True Savior
Member
Spectre is good. It's probably top 5-6 bond. All you guys are crazy.
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Movies You've Seen Recently |OT| August 2017
- Thread starter Divius
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You're in for a treat. Really entertaining film.
Fancy Clown
Member
Spectre is like the beige Dodge Caravan of Bond movies. My mind literally can't comprehend how anyone could have any sort of passionate feeling towards it, so I'm just gonna assume you're having a laugh.
HollowCentral
Member
Compared to Skyfall & Casino, it's not even close to the top. Quantum of Solace came out during the writer's strike, so it's not surprising that it's not great. But Spectre had no excuse not to be great, and it's just kinda... not.
Fancyarcher
Member
Spectre was entertaining & honestly that's what mattered the most for me.
Also saw Detroit, which was fantastic, truthful & brutal too. Poutler was also excellent as the crazy cop. 9 / 10
Also saw Detroit, which was fantastic, truthful & brutal too. Poutler was also excellent as the crazy cop. 9 / 10
True Savior
Member
Spectre is an extremely well shot movie (I would probably say it's the best Bond one). That alone makes it, to me, a very interesting movie. And I did enjoy most of it's pacing, something I can't say about 90% of the rest of the series. Yeah, the plot is campy and the resolution wacky but have you guys seen other Bond movies? This one is actually well made though.
A Summer Place (1959): Oh, man, this movie was awesomely melodramatic, in a way that only a 1950s production can be. The premise is a pretty standard soap opera setup, where two old flames meet again, each bringing along a crappy spouse (crappy different ways) and a teenaged child. Wouldn't you know it, the children start up a romance, while the parents resume their old one. Impassioned speeches aplenty ensue. There's no room for subtlety here, nor is it desired.
I was rather amazed, though, both at how direct the movie is about sexual themes (adultery,
) and how sex-positive it is overall. I wouldn't have thought the Hays Code would have allowed this. It also does something you seldom see by devoting the entire second half of the movie to
.
The children are played by Sandra Dee and Troy Donahue, both of whom were in Douglas Sirk's Imitation of Life the same year (Donahue in a minor role as a racist boyfriend). This film doesn't have Sirk's technical brilliance or his relative subtlety, but it's a ton of fun.
I was rather amazed, though, both at how direct the movie is about sexual themes (adultery,
divorce, teen pregnancy
the fallout of the two parents divorcing their spouses and marrying each other; their kids predictably dislike the whole thing, and it takes a while for them to get past it
The children are played by Sandra Dee and Troy Donahue, both of whom were in Douglas Sirk's Imitation of Life the same year (Donahue in a minor role as a racist boyfriend). This film doesn't have Sirk's technical brilliance or his relative subtlety, but it's a ton of fun.
HollowCentral
Member
I think there's a difference between "good" and "well-made". To me, "well-made" describes all the technical aspects being on point, while "good" means that the movie is entertaining and delivers on what the well-made parts set up. Beauty and the Beast 2017 is well-made, but I wouldn't say it's very good. Just like how Men in Black is pretty good, but I wouldn't say it's incredibly well made.
Cripplegate
Member
... in a franchise where Skyfall exists?
Saw Blue Ruin (2013) is leaving Amazon soon, so I finally watched it. Fuck. What a film. Between this and Green Room, Jeremy Saulnier is becoming a favorite of mine.
I've also been playing PUBG all day, amazed I haven't had a heart attack. I love the mundanity interspersed with moments of extreme tension and violence. Definitely recommended.
4/5
I've also been playing PUBG all day, amazed I haven't had a heart attack. I love the mundanity interspersed with moments of extreme tension and violence. Definitely recommended.
