IDK why but this series of posts back to back made me laugh
Humanity wasn't ready for John Wicks set of skills
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Movies You've Seen Recently | May 2019
- Thread starter Divius
- Start date
Humanity wasn't ready for John Wicks set of skills
In a Lonely Place: A truly excellent merger of film noir and romantic melodrama. The psychological depth this displays is so typical of Nicholas Ray's work, and yet it still blows my mind to see such care put into the characters here with how easily this could have diverted into tropes, further enhanced by the great performances from both Bogie and Gloria Grahame turn in for their characters and a really well-rounded supporting cast. It's also a credit to how well written the picture is that you can guess at pretty much every major plot element well in advance and still be on pins and needles throughout since you can't really be too sure as to how it will ultimately resolve with how well maintained the tension is throughout and having just enough uncertainty to satisfy the thriller aspects without overwhelming the heart of the film. Absolutely superb in every facet, and now I can safely say that 1950 produced one hell of a trifecta of noir-tinged showbiz films with this joining such exalted company as Sunset Boulevard and All About Eve.
Basically the screenwriter thought the original was dumb, so he added all the political stuff to make it (in his mind) more interesting. I like the movie, but the pacing drags a little, especially considering how lean the original is. I dig how the dance elements are way more fleshed out.
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You need to see shit to enjoy good things.
Saw it on theater cause of my bro tho.
And there are good capefilms.
Also, from a very basic level of horror, it also adds in a real sense of doom to the world in that no wake of life is safe. If not the witches in the school, it's the terrorist attacks on the outside, and very few have any input on the when and where of it all, which is what helps to power Suzy's character arc in the remake.
Oho Wright especially cranked it to eleven here. The opening flashback sequence
is the entire movie boiled down to a few minutes
and it's a blast. The whole movie is, on several bases: humor, flourish, and a surprising pinch of heart pulling at a grand scale. Stubbornly so.
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š¤
I was on board with it when the Nazi's were just a vague, nightmarish presence where their only physicality is the bodies they leave behind, the bullets they shoot, and the creepy omniscient spy plane that flys overhead. The kid wandering through this indeterminate hellscape where nothing quite makes sense or feels real was compelling to me.
But then we get the uber cartoon nazis at the end goin whole hog and it just loses its oomph.
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Were you really looking for a nice and reasonable answer with how you phrased any part of your question? Talk shit, get shit.
Top 5 new watches
1. Burning Cane
2. Shadow
3. Fast Color
4. Avengers: Endgame
5. House of Hummingbird
1. Burning Cane
2. Shadow
3. Fast Color
4. Avengers: Endgame
5. House of Hummingbird
OP
OP
Don't feed the trolls :c
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also I haven't been watching a lot of movies
also my 31 days of horror master list currently contains 183 films, i might go insane
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also I haven't been watching a lot of movies
also my 31 days of horror master list currently contains 183 films, i might go insane
I actually had to see burning again because of a date š„µ
Thats what it really felt like. Old people tackling youth issues. Lets contain memekami in books btw.
Thats what it really felt like. Old people tackling youth issues. Lets contain memekami in books btw.
3o'clock high cool fun movie student gets bullied by new transfer,and is forced to fight him after school while trying to think of ways to get out of it.
I assume something pertaining to Murakami tropes maybe? But the movie is an adaptation of a Murakami story so I'm not sure how you couldn't have those in there...
It was one of my most anticipated movies last year and I was very disappointed with the end result. Largely, I think, because of how disastrously bad the climax is (and I'm not sure what to make of the epilogue either). At least I got a new Thom Yorke album out of it.
The film perspective is the impotent young man who grows jealous of an older successful one. It revolves around the misery of a new youth and the fight of classes. Only Chang Dong is too old to tell this story without falling in shitty cliches about young people.
And yes mememaki is the author.
And yes mememaki is the author.
Just saw The Dead Don't Die. I think that was the most action packed movie of his. Adam Driver, Bill Murray and Tilda Swinton are killing it. I love this Cannes festival already (well except Thierry Fremeaux that once again pulls down his pants regarding Alain Delon this time)
Yes, the one thing that shouldn't be happening on a forum is debate and discussion
Bath House: Lovely use of understated stop-motion animation and a nice atmosphere, but the humor and characters aren't so much dry as they are arid, resulting in little more than a tech demo that somehow drags for the 14 minutes it lasts.
The first film I think is a pretty solid family movie that nevertheless treads on some pretty formulaic ground in places; Paddington 2 is a stone cold classic.
