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droneriot
incelgender

Joined: Sat Aug 28, 2004 1:17 pm
Posts: 9551
Location: Spahn Ranch
PostPosted: Sat Jan 04, 2020 6:28 am 
 

Well he once got people excited with John Travolta chatting about burger names and has been riding that cliché ever since, that's one of the things that really make all the five or so last movies almost unwatchable for me, those long smalltalks about nothing that were great 25 years ago and therefore he thinks they must take up a big part of every movie because "that's his style" or something. But honestly most of the other stuff bothers me as well, from the violence to the plots to everything else it all feels like he's just putting the same movie in a different setting over and over again.
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BasqueStorm
The Wettest Blanket

Joined: Wed May 26, 2010 2:21 pm
Posts: 4795
Location: Turks and Caicos Islands
PostPosted: Sat Jan 04, 2020 7:35 am 
 

darkeningday wrote:
Over an hour in to Once Upon a Time in Hollywood and I have a serious question: how the hell does Tarantino get away with so much boring bullshit in his movies? Like all of his films there are good parts but also like all of his films, they're packed to the gills with what can most charitably be described as vacuous filler. Like, the good-to-shit ratio is moving into preposterous these days.

droneriot wrote:
Well he once got people excited with John Travolta chatting about burger names and has been riding that cliché ever since, that's one of the things that really make all the five or so last movies almost unwatchable for me, those long smalltalks about nothing that were great 25 years ago and therefore he thinks they must take up a big part of every movie because "that's his style" or something. But honestly most of the other stuff bothers me as well, from the violence to the plots to everything else it all feels like he's just putting the same movie in a different setting over and over again.

Yeah:
https://forum.metal-archives.com/viewtopic.php?p=2877398#p2877398
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Sepulchrave
Metalhead

Joined: Mon Jul 27, 2015 7:29 pm
Posts: 1680
Location: Croatia
PostPosted: Sat Jan 04, 2020 9:36 am 
 

Get Carter is the coolest movie ever made.
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DeadKid
Metal newbie

Joined: Mon Jan 03, 2011 8:51 am
Posts: 101
Location: New Zealand
PostPosted: Sun Jan 05, 2020 12:42 am 
 

droneriot wrote:
Well he once got people excited with John Travolta chatting about burger names and has been riding that cliché ever since, that's one of the things that really make all the five or so last movies almost unwatchable for me, those long smalltalks about nothing that were great 25 years ago and therefore he thinks they must take up a big part of every movie because "that's his style" or something. But honestly most of the other stuff bothers me as well, from the violence to the plots to everything else it all feels like he's just putting the same movie in a different setting over and over again.

I enjoy that kind of dialogue as long as the other elements of the movies are agreeable, when lately they haven't been.

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Resident_Hazard
Possessed by Starscream's Ghost

Joined: Thu Oct 07, 2004 2:33 pm
Posts: 2905
Location: United States
PostPosted: Tue Jan 07, 2020 10:42 am 
 

Let's see here, the last ones I watched:


Moana: Disney animated film. My girlfriend loves this one, and I have to agree that I enjoy the more feminist-slant on modern "Disney Princess" films. Fun characters and a thoughtful story, a much more original and interesting setting than yet another old stuffy white people kingdom. The animation is fantastic, to boot and the music is pretty good.

Dragged Across Concrete: S. Craig Zahler is handily my favorite writer-director right now. Bone Tomahawk, Brawl in Cell Block 99, and this are all outstanding, heavy films. Zahler is an architect of film. His stories build and build and build, never predictable, punctuated by moments of grit and shock that one can never expect. He expertly leads us on a trip where the viewer can sense something is going to happen, but just what the fuck it might be is unknown. You know characters are going to meet, you see the nuance that drives them forward and will clash when people get together. Even slow moments hold attention because it's building so carefully to something else.

Dragged Across Concrete stars Mel Gibson and Vince Vaughn as recently suspended cops, and Tory Kittles and Michael Jai White as hired hands for a heist. Gibson's character is an exhausted, embittered detective stuck in career limbo for a good twenty years who's been "scraping concrete for so long," he's losing his humanity and trapped in a new world he doesn't understand. His old grit clashes with a world where cell phones can get his misdeeds splashed online and in the news. Tory Kittles, recently released from prison, is looking for a job that will allow him to pull his mother out of prostitution and give his kid brother a better future.

As with Bone Tomahawk and Brawl in Cell Block 99, the story builds carefully. Moments of violence deliver powerful, unexpected impact. You're never sure who to root for. The protagonists are so flawed, they barely qualify as anti-heroes. The climax suits the film perfectly, but cannot be easily predicted. Goddamn intense, heavy film right here. I loved it. I love all three of these Zahler films. Outstanding.