4/5
HollowCentral
Member
True Grit (2010)
Starring: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin, Domhnall Gleeson
Directors: Ethan Coen & Joel Coen
I'm ashamed to admit that I haven't seen many of the Coen brother's work. But that wasn't part of my decision to watch this film. In fact, I didn't even know they directed this until a few days ago. But it's their clear mastery of direction that makes this far better than your average western. The same attention to detail and time period that made O Brother, Where Art Thou? so good works it's magic here as well, and makes the semi-tired story feel fresh and new again. The film never seems to lose it's way, with enough fun moments and set pieces to keep the audience engaged. But what really elevates this are the performances. Jeff Bridges, Matt Damon and Josh Brolin all do a great job, obviously, but it's Hailee Steinfeld who really shines, showing that she does have some talent, even if her more recent work doesn't reflect it. However, this film does have it's flaws. Of the one's I've seen, this may be the most generic of the Coen brother's films, despite how technically sound it is. I found it hard to understand what some of the characters were saying, but that also plays into the realism of the times it's set in. And some of the editing choices seemed a tad disjointed, though that could just be a personal problem. All in all though, this is a fantastic film, and one that truly captures what makes the western such a fascinating genre when done well.
Now to watch the original.
Starring: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin, Domhnall Gleeson
Directors: Ethan Coen & Joel Coen
I'm ashamed to admit that I haven't seen many of the Coen brother's work. But that wasn't part of my decision to watch this film. In fact, I didn't even know they directed this until a few days ago. But it's their clear mastery of direction that makes this far better than your average western. The same attention to detail and time period that made O Brother, Where Art Thou? so good works it's magic here as well, and makes the semi-tired story feel fresh and new again. The film never seems to lose it's way, with enough fun moments and set pieces to keep the audience engaged. But what really elevates this are the performances. Jeff Bridges, Matt Damon and Josh Brolin all do a great job, obviously, but it's Hailee Steinfeld who really shines, showing that she does have some talent, even if her more recent work doesn't reflect it. However, this film does have it's flaws. Of the one's I've seen, this may be the most generic of the Coen brother's films, despite how technically sound it is. I found it hard to understand what some of the characters were saying, but that also plays into the realism of the times it's set in. And some of the editing choices seemed a tad disjointed, though that could just be a personal problem. All in all though, this is a fantastic film, and one that truly captures what makes the western such a fascinating genre when done well.
Now to watch the original.
Puck Beaverton
Banned
My double feature tonight is The Lost City of Z and Boss Baby.
You're in for a hell of a ride. And The Lost City of Z is real damn good, too.
I still need to see Boss Baby. Though I don't know if need is the right word...
Puck Beaverton
Banned
Z was fantastico btw. Khondji shot the shit out of it and Sienna Miller was fantastic.
HollowCentral
Member
Good luck with that one.
Puck Beaverton
Banned
Alec Baldwin is killing it.
Edit: this movie is fucking weird
Edit: this movie is fucking weird
I might write more about it later, but...
Bonnie and Clyde: How nice it is to be able to see a major cornerstone of filmmaking and for it to not only live up to its lofty status, but to also leave me with the distinct impression that it might actually be a little underrated these days.
Bonnie and Clyde: How nice it is to be able to see a major cornerstone of filmmaking and for it to not only live up to its lofty status, but to also leave me with the distinct impression that it might actually be a little underrated these days.
Fancy Clown
Member
Yeah Skyfall dumped on Spectre visually. Hoyte overdid the piss/beige filter he puts on literally every movie he shoots, which did a good job of making all the exotic locations look like they were shot in Iowa or something.
Action scenes looked like they were shot like car/beer commercials too. Just everything about that movie was boring.
Glad you enjoyed it! Fantastic film, although maybe that thing at the Oscars taints its legacy a bit.
Annabelle Gf wanted me to see this so we could go see Creation. This was a dud. Lots of Rosemary's Baby here but not much tie in to The Conjuring. It's mentioned or the couple is anyway but really meh overall.
Jackie Brown My least favorite Tarantino film. Not much violence and not much fun. It's well enough made and has an enjoyable story but it's just not for me and no, a rewatch didn't help.
Jackie Brown My least favorite Tarantino film. Not much violence and not much fun. It's well enough made and has an enjoyable story but it's just not for me and no, a rewatch didn't help.
