film that didn't have some amount of enjoyment and true thrills. While Panic Room is among the lower ranking films in his filmography, it's still a tense experience. You really root for Jodie Foster and Kristen Stewart to get out of the predicament. What brings it down a bit are the house intruders themselves. Jared Leto is pretty much not meant to be an actor (aside from Blade Runner 2049 but even then, he was kind of hamming it a tad). Patrick Bauchau's presence was just.... weird. The only one that interested me was Forest Whitaker, who can typically be the best part of any mediocre film. On the whole, it's good but nothing to write home about.
The Curious Case of Benjamin Button: Oh, the divisive one. With this, I finish David Fincher's filmography. What a ride it was and what a way to finish it off with a film that's somehow both fascinating yet boring in parts. I honestly commend Fincher for doing a story like this after years of thrillers. He does direct it well. I also interestingly enough was with Brad Pitt throughout. However, he film does drag in its runtime and some scenes like the old man child are very awkward to look at. I also get the criticisms of this film trying too hard to be Forrest Gump, another film with a torn reception these days. While I kind of like Ben Button a little more, I'm not gonna pretend I don't see similarities. It's a mixed bag but I'm still glad I got it out of the way after almost a decade since its release.
The Hurt Locker: Kathryn Bigelow really knows her manly action flicks, doesn't she? I do get the sense that she was going for a more mature direction here than something along the lines of Point Break. While it's fine for the most part, where are some rather goofy moments that are out of place in a story like this. Still, it's a serviceable war flick.
Up in the Air: I recently flew for the first time last month on a trip to Seattle. Had I watched this film prior, I think I would've been more comfortable flying from the start. It did bring me back to the environment of a big, busy airport for better or for worse. Other than that, George Clooney is a charmer as usual despite constantly firing people at work. Also shows how underappreciated Jason Reitman is as a filmmaker.
Panic Room: Even in his weaker films, I haven't seen a David Fincher film that didn't have some amount of enjoyment and true thrills. While Panic Room is among the lower ranking films in his filmography, it's still a tense experience. You really root for Jodie Foster and Kristen Stewart to get out of the predicament. What brings it down a bit are the house intruders themselves. Jared Leto is pretty much not meant to be an actor (aside from Blade Runner 2049 but even then, he was kind of hamming it a tad). Patrick Bauchau's presence was just.... weird. The only one that interested me was Forest Whitaker, who can typically be the best part of any mediocre film. On the whole, it's good but nothing to write home about.
The Curious Case of Benjamin Button: Oh, the divisive one. With this, I finish David Fincher's filmography. What a ride it was and what a way to finish it off with a film that's somehow both fascinating yet boring in parts. I honestly commend Fincher for doing a story like this after years of thrillers. He does direct it well. I also interestingly enough was with Brad Pitt throughout. However, he film does drag in its runtime and some scenes like the old man child are very awkward to look at. I also get the criticisms of this film trying too hard to be Forrest Gump, another film with a torn reception these days. While I kind of like Ben Button a little more, I'm not gonna pretend I don't see similarities. It's a mixed bag but I'm still glad I got it out of the way after almost a decade since its release.
Anna Karenina (2012): Continuing my planned rewatch of Joe Wright's filmography, which has stalled based on the inability to find Pan anywhere (short of buying it, obviously, which, LOL). After two films where Wright seemed to be deliberately going against the New James Ivory label that some had attached to him, here he's got the full period literary adaptation package (including returning star Keira Knightley, though the role initially intended for Saoirse Ronan ended up being played by Alicia Vikander, in what I believe was the first role I'd seen her in). However, he's added a very literal theatrical aesthetic that calls attention to the artifice of the situation. It's fascinating to watch, though I think by the end I would have preferred just a straightforward, more immersive adaptation. However, it's still a good movie, albeit one that is hindered by casting Aaron Taylor-Johnson as Vronsky, probably the worst casting choice in Wright's entire filmography.