White Savior: Racism in the American Church: Fascinating documentary about the role Christianity plays in racism, it's centuries of influence and cruelty, and the way the Bible has been used as justification, not just for racism but slavery, genocide, sexism, and other evils. I would have preferred a more atheistic end point on this, but it covers a lot of ground. Pretty sure it's from a local (for me) film group, as interviews are largely from Minneapolis churches and the University of Minnesota.
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Zelkiiro
Pounding the world with a fish of steel

Joined: Sat Apr 18, 2009 5:30 pm
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Location: Pennsylvania
PostPosted: Thu Jan 09, 2020 12:28 am 
 

Thanks to being chair-bound for the past few days, I saw Hidden Figures tonight on TV. It felt every bit like a formulaic historical biopic, but I'll be damned if it wasn't masterfully executed. Excellent performances from the main cast and solid writing made the formula forgivable.

The movie that was on before that was Avatar. My opinion on it remains unchanged--it's a perfectly fine action movie with likable characters and still-impressive visuals, and the only real flaw is that the narrative is totally "Dances With Wolves IN SPAAAAAAAACE!!" Doesn't make it a bad movie, though. Just an iterative one.
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Tanuki
Metal newbie

Joined: Fri Dec 09, 2016 12:36 pm
Posts: 371
Location: United Kingdom
PostPosted: Fri Jan 10, 2020 6:31 pm 
 

So I finally watched the Rocko's Modern Life: Static Cling special on Netflix. I'm a card-carrying cultist of the original show, so I was really reticent about the thought of a reboot. Thoughts in the spoiler because spoilers, and also because I'm embarrassed by how much I have to say about a cartoon, and hiding it all in a spoiler feels better somehow.

Spoiler: show
It's pretty good.

I think it's one of the most authentic revamps I've seen in a long time, by virtue of its stretchy noodle animation, phenomenal voice acting, and heaps of fan service. As impressive as the 2D animation was, and as much as I appreciated all the callbacks to the original show (some of which even went over my head the first time), I think the voice acting was my favorite part. During the voice actors' 2012 live performance of Wacky Delly, I think it was the show's creator Joe Murray who said "Go easy on us, we haven't done these voices in 20 years." Coulda fooled me, man. Carlos Alazraqui in particular is such an awesome talent; his Rocko voice hasn't aged a day.

So it's visually good, aurally superb, the restaurant's called Chokey Chicken again, and Joe Murray was wasting no time making his poor wallaby suffer the perils of moderner life. I was worried some of the gags would fall into "old man yells at cloud" territory, but Murray's gripes are as relatable as they are short-lived. Seriously, what you see in the trailer is about the full extent of societal critique, which I think is a good thing. If the story revolved solely around how technology is obnoxious, or how entertainment is vapid, I think the special would have felt dated and aimless within minutes. So what did the story do instead, then?

First of all, Rocko's Modern Life was always pretty liberal. That may seem hard to grasp at first, since the show's mostly remembered for being indecent and obscene, but episodes habitually explored themes like "corporatism is bad", "the environment is good", "prejudice is bad", "political campaigning is a joke", "living alone as a young adult with a crappy job is hard", etc. So I don't see why or even how a fan of the show could begrudge Static Cling's gender reassignment subplot. It's well within RML's pilothouse. Having said that, I do have some issues with how they went about it.

Ralph (now Rachel) Bighead was meant to be a surrogate of Joe Murray, so he reprises his role voicing the character. Joe has a very, very deep voice. Doesn't matter how you slice it, if a girl character is speaking with an unmistakably manly baritone, it feels like a bad joke. Not to mention, Ralph wasn't exactly a likeable character in the original show. She made a career out of ruthlessly mocking her parents, and then expected her parents to respect her career. Then she coerces Heffer and his friends into making a terrible cartoon, then spitefully tries to sabotage it when it becomes successful. It makes her very hard to root for, especially since she hasn't appeared to learn much from past episodes. (i.e pursuing dreams has hidden consequences, art is subjective, communication can prevent conflict, etc.)

And besides that, the story can get a bit flaky at times. In Wacky Delly, Rocko already knew his favorite show was officially over, but is surprised when he relearns this in Static Cling. Also, Rachel leaves the entertainment industry permanently and has no realistic reason to return, other than "the story needs her to". So she writes, directs, animates, advertises, produces, and premiers an entire animated special by herself, in one day, with equipment she just so happened to have in the back of her ice cream truck. Sure. Finally, Rocko's split-second flip-flop between hating the new show and accepting it was done exceptionally poorly. It not only felt like a blatant finger-wag to all RML fans ("Don't be a dork like Rocko, be a good fan and accept whatever we give you."), it also seemed super hypocritical. For example, there was a previous scene that completely crucifies modern 3d animation as the ugly, soulless crap that it is, yet the moral of the story is "Change is usually a good thing that you should always accept". Well which is it homie.

Despite a few jitters, Static Cling is still a really good time overall, way better than I thought it'd be. An authentic, meticulously written love-letter to fans, with remarkably relevant social commentary and fantastic slapstick to boot. 7 twerking mops out of 10.

