The Last Movie You Watched? ver.2.0

(Asa) #805

Last ten days:
Casino (Scorsese, 1995) :star::star::star::star:
Apollo 13 (Howard, 1995) :star::star::star:
Dead Man Walking (Robbins, 1995) :star::star::star::star:
Trekkies (Nygard, 1997) :star::star::star:
Misery (Reiner, 1990) :star::star::star:
Audition (Miike, 1999) :star::star::star:
Twelve Monkeys (Gilliam, 1995) :star::star::star:
Run Lola Run (Tykwer, 1998) :star::star::star:
Hardware (Stanley, 1990) :star::star::star:
The Straight Story (Lynch, 1999):star::star::star::star:
The Cable Guy (Stiller, 1996) :star::star::star:
A Quiet Place (Krasinski, 2018) :star::star::star:
Jacob’s Ladder (Lyne, 1990) :star::star::star:
GoldenEye (Campbell, 1995) :star::star::star:
Alien Resurrection (Jeunet, 1997) :star::star::star:
Army of Darkness (Raimi, 1992) :star::star::star:
Death Wish (Roth, 2018) :star::star::star:
Pleasantville (Ross, 1998) :star::star::star:
The Brady Bunch Movie (Thomas, 1995) :star::star::star:
Die Hard With a Vengeance (McTiernan, 1995) :star::star::star:
Wayne’s World (Spheeris, 1992) :star::star::star:
Interview With the Vampire (Jordan, 1994) :star::star::star:
The Exorcist III (Blatty, 1990) :star::star::star::star:
Kids (Clark, 1995) :star::star::star::star:
Tremors (Underwood, 1990) :star::star::star:
Solo: A Star Wars Story (Howard, 2018) :star::star::star:
Event Horizon (Anderson, 1997) :star::star::star:
South Park: Bigger, Longer & Uncut (Parker, 1999) :star::star::star:
The Transformers:The Movie (Shin, 1986) :star::star::star:
As Good as it Gets (Brooks, 1997) :star::star::star::star:
Kalifornia (Sena, 1993) :star::star::star:
El Mariachi (Rodriguez, 1992) :star::star::star:
Trees Lounge (Buscemi, 1996) :star::star::star::star:
Princess Mononoke (Miyazaki, 1997) :star::star::star::star:

Third of the way through my “Ninety From the '90s” June challenge.

(Wilco Vedder) #806

Mad max: Fury road
Mad max is sometimes described as a futuristic western. This reboot is one long chase and I liked the movie.

2005 movie with Matthew McConaughey. Nice entertainment but not more than that.

Jason Bourne
Catched up with the latest one out of the series and certainly not the best one. Hope this concludes the Bourne franchise.

(James Flessas ) #807


(Asa) #808

Last night: Hereditary (Aster, 2018)

Annie (Toni Collette, The Sixth Sense) is an artist. She constructs dollhouse-sized dioramas of important incidents from her own life. She lives with her husband (a largely muted, almost incidental Gabriel Byrne, The Usual Suspects) and their teenage kids, son Peter (Alex Wolf, Jumanji: Welcome to the Jungle) and daughter Charlie (newcomer Milly Shapiro). Peter is your average teenage doofus. Nice guy, likes to hang out, get high once in a while, think almost constantly about girls. Charlie… well, she’s a little different. Quieter. On the autism spectrum, somewhere? Possibly. Probably. She’s creative like her mum, although with different outlets. She enjoys creating toy figures out of household bric-a-brac, drawing sketches of people screaming or in considerable distress, scissoring the heads off of dead pigeons so she can keep the head in her pocket and pet it from time to time, that sort of thing.

Annie’s mum has just died. It was expected, she was quite old, quite ill, et cetera. Annie’s struggling with this. Not in the traditional fashion though. She wants to be appropriately sad about it, to grieve as all of us do in these moments, and she does feel some sadness, some… regret, but not properly. As it transpires, she had had a fractious relationship with her mother for most of her life and had only become somewhat closer right at the end, when Annie and her family had become her mother’s main carers. Anyway, she goes through the motions, arranges the funeral, gives a suitably deferential eulogy, yada yada, and that’s that. Bye, mum.