Pygmalion (1938): The first film adaptation of George Bernard Shaw's most famous play, though even Shaw's personal involvement in the screenplay (which earned him an Oscar, and the distinction of being the first Oscar/Nobel winner, of which he was the only one until Bob Dylan eighty years later) couldn't prevent them from changing the ending and thus undercutting the whole damn point of the story. Sigh.
Incredibles 2 (2018): Discussed at length in the review thread, but in brief, good, but not on the level of Pixar's best.
Atomic Blonde (2017): Rewatched this, which is a blast, and probably my favourite "zero deep thought went into this" film of 2017. It also reminded me of why I was so comparatively disappointed in Deadpool 2, because David Leitch was so brilliant with the action here and there's nothing nearly as distinctive in his most recent film. Charlize Theron's late-career action heroine turns have been really successful. The only thing I would say would really improve this was if they revealed that Sofia Boutella's character was also on the plane at the end.
...And Justice for All (1979): A deeply angry and deeply incoherent screed about the unfairness of the justice system, rather like listening to a drunk rant at a bar.
Pygmalion (1938): The first film adaptation of George Bernard Shaw's most famous play, though even Shaw's personal involvement in the screenplay (which earned him an Oscar, and the distinction of being the first Oscar/Nobel winner, of which he was the only one until Bob Dylan eighty years later) couldn't prevent them from changing the ending and thus undercutting the whole damn point of the story. Sigh.
Incredibles 2 (2018): Discussed at length in the review thread, but in brief, good, but not on the level of Pixar's best.
Atomic Blonde (2017): Rewatched this, which is a blast, and probably my favourite "zero deep thought went into this" film of 2017. It also reminded me of why I was so comparatively disappointed in Deadpool 2, because David Leitch was so brilliant with the action here and there's nothing nearly as distinctive in his most recent film. Charlize Theron's late-career action heroine turns have been really successful. The only thing I would say would really improve this was if they revealed that Sofia Boutella's character was also on the plane at the end.
...And Justice for All (1979): A deeply angry and deeply incoherent screed about the unfairness of the justice system, rather like listening to a drunk rant at a bar.
The Lincoln Lawyer
Matthew McConnaughey is probably my favourite modern actor, but I'd never watched The Lincoln Lawyer before. It was on AMC though, so I recorded it the other day and watched it late last night. I didn't know what to expect, but quite enjoyed it. It was a nice twist on the typical courtroom drama and the main character was well written not to mention well acted.
I'm about to watch Black Panther.
Matthew McConnaughey is probably my favourite modern actor, but I'd never watched The Lincoln Lawyer before. It was on AMC though, so I recorded it the other day and watched it late last night. I didn't know what to expect, but quite enjoyed it. It was a nice twist on the typical courtroom drama and the main character was well written not to mention well acted.
I'm about to watch Black Panther.
Good to hear. It was one of my favourites as a kid, back when I loved action movies (Van Damme especially).
Game Night - Surprisingly well shot comedy that elicited a couple of chuckles.
Red Sparrow - Bit of a slow burn that has some tough to watch violent scenes. JLaw is absolutely gorgeous, as usual. Worth a rental.
Jurassic World 2 - Starts off strong but quickly goes off the rails with nonsensical shenanigans. Well directed but the script is garbage tier.
Red Sparrow - Bit of a slow burn that has some tough to watch violent scenes. JLaw is absolutely gorgeous, as usual. Worth a rental.
Jurassic World 2 - Starts off strong but quickly goes off the rails with nonsensical shenanigans. Well directed but the script is garbage tier.