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Mellifleur
Metal newbie

Joined: Mon Sep 03, 2018 8:01 pm
Posts: 343
Location: United States
PostPosted: Sun Jan 12, 2020 10:41 am 
 

I think the jab was at soulless corporate 3D crap animation. :P

Agreed with your overall assessment. Another way it avoided the "old man yells at cloud" problem was by having a mix of characters who had adapted the changes gradually (the ones who stayed in O-Town), ones who were gone but adapted instantly, and then Rocko who couldn't accept everything at first. It goes to show that the changes that have occured since the 90's are uniformly good or bad, but ran the gamut from good (accepting trans people) bad (crappy corporate 3d animation) exciting (don't you want to watch Filburt's twitch stream?) to concerning (did you notice the cameras tracking Rocko in the theme song?).

I thought it took a very balanced approach to the topic. Also agreed that the ending was rushed and Rocko comes off as a bipolar as a consequence. Kinda cartoony in that it might as well have ended with them spinning the wheel of morality and it landing on trans-acceptance. :-P The biggest complaint of course is that Dr. Hutch didn't get enough lines. Best character in the show.

Also watched Invader Zim Enter the Floorpus right after Static Cling in double feature. Static Cling was good but Enter the Floorpus is balls out awesome. Really funny, really clever explanation for the long absence, excellent animation, and surprisingly had a much greater focus on the relationship between the Membrane family that we've never seen before and was handled in a very entertaining way. Has all the good aspects of the original run with some new ideas to boot. Again, my complaint is that certain characters weren't involved in the story, in this case the teacher and the school children aren't involved at all, which is a shame because the school is such a big part of the original setting.

I hope they make some more of these specials!
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Tanuki
Metal newbie

Joined: Fri Dec 09, 2016 12:36 pm
Posts: 371
Location: United Kingdom
PostPosted: Sun Jan 12, 2020 12:55 pm 
 

Mellifleur wrote:
Agreed with your overall assessment. Another way it avoided the "old man yells at cloud" problem was by having a mix of characters who had adapted the changes gradually (the ones who stayed in O-Town), ones who were gone but adapted instantly, and then Rocko who couldn't accept everything at first. It goes to show that the changes that have occured since the 90's are uniformly good or bad, but ran the gamut from good (accepting trans people) bad (crappy corporate 3d animation) exciting (don't you want to watch Filburt's twitch stream?) to concerning (did you notice the cameras tracking Rocko in the theme song?).

I thought it took a very balanced approach to the topic. Also agreed that the ending was rushed and Rocko comes off as a bipolar as a consequence. Kinda cartoony in that it might as well have ended with them spinning the wheel of morality and it landing on trans-acceptance. :-P The biggest complaint of course is that Dr. Hutch didn't get enough lines. Best character in the show.

That's an excellent point. The "accepting change" message was a lot more dynamic than I was giving it credit for: good call on that. Also, damnright about Dr Hutchinson, I have no idea why she was so underused. I'm really hoping Static Cling was successful enough to spawn a mini-series or something, because damn, there's just so much more potential!

Mellifleur wrote:
Also watched Invader Zim Enter the Floorpus right after Static Cling in double feature. Static Cling was good but Enter the Floorpus is balls out awesome. Really funny, really clever explanation for the long absence, excellent animation, and surprisingly had a much greater focus on the relationship between the Membrane family that we've never seen before and was handled in a very entertaining way. Has all the good aspects of the original run with some new ideas to boot. Again, my complaint is that certain characters weren't involved in the story, in this case the teacher and the school children aren't involved at all, which is a shame because the school is such a big part of the original setting.

I hope they make some more of these specials!

Nice! Shame about no Mrs Bitters, she was great :lol: Maybe they just couldn't get a hold of some of the voice actors and actresses? Yeah though, that sounds awesome, definitely gotta check that out soon.

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AndromedaVessel
Metal newbie

Joined: Wed Jun 05, 2013 11:10 am
Posts: 69
Location: Brazil
PostPosted: Tue Jan 14, 2020 12:59 pm 
 

I don't know if this happens in other countries or how much it happens but there's a bit of a trend here that consists of leaving titles as they are in English, instead of translating them, and slapping a subtitle in Portuguese to give some sort of objective description or idea of the general feel or plot of the movies.

I was a bit bored so I decided to go after some (if not most) examples that follow this structure. Also, at the end, there are some titles that did get a translation or adapted title but still follow the Title: Subtitle structure.