AngmarsKing701
Member
Spectre (2015) - as mentioned earlier, the start of this film is a mess. And the next 10-15 minutes didn't get any better either, with a dreadful scene between Craig and Belucci. I actually think what they've tried to do with Craig's Bond is admirable and echoes a bit of the Bourne series. Essentially, from Casino Royale through to Spectre, the stories are intended to be more intimate, uncoiling the shadow of Bond's upbringing and his past. Spectre plays into that as well, with the relationship between Bond and Blofeld.
But this is where things start to unravel a bit. Connery's Bond was a smooth operator, and no matter how crazy the situation, his 007 was able to rise above what was taken as a serious--sometimes tongue in cheek--view of action spy movies. Moore's Bond was a campy mess most of the time, with the jokes flying about far too frequently, but the action was decent enough. Brosnan promised a return to the Connery form, but there were severe highs and lows to the stories. Dalton was a similar take to Craig but without the stories leading from one to the next. And of course let's not forget Lazenby, whose Bond was actually quite well done.
My point here is that for all the various incarnations of Bond across the actors who have played him, it appeared that with Craig we were going to get a different take on the character. Casino Royale showed us a street fighter willing to do some serious dirty work to get the job done. But from marriage to Vesper to seeing his "M"other die at his childhood home, to coming face to face with a man who should have been a boyhood friend had he not been a complete psycho, Bond's story has come off the rails. They've tried to retrofit the myth into the character, rather than allowing the character space to breathe on his own.
I mean, seriously, he doesn't have to sleep with every single woman he encounters. It's getting ridiculous. And this time around, the action scenes, especially in the beginning, are just stupid. The barrel rolls from the helicopter in the opening were face-palm worthy.
I do like when he goes badass, as when he came out of being captured guns blazing, lighting dudes up from long range. And the escape from the building about to blow at the end was well done.
I'm on the fence about it. Which is why I'll give 2.5 / 5. I think the problem is that Casino Royale showed us a Bond breaking free of the earlier cliches about this character, and what we've experienced over the past three films is that this character is incapable of breaking free of those cliches.
Edit:
I would rank Craig's Bond films as:
1. Casino Royale
2. Skyfall
3. Spectre
4. Quantum of Solace
By the way, when Bond says "Mr. White should have been dead weeks ago" I get the very strong feeling these four movies literally play out over the course of a less than a year.
But this is where things start to unravel a bit. Connery's Bond was a smooth operator, and no matter how crazy the situation, his 007 was able to rise above what was taken as a serious--sometimes tongue in cheek--view of action spy movies. Moore's Bond was a campy mess most of the time, with the jokes flying about far too frequently, but the action was decent enough. Brosnan promised a return to the Connery form, but there were severe highs and lows to the stories. Dalton was a similar take to Craig but without the stories leading from one to the next. And of course let's not forget Lazenby, whose Bond was actually quite well done.
My point here is that for all the various incarnations of Bond across the actors who have played him, it appeared that with Craig we were going to get a different take on the character. Casino Royale showed us a street fighter willing to do some serious dirty work to get the job done. But from marriage to Vesper to seeing his "M"other die at his childhood home, to coming face to face with a man who should have been a boyhood friend had he not been a complete psycho, Bond's story has come off the rails. They've tried to retrofit the myth into the character, rather than allowing the character space to breathe on his own.
I mean, seriously, he doesn't have to sleep with every single woman he encounters. It's getting ridiculous. And this time around, the action scenes, especially in the beginning, are just stupid. The barrel rolls from the helicopter in the opening were face-palm worthy.
I do like when he goes badass, as when he came out of being captured guns blazing, lighting dudes up from long range. And the escape from the building about to blow at the end was well done.
I'm on the fence about it. Which is why I'll give 2.5 / 5. I think the problem is that Casino Royale showed us a Bond breaking free of the earlier cliches about this character, and what we've experienced over the past three films is that this character is incapable of breaking free of those cliches.