Flashdance (1983): A number of amazing music videos (one of which seems designed to trigger epileptic fits in the audience) intercut with some decent depictions of blue collar striving and a tepid love story (Wiki lists a slew of future/rising stars who auditioned to be the male lead, and it's hard not to think that any number of them would have been better than Michael Nouri, the eventual choice). Jennifer Beals is very charming as the lead -- it's hard not to wonder whether she'd have become a bigger star had she struck while the iron was hot instead of finishing Yale, though obviously she went on to have a pretty decent career (certainly the best of anybody in this film; other than Beals there aren't any retroactively memorable faces here, which feels unusual for a really successful 1980s film). This made me wish that original film soundtrack hits were still more of a thing, because damnit, they were a lot of fun, and when they are done well, the cinematic moments they create are indelible. It's weird to see a movie about an exotic dancer that treats dancing topless in a strip club as a sign of a character's despondency.
What the hell happened discussion-wise last page?
Shallow Grave
ā ā ā ā
Danny Boyle's debut is an impressive blend of pitch-black comedy and sociopathic vice, complete with the visual flourishes and slick script that would define the director's films. Shallow Grave morphs from breezy humanistic comedy to Hitchcockian descent into paranoia and violence, but exudes an off-kilter dread even before that shift begins.
It helps that the trio of protagonists are portrayed with such charismatic contempt; an oxymoron for sure, but McGregor, Eccleston, and Fox all play their characters as dislikable assholes whose friendship and mischievous energy are infectious. Their flat feels like a powderkeg even before the suitcase full of money is introduced.
As with any story featuring an ill-gotten windfall, distrust, greed, and bloodshed soon worm their way into that volatile relationship. Shallow Grave's approach to violence is disturbingly detached, presenting grisly complications as awkward and uncomfortable. But even in its darkest moments, Boyle's neo-noir remains kinetic and stylish. Clever juxtapositions, shots, and plot swerves abound; Shallow Grave's narrative is familiar but its execution is extremely assured.
Brotherhood of the Wolf
ā ā ā Ā½
Brotherhood of the Wolf is a movie I've wanted to see for years and it largely did not disappoint. A bold blend of period melodrama, monster movie, martial arts action, and conspiracy thriller, Brotherhood mixes all those facets with a dash of pulpy tone and gothic fairy tale. It's weird, unique, and always intriguing, even if the effects are dated and the fight choreography is too over-edited to appreciate Mark Dacascos' agile skills.
Shallow Grave
ā ā ā ā
Danny Boyle's debut is an impressive blend of pitch-black comedy and sociopathic vice, complete with the visual flourishes and slick script that would define the director's films. Shallow Grave morphs from breezy humanistic comedy to Hitchcockian descent into paranoia and violence, but exudes an off-kilter dread even before that shift begins.
It helps that the trio of protagonists are portrayed with such charismatic contempt; an oxymoron for sure, but McGregor, Eccleston, and Fox all play their characters as dislikable assholes whose friendship and mischievous energy are infectious. Their flat feels like a powderkeg even before the suitcase full of money is introduced.
As with any story featuring an ill-gotten windfall, distrust, greed, and bloodshed soon worm their way into that volatile relationship. Shallow Grave's approach to violence is disturbingly detached, presenting grisly complications as awkward and uncomfortable. But even in its darkest moments, Boyle's neo-noir remains kinetic and stylish. Clever juxtapositions, shots, and plot swerves abound; Shallow Grave's narrative is familiar but its execution is extremely assured.
Brotherhood of the Wolf
ā ā ā Ā½
Brotherhood of the Wolf is a movie I've wanted to see for years and it largely did not disappoint. A bold blend of period melodrama, monster movie, martial arts action, and conspiracy thriller, Brotherhood mixes all those facets with a dash of pulpy tone and gothic fairy tale. It's weird, unique, and always intriguing, even if the effects are dated and the fight choreography is too over-edited to appreciate Mark Dacascos' agile skills.
1. What's your favorite Movie?
Either 12 Angry Men, Anatomy of a Murder, A Star is Born (1954), Dollars Trilogy, any of Hitchcock's films, Dr. Strangelove, His Girl Friday, All the President's Men, Meet Me in St. Louis, Pat Garrett and Billy the Kid, Django, The Wild Bunch, The Sting, Paths of Glory, The Big Sleep, Mr. Smith Goes to Washington, or In the Heat of the Night (1967), too many to name
2. Who's your favorite director?
Either George Cukor, Hitchcock, Norman Jewison, Milos Forman, Kubrick, Peter Weir, Frank Capra, Kurosawa, Sergio Leone, or Otto Preminger, too many to name