Spoiler: show
AD ASTRA: Towards the Stars
ALIEN: The Eighth Passenger
ALIENS: The Rescue
ALONE IN THE DARK: Evil's Awakening
ARTHUR: The Seductive Millionaire
THE AVENGERS: The Avengers
BAD ASS: Above the Law
BE COOL: The Other Name of the Game
BEE MOVIE: A Bee Story
BLADE: The Vampire Hunter
BLADE RUNNER: The Android Hunter
BOLT: Superdog
CARRIE: The Strange
CHRISTINE: The Killer Car
CLOVERFIELD: Monster
COLOMBIANA: Seeking Revenge
CREED: Born to Fight
CYBORG: The Dragon of the Future
DARKMAN: Faceless Revenge
DIRTY DANCING: Hot Rhythm
DOOM: Hell's Door
DUNGEONS & DRAGONS: The Adventure Starts Now
ERIN BROCKOVICH: A Talented Woman
FAR CRY: Escaping from Hell
FARGO: A Comedy of Mistakes
FOOTLOOSE: Crazy Rhythm
FORREST GUMP: The Storyteller
FROZEN: A Freezing Adventure
GHOST: On the Other Side of Life
Tomorrow's Vigilant: GHOST IN THE SHELL
HAIRSPRAY: In Search of Fame
HAPPY FEET: The Penguin
HELLRAISER: Reborn from Hell
HITCH: Love Counselor
HITMAN: Assassin 47
HOOK: The Return of Captain Hook
JOHN CARTER: Between Two Worlds
JUDY: Way Beyond the Rainbow
JURASSIC PARK: Dinosaur Park
JURASSIC WORLD: The Dinosaur World
KICKBOXER: The Dragon's Challenge
LA LA LAND: Singing Seasons
LOGAN LUCKY: Family Heist
LOOPER: Future Killers
MAGGIE: The Transformation
MARY & MAX: A Different Friendship
MANDY: Thirst for Revenge
MAY: Killer Obsession
MIDSOMMAR: Evil Doesn't Wait Until Night
MINORITY REPORT: The New Law
MOANA: A Sea of Adventures
MONSTER: Killer Desire
MOULIN ROUGE: Love in Red
OLDBOY: Days of Revenge
PONYO: A Friendship that Came from the Sea
PULP VICTION: Times of Violence
R.I.P.D. - Agents from Beyond
RED: Retired and Dangerous
RAMPAGE: Thirst for Revenge (the Uwe Boll one)
RAMPAGE: Total Destruction (the Dwayne Johnson one)
RESIDENT EVIL: The Damned Guest
ROBOCOP: The Future Cop
ROCKY: A Fighter
SEVEN: The Seven Deadly Crimes
SICARIO: No Man's Land
SIN CITY: The City of Sin
SLENDER MAN: Faceless Nightmare
SNATCH: Pigs and Diamonds
SOLOMON KANE: The Demon Hunter
SPLASH: A Mermaid in My Life
SPLICE: The New Species
SPOTLIGHT: Secrets Revealed
STARDUST: The Star Mystery
STAY ALIVE: Deadly Game
STITCHES: The Return of the Killer Clown
STREET FIGHTER: The Last Battle
SUNSHINE: Solar Alert
TOP GUN: Wild Aces
TRAINSPOTTING: No Limits
TRON: An Electronic Odyssey
UP: High Adventures
VAN HELSING: The Monster Hunter
VIDEODROME: The Video Syndrome
VOLCANO HIGH: The Power School
WARCRAFT: The First Encounter of Two Worlds
WHIPLASH: In Search of Perfection

[ALONE] Spirits 2: You're Never Alone
[COCO] Live (or) Hooray: Life is a Party
[THE CORE] The Core: Mission to the Center of the Earth
[DAS BOOT] The Boat: Hell in the Sea
[DISASTER MOVIE] Superheroes: The Injustice League
[EVIL DEAD] The Devil's Death: A Crazy Night
[GEOSTORM] Storm: Raging Planet
[HOT SHOTS] Top Gang: Crazy Aces
[GIVE 'EM HELL MALONE] Malone: Pulling the Trigger
[FIRST BLOOD] Rambo: Programmed to Kill
[MAGGIE] Contagion: Deadly Epidemic
[PRINCE OF PERSIA] Prince of Persia: The Sands of Time
[SHUTTER] Spirits: Death is By Your Side
[SPACEBALLS] SOS: There's A Madman Loose in Space
[THE TRUMAN'S SHOW] The Truman's Show: The Show of Life


Relating to movies I've been watching, last week I've started rewatching all 007 movies (except for Spectre, which I haven't seen yet) in preparation to No Time To Die, which is (hopefully) the last one Daniel Craig will be in. At this point, my next one's gonna be Diamonds are Forever, after the excellent On Her Majesty's Secret Service, which is probably my favorite of all 007 movies, even more than Goldfinger. From Russia with Love and You Only Live Twice are pretty good as well, Dr. No is just okay, but gets a pass as it was the first movie of the franchise. So far in this rewatch-marathon, Thunderball is the most "ehh whatever" out of Connery's films, but that might change after Diamonds are Forever, I remember not really liking that one the first time I've watched it.