Edit:
I would rank Craig's Bond films as:
1. Casino Royale
2. Skyfall
3. Spectre
4. Quantum of Solace
By the way, when Bond says "Mr. White should have been dead weeks ago" I get the very strong feeling these four movies literally play out over the course of a less than a year.
Youth
Michael Caine gives one of his best performances, Harvey Keitel gives something close to his as well, and Paul Dano and Rachel Weisz do great work along the way. Some of the shots were absolutely fascinating, as arthouse as it gets, this Switzerland hotel that the elderly and the searching all end up at. There is a dreamlike quality to some of the pastimes that are filmed, people in water with their bodies warped by perspective, steam rooms that made the occupants more zombie than human in their stillness. But the movie is all about time and whether you want to live in the past or live for the future. But it's certainly not for everyone. I can see some calling it pretentious, and I think it is, but that isn't always a bad thing!
Michael Caine gives one of his best performances, Harvey Keitel gives something close to his as well, and Paul Dano and Rachel Weisz do great work along the way. Some of the shots were absolutely fascinating, as arthouse as it gets, this Switzerland hotel that the elderly and the searching all end up at. There is a dreamlike quality to some of the pastimes that are filmed, people in water with their bodies warped by perspective, steam rooms that made the occupants more zombie than human in their stillness. But the movie is all about time and whether you want to live in the past or live for the future. But it's certainly not for everyone. I can see some calling it pretentious, and I think it is, but that isn't always a bad thing!
Gnome Scat
Member
Just hit the intermission for Seven Samurai, great movie so far. Crazy how a 63 year old film can hold up against modern movies. Can't wait to finish it, even though I still have a long way to go.
Not crazy at all. I'd say it's the other way around when comparing this current output against the good old. Roughly speaking of course.
True Savior
Member
They are different concepts but I get enjoyment of well made movies. I have huge issues with 200 million dollar movies that don't look as technical splendid as they should.
Yes. I'm not a particular fan of Skyfall (visually). I don't think the stylization makes much sense in the film or the story is going for, nor do I enjoy those huge contrasts, and to be fair camera setups tend to be very traditional (sometimes even dullish like a few conversations between Bond and M). Spectre has a wide array of styles going in the same movie, more virtuoso initially, more classical as it goes, i love how everything is handled different from the Palazzo, to the Ice-Q or London.
Fancy you're just a hater. Iowa 😂
Discotheque
Banned
Skyfall is the best looking Bond movie. I think Spectre is probably the best example of a Bond movie aesthetically though between the locations and cars and clothes. It all just looked so extravagant and costly.
Fucking boring as hell though. I have nothing particularly good to say about the movie outside of the Bond-isms like the wardrobes and locations they were at. One thing these Craig bond movies have been doing well is showing/justifying their price on screen. You can tell it cost 200+ million
Calling either that or particularly Quantum the worst Bonds since the 90s is absurd though. Die Another Day was way worse (although I'm gonna be honest I preferred that Madonna song over the Sam Smith shit). No Craig movie has been as bad as Brosnan's or Moore's worst imo. Like at the very least they are competently made and nice to look at.
Fucking boring as hell though. I have nothing particularly good to say about the movie outside of the Bond-isms like the wardrobes and locations they were at. One thing these Craig bond movies have been doing well is showing/justifying their price on screen. You can tell it cost 200+ million
Calling either that or particularly Quantum the worst Bonds since the 90s is absurd though. Die Another Day was way worse (although I'm gonna be honest I preferred that Madonna song over the Sam Smith shit). No Craig movie has been as bad as Brosnan's or Moore's worst imo. Like at the very least they are competently made and nice to look at.
Messofanego
Banned
How is it absurd, you named only one other bad Bond film lol. These three are the worst Bond films in two decades.
ronaldthump
Member
THE CIRCLE
I'm probably somewhere in the middle of this... and its such a bad movie. Hermione granger has very little depth as an actress, and still looks like a teenager and the best friend suddenly becomes pale, anti-social and grumpy. Its hilarious. John Boyega showed up for a bit. I'm close to passing out in boredom.