3. Who are your favorite actors/actresses?
James Stewart, Cary Grant, Kirk Douglas, Clark Gable, Judy Garland, Anne Bancroft, Greta Garbo, Saroise Ronan, Emma Stone, Paul Newman, Robert Redford, Humphrey Bogart, Keanu Reeves, Steve Buscemi, and Peter Sellers, too many to name
4. Favorite Genre(s)?
Drama, War, Action, Noir, Western
5. What's your favorite performance in film?
James Stewart in all 4 of Hitchcock's films, Judy Garland as Esther Blodgett (Vicki Lester) in A Star is Born (1954), Kirk Douglas as Colonel Dax in Paths of Glory, Cary Grant as Roger Thornhill in North by Northwest, and Sidney Poitier as Detective Virgil Tibbs in In the Heat of the Night, too many to name
--------------------
Films I watched from January to now (not seen in theaters)
Norma Rae (1979) - Thumbs Up, Sally Field is amazing as Norma Rae who you would root for in the face of suppporting unionization for her family and friends backed up by a great screenplay in the backdrop of North Carolina's textile industry
The Firm (1993) - Thumbs Up, either this or The Rainmaker is probably the best of any adaptation of John Grisham's novels, everyone is great in this especially Holly Hunter as Tammy.
Bullitt (1968) - Thumbs Up, the nearly 11-minute car chase alone which made the car chase make it worth watching
The Miracle Worker (1962) - Thumbs Up, This movie is what I like to call, the perfect adaptation of a Broadway play, everything from Bancroft and Duke's acting as Anne Sullivan and Helen Keller, respectively, the dining room scene, and everything else in director Arthur Penn's film who also directed the Broadway play, carries over from the play in precise powerful form even in 1962 it's just as powerful as ever. Highly recommended.
A Raisin in the Sun (1961) - Thumbs Up, An amazing adaptation of Lorraine Hansberry's 1959 groundbreaking Broadway play which she also wrote the screenplay, with a talented near all-black cast who reprised their roles from the play did just as impactful on the big screen as it was from the stage with issues as ever relevant as it was today with racial segregation. Highly recommended.
Glory (1989) - Thumbs Up, Possibly Broderick's best role since it takes place outside of his usual space of comedy as Robert Shaw with a talented supporting cast who played 54th Massachusetts Volunteer Infantry and it's climatic battle of Fort Wagner is excellent.
Escape from Alcatraz (1979) - Thumbs up, The fifth and last collaboration for Don Siegel and Clint Eastwood came out with a thrilling conclusion with the 1962 prisoner escape filmed at a closed Alcatraz Island, this film makes you really feel you're at Alcatraz especially with the stunts done by Eastwood, Ward, and Thibeau themselves which ups the realism.
Either 12 Angry Men, Anatomy of a Murder, A Star is Born (1954), Dollars Trilogy, any of Hitchcock's films, Dr. Strangelove, His Girl Friday, All the President's Men, Meet Me in St. Louis, Pat Garrett and Billy the Kid, Django, The Wild Bunch, The Sting, Paths of Glory, The Big Sleep, Mr. Smith Goes to Washington, or In the Heat of the Night (1967), too many to name
2. Who's your favorite director?
Either George Cukor, Hitchcock, Norman Jewison, Milos Forman, Kubrick, Peter Weir, Frank Capra, Kurosawa, Sergio Leone, or Otto Preminger, too many to name
3. Who are your favorite actors/actresses?
James Stewart, Cary Grant, Kirk Douglas, Clark Gable, Judy Garland, Anne Bancroft, Greta Garbo, Saroise Ronan, Emma Stone, Paul Newman, Robert Redford, Humphrey Bogart, Keanu Reeves, Steve Buscemi, and Peter Sellers, too many to name
4. Favorite Genre(s)?
Drama, War, Action, Noir, Western
5. What's your favorite performance in film?
James Stewart in all 4 of Hitchcock's films, Judy Garland as Esther Blodgett (Vicki Lester) in A Star is Born (1954), Kirk Douglas as Colonel Dax in Paths of Glory, Cary Grant as Roger Thornhill in North by Northwest, and Sidney Poitier as Detective Virgil Tibbs in In the Heat of the Night, too many to name
--------------------
Films I watched from January to now (not seen in theaters)
Norma Rae (1979) - Thumbs Up, Sally Field is amazing as Norma Rae who you would root for in the face of suppporting unionization for her family and friends backed up by a great screenplay in the backdrop of North Carolina's textile industry
The Firm (1993) - Thumbs Up, either this or The Rainmaker is probably the best of any adaptation of John Grisham's novels, everyone is great in this especially Holly Hunter as Tammy.