Last edited by AndromedaVessel on Tue Jan 14, 2020 8:42 pm, edited 1 time in total.
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Mellifleur
Metal newbie

Joined: Mon Sep 03, 2018 8:01 pm
Posts: 343
Location: United States
PostPosted: Tue Jan 14, 2020 5:57 pm 
 

Darkman: Faceless Revenge sounds like a great sequel that was never made. :(
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Smoking_Gnu
Chicago Favorite

Joined: Sat Mar 15, 2008 11:22 pm
Posts: 4712
Location: United States
PostPosted: Tue Jan 14, 2020 6:08 pm 
 

AndromedaVessel wrote:
JURASSIC PARK: Dinosaur Park


This made me laugh harder than it should have.
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ChineseDownhill
Metalhead

Joined: Tue Apr 30, 2013 11:19 am
Posts: 819
Location: United States
PostPosted: Thu Jan 16, 2020 7:57 pm 
 

Bumblebee - After skipping Transformers 5 I assumed I was done with this franchise. But this was a pleasant surprise. It turns out all you need to make these movies work are likable human characters and robot action scenes that don't look like a cluttered CG mess. Keeping it under 2 hours also helps. 7 / 10

The Eyes of My Mother - The negative reviews of the new Grudge movie (on the previous page, and most other places I've looked) inspired me to re-watch the writer / director's debut. It's an arty black and white horror flick that didn't connect with me as much as I wanted it to. The main character is so difficult to relate to from the very beginning, when the movie jumps forward in time and shows her doing questionable things as an adult, it doesn't have the impact it should. A frustrating 5 / 10. Maybe watch it anyway if you're curious since it's only 75 minutes and currently streaming on US Netflix.
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Eradicatedseraphim
Metal newbie

Joined: Thu May 24, 2012 5:42 am
Posts: 135
Location: United States
PostPosted: Fri Jan 17, 2020 2:09 am 
 

^I thought Eyes was a beautiful film that dealt with how she evolved in isolation. Its been a few years since I've last seen it but I thought it was beautiful, and some of the dismemberment scenes were haunting. I'd say its in the upper tier of horror films of the 2010's at least.

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ChineseDownhill
Metalhead

Joined: Tue Apr 30, 2013 11:19 am
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Location: United States
PostPosted: Fri Jan 17, 2020 10:35 am 
 

90+ percent of the time when I whine about a movie's length, I'm calling it too long. The Eyes of My Mother is in the small minority of films that I think was probably too short. I wanted more scenes at the beginning before the first major event happened. That might have made me care about the main character more. Or maybe scenes after that showing her reaction differently.

My favorite horror movies of the previous decade include Hereditary and Starry Eyes. Despite overt supernatural elements, those were much more relatable to me because of the way their protagonists were written.
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darkeningday
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PostPosted: Sat Jan 18, 2020 3:55 am 
 

Why is The Assassination of Jesse James by the Coward Robert Ford not mentioned alongside the best from Terence Malick, Akira Kurosawa and Jean-Pierre Melville? It's a goddamn masterpiece.
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Empyreal
The Final Frontier

Joined: Thu Nov 30, 2006 6:58 pm
Posts: 27194
Location: Where the dead rule the night
PostPosted: Mon Jan 20, 2020 10:21 am 
 

Destroyer - Karyn Kusama has had an odd whiplash-inducing career with a few absolutely horrible films early on like Aeon Flux and Jennifer's Body. Then she made the fantastic The Invitation and I was a fan all of a sudden. This is hew newest work and it's kinda exhausting. There are parts of this I like, and it's got a cool neo-western kinda vibe like Breaking Bad in a way, but the aesthetic is so garishly, cartoonishly grim that it takes me out of it. Every character has to look haggard like a meth addict and have some horrific life as a prostitute, a drug addict or both. It's so fucking over the top. Nicole Kidman is very good, though maybe she overdoes it a little. The story is a somewhat interesting crime thriller and makes more sense the longer it goes. I dunno if I'd see it again because of how silly the attempts at being dark were.
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jimbies
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Joined: Thu Jul 21, 2016 2:52 pm
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PostPosted: Mon Jan 20, 2020 11:17 pm 
 

darkeningday wrote:
Why is The Assassination of Jesse James by the Coward Robert Ford not mentioned alongside the best from Terence Malick, Akira Kurosawa and Jean-Pierre Melville? It's a goddamn masterpiece.


The Nick Cave cameo alone is top notch!

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Razakel
Nekroprince

Joined: Wed Dec 06, 2006 8:36 pm
Posts: 5690
Location: Canada
PostPosted: Tue Jan 21, 2020 12:01 am 
 

I really love that movie. I'm not that much of a film geek, but yeah, I dunno why it isn't more widely revered. It's like a fucking Cormac McCarthy novel.

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jimbies
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Joined: Thu Jul 21, 2016 2:52 pm
Posts: 1696
Location: Ontario, Canada
PostPosted: Tue Jan 21, 2020 10:53 am 
 

Razakel wrote:
I really love that movie. I'm not that much of a film geek, but yeah, I dunno why it isn't more widely revered. It's like a fucking Cormac McCarthy novel.


Yeah, it's quite good. Also, considering it was the only the directors second ever feature is impressive to say the least. It might run a little long in parts, but it's very well acted and edited.

