The Last Film You Saw in the Cinema?


(Stanton) #1021

Cap 2 was less good than expected, even slightly boring despite a reasonable story. Even Scarlett Johansson was less cool than in Avengers and Iron Man, which is telling. 5/10

Her - Spike Jonze

A subtle and intelligent love story between an introverted guy (you feel sorry for him when you see his moustache) and a computer voice. Scarlett Johansson was great as the voice. 8,5/10


(El Topo) #1022

[size=12pt]Under the skin -2013- Johnathan Glazer[/size]

First I admit I haven’t read the novel in which the film is based, and read several reviews of the film, facing the fact that it was a clear case of love or leave it for the critics, for a long time that I haven’t seen such a case of clear different opinions and antagonism about a film, its 0 stars or 5 stars no in between,

Yes its a strange film, and yes Glazer is a fine director sexy beast was a very god film (in the best tradition of British thrillers), and the Birth was also a strong film. But here Glazer a clip video usual director is clearly on a different league, maybe the main problem is that wasn’t a league of its own, or was it I still don’t know.

Not a real plot, Scarlett Johansson (thanks Staton for writing it for me in the last thread), plays an alien send to earth (Scotland) on the service of other aliens disguised as bikers, with the mission of hunting men, luring them to a sort of liquid trap, using a lovely female human form (Scarlett), the mans she drags to the trap are normal man that we don’t expect to have any chance with such a beautiful women. But then after refusing to Kill on of the man (with a deformed face), she lured, the film takes a strange turn, the alien want’s to experience the new human feelings, but its an alien

To be real honest I’m still thinking if I liked the movie or not, not an easy work. The first half for me was the best part for me visually was stunning, the second half was not so good for me, but the film gets more violence with some strange scenes on the beach a rape, but liked the endig, with the Scarlett transforming in some sort of Predator without … well I’m giving it away no spoilers.

So very strange film, almost no plot very little dialog, odd and bizarre scenes, but with substance. I’ve read all type o comparisons a new Kubrick, Roeg (with the obvious reference from the David Bowie film), Russell and others, for me I saw a bit of Lynch paranoia (or lack of it), and most of all Tarkovsky, with some ideas common to Solaris. And that for me its main problem of the film the excess of references, or maybe the need for those references even if they don’t exist (the film is very far from Roeg work for instance in my view at least). It’s also hard to understand the message from the director, sometimes that is a good thing, space for your own interpretation of things, but here in such a complex film its more hard to accept.

But is it any good? It depends, if you don’t like slow paced art house type of films with little action, you won’t like this one, but if you liked something like Solaris you’re in the right track here. I have to watch it once again, but I real can understand why the divisions about Under the Skin are so strong, you got love it or leave it, the no other way. except we get to see Scarlett Johansson naked, and that is a good thing of course


(El Topo) #1023

Ah just another thing. if anyone here in the forum lives in Scotland, be careful any with white vans driven by some lovely bird


(Mickey13) #1024

Sounds very interesting.


(Filmlovr1) #1025

Godzilla (2014)

I still consider the original 1954 ‘Gojira’ to be the best of all the Godzilla films, by far. However, at least this latest version is better than the 1998 Matthew Broderick Godzilla. I won’t spoil it for anyone intending to see it, so I may go into detail at a later time on what I thought was okay and what I thought was weak about the 2014 movie.


(ENNIOO) #1026

Yes it does !


(Stanton) #1027

Zulu - Jerome Salle 9/10

Very good thriller in tough Ellroy style. Very stylish, very well acted, no useless car chases, no idiotic plot twists or surprises. Salle can even make small scenes and secondary characters shine. And South Africa is more than a background.

Forest Whitaker and Orlando Bloom (yes, he too) are excellent in the leads.


(jesse james) #1028

“Singing in the rain” and “La notte di San Lorenzo”. Both superb! Both watched in a summer open-air cinema (which is a lot more exciting than cinemas in winter).


(titoli) #1029

Zulu sounds like just my kind of movie, it’s on the watchlist now.


(titoli) #1030

Blue Ruin (2013)

In Balkans we have term ‘krvna osveta’ which translates to ‘blood vendetta’. It’s the tradition still practiced in certain parts of Albania, Kosovo or Montenegro. Sicilians know something about it too. Blood must be payed in blood and families settle their feuds on their own.