Annihilation: Alex Garland goes bigger and more ambitious for his follow-up to Ex Machina, and the result is certainly one of the most remarkable studio sci-fi films of this or any other era. The next 2001, however, is still elusive, as I felt that some of the concessions made here in order to get the kind of budget that Garland got to play with do trip the film up from time to time, with the exposition and framing device both equally clunky and ungainly, particularly with the film having a habit of explaining what just happened in the previous scene. Not helping out is that the writing for the supporting cast just isn't close to the same level as it is for Lena, and while some of that can be explained by the fact that it is indeed Lena's story being told, it does tie into the exposition issues and few of them have any kind of impact on the story otherwise. This could very well be something that the book that the film is based on handles better, but I would have to imagine that the strength of the adaptation lies more in how well the film was able to bring to life the more alien concepts that the team runs into throughout. The intensity only increases as the film progresses, which leads to some striking moments that lead up to the absolute mind-bender of the last 30 minutes, which honestly do need to be experienced as text does them no justice. Amusingly, a big part of why that section of the film works as well as it does is because it eschews verbal exposition entirely and lets it all unfold visually. I do suspect that this is why Paramount practically gave up on trying to sell it overseas, as Garland offers no life preserver at this point, but it nevertheless ensures the film closes well, even if you might not grasp everything that's happening 100%. The horror elements are also well implemented, especially an encounter with a mutated bear that is pure intensity and throws in a twist that I can safely say has never been attempted before and I feel confident in saying that I don't want to see replicated for how horrifying it is on a conceptual level. I suspect that this does play better as a book, but considering how much material here screams "unfilmable," it's rather impressive how Garland was able to prove naysayers wrong and succeed more than he misses. I think he has more of a future in the more intimate films like Ex Machina, but he proved a lot here all the same.
Edmond (7/10) - Kinda feel like it's just building to a punchline, but it's a good one. Really cool animation.
Taste of Cherry (8.5/10) - Abbas Kiarostami is maybe the best filmmaker who ever lived. Maybe.
Hearts Beat Loud (7/10) - It's better than Lu Over the Wall.
American Animals (5/10) - Cute, but inconsequential.
I'm too tired to write much tonight, so enjoy these lazy "hot takes" (or lukewarm takes, as it were).
Taste of Cherry (8.5/10) - Abbas Kiarostami is maybe the best filmmaker who ever lived. Maybe.
Hearts Beat Loud (7/10) - It's better than Lu Over the Wall.
American Animals (5/10) - Cute, but inconsequential.
I'm too tired to write much tonight, so enjoy these lazy "hot takes" (or lukewarm takes, as it were).
Incredibles 2
loved it, just a blast to watch. the jokes landed, the characters remained interesting, the animation was top notch, and a lot of the action set pieces were masterfully done. honestly, maybe my fav pixar film since Toy Story 3
Night Will Fall
horrific and disturbing, really all there is to say. some of the most damning footage of the WWII atrocities I've ever seen
loved it, just a blast to watch. the jokes landed, the characters remained interesting, the animation was top notch, and a lot of the action set pieces were masterfully done. honestly, maybe my fav pixar film since Toy Story 3
Night Will Fall
horrific and disturbing, really all there is to say. some of the most damning footage of the WWII atrocities I've ever seen
For those who don't know 4 of Takeshi Kitano films are on filmstruck atm.
Violent Cop
Boiling Point
Sonatine
Fireworks
Violent Cop
Boiling Point
Sonatine
Fireworks
Loved Incridbles 2. It doesn't do anything new compared to the original, and riffs on the same themes, but it's really fun to see those characters again, the smart humor hits you at a fast pace and the action is pretty great. The animation is incredible (no pun intended) too. Having watched the original again in preparation of this one, it's amazing how much progress CGI animation has made. My only real gripe with it is that it is at certain points very predictable, because some pay-ofs are set up a bit too on the nose.
Black Panther
It was good. Not great, but good. It's one of the better Marvel movies, and what's best about it is that it doesn't feel like a Marvel movie. It's not as cheesy as some of them are.
Ed TV - Rewatch -
I forgot this was a Ron Howard movie, but it makes sense given that Clint Howard is in it. I'd seen it for the first time three or four years ago but watched it again since I was bored and it was on TV.
It's a half-decent movie
It was good. Not great, but good. It's one of the better Marvel movies, and what's best about it is that it doesn't feel like a Marvel movie. It's not as cheesy as some of them are.
Ed TV - Rewatch -
I forgot this was a Ron Howard movie, but it makes sense given that Clint Howard is in it. I'd seen it for the first time three or four years ago but watched it again since I was bored and it was on TV.
It's a half-decent movie
Permanent Severly underrated comedy. Super fun and funny, good cast, could've been an ideal Netflix tv candidate. Weird that it's a movie instead. But also it warmed my spirit after too long of a day.