I'm probably somewhere in the middle of this... and its such a bad movie. Hermione granger has very little depth as an actress, and still looks like a teenager and the best friend suddenly becomes pale, anti-social and grumpy. Its hilarious. John Boyega showed up for a bit. I'm close to passing out in boredom.
AngmarsKing701
Member
This. Completely agree.
Puck Beaverton
Banned
I liked the first 30 minutes of Boss Baby. Rest stunk, but boy is that movie batshit. Fucking Baby Baldwin yelling at a kid to suck it.
Saw this on Friday.. Agree that plot wasn't particularly strong but still really loved this movie. It's sexy as hell and that staircase scene is possibly the best fight I've seen in a movie.
And fuck, I'm still thinking about Blue Ruin this morning. I didn't like it quite as much as Green Room, but it's right up there. Anyone seen Saulnier's previous film, Murder Party? Is it at all worth tracking down?
Messofanego
Banned
The script for the espionage stuff in Atomic Blonde isn't interesting or engaging enough to carry the film, where it's trying to be Tinker Tailor Tailor Spy but poppy and sexy. However, I just wanted to see Charlize Theron kick ass, and I got enough of that. The climax action sequence which goes from the multi-staged apartment fight right into a car chase all in one shot is the best and possibly longest I've seen all year. It's worth the price of admission alone.
I'm a bit miffed at some of the soundtrack choices not being used to good effect. HEALTH's cover of "Blue Monday" is wasted on a small exterior scene. The most rocking song, Marilyn Manson/Tyler Bates cover of Ministry's "Stigmata" is wasted on a mundane scene instead of a fight. One dialogue scene with Charlize's character in a mortuary just has an inappropriate song choice. Still though, a pretty great 80s soundtrack.
I don't know if Tarkovsky's Stalker was so hype in 1989 to be plastered everywhere in an Alexanderplatz cinema, but I'm pretty happy with such fanservice especially with a little silhouette fight while one of the best scenes of the film is being projected.
I'm a bit miffed at some of the soundtrack choices not being used to good effect. HEALTH's cover of "Blue Monday" is wasted on a small exterior scene. The most rocking song, Marilyn Manson/Tyler Bates cover of Ministry's "Stigmata" is wasted on a mundane scene instead of a fight. One dialogue scene with Charlize's character in a mortuary just has an inappropriate song choice. Still though, a pretty great 80s soundtrack.
I don't know if Tarkovsky's Stalker was so hype in 1989 to be plastered everywhere in an Alexanderplatz cinema, but I'm pretty happy with such fanservice especially with a little silhouette fight while one of the best scenes of the film is being projected.
HollowCentral
Member
The Founder (2016) - Rewatch
Starring: Michael Keaton, Nick Offerman, Laura Dern, John Carroll Lynch, Patrick Wilson, B. J. Novak, Linda Cardellini
Director: John Lee Hancock
It's always interesting to learn the ins and outs of a massive cooperation. It's even more interesting when it involves someone basically stealing a company from underneath the people who started it. The Founder presents the story of McDonald's in realistic and painstaking detail, to the point that it's hard to imagine that the company even oked the film. Michael Keaton, in particular, gives a phenomenal performance, perhaps one of his best. Seeing his character transform from a relatable, hard-working individual to someone who's incredibly easy to hate is complimented by Keaton's profound ability to emote and use body language to communicate what other actors may communicate through words. The rest of the cast does a fantastic job as well, specifically Nick Offerman, Laura Dern and John Carroll Lynch. The cinematography was also incredibly well done, and helped solidify the americana stylings of the film. The only negative I could highlight is B. J. Novak's performance, who came off as incredibly flat. But other than that, this is an incredible film that not only tells a complex and interesting story, but also manages to be a fascinating character study on one of the most influential men in the food service industry.
There's a reason it's my #2 film of the year.