This is the movie about blood vendetta but placed in Virginia, USA. It’s best I tell you no more about the movie, but think Blood Simple meets Winter’s Bone meets Gran Torino.

It has won film critics’ award at Cannes. Recommended.


(John Welles) #1031

Edge of Tomorrow (Liman/14)

“Edge of Tomorrow” (2014), directed by Doug Liman, is a military science fiction film that revolves around Cruise’s character endlessly repeating the same day, always dying, to explore his evolution from coward to hero. By deftly showing Cruise’s changing responses to the same people and events in the run-up to landing in the battle zone, he undergoes a subtle metamorphosis. From attempting blackmail on General Brigham (Brendan Gleeson) in order to avoid action to eventually realising he alone can combat the alien threat, it’s a well-written character arc. He is allowed to handle a complex role which can switch deftly from seriousness to black humour (stemming from him being able to predict what other characters’ are about to say and do due to his multitude of deaths). It’s his best performance in a long time, benefiting from the intelligence of the material he has to work with. It’s also a testament to the script that the time loop never becomes tiresome, but instead is constantly inventive in its repetition, the storytelling enlivened by the elliptical editing of James Herbert and Laura Jennings. Scripted by Christopher McQuarrie, Jez and John-Henry Butterworth (based on the Japanese novel “All You Need Is Kill” by Hiroshi Sakurazaka), they handle the variety of plot threads and main duplication of the same day very well.

Emily Blunt, playing a renowned warrior, has the more limited role, her character ‘reset’ every time Cruise dies, but nevertheless shows her ability to project external strength and an admirable lack of sentiment in her training of Cruise. Bill Paxton as a tough Sergeant Major is fairly one-note, but it’s a fun note all the same, Paxton clearly enjoying himself in his constant admonishing of Cruise.

Director Liman is able to deal with kinetic action scenes as well as quieter, character-orientated moments, whilst cleverly altering how he films repeating sequences. The main battle scene on the French beach is a good example, initially staying with Cruise’s point of view, but gradually revealing more information each time, until around midway through, Liman pulls his camera back and reveals in a long shot the enormity of the military operation. Visually, he and his cinematographer Dion Beebe are aided by the interesting production design, in particular the exoskeletons the soldiers wear and the design of the aliens themselves, which creates a neat dichotomy with the contemporary appearance of much of this near-future world.

If its final act is slightly weaker, preventing it from becoming truly excellent, this is certainly a far sharper, original and more intriguing sci-fi action film than is normally found.


(El Topo) #1032

[size=12pt]Witness - 1985 - Peter Weir[/size]

I have seen this film several times, but still a winner to me, so never a waste of time seeing it again.
Not only the obvious clash of cultures theme is well displayed, also the thriller part is positively achieved, and the romantic relation between Harrison and MacGillis characters is screen build in a very interesting way.
There are some great and iconic scenes like the final gun down in the barn.
Visually is a fantastic film, Peter Weir made out of a regular thriller story, into a very interesting film, really the work of a true cinema craftsman. Witness it’s also one the films in which Harrinson Ford is cool, and MacGillis was hot back then, even in those Amish dresses.
So one of the good Hollywood films of the 80’s.


(El Topo) #1033

I obviously didn’t watch this on the cinema, wrong thread I’m afraid.


(Bill san Antonio) #1034

The Salvationhttp://www.spaghetti-western.net/index.php/The_salvation
-New eurowestern with Mads Mikkelsen, Mikael Persbrandt, Jeffrey Dean Morgan and Eva Green. Story is very traditional revenge story / bad guy trying to drive people out of their precious lands which we have seen dozens if not hundreds of times. I’d say that the film is a mix between contemporary american westerns and spaghetti westerns. The best part is the shoot out in the end which reminded me shoot outs in Stranger films. And like with many recent westerns there’s the inevitable Leone references. Actors were pretty good, especially Eva Green whose strange mute character was really captivating.

3/5


(Stanton) #1035

Gone Girl - David Fincher 8,5/10

The first scene, the short opening scene that is, is excellent, apart from that it wasn’t fascinating visually, but it is a great thriller which does everything right (what thrillers rarely do) with its plot twists and surprises, and first of all brings it to a consequential ending, a pretty good open ending. And it really was not foreseeable. At the moment I think it was more a writer’s movie than a director’s one, even if Fincher made absolutely nothing wrong, and did a good job.