Bullitt (1968) - Thumbs Up, the nearly 11-minute car chase alone which made the car chase make it worth watching
The Miracle Worker (1962) - Thumbs Up, This movie is what I like to call, the perfect adaptation of a Broadway play, everything from Bancroft and Duke's acting as Anne Sullivan and Helen Keller, respectively, the dining room scene, and everything else in director Arthur Penn's film who also directed the Broadway play, carries over from the play in precise powerful form even in 1962 it's just as powerful as ever. Highly recommended.
A Raisin in the Sun (1961) - Thumbs Up, An amazing adaptation of Lorraine Hansberry's 1959 groundbreaking Broadway play which she also wrote the screenplay, with a talented near all-black cast who reprised their roles from the play did just as impactful on the big screen as it was from the stage with issues as ever relevant as it was today with racial segregation. Highly recommended.
Glory (1989) - Thumbs Up, Possibly Broderick's best role since it takes place outside of his usual space of comedy as Robert Shaw with a talented supporting cast who played 54th Massachusetts Volunteer Infantry and it's climatic battle of Fort Wagner is excellent.
Escape from Alcatraz (1979) - Thumbs up, The fifth and last collaboration for Don Siegel and Clint Eastwood came out with a thrilling conclusion with the 1962 prisoner escape filmed at a closed Alcatraz Island, this film makes you really feel you're at Alcatraz especially with the stunts done by Eastwood, Ward, and Thibeau themselves which ups the realism.
I haven't gotten in the disc of it yet, but the only special feature on Apollo 11 pertains to the 65mm footage, so my preemptive guess is that due to the historical significance of the Apollo 11 mission, NASA spared no expense in terms of archiving the entirety of the journey. It's kind of ludicrous how good that footage looks and makes me kinda wish that NASA would have a film preservation side-business with how immaculate their efforts turned out to be.
This isn't the place for that. We just want people to only post positive impressions of MCU movies and not actually have any discourse on art
This sounds crazy, I watched For All Mankind on my laptop when it was the Criterion Movie of the Week, and even on the small screen the visuals blew me away. Apollo 11 must look insane.
Mostly agree with your thoughts here. Certainly not as funny as SOTD or Hot Fuzz but probably Wright's most honestly emotional movie up to this point. I would love to see Wright tackle some more serious dramatic elements eventually, but also that would waste one of the most inventive action directors. Curious to see how his next horror movie comes out.
Lmfao, these two posts are sensational. Just, what?I actually had to see burning again because of a date š„µ
Thats what it really felt like. Old people tackling youth issues. Lets contain memekami in books btw.
Have you seen Drive starring Mark Dacascos and Kadeem Hardison?
Koko: A Talking Gorilla: An intriguing window into the life and activities of, well, the titular subject, almost right from the very beginning of Koko's ascent to the heights of the scientific community. The approach that the filmmakers take here swings towards one of impartiality as the footage is mainly of Koko and her trainer Francine Patterson in largely candid moments, which gives the film a bit of a nature documentary vibe and makes for some rather impressive moments of interaction between the two. Yet strangely, it has difficulties maintaining a strong pulse as a result of there not being a tremendous amount of variety in the handling of the material, and the small attempts at bridging the few tangents it does go on regarding the ethics of training Koko in the first place and what to do with her now that she was effectively caught between two worlds just aren't developed enough to be of much note and even misses some opportunities to address other points. The documentary almost comes off as a kind of reference work for professionals in the same scientific field, which does possess a lot of value to a casual viewer with the opportunity it provides for a glimpse into an unseen world, but it's hard for it to stick with a person that doesn't have this as a part of their daily lives. It's frustrating for me as I do see the importance of the footage, as I do wish that it was in more capable hands of taking this to even the most basic of logical conclusions.
finished watching The Wandering Earth (2018).
The only thing that wandered off was my mind, being a combo of bored, flabbergasted at stupid shit, and legit scared for how little empathy China seems to have. (the whale shot, and then casually mentioning that half the human race died when the Earth's rotation stopped... )
You can pretend it's a nice spectacle but its politics are worn on its sleeves and horrifying to consider as existing in the real world.
The only thing that wandered off was my mind, being a combo of bored, flabbergasted at stupid shit, and legit scared for how little empathy China seems to have. (the whale shot, and then casually mentioning that half the human race died when the Earth's rotation stopped... )
You can pretend it's a nice spectacle but its politics are worn on its sleeves and horrifying to consider as existing in the real world.
Can You Ever Forgive Me?
It's no surprise that Melissa McCarthy and Richard E. Grant both got nominated, they acted their asses off. The film itself does a really great job painting the dead end and lonely life that the main character led. Wonderfully and depressingly reliable.
It's no surprise that Melissa McCarthy and Richard E. Grant both got nominated, they acted their asses off. The film itself does a really great job painting the dead end and lonely life that the main character led. Wonderfully and depressingly reliable.