Starring: Michael Keaton, Nick Offerman, Laura Dern, John Carroll Lynch, Patrick Wilson, B. J. Novak, Linda Cardellini
Director: John Lee Hancock
It's always interesting to learn the ins and outs of a massive cooperation. It's even more interesting when it involves someone basically stealing a company from underneath the people who started it. The Founder presents the story of McDonald's in realistic and painstaking detail, to the point that it's hard to imagine that the company even oked the film. Michael Keaton, in particular, gives a phenomenal performance, perhaps one of his best. Seeing his character transform from a relatable, hard-working individual to someone who's incredibly easy to hate is complimented by Keaton's profound ability to emote and use body language to communicate what other actors may communicate through words. The rest of the cast does a fantastic job as well, specifically Nick Offerman, Laura Dern and John Carroll Lynch. The cinematography was also incredibly well done, and helped solidify the americana stylings of the film. The only negative I could highlight is B. J. Novak's performance, who came off as incredibly flat. But other than that, this is an incredible film that not only tells a complex and interesting story, but also manages to be a fascinating character study on one of the most influential men in the food service industry.
There's a reason it's my #2 film of the year.
Discotheque
Banned
Alien: Covenant
lmaooo wtf happened here. I did not expect it to go that absurd once David entered the picture. between his cloak, dorky Legolas hair and penchant for playing the flute it felt like this movie took a hard left turn into some fantasy novel adapatation.
the humans are beyond irrational in this, even moreso than in Prometheus. and the new white alien design and the classic Xenomorph both don't look so great (and whats worse they have been neutered, there is no element of suspense or dread with these creatures anymore) thanks to the spotty CGI and uninspired direction.
BUT for some moments involving Fassbender there's a really entertaining b-movie here with the dude hamming it up as a cyborg Dr. Frankenstein. for that alone its better than Prometheus for me, but still...mess film. I'm just not gonna pay these films any mind whenever rewatching the first two Alien movies. The lore Scott has appended to the series has been no good.
lmaooo wtf happened here. I did not expect it to go that absurd once David entered the picture. between his cloak, dorky Legolas hair and penchant for playing the flute it felt like this movie took a hard left turn into some fantasy novel adapatation.
the humans are beyond irrational in this, even moreso than in Prometheus. and the new white alien design and the classic Xenomorph both don't look so great (and whats worse they have been neutered, there is no element of suspense or dread with these creatures anymore) thanks to the spotty CGI and uninspired direction.
BUT for some moments involving Fassbender there's a really entertaining b-movie here with the dude hamming it up as a cyborg Dr. Frankenstein. for that alone its better than Prometheus for me, but still...mess film. I'm just not gonna pay these films any mind whenever rewatching the first two Alien movies. The lore Scott has appended to the series has been no good.
In the Line of Fire (1993)
One of those movies I think has been overlooked, in general and in Eastwood's filmography. The dynamic between Eastwood and Malkovich is among the best cat-and-mouse games.
Just as Eastwood's lasting regret and subsequent determination are always present, so too are Malkovich's playful animosity and bitter indignation. Some of the best phone conversations in a movie.
https://www.youtube.com/watch?v=fDf22lP5Foo
One of those movies I think has been overlooked, in general and in Eastwood's filmography. The dynamic between Eastwood and Malkovich is among the best cat-and-mouse games.
Just as Eastwood's lasting regret and subsequent determination are always present, so too are Malkovich's playful animosity and bitter indignation. Some of the best phone conversations in a movie.
https://www.youtube.com/watch?v=fDf22lP5Foo
Risky Business (1983): And just like that, the world would never be the same: Tom Cruise had arrived, and he's stayed a movie star ever since (granted, at this point it's probably safe to say his best days are behind him, but there aren't many people still headlining box office #1 hits 35 years after their big break).
This movie's enduring legacy in pop culture (beyond Cruise) is the dance scene set to Bob Seger's "Old Time Rock and Roll", which is fairly early in the film. Based on that, I was expecting a fairly standard 80s comedy; the film turns out to be different than that, a mix of screwball/sex comedy and some more dramatic elements. It's a sharp film, overall, anchored by a really good Cruise performance in a sort of role that he mostly hasn't been defined by since. The soundtrack of the film is by the German synth band Tangerine Dream, and it's really good listening; augmented further by a few key song selections.