I’m not sure if Affleck and Pike were fitting or not, or if some more charismatic actors (Edward Norton?) would have increased the film. Or was Affleck the perfect choice for the simplistic male protagonist?


(John Welles) #1036

Very eager to see this myself, when it opens in Britain later in the month - Fincher has to be one of the most interesting studio directors around at the moment (by which I mean he can take generic material and elevate it to something really interesting and even fascinating). Before then though, I’ll watch the two Fincher films I’ve so far never seen, Panic Room (by all accounts his weakest film) and The Girl with the Dragon Tattoo.


(scherpschutter) #1037

[size=12pt]GONE GIRL [/size](2014, David Fincher)

Fincher does what Fincher does best, balancing on the edge of farty while presenting us an arty blend of drama, paranoia thriller and social comment. Ben Affleck (ideally cast) plays a not so smart husband who finds himself in the middle of a media circus after the disappearance of his wife. All clues seem to point in his direction, so very soon he’s not only a suspect in a possible murder case, but also America’s favorite doormat, the man everybody loves to hate, trample and destroy. The missing wife (Rosamund Pike) is smuggled into the movie by means of her diary: fragments of it are presented in flashback form, and those flashbacks tell us there was something rotten in the marriage of Ben & Rosamund.

The first hour of this movie is suspenseful and witty, perfect paranoia, but then we get the first of a series of twists, unfolding a serpentine plot playing with (and manipulating) viewers’ expectations. It’s of course all part of the game, this is a mystery thriller, and it’s also cleverly done, but it also creates a feeling of aloofness: the characters get lost in the shenanigans and in the end we don’t really care what happens to any of them. Part of the problem may be the old Rashomon effect: the events are presented from different points of view and doubts are created about the trustworthiness of the characters and some our their statements. The movie is an adaptation of a mystery novel and yes: unreliable narration is a device that works better in print than on the screen (we don’t always believe what we read or hear, but usually trust what we see).

With questions being raised about reality versus fantasy, truth versus lie, we’re close the world of the director’s own The Game (1997), but with a couple of Hitchcockian touches added. It is stylish, and it is well acted (even by Affleck), but it’s also a bit of a cold achievement.


(titoli) #1038

I plan to see Gone Girl these days. There also couple of more movies released in cinema these days that I am very eager to see, Fury, Interstellar and (most of all) Nightcrawler. Hopefully I’ll find time to see them all on big screen.

PS: Panic Room is very good movie in my book, not even close to be the weakest from Fincher. That would be The not-so-curious case of Benjamin Button. Even Girl with Dragon is weaker film than Panic Room. Panic Room is stripped-dwon, old school thriller, built around simple premise and unfettered by complex sweets that saturate much of today’s mainstream genre, and it is all the more effective for it.


(Asa) #1039

IMO, Panic Room IS a pretty weak film - it’s competently made as one would expect but it just hasn’t got anything about it, really; almost feels like a generic made-for-TV movie - but I agree that both the remake of The Girl With the Dragon Tattoo and the fuckawful The Curious Case of Benjamin Button are worse. The Social Network’s a pile of shit too, IMO.

I want to see Gone Girl, though. Looks like it will be more 20th century “Good Finchey” than 21st century “Bad Finchey”.

Good Finchey

  1. Fight Club (1999)
  2. Seven (1995)
  3. Zodiac (2007)
  4. Alien³ (1992)
  5. The Game (1997)

Bad Finchey

  1. The Curious Case of Benjamin Button (2008)
  2. The Social Network (2010)
  3. The Girl With the Dragon Tattoo (2011)
  4. Panic Room (2002)

(Stanton) #1040

Why “we” if you mean “I”? :wink:

I for example did not lost my interest in the characters and the story.

I also thought that the “lies” in the film’s structure worked very well. Maybe also because the surprises weren’t spared for the end, but revealed much earlier, so that GG could take a new direction after that. And this did Fincher all pretty good and satisfying.

And for me Panic Room is a disappointment, especially compared to it’s potential. I re-watched it a few weeks ago, the first time since the cinema, and I expected it to be better than remembered, but actually it wasn’t. PR is often surprisingly conventional and often lacks ideas. Probably a “safety” film for the Finch. PR gets a panicless 5/10