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Timeghoul
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Joined: Wed Jul 12, 2017 2:00 pm
Posts: 299
Location: Hello from the gutter
PostPosted: Tue Jan 21, 2020 12:19 pm 
 

Smithereens - I actually spent quite a few years trying to remember what this movie was. All I had to go off was a van, punk and it was possibly in New York. Every now and again my interest would pop up and I would search for this movie on what I knew. One day I went on IMDB and searched through 100 greatest punk movies. I read every description until I found it. Once I found the movie, I knew it would probably be impossible to see it anywhere. I was lucky though and found the entire movie on Youtube. What a great movie. I am even surprised that Richard Hell isn't the worst actor in the world. Such a great movie about the early days of punk. It has more of a story than just punk, but generally its about some people trying to make in punk in one form or another in the early 80s. I would recommend this to anyone who is a fan of punk or music in general.


Trailer for Smithereens
Spoiler: show
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Kerrick
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Joined: Wed Aug 26, 2015 5:02 pm
Posts: 1303
Location: United States
PostPosted: Tue Jan 21, 2020 5:21 pm 
 

I recently watched the Netflix Korean movie called Forgotten. It started out great but just got progressively lamer and lamer until it's ultra-lame climax/ending. I wouldn't recommend.

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demonomania
Metalhead

Joined: Thu Nov 11, 2004 11:44 am
Posts: 462
Location: United States of America
PostPosted: Tue Jan 21, 2020 6:08 pm 
 

Robowar - 80's Italian ripoff of "Predator" (at some points, almost scene for scene) with a bit of Robocop rip-off thrown in for good measure. One of the most entertaining bad movies I've seen in some time. Lots of tough guy jokes that were victims of translation, lots of guys shooting guns into the woods and yelling "HEEEEEEYAAAAAAWWWWWWW," lots of exposed male midriffs. They even messed up the credits at the end - you know the part where they show a freeze frame of each character, then write the character's name and the actor's name? They mixed up two of the characters/actors. Recommended.
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darkeningday
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Joined: Mon Aug 23, 2004 1:20 pm
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Location: United States
PostPosted: Wed Jan 22, 2020 11:13 pm 
 

Razakel wrote:
I really love that movie. I'm not that much of a film geek, but yeah, I dunno why it isn't more widely revered. It's like a fucking Cormac McCarthy novel.

And like Cormac McCarthy, the book is essential reading too.
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Pretty rubbish, I must say. Certainly not worth the hype behind it. Boring and predictable. A band for 14-22 year olds.

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Razakel
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PostPosted: Thu Jan 23, 2020 12:03 am 
 

Awesome, I'll have to check it out sometime since I am a book geek. I actually finished going through every McCarthy book last year, so anything vaguely similar would scratch an itch.

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Resident_Hazard
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PostPosted: Thu Jan 23, 2020 9:53 am 
 

Last night, at the local Alamo Drafthouse, I finally saw:

Richard Stanley's Color Out of Space.

The film was followed by a question-and-answer session where Stanley and Nic Cage were "interviewed" by Patton Oswald. Oswald opened it by saying, "boy I did not expect Star Wars to end that way."

Color Out of Space is fan-fucking-tastic. For a film that we all know had barely any budget at all, the effects are incredibly strong with only one weak shot the entire time. Nic Cage actually does a great job, so that insane over-acting we're used to? Yep, that's there, completely intertwined with more subtle, thoughtful acting. His range here was really unexpected. You know who else does a solid job? Okay, yes, the entire cast is great. But the unexpected delivery: Tommy fucking Chong. While still portraying that old hippie, he's surprisingly nuanced, human, and likeable. I'm probably not the only person used to seeing Chong as a fucking cartoon of a human being, so to see him so relateable here was great. I won't tell you his cat's name--it's not a spoiler--but it's worth the gag in the movie.

The cinematography is outstanding. The atmosphere is fantastic. This is a Lovecraft film the way a Lovecraft film should be. Yeah, sure, we're missing Jeffrey Combs, but hell, Stanley nailed this. The bizarreness, the visuals, the style and pacing. This is a great film. It looks much better than it's budget or minimal release would indicate. Absolutely see this in a theater if you can. I think it was only playing the one night in Alamo Drafthouse in my location. Hopefully this is a testing ground before they push it out to a wider release at more indie theaters.

Oh, an in the bit segment that followed the film (it wasn't live by the way, it was recorded and played on the screen after the credits), Stanley said he's planning a trilogy of Lovecraft films. Next is The Dunwich Horror.
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Empyreal
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PostPosted: Thu Jan 23, 2020 11:43 am 
 

Color Out of Space is at least pretty close to being a perfect horror film. Loved the look and feel of it and the way the characters were funny and enjoyable to watch - thereby adding some actual personality to the movie and making you give a shit, unlike all the dumb shitty horror movies that seem to think everything has to be uniformly grim. It was a bit of a slow build at first, but Stanley wove in some intrigue and kept things building up. Then when the horror hits it's just out of this fucking world. I love how quick everything is - there's no spoonfeeding you, no stopping for exposition, which does tend to add to the Lovecraftian-style "indescribable" quality of what's happening.

It's just so weird and wild and wonderful. It's absolutely gut-wrenching at times and, at others, fantastically arcane and absurd. The visuals are killer and the pacing spins out of control like a roller coaster going off the tracks.