In the early going when
.
Looking up more information on this afterward, director Paul Brickman ended up making only one more film, and that was released seven years later. It's rare to see somebody make their directorial debut with such a huge, distinctive hit, and then do hardly anything afterward.
This movie's enduring legacy in pop culture (beyond Cruise) is the dance scene set to Bob Seger's "Old Time Rock and Roll", which is fairly early in the film. Based on that, I was expecting a fairly standard 80s comedy; the film turns out to be different than that, a mix of screwball/sex comedy and some more dramatic elements. It's a sharp film, overall, anchored by a really good Cruise performance in a sort of role that he mostly hasn't been defined by since. The soundtrack of the film is by the German synth band Tangerine Dream, and it's really good listening; augmented further by a few key song selections.
In the early going when
Cruise's high school student Joel first calls for a prostitute (well, his friend makes the call and it turns out to be a black transwoman/drag queen (I'm not sure which the movie means it to be, or if the people making it necessarily knew the difference) shows up, I was bracing myself for the worst. But, remarkably for an 80s comedy, Jackie turns out to be professional and entirely reasonable, and after getting paid to cover expenses getting there, supplies Joel with the number of another prostitute more likely to be to his taste, thus kickstarting the main plot
Looking up more information on this afterward, director Paul Brickman ended up making only one more film, and that was released seven years later. It's rare to see somebody make their directorial debut with such a huge, distinctive hit, and then do hardly anything afterward.
Free Fire: An enjoyably cartoonish single-room bang-bang comedy in which ridiculous levels of punishment is enacted by and upon every single character, all to highlight one singular truth: having a gun kinda makes you a complete moron. The whole cast here is up the challenge of being super silly as they're being slowly shot to pieces (which means Sharlto Copley doesn't stick out for a change!), and director Ben Wheatley has all kinds of nasty fun as the situation escalates and allegiances are forged, shifted and forgotten about, sometimes in the same scene. No one is going to mistake this for the next spectacularly choreographed shoot 'em up action film classic, but I was rather impressed that the film does a good job of staying in the action once it starts and it doesn't let up, keeping things frisky with a surplus of ammunition to match the tasty dialogue and darkly humorous turns that the story makes once the body count begins to rise. I must admit, though, that another reason why it's not going to be an action film favorite is that despite the memorable location that Wheatley goes with here, he and Amy Jump's trademark editing style can make it really, really, really difficult to get proper bearings as to the geography of the entire warehouse floor, to the point where you have to accept that the film is simply not going to help you out as you judge distances that it takes for someone to get from one area to another and figure out how each combatant is in relation to one another. Even in something that's more of an outright comedy, it's still important to be able to grasp that, and I think it can make it hard to follow at times, which can diminish some of the visual humor that Wheatley is trying to get across. Not an insignificant gripe, but the film absolutely succeeds at what it's doing otherwise, with the kind of bizarre and macabre laughs that Wheatley is so well known for by now, and having such a great cast keyed into that vibe does wonders for being able to sell it. If this is what counts for "mainstream" in Wheatley's book, then I don't think that we're in any danger of seeing him sell out anytime soon.
Abbas Kiarostami's 24 Frames is beautiful. It could stand to be shortened (though I guess 16 frames doesn't have the same ring to it) and the digital superimposition is at times a little ugly or jarring. However, it's incredibly emotionally complex: very sad and reflective, but also allowing room for warmth and humour in what in less wise hands could have been a very dour exercise. The frames interrelate in themes and images and it builds to a wonderful final statement.
The IMAX cut of Voyage of Time is amazing, Malick's best in years. I thought the editing and sound design did a great job of imbuing the (stunning) images with a sense of forward momentum. The theme of the interrelatedness of all elements in the universe, and of how human activity is an expression of larger natural forces was conveyed clearly through the visuals, and while Brad Pitt's voice over is occasionally evocative and beautiful, it was largely superfluous. I'd like to see Malick's preferred silent version of this cut.