I mean, that’s not that, of course. The death of nanna has hit Charlie quite hard and she’s exhibiting increasingly strange behaviour. And, less than a week later, the funeral directors call Steve to tell him that nanna’s grave has been desecrated. Maybe best not to tell Annie that right now. She’s busy pressing Peter to take Charlie to a house party to which he’s been invited, to get her out of herself, cheer her up. He doesn’t especially want to drag his oddbod sister to a party where there’ll be drugs and chicks but what can you do when your mum puts her foot down?

Now, it sounds as though I’m cutting this review off in mid-flow terribly inelegantly but to say any more would be to spoil the movie. But, very soon, nanna’s passing will be by far the least harrowing thing happening to this family.

Hereditary, from first-time director Ari Aster, is an incredibly measured and deliberately paced picture. An air of menace pervades everything but it moves at a crawl for the first ninety minutes, with only a small handful of jolts to the senses smattered throughout (although at least one is a humdinger which changes the tone of the movie from “bleak” to “pitch fucking black” in an instant). I’ve seen a few reviews likening Hereditary to The Exorcist - I think one is even given space on the trailer - but the careful, square framing of each scene - designed to mirror the dollshouse dioramas Annie is creating - combined with the fantastic sound design put me more in mind of The Shining. Toni Collette’s performance is receiving a lot of praise and it’s all justified. She has a face which looks ready to grieve and to scream and Hereditary affords her the opportunity to do plenty of both. This is a very slow-build picture for the most part but it ramps up in the last half hour to an intensity which was drawing gasps from the cinema audience and even a few misplaced titters, possibly as a means of release. In fact it could be argued that the movie takes a swan-dive off the deep end of reality and goes completely fucking bonkers. I’d just say that, for me, it hit the spot.

If you liked The Witch and, perhaps more pertinently, The Blackcoat’s Daughter (both of which were also brought to us courtesy of Hereditary’s production company A24), you’ll love this. If you’re after a jump-scare laden thrillride, this is not that picture at all. It’s my favourite movie of the year so far.

(Phil H) #809

Sounds worth a try

(Mickey13) #810

Dead Again (1991) - 4/10 - A supposedly Hitchcockian fantasy thriller that is not all that interesting in my view and towards the end, it gets gratuitously stupid with its lame attempt to be more action-driven than it needs to be. I guess the acting was okay and the direction isn’t all that bad, but it’s not my thing I guess. It endeavors to be this kinda-sorta whodunit with a silent-era splendor thrown in there, but it just looks naive.

White Sands (1992) - 7/10 - More of a low-key neo noir, but at the same time, it’s got that early nineties vibe going on there and the white desert, where some of the action takes place, makes for a stunning location that significantly enhances the movie’s memorability. Dafoe is excellent in the role of a righteous, but also artful sheriff who tries to get out of a jam. Performances by Samuel L. Jackson as well as Mickey Rourke ain’t bad at all either. Lots of double-crossings and shenanigans. Overall a very decent flick.

Breakdown (1997) - 6/10 - Most of the time, it’s pretty goddamn excellent, but it unfortunately turns into this nonsensical actioner in the second half. Later down the road, it regrettably endeavors to tap into the common set of action bromides. The film should have stayed grim, minimal and menacing. I guess the action part potentially might’ve rendered the film more viable commercially, but at the end of the day, once the kabooms came into sight, it ceased to be this gripping study of terror, lost most of its credibility, which had made it interesting in the first place, and turned into this nonsensical porridge of a pop-culture thriller. A bit of a missed opportunity there IMO.

Unlawful Entry (1992) - 8/10 - A very nice one. The thing that distinguishes it from a legion of similar thrillers is its emphasis on the psychological motives of its characters. I really like the portrayal of the cop on the edge by Ray Liotta who really hits it out of the park with his performance here. The entire cast is very good, but let’s be honest, at the end of the day, it’s his movie. I guess you could say that the film is rather schlocky in its approach to the subject matter and pursues rather obvious thematical motifs most of this kind of shockers tend to aim for, but the way it’s all presented is pretty quality all around.