I'll see this a bunch more times. Richard Stanley is great. I don't think there's anybody who could do this type of story better and can't wait to see more.
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Smalley
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PostPosted: Fri Jan 24, 2020 4:08 am 
 

Just wrote something about Jurassic Park, and long review short, it's no surprise that the film got as big as it did, not just in terms of money grossed, with the way it rampaged all over the box office like an angry T-Rex, and became Spielberg's 3rd movie to be the highest-grossing film of its time, but also in the way it redefined, for better or worse, the way the movie industry uses special effects to this day, creating a modern classic that, like its tagline says, is an adventure that's "65 million years in the making", but whose Chicxulub-sized impact will likely be felt on Hollywood for just as long after.
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Resident_Hazard
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PostPosted: Fri Jan 24, 2020 10:24 am 
 

Empyreal wrote:
Color Out of Space is at least pretty close to being a perfect horror film. Loved the look and feel of it and the way the characters were funny and enjoyable to watch - thereby adding some actual personality to the movie and making you give a shit, unlike all the dumb shitty horror movies that seem to think everything has to be uniformly grim. It was a bit of a slow build at first, but Stanley wove in some intrigue and kept things building up. Then when the horror hits it's just out of this fucking world. I love how quick everything is - there's no spoonfeeding you, no stopping for exposition, which does tend to add to the Lovecraftian-style "indescribable" quality of what's happening.

It's just so weird and wild and wonderful. It's absolutely gut-wrenching at times and, at others, fantastically arcane and absurd. The visuals are killer and the pacing spins out of control like a roller coaster going off the tracks.

I'll see this a bunch more times. Richard Stanley is great. I don't think there's anybody who could do this type of story better and can't wait to see more.


Indie horror has been really kicking ass the past couple years. I'm ecstatic to see Stanley is not only back, but this seems to be landing as a complete revitalization of his career. He joked in the Q&A session that he had successfully escaped Hollywood only to find himself successfully back in there. A lot of credit to Lost Soul for that new start as well. An audience member asked what it's like to be on his second act, and he said, "this is the third act, after all the terrible stuff in the second, when things are moving to a better conclusion." He seemed nervous (expected), but his commentary was excellent.

And I have to agree, Color Out of Space made no effort to painstakingly explain shit. No dull exposition, no hefty attempts to find reason. This is bad shit that happened and just got worse. This movie mixed subtlety in story and character with over-the-top visuals in a manner that is damn near perfect.
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jimbies
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PostPosted: Thu Jan 30, 2020 11:47 am 
 

1917 might be the best war film I've ever seen.

Working in film, I cannot even begin to explain just how insane this entire thing was to make. It's almost unbelievable. Even if it wasn't a technical marvel, the story, acting and score are all 10/10. One of the best of the year.

I really REALLY wanted Parasite to win best picture so that an international film would FINALLY fucking win the big one. (Parasite is probably the best international film I've seen since The Great Beauty), but now I'm very torn. I wish they'd both win.

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Zelkiiro
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PostPosted: Thu Jan 30, 2020 4:30 pm 
 

jimbies wrote:
I really REALLY wanted Parasite to win best picture so that an international film would FINALLY fucking win the big one. (Parasite is probably the best international film I've seen since The Great Beauty), but now I'm very torn. I wish they'd both win.

This happens all the time with anime--2016 was a huge year with amazing anime films like Your Name, In This Corner of the World, and A Silent Voice...but it was also the same year Zootopia, Moana, Kubo and the Two Strings, and Kung Fu Panda 3 came out. I wanted my animu to break onto the scene and win big, but every American animation studio was on fucking fire that year.
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ChineseDownhill
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PostPosted: Fri Jan 31, 2020 12:21 am 
 

Tone-Deaf - A young woman decides to rent a house for a few days as a mini-vacation. But the homeowner is an aspiring killer who wants her to be his first victim. I guess this is intended as some kind of commentary on the conflict between "boomers" and "millennials." It was less politically preachy than I expected based on the trailer, but it still had plenty of problems.

The biggest was that way too much time passed between the audience learning the guy is a maniac, and the main character realizing it. This chunk of the movie dragged severely because it gave the protagonist nothing worthwhile to do. We don't really learn any more about her beyond what was already clear from the opening scenes (tragic family history, boyfriend troubles). The final showdown was pretty weak too. Underdeveloped and not very interesting. 4 / 10
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jimbies
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PostPosted: Fri Jan 31, 2020 12:37 am 
 

Zelkiiro wrote:
jimbies wrote:
I really REALLY wanted Parasite to win best picture so that an international film would FINALLY fucking win the big one. (Parasite is probably the best international film I've seen since The Great Beauty), but now I'm very torn. I wish they'd both win.

This happens all the time with anime--2016 was a huge year with amazing anime films like Your Name, In This Corner of the World, and A Silent Voice...but it was also the same year Zootopia, Moana, Kubo and the Two Strings, and Kung Fu Panda 3 came out. I wanted my animu to break onto the scene and win big, but every American animation studio was on fucking fire that year.