It's very short, and seemed to finish before I could catch my breath. It's a wonderful gift to schoolchildren too: some of the imagery is very similar to other IMAX educational movies, but this film imbues them with meaning and emotional truth that's so far from the academic dryness of the ones I remember going on school excursions to see.
The IMAX cut of Voyage of Time is amazing, Malick's best in years. I thought the editing and sound design did a great job of imbuing the (stunning) images with a sense of forward momentum. The theme of the interrelatedness of all elements in the universe, and of how human activity is an expression of larger natural forces was conveyed clearly through the visuals, and while Brad Pitt's voice over is occasionally evocative and beautiful, it was largely superfluous. I'd like to see Malick's preferred silent version of this cut.
It's very short, and seemed to finish before I could catch my breath. It's a wonderful gift to schoolchildren too: some of the imagery is very similar to other IMAX educational movies, but this film imbues them with meaning and emotional truth that's so far from the academic dryness of the ones I remember going on school excursions to see.
The Killing of a Sacred Deer
I haven't laughed this hard at a film since The Wolf of Wall Street. No doubt it helped being in a packed cinema full of people on the same wavelength as me. Collin Farrell, Nicole Kidman and Barry Keoghan all carry the dryly delivered dialogue (like in The Lobster) very well making for some truly standout performances and hilarious yet disturbing scenes. Could easily end up becoming my favourite film of this year. Also, supposedly Yorgos Lanthimos is wrapping up on production with his next feature starring Emma Stone. DO want.
I haven't laughed this hard at a film since The Wolf of Wall Street. No doubt it helped being in a packed cinema full of people on the same wavelength as me. Collin Farrell, Nicole Kidman and Barry Keoghan all carry the dryly delivered dialogue (like in The Lobster) very well making for some truly standout performances and hilarious yet disturbing scenes. Could easily end up becoming my favourite film of this year. Also, supposedly Yorgos Lanthimos is wrapping up on production with his next feature starring Emma Stone. DO want.
The Proposition
Definitely John Hillcoat's best film thus far. Every actor and actress knocks it out of the park, Nick Cave's script is fantastic, the visuals are gorgeous (particularly the sunsets; definitely got some Days of Heaven vibes), and the music is top notch as it always is from Nick Cave and Warren Ellis.
The movie's constantly interesting, but gets really, really great once shit hits the fan. And the climax is one of the most gory and disturbing ones I've seen in recent memory, although it's not, say, The Hateful Eight levels of absurdity.
Really enjoyed it, and highly recommend it to fans of westerns/neo westerns, particularly stuff like The Hateful Eight, Hell or High Water, and The Assassination of Jesse James by the Coward Robert Ford.
Definitely John Hillcoat's best film thus far. Every actor and actress knocks it out of the park, Nick Cave's script is fantastic, the visuals are gorgeous (particularly the sunsets; definitely got some Days of Heaven vibes), and the music is top notch as it always is from Nick Cave and Warren Ellis.
The movie's constantly interesting, but gets really, really great once shit hits the fan. And the climax is one of the most gory and disturbing ones I've seen in recent memory, although it's not, say, The Hateful Eight levels of absurdity.
Really enjoyed it, and highly recommend it to fans of westerns/neo westerns, particularly stuff like The Hateful Eight, Hell or High Water, and The Assassination of Jesse James by the Coward Robert Ford.
Oh man, now I'm real excited. Good to hear you loved it!
Well shot != well made. A film is more than one element, it is the sum of its parts. Spectre is no doubt well shot, but that's just cinematography. One could easily recommend films with good cinematography as a point of interest, sure, but that shouldn't be the sole point of critique. A well shot film with a weak script that does help support what is being shot weakens a film. Great casting is wasted when the material provided fails to make good use of the cast. Spectre is honestly quite a failure as a constructed whole. It fails to be emotional, it fails to be exciting, it fails to be meaningful. It has all the components of a great film, but fails to be even a good one. That is why it is so disappointing.