Bad Dreams (1988) - 2/10 - A total trainwreck of a movie. There are practically no redeeming qualities about this one. Everything ranging from the script, the acting, the narrative, the pacing… literally everything sucks. It feels overlong despite being only 80 minutes long and most of the turnabouts the film has to offer are so cliched it is mind-numbing. The comedic parts are unfunny, the scary parts are not scary. It’s just pure trash and a badly concocted A Nightmare on Elm Street rip-off.

The Man Who Sleeps (1974) - 9/10 - A re-watch.

Thunderbolt and Lightfoot (1974) - 6/10 - The movie feels remarkably schizophrenic in the sense that it combines a lot of elements from both buddy and heist genres, never truly becoming one or the other. The chemistry between Eastwood and Bridges is uncannily good, but the remainder of the flick just feels bland and the execution of the robbery feels somewhat inert and outdated by today’s standards. It’s watchable mostly by virtue of Bridges’s and Eastwood’s performances.

Hardware (1990) - 3/10 - I don’t get this one to be honest. I mostly love style-over-substance flicks and can appreciate all-style-no-substance affairs, but this thing here just doesn’t get me excited all that much. I guess when it comes to a low-budgeted Sci-Fi of this sort, I’d rather watch Split Second rather than this thing here. Not that that movie had much more story to tell, it was totally bonkers to be perfectly honest, but all the gore, cheese n’ sleaze in Hardware is over-the-top and all over the place insofar as it becomes truly distracting and kind of annoying.

A Breed Apart (1984) - 6/10 - A nice little adventure flick. Nothing that unusual about it, but the locations and the acting made this sufficiently worthwhile for a viewing. I found Kathleen Turner to be incredibly annoying though.

Lady Beware (1987) - 6/10 - Another low-budgeted neo noir and it’s a neat one. You can obviously sense that the film crew didn’t have much money at their disposal, but they did fine I guess. The portrayal of stalking is the best thing about the venture and the actor playing the part of the stalker does a good job at being a creep. The movie could’ve been truncated at several points and it does feel somewhat protracted on a couple of occasions, but nothing too bad.

The Mean Season (1985) - 7/10 - An underrated little thriller. The story is about a reporter that is regularly contacted by a serial killer terrorizing the city of Miami and gets sucked into the spiral of lunacy. It gets really interesting because the reporter played by Russell becomes more participatory in the events than he is willing to admit and subsequently regrets having been involved in the whole matter altogether. The fantastic performance by Richard Jordan also make this one a gripping viewing and the persona of the killer himself is a very interesting and intriguing one. Highly recommended.

Third Degree Burn (1989) - 7/10 - A John Dahl-ish exercise in neo noir, not as good, but it definitely serves as a neat form of entertainment. I guess it works so well because of the nice direction by Spottiswoode and excellent performances by Williams and Madsen. It’s too bad Madsen never gained any considerable recognition because he’s hell of an actor IMO and had all the charisma in the world to take on some of the more badass roles. The resolution is rather foreseeable, but it is all kept together by the satisfactory execution.

Down Twisted (1987) - 3/10 - I mean, it’s another Cannon movie, it looks like one, it feels like one, therefore it is one? I was brought round by the high IMDb rating to give this one a shot and… well… it’s a Cannon film. There is nothing exceptional about and I found it to be a complete bore. Stuff happens, but it’s all put together in a distinctively shoddy way you’d expect from a film of this stature. I was hoping it would turn into something akin to The Warriors (1979) or Streets of Fire (1984), but well… it’s shit. I mean I don’t know. Perhaps the film is this diamond in the rough and I merely fail to see its grandeur because of my inability to decipher its latent meanings and shit. Perhaps. The IMDb rating is really skewed though, no idea how it got such a stellar rating from the community of people there. Don’t be fooled. It’s a regular fucking Cannon film, don’t make a mistake of wasting your time on this one.