They also have NEVER given the award to a non-children's film. The closest thing is "Spirited Away", and that was the second year the award was given out. The year Loving Vincent came out, it was robbed by Coco. Coco is a fine animated film, but COME ON. Loving Vincent was insane.

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Empyreal
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PostPosted: Fri Jan 31, 2020 6:31 am 
 

Parasite actually had stuff to say about the world, so I guarantee they won't really look at it too hard.
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jimbies
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PostPosted: Fri Jan 31, 2020 11:33 am 
 

Empyreal wrote:
Parasite actually had stuff to say about the world, so I guarantee they won't really look at it too hard.


It had a lot of steam early on in award-season. I really did think it would be the first one to break the english-curse for Best Picture, but now I'm not sure. The perforated ballots make it so hard to speculate. It could end up with more 1st place votes and still lose to something that is middle-of-the-pack.

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Empyreal
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PostPosted: Fri Jan 31, 2020 11:57 am 
 

jimbies wrote:
Empyreal wrote:
Parasite actually had stuff to say about the world, so I guarantee they won't really look at it too hard.


It had a lot of steam early on in award-season. I really did think it would be the first one to break the english-curse for Best Picture, but now I'm not sure. The perforated ballots make it so hard to speculate. It could end up with more 1st place votes and still lose to something that is middle-of-the-pack.


I just meant specifically the Oscars. I've basically given up paying very much attention to it after all the amazing stuff they skipped over the last few years.
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rexxz
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PostPosted: Fri Jan 31, 2020 7:14 pm 
 

I mean, all of those awards shows are, with few exceptions, essentially industry popularity contests. There's hundreds of indie movies released every single year that never even get mentioned in the same conversation as a lot of those titles, that absolutely deserve recognition from a merit standpoint. So my expectations for those ceremonies are always informed by that fact.
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Mellifleur
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PostPosted: Sat Feb 01, 2020 1:35 am 
 

Forgot to mention this a while back, but saw Cats and thought it was pretty good. The cg cat suits definitely looked weird, but it represented the show pretty well. Rebel Wilson looked pretty bad in the trailer, but surprising she was actually exactly just as bad as you were expecting. She's just not an actor. She was not in character at all and for some reason they had her eat about a dozen cockroaches on camera. Baffling. The rest was good though. Had all the songs you'd want, and the weird cat perspective and bizarre look of everything keeps it interesting. The biggest flaw was that it couldn't decide if it was going to be shot like a recording of the stage show with lots of long still shots zoomed in on the singers faces or if it was going to be shot like a musical film with lots of movement and camera tricks so it just switched between the two styles. The emotional songs got the long still shots and the fun songs got the wacky music video treatment. Again, baffling, just pick one style or the other.
rexxz wrote:
I mean, all of those awards shows are, with few exceptions, essentially industry popularity contests. There's hundreds of indie movies released every single year that never even get mentioned in the same conversation as a lot of those titles, that absolutely deserve recognition from a merit standpoint. So my expectations for those ceremonies are always informed by that fact.

It's not even just that, there's the corrupt aspect of it all as well. Awards are used for marketing and a lot of the people involved in the awards system have financial incentives to award certain films. It's all bogus! Then there is a cultural aspect too. We all know all how oscarbaiting works, the repetitive, boring tropes that consistently get rewarded by a class of academicians who are truly not representative of anyone but crusty, cynical, rich assholes who work in the film industry.
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KC_Slaanesh
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PostPosted: Sat Feb 01, 2020 5:34 am 
 

demonomania wrote:
Robowar - 80's Italian ripoff of "Predator" (at some points, almost scene for scene) with a bit of Robocop rip-off thrown in for good measure. One of the most entertaining bad movies I've seen in some time. Lots of tough guy jokes that were victims of translation, lots of guys shooting guns into the woods and yelling "HEEEEEEYAAAAAAWWWWWWW," lots of exposed male midriffs. They even messed up the credits at the end - you know the part where they show a freeze frame of each character, then write the character's name and the actor's name? They mixed up two of the characters/actors. Recommended.


I love bad movies but that one sucked man. The good thing about b-movies, to me at least, is their freedom to go in directions that focus group-oriented big studios don't go. When you just rip off a big movie almost scene for scene, then the creative magic just isn't there. Some awesome b-movies I have seen recently on amazon include The Killing Zone 1991 (great violence and WOW mr. tank top!) as well as Slugs and The Nest. 2 bug horror movies with really fun effects.
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StryckenFromHistory
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PostPosted: Sat Feb 01, 2020 11:06 am 
 

Climax is a shitty unwatchable film. I loved Irreversible and I Stand Alone ten years ago.

BRING BACK NEW FRENCH EXTREMITY! BRING BACK GORE AND HATE!

It's not NFE, but I want a worthy successor to A Serbian Film!


Climax has dumbass sjw politics in it and some truly abysmal interpretations of legitimately cool source material.
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