Jurassic World: Fallen Kingdom
I've seen a whole bunch of movies since my last post, but fuck it, this one deserves some words. If you slam a rock into your forehead, it will be as logical as this movie. Save the dinosaurs so they can eat people. That's basically the premise. But there's got to be a volcano, so there's a dogpile chase scene involving a cliff. Like King Kong 2005. They do something cruel to a brachiosaurus that is unforgivable.
Then we get into Resident Evil mansion with dinos and deep cloning lore that made my mind snap. But then it's snapped away by a dino, so ignore that just happened. It also has a bunch of The Lost World mirror scenes, like surgery on a dangerous creature, animals in human settings, and two big dinos sharing a person. And their Roland Tembo stand-in is Ted Levine, who likes to claim dino teeth.
This movie is straight up madness. What were they thinking?
2/5
I've seen a whole bunch of movies since my last post, but fuck it, this one deserves some words. If you slam a rock into your forehead, it will be as logical as this movie. Save the dinosaurs so they can eat people. That's basically the premise. But there's got to be a volcano, so there's a dogpile chase scene involving a cliff. Like King Kong 2005. They do something cruel to a brachiosaurus that is unforgivable.
He fucking called for the boat to come back, you sons of bitches!
This movie is straight up madness. What were they thinking?
2/5
For a second, I thought Masaaki Yuasa had made another animated movie already after that and Devilman Crybaby lol. What's the connection between them?
...is it at least worthwhile as a drive-in movie novelty kinda thing? i had a blast with Jurassic World at the drive-in, even though the movie was kinda dumb. Or is this so incredibly dumb that it isn't even fun to watch like Jurassic World
I didn't have a good time with this one, but with friends or in the right setting like a drive-in, it could be worthwhile. As long as you adjust your expectations!
yeah, definitely not expecting much given the impressions ITT, the reviews from critics, and just the fact the trailers were garbage. but at least if this really really sucks even at the drive-in, it's part of a double billing so the movie after it should be better!
Just a stupid argument I remember reading in another movie thread that made me laugh. I haven't seen Yuasa's film, I just thought it was funny.
I tried to see if I could find it again and yup:
https://www.resetera.com/posts/8574172/
Watched Ryuichi Sakamoto Coda finally on Friday night at the BFI London. I loved it. Very interesting insight on his creative process and life I saw him up close so many times throughout the evening too. There was a live Q/A afterwards with him and the Director. I also managed to have a quick word after, and got him to sign my ticket.
I watched some mooovies
Ghostland
This guy wrote/directed Martyrs, and it shows here. It's well made, but god is the content awful. This guy probably beats the shit out of women in his spare time, i can only imagine. You feel sick after watching this shit. All said, it actually wasn't as bad as i was expecting, but still, fucking awful.
Revenge
This movie is really creepy for the first 15 minutes, constant closeups of every single body part of a hot young thing skimping around in no clothes. But it's so well made you think this must be intentional, and it was. This was great. Girl deserves some more roles. Actually everyone did a good job. Very creative, and brutal.
Thelma
Best of the bunch. This movie operates on so many layers it's crazy. It's Norwegian film, and it's amazing. 10/10
Ghostland
This guy wrote/directed Martyrs, and it shows here. It's well made, but god is the content awful. This guy probably beats the shit out of women in his spare time, i can only imagine. You feel sick after watching this shit. All said, it actually wasn't as bad as i was expecting, but still, fucking awful.
Revenge
This movie is really creepy for the first 15 minutes, constant closeups of every single body part of a hot young thing skimping around in no clothes. But it's so well made you think this must be intentional, and it was. This was great. Girl deserves some more roles. Actually everyone did a good job. Very creative, and brutal.
Thelma
Best of the bunch. This movie operates on so many layers it's crazy. It's Norwegian film, and it's amazing. 10/10
I've just seen it, it was indeed disturbing. Even more when you learn what happened to one of the main actresses (Taylor Hickson).
Still not convinced by Mylène Farmer's